Dino del Garbo, médecin actif dans les premières décennies du xiv e siècle, est surtout connu pour son commentaire au poème de Guido Cavalcanti Donna me prega. La présente étude propose l’édition d’une question quodlibétique sur la capacité de l’imagination à altérer le corps, disputée à Bologne ou Sienne dans les années 1320. Nous examinons le contexte médical et philosophique dans lequel s’inscrit cette question, en montrant notamment comment le débat s’est progressivement cristallisé autour de l’opposition entre un (...) modèle avicennien et un modèle aristotélicien des rapports entre l’âme et le corps. L’analyse de ce débat permet d’éclairer d’un jour nouveau la glose de Dino del Garbo à Donna me prega et aussi, de manière incidente, le poème lui-même. (shrink)

Sir William Hamilton's theory of the quantification of the predicate is presented and discussed with reference to the contemporary debate on logic.

El artículo establece, principalmente, las consecuencias que el descubrimiento de la fotografía ocasionó en el sistema de las artes y en el ámbito de la reflexión teórica acerca de las manifestaciones artísticas. De este modo, el autor relaciona la expansión de la fotografía con la "muerte del arte", una expansión que patentizó la idea de la "muerte del arte" presente en la tradición romántica, desde Hegel hasta Schiller. Tomando como punto de partida el análisis que de este problema hace (...) class='Hi'>Dino Fonnaggio en su texto La muerte del arte y la estética, el autor reflexiona acerca del cuestionamiento que la fotografia hace del concepto de arte, de los límites del sistema de las artes y del establecimiento de las diferencias entre el artista, la obra y el espectador. (shrink)

continent. 2.2 (2012): 76–81 Comments on Eugene Thacker’s “Cosmic Pessimism” Nicola Masciandaro Anything you look forward to will destroy you, as it already has. —Vernon Howard In pessimism, the first axiom is a long, low, funereal sigh. The cosmicity of the sigh resides in its profound negative singularity. Moving via endless auto-releasement, it achieves the remote. “ Oltre la spera che piú larga gira / passa ’l sospiro ch’esce del mio core ” [Beyond the sphere that circles widest / penetrates (...) the sigh that issues from my heart]. 1 The axiomatic sigh of the pessimist is in a way the pure word of philosophy, a thought that thinks without you, speaks where you are not. The live pneumatic form of the soul’s eventual exit from the dead body’s mouth, the sigh restores consciousness to the funeral of being, to the passing away that is existence. Pessimism speaks in piercing aphorisms because first it sighs. “Beyond the sphere passeth the arrow of our sigh. Hafiz! Silence.” 2 … pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. To the pessimist, the ‘real’ world—the world on whose behalf we are expected to wake up in the morning—is a ceaseless index of its own unreality. The pessimist’s day is not an illumined space for the advancement of experience and action, but a permanently and inescapably reflective zone, the vast interior of a mirror where each thing is only insofar as it is, at best, a false image of itself. Within this speculative situation, inside the doubleness of the mirror, pessimism splits into two paths, false and true, one that tries to fix pessimism (establish a relation with the mirror) and decides in favor of the apparent real, and another that totally falls for pessimism (enters the mirror) and communes with the greater reality of the unreal. These two paths are distinguished by their relation to pessimism’s guilt vis-à-vis the world’s reality-project. The first form, that which remains pessimism for the world and puts on a smiling face, stays guilty to itself (i.e. unconscious) and thus turns hypocritical, becoming at once the pessimism of the commoner who really just wants things to be better for himself and the pessimism of the elite who wants to critically refashion reality in his own image. The general form of this worldly, hypocritical pessimism is the impulse to ‘make the world a better place’, which is the global mask under which the world is diurnally made worse. The second form, that which follows pessimism away from the world and ceases to put on a smiling face, refuses guiltiness as itself theessential Occidental mode of pretense and turns honest, becoming at once the intelligent pessimism required of all ordinary action and the radical pessimism necessary for self-knowledge: seeing that no one is capable of doing good. The general form of this universal, honest pessimism is the impulse not to worry, to give up and embrace dereliction, which is the only real way the world is actually improved. Where worldly pessimism is the engine productive of interminably warring secular and sacred religions (good-projects), universal pessimism strives hopelessly for the paradise of a supremely instantiated pessimus: things are getting so bad that there is no longer any time for them to get worse; things are so constantly-instantly worst that this is BEST. Cosmic pessimism is the mode of universal pessimism which can yet discourse with the world, which has not chosen silence and can spread the inconceivably BAD NEWS in an orderly form ( kosmos ) that the world can understand (if it wanted to). … the result of a confusion between the world and a statement about the world. That is what the world is (the result of a confusion between the world and a statement about the world). … a generalized misanthropy without the anthropos. Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. Pessimism’s love of fate is a blind love, a love of the blindness of being human in a cosmos conceived around the human’s eclipse, a heavy levitation in the contradictory space between the inescapability of its having been and the impossibility of its will-be. Pessimism’s song of futility is a sensible way of loving fate, with a minimum of eros, by means of a kind of matrimonial love of the fatal. As music, pessimism stays open to the irreparable and the inexorable without the binding of affirmation, in the apparent absence of the radical, infinitely surplus will that absolute amor fati seems to require. Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? “Unless a man aspires to the impossible, the possible that he achieves will scarcely be worth the trouble of his achieving it. We should aspire to the impossible, to absolute and infinite perfection [….] The apocatastasis is more than a mystical dream: it is a norm of action, it is a beacon for high deeds [….] For true charity is a species of invasion [….] It is not charity to rock and lull our fellow men to sleep in the inertia and heaviness of matter, but rather to arouse them to anguish and torment of spirit.” 3 … the impossibility of ever adequately accounting for one’s relationship to thought. “The paroxysm of interior experience leads you to regions where danger is absolute, because life which self-consciously actualizes its roots in experience can only negate itself [….] There are no arguments [….] On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos [….] I live because the mountains do not laugh and the worms do not sing .” 4 It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. According to the earliest account of Cecilia’s martyrdom, the beheading turns out worse. After not severing her head in three strokes, “the cruel executioner left her half dead” (seminecem eam cruentus carnifex dereliquit). 5 Cecilia’s effortlessly powerful endurance of the three strokes—a fitting icon for pessimism as an art of dereliction—demonstrates the “passivity and absence of effort [….] in which divine transcendence is dissolved.” 6 There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. Like words from a pre-waking dream. There is no reason to think that they are not. NOTES 1. Dante Alighieri. Vita Nuova . ed. and trans. Dino S. Cervigni and Edward Vasta. Notre Dame: University of Notre Dame Press. 1995. 41:10. 2. Hafiz of Shiraz. The Divan . trans. H. Wilberforce Clarke. London: Octagon Press. 1974. 10.9. 3. Miguel de Unamuno. The Tragic Sense of Life in Men and Nations . trans. Anthony Kerrigan. Princeton: Princeton University Press. 1972. 305-6. 4. E.M. Cioran. On the Heights of Despair . trans. Ilinca Zarifopol-Johnston. Chicago: University of Chicago Press. 1992. 9-10. 5. Giacomo Laderchi. S. Caeciliae Virg[inis] et Mart[yris] Acta. . . Rome. 1723. 38. 6. Georges Bataille. On Nietzsche . trans. Bruce Boone. London: Continuum. 2004. 135. See Nicola Masciandaro. “ Half Dead: Parsing Cecilia .” A Commentary on Eugene Thacker’s "Cosmic Pessimism" Gary J. Shipley Pessimism is the refusal to seek distraction, the refusal to remodel failure into a platform for further (doomed) possibilities, the refusal of comfort, the acceptance of the sickness of healthy bodies, the cup of life overflowing with cold vomit. If, as Ligotti suggests when discussing Invasion of the Body Snatchers , 1 humans prefer the anxieties of their familiar human lives to the contentment of an alien one, then the pessimist, we could argue, represents some perverted combination of the two, preferring (presuming he has a choice) the defamiliarization of human life to the contentment of its unquestioned mundanity. The quasi-religious state of mind that Wittgenstein would mention on occasion, that of “feeling absolutely safe,” 2 is a state the pessimist could only imagine being approximated by death, or perhaps some annihilative opiate-induced stupor. This Wittgensteinian commingling of certainty and faith looks every bit the futile gesture, a mere rephrasing of collapse or partial collapse. The only certainty open to the pessimist is that of the toxic formula of life itself—a formula known and lacuna-free. Certainty, far from being the gateway to deliverance, becomes the definitive impediment; and the possibility of salvation, as long as it remains, becomes crucially reliant on postulations of ignorance, epistemic gaps, a perennial incompleteness: “the perfect safety of wooed death […] the warm bath of physical dissolution, the universal unknown engulfing the miniscule unknown.” 3 The height of Leibniz’s Panglossian insanity nurtured the idea that our knowing everything—via the universal calculus—could be accurately described a triumph, as opposed to a nightmare in which our every futility is laid bare. Stagnancy and boredom are perhaps two of the greatest ills of Western civilisation, and the most potent pessimism tells you that you’re stuck with both. The most we can hope for, by way of salvation, is to throw open our despair to the unknown. The fact that Schopenhauer’s pessimism stopped short of morality and allowed him to play the flute, as Nietzsche complained, highlights the predicament of a man who despite having adorned nothingness with a smiling face still found himself alive. The demand here is that it be felt: a cross-contamination of intellect and emotion. The safety net of numerous parentheses makes for a failed philosophy, rather than a philosophy of failure. Depressives make bad pessimists, because, unless they choose to die, living will always infect them with necessities of hope, forcing them to find something, anything (all the various “as ifs”) to make existence tolerable. For as Cioran observed, while “[d]epressions pay attention to life, they are the eyes of the devil, poisoned arrows which wound mortally any zest and love of life. Without them we know little, but with them, we cannot live.” 4 And even when cured of our depressions we’ll find ourselves consumed, eaten alive by the hyper-clinical (borderline autistic) mania that replaces them: a predicament captured all too clearly in the microscriptual fictions of Robert Walser, where spectral men and women stifle their depressive madness with protective comas of detail, their failed assimilations buried beneath thick crusts of remote data. Like Beckett’s Malone their stories may have ended, but cruelly their lives have not. Pessimism is an extraneous burden (a purposeless weight) that makes everything else harder to carry, while at the same time scooping it out and making it lighter. If pessimism had a sound it would be the harsh non-noise of tinnitus—the way that every person would hear themselves if they refused their distractions long enough to listen: a lungless scream from the extrasolar nothing of the self. The music of pessimism—if indeed we can imagine such a thing—is the reverberating echo of the world’s last sound, conjectured but never heard, audible only in its being listened for. The one consolation of this hollow paradox of audibility being, that “he will be least afraid of becoming nothing in death who has recognized that he is already nothing now.” 5 The pessimist suffers a derangement of the real, a labyrinthitis at the nucleus of his being: he’s the stumbling ghost relentlessly surprised that others can see him. If Cioran’s refusal is manifested in sleep (when even saying ‘no’ is too much of a commitment), then Pessoa’s resides in the dreams inside that sleep. Pessoa chooses to exploit the fact that he’s being “lived by some murmuring non-entity both shadowy and muddied” 6 by growing more voids to live him. His is a Gnostic breed of sleep, “sleeping as if the universe were a mistake,” 7 a sleep that dreams through Thacker’s cosmic pessimism (“a pessimism of the world-without-us.”, “the unhuman orientation of deep space and deep time” 8 ), through the critical error of there being anything at all when there could be nothing. The metaphysical pessimist is someone who, however well life treats them, still desires to wake from it, as from the poisonous air of a bad dream. Pessimism is a paradox of age, being simultaneously young and old; its youth residing in a refusal to accept the authority of existence (its rich history, its inherent beneficence), a refusal to “get over” the horror of what it sees with its perpetually fresh eyes, and its maturity in the unceremonious disposal of the philosophical playthings (those futile architectures) of adolescence. As Thacker remarks: “Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique.” 9 A sentiment shared with Pessoa, who duly categorizes those that choose to enact this futile struggle: “The creators of metaphysical systems and of psychological explanations are still in the primary stage of suffering.” 10 If the pessimist has shared a womb with anyone, it’s with the mystic and not the philosopher. As Schopenhauer tells us: “The mystic is opposed to the philosopher by the fact that he begins from within, whereas the philosopher begins from without. […] But nothing of this is communicable except the assertions that we have to accept on his word; consequently he is unable to convince.” 11 The crucial difference between the mystic and the pessimist is not the latter’s impassivity and defeatism, but his unwillingness/inability to contain in any way the spread of his voracious analyticity, his denial of incompleteness, his exhaustive devotion to failure. The truth of our predicament, though heard, is destined to remain unprocessed. Like the revelations of B.S. Johnson’s Haakon (“We rot and there’s nothing that can stop it / Can’t you feel the shaking horror of that?” 12 ) the pessimist’s truths are somehow too obvious to listen to, as if something inside us were saying, “Of course, but haven’t we gotten over that?” Pessimism is simple and ugly, and has no desire to make itself more complex or more attractive. The true moral pessimist knows that the Utilitarian’s accounts will always be in the red. He can see that for all his computational containments, his only honest path is a negative one, and that such a path has but one logical destination: that of wholesale human oblivion. Thacker notes how at the core of pessimism lies the notion of “the worst,” through which death is demoted by the all-pervasive suffering of a life that easily eclipses its threat. And so with doom made preferable to gloom, death begins to glint with promise, “like beauty passing through a nightmare.” 13 But even among pessimists suicide is, for the most part, thought to be an error. Schopenhauer, for instance, regarded suicide a mistake grounded in some fundamentally naïve disappointment or other. Pessoa too thought suicide an onerous escape tactic: “To die is to become completely other. That’s why suicide is a cowardice: it’s to surrender ourselves completely to life.” 14 There is a call here to be accepting of and creative with the puppetry of your being, an insistence that it’s somehow a blunder to attempt to hide in death from the horrors you find inlife. 15 Tied up with this perseverance is the slippery notion of the good death, for maybe, as Blanchot warns, suicide is rarely something we can hope to get right, for the simple reason that “you cannot make of death an object of the will.” 16 “Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete,” 17 and this is not simply because the project itself belies something yet to be disclosed, but because the project itself is a thing waiting. It waits on a cure it knows will not come, but for which it cannot do anything (as long as it continues to do anything) but wait. NOTES 1. See Thomas Ligotti. The Conspiracy Against the Human Race . New York: Hippocampus Press. 2010. 91. 2. Ludwig Wittgenstein. “A Lecture on Ethics.” Philosophical Review . (74) 1. 1965. 8. 3. Vladimir Nabokov. Pale Fire . New York: Vintage. 1989. 221. 4. E. M. Cioran. The Book of Delusions . trans. Camelia Elias. Hyperion. 5.1. (2010): 75. 5. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 609. 6. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 67. 7. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 35. 8. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 68. 9. Ibid. 73. 10. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 341. 11. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 610-11. 12. B.S Johnson. “You’re Human Like the Rest of Them.” in Jonathan Coe. Like a Fiery Elephant: The Story of B.S. Johnson . London: Picador. 2004. 177. 13. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 415. 14. Ibid. 199. 15. “Suicide is, after all, the opposite of the poem.” Anne Sexton. No Evil Star: Selected Essays, Interviews and Prose . ed. Steven Gould Axelrod. Ann Arbor: University of Michigan Press. 1985. 92. 16. Maurice Blanchot. The Space of Literature . trans. Ann Smock. Lincoln: University of Nebraska Press. 1989. 105. 17. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 75. (shrink)

This is an attempt to explain Kepler’s invention of the first “non-cone-based” system of conics, and to put it into a historical perspective.

The study here is a qualitative research based on multiple case studies of banking service providers to analyze the role of corporate social responsibility (CSR) in the definition of the corporate identity of these kinds of organizations. The results show that, although companies increasingly integrate CSR into their business strategies, there are some aspects of its management such as its communication or the measurement of its results that detract from its success. These results have important implications for those managers pursuing (...) an effective management of CSR policies and strategies in their organizations, especially as the information comes from 6 of the biggest and most important banking institutions in a European country, with a declared assets (loans) volume which represents 62.75% of the total assets in the national banking industry, and thus largely representing the possible heterogeneity of the market in terms of company size, location, legal status, and management styles. (shrink)

El objetivo del estudio fue establecer los niveles de ansiedad y depresión que presentan los pacientes que han sido sometidos a cirugía en un hospital público de Lima. Para ello se desarrolló una investigación de diseño no experimental y de alcance descriptivo, que se trabajó con una muestra intencionada de 110 pacientes intervenidos quirúrgicamente. Por su propia condición, debieron absolver un cuestionario relativamente corto, basado en la Escala de Ansiedad y Depresión Hospitalaria. Los resultados muestran que los niveles de ansiedad (...) en estos pacientes son relativamente bajos, atribuibles a la situación quirúrgica que están viviendo; ocurriendo algo similar en relación con los niveles de depresión, que también son relativamente bajos. Sin embargo, es necesario ponerle atención a quienes se encuentran en un nivel medio de depresión y en un nivel bajo, por los problemas que ello podría ocasionar. (shrink)

Resumen El presente texto realiza un análisis de la estructura narrativa, y de la estética y contenido de la obra cinematográfica de Fernando Arrabal Iré como un caballo loco. Más allá de su reconocida trayectoria como dramaturgo, esta obra singular construye de forma profunda y estructurada una narración compleja, llena de referentes biográficos, literarios y mediáticos, más allá de la simple apariencia de caos, confusión y absurdo. La intertextualidad de su estructura narrativa obliga a realizar un análisis cualitativo e interdisciplinar, (...) para llegar a los aspectos más escondidos e insospechados de la película, donde nada es casual. Entre las principales aportaciones se encuentran la dualidad narrativa y estructural que la conecta tanto con Esquilo como con las películas de viaje y carretera.: This article makes an analysis of the narrative structure, of the aesthetics and content of Fernando Arrabal’s film work Iré como un caballo loco. Beyond his acknowledged trajectory as a playwright, this unique work constructs -in a deep and structured way- a complex narrative, full of biographical, literary and media referents, beyond the mere appearance of chaos, confusion and absurdity. The intertextuality of its narrative structure forces a qualitative and interdisciplinary analysis to reach the most hidden and unsuspected aspects of the film, where nothing is accidental. Among the main contributions are a narrative and structural duality that connects both with Aeschylus and also with journey and road movies. (shrink)

It will be argued that face-to-face relationships potentially provide an essential educational basis for the good. Without such a relationship, for example in the education of professionals and in their practices in general and counseling in particular, there may be far less possibility for truth and justice, and a far greater possibility that violence will be done. In examining issues of counseling as a practice of ethics in terms of ideas of truth, justice, and responsibility, is there an ethical postmodern (...) basis on which we can assist in an embodied way so that we can help others not do violence to others? Indeed, is it possible for us as professionals not to interrupt our own and others? continuity, not to play roles in which we no longer recognize ourselves and whereby we betray not only our commitments but our own substance? An exploration of the above questions will be made with particular reference to some implications of ethics as espoused by Emmanuel Levinas. (shrink)

El Patronato de Misiones Pedagógicas desarrolló una importante labor de recuperación y difusión de la cultura musical, especialmente del folklore musical español, en los primeros años de la II República española, al poner en marcha un servicio de música y un coro que se encargaron de acercar diferentes estilos y géneros musicales a los habitantes de las zonas rurales más deprimidas. En este artículo se presenta un estudio documental sobre el trabajo llevado a cabo por los integrantes del coro y (...) por las personas que se encargaron de custodiar los recursos musicales cedidos por el Patronato y de programar las diferentes actividades musicales en los municipios que gozaron de dichos recursos. A su vez, se recogen diversos testimonios que dan fe del cometido realizado por esta institución y del impacto cultural y musical que supuso en los habitantes de las localidades donde se desarrollaron las diferentes actividades misionales. (shrink)

Las artes visuales, marginadas de otras áreas del conocimiento, por la fragmentación epistemológica propi-ciada por el positivismo y con afán de responder al desarrollo vertiginoso y complejo de nuevas tecnologías, han perdido la más importante de sus tareas, la reflexión. La especulación sobre la acción artística y la entrega de juicios críticos acerca de sus manifestaciones implica la introspección y el pensar sobre sus procesos y parámetros de desarrollo. Imaginar y crear en las artes visuales se ha convertido en las (...) reacciones espontáneas resultantes de la intuición del instante, olvidando etapas importantes de concentración, abstracción, especulación y transformación de la experiencia estética. Hoy las artes son la provocación de una cadena de reacciones físicas: repulsión, sorpresa, rechazo, etc., de las transgresiones a la forma y no al fondo, hay un abismo entre el pensamiento y la razón. Hay un olvido de los contenidos, por los que lucharon Klee, Kandinsky, Arnheim o Gombrich y que hizo comprensible la obra de Cézanne, Duchamp o Beuys. Se trata de una reflexión sobre la importancia del dominio epistemológico en las artes visuales, una llamada a regresar a su conceptualización y a reconstruir la filosofía y la teoría del arte visual de nuestro tiempo. Estas disciplinas tienen un aspecto teórico referente a los conceptos que las sustentan, un aspecto técnico concerniente a los medios por los cuales se crea la obra o la acción artística y un aspecto poético, que establece un nexo entre quien crea la obra y quienes la perciben y contemplan, éstos entre sí y entre éstos y la obra. Lo anterior requiere de los conocimientos indis-pensables para reconocer y comprender tanto el excedente de sentido de las artes visuales como la socialización sus valores culturales, son indispensables las estructuras y concepciones teóricas porque, de un mismo objeto o acción se dan diversas interpretaciones igualmente válidas, siempre y cuando estén sustentadas cognoscitivamente. Las artes visuales son una unidad de saber, un conjunto de conocimientos unificados merced a ciertos principios, pero no es un cuerpo de verdades cerradas, al contrario, se hallan en relación permanente y dinámica con otros ámbitos cognoscitivos, influyen en algunos y son influenciadas por otros. La conceptuación de las artes visuales es valiosa porque tiene efectos directos en la forma de pensamiento, en la conducta y en las acciones y decisiones de los seres humanos, en virtud de que se conciben como generadoras de valores y bienes culturales. (shrink)

This chapter deals with the ways in which entrepreneurships driven by industrial design and the strategies for interconnecting design for innovation are articulated. In the first instance, current practices are recognized in order to analyze the different processes that entrepreneurial dynamics go through. This analysis is carried out from a systemic perspective, at three levels of abstraction: designer, entrepreneurship and ecosystem. The theoretical and conceptual framework will be structured based on the innovations driven by design, which occur around the designer, (...) his personal projects, and the possible interactions and singularities offered by living spaces. The objective of this work is to unravel the eventual relationships of the entrepreneurial designer in the ecosystem and to highlight the potential added by emerging connections, which allow for the projection of synergistic actions with other actors to create value(s). In this way, other possible views of the entrepreneurial process are provided, where the cultural and philosophical dimension that characterizes industrial designers allows them to achieve a higher quality of life, designing and producing collectively (in) their environment. (shrink)

This collection of original essays brings together leading legal historians and theorists to explore the oft-neglected but important relationship between these two disciplines. Legal historians have often been sceptical of theory. The methodology which informs their own work is often said to be an empirical one, of gathering information from the archives and presenting it in a narrative form. The narrative produced by history is often said to be provisional, insofar as further research in the archives might falsify present understandings (...) and demand revisions. On the other side, legal theorists are often dismissive of historical works. History itself seems to many theorists not to offer any jurisprudential insights of use for their projects: at best, history is a repository of data and examples, which may be drawn on by the theorist for her own purposes. The aim of this collection is to invite participants from both sides to ask what lessons legal history can bring to legal theory, and what legal theory can bring to history. What is the theorist to do with the empirical data generated by archival research? What theories should drive the historical enterprise, and what wider lessons can be learned from it? This collection brings together a number of major theorists and legal historians to debate these ideas. (shrink)

This paper presents an overview of my work in philosophy from my first book on Friedrich Schiller and the political sublime to my most recent project on listening to traumatic forms of violence. Starting with a reflection on the autobiographical character of philosophy, I propose to take up the question of an aesthetic dimension of philosophical critique, where aesthetics is understood as an always already embodied perspective on the world, on truth, and on philosophical activity, as well as an always (...) already political realm, where the distribution of sense pre-determines our approach and articulation of experience. Departing from aesthetics understood and deployed as critique, the paper moves on to ask about the specific frameworks of sense or grammars that determine in advance the conditions of audibility in the realms of memory-building and history-making—particularly in those contexts where historical, political, and institutional forms of violence produce silencing and erasure. Putting in dialogue the latter with decolonial studies, I interpret “traumatic violence” as a colonizing form of violence, understanding that one of its central aspects is that it is not only an assault on life but on the conditions of production of sense that make life legible as such. In this context, my project on grammars of listening seeks to carefully unpack these complex intersections while also explaining why I believe that a radical form of listening is an essential subversive/imaginative strategy against traumatic/colonial violence. (shrink)

The argument against innatism at the heart of Cognitive Gadgets is provocative but premature, and is vitiated by dichotomous thinking, interpretive double standards, and evidence cherry-picking. I illustrate my criticism by addressing the heritability of imitation and mindreading, the relevance of twin studies, and the meaning of cross-cultural differences in theory of mind development. Reaching an integrative understanding of genetic inheritance, plasticity, and learning is a formidable task that demands a more nuanced evolutionary approach.

En el siguiente texto se expone la vinculación entre el trabajo, la subjetividad y el sufrimiento desde la perspectiva de la psicodinámica del trabajo. Se presenta la utilidad del psicoanálisis para pensar la relación entre el trabajo y la democracia, así como los efectos de las transformaciones del trabajo sobre la erosión del vínculo social. Asimismo, se exponen las principales tesis de la psicodinámica del trabajo, relativas al impacto del giro neoliberal en la gestión empresarial, al sufrimiento producido por la (...) competencia y a la reivindicación de un concepto marxiano de trabajo vivo, que repercute en la comprensión de las dimensiones individuales y colectivas del trabajo y en la comprensión de la inteligencia y el cuerpo en situación de trabajo. (shrink)

"El presente volumen colectivo recoge las ideas sobre la relación entre filosofía, política y religión de pensadores capitales de la segunda mitad del siglo XX. Entre otros, Berlin, Arendt, Oakeshott, Aron, Hayek, Popper, Habermas, Taylor, Ratzinger, Strauss o Rawls. Los lectores encontrarán que el cuadro general que se desprende de su lectura no permite reducir su contenido a una idea fuerza o a una tesis general que unifique el libro. Los autores tratados, provenientes de disciplinas distintas, con intereses temáticos y (...) sensibilidades diversas, coinciden, sin embargo, en ofrecer una reconsideración teórica del papel de la religión en la sociedad y la política contemporáneas. Esta pluralidad de posiciones se presenta al lector como fruto de la indeterminación de las sociedades políticas occidentales respecto al problema de la religión. De esta forma, los clásicos contemporáneos que se visitan nos invitan a una discusión profunda y matizada, que servirá para intentar distinguir, de manera equilibrada, tanto los elementos donde religión y política han sido y son esferas enfrentadas, como aquellos donde el encuentro entre Atenas y Jerusalén produce una relación positiva."_ Editorial. (shrink)

El artículo presenta los resultados de una investigación sobre la violencia política en Perú y su actual incidencia en la crisis de legitimidad de las instituciones políticas democráticas. La metodología empleada supone la revisión documental y el tratamiento de otras fuentes sobre las múltiples maneras como el conflicto armado debilitó la credibilidad en los mecanismos y estamentos democráticos. Se presentan elementos concluyentes sobre la continuidad, durante y después del conflicto, de la desigualdad, la frustración en la búsqueda de la verdad (...) y justicia ante la violación de los derechos humanos como causas de la crisis e inestabilidad política en Perú. El artículo permitirá concluir con la grave crisis de gobernabilidad que atraviesa el país, que se traduce en prácticas corruptas que paralizan su desarrollo económico, marcando el paso de una crisis económica a una crisis política: un puente que une los años 1992 a 2018 y que deja como saldo una pérdida generalizada de confianza en la clase política y en las instituciones del poder público en Perú. (shrink)

Fairness in agri-food supply chains receives increasing consumer, industry, and political attention but is currently under-conceptualized and lacks appropriate frameworks for measurement. Therefore, building on a theoretically grounded conceptualization of consumer dispositions toward fairness in agri-food supply chains, we developed and validated a 14-item fairness measurement scale (FAIRFOOD). The scale comprises of four dimensions (economic, environmental, social, and informational) which are manifestations of the same construct (higher-order structure). We empirically validate the scale and its reliability using four studies and eight (...) independent samples from Italy (_n_ = 1386) and the UK (_n_ = 1379). The findings reveal that FAIRFOOD is related, yet distinct from theoretically relevant constructs such as ethical consumption and pro-environment behavior. The FAIRFOOD scale is a strong predictor of outcomes such as willingness to purchase Fairtrade certified products, as well as boycott and negative Word of Mouth intentions if a brand treats other supply chain actors unfairly. Regarding business strategy, rather than focusing on one dimension of fairness independently, managers should adopt a holistic approach, devising initiatives that address all four dimensions in tandem. (shrink)

RESUMEN: En la era de las tecnologías digitales, el Derecho se enfrenta al objetivo de afrontar la protección de los datos personales en un universo global donde las fronteras se diluyen y el principio de territorialidad ha dejado de tener aplicación. Este trabajo pretende plantear el reto que supone, para el ordenamiento jurídico español, la adaptación a la nueva regulación europea en esta materia.ABSTRACT: At the digital´s technologies age, Law faces with the aim to address the personal data protection in (...) a global universe where blurring the borders, and the territoriality principle has ceased to be applied. This paper aims to poset he challenge that supposes, to the Spanish legal system, the adaptation to the new European Union regulation on this matter.PALABRAS CLAVE: universo digital, protección de datos personales, reglamento europeo, constitución española, conflictos de competenciaKEYWORDS: digital universe, personal data protection, european regulation, spanish constitution, competence´s conflicts. (shrink)

All the acts of behaviour are judgements of reality (held by subject on the object). The first stage in th:is judgesment is denotative (judgement of facts). The second is connotative (judgement of value). Denotative judgement contains 6 components: diacriticity, organization, identification, naming, specialization, timing. All of them have to be provided with values of truth. Value of truth of denotative judgements derives from their value of truth in context. Context is a consensus space. Thus, subject denotes object starting from theory (...) of context he holds. As far as psycho(patho)logy is corcerned, starting from a theory of perception -instead of a theory of denotation- has been a decisive setback. (shrink)