В статье философия характеризуется на основе дискурсной парадигмы анализа: как текст, интеллектуальная деятельность и коммуникация. Характеризуются два равнозначных аспекта философского дискурса - когнитивный и коммуникативный. Обсуждается феномен философских контроверз, специфика философского спора, выразительные (знаковые) средства философского дискурса, роль мировоззренческого дискурса в современной общественно-политической ситуации в стране.

_Zettel, _ an en face bilingual edition, collects fragments from Wittgenstein's work between 1929 and 1948 on issues of the mind, mathematics, and language.

Abstract: Alienation and slavery from Precious or what we don't want to see. It is our purpose to establish, in a parallel reading, these two films (highly rewarded), namely The Fence and Precious, that apparently being so different, are an illustration of the reality of life and the modern democratic world: the social uprooting and slavery. If in the movie of Phillip Noyce and Christone Olsen The Fence, is told a story of three young Aboriginal girls who are forcibly taken (...) to be transformed into domestic slaves, in the movie of Lee Daniels Precious, the young woman is already a servant in her own home and seeks the transformation of her life. Uniting these two stories, we find fundamental elements: illiteracy, ill-treatment, the idea of a migration (real or metaphysical), among others, but whose fundamental notion is the journey. If the film The Fence, the fence itself is used to conduct the three young Aboriginal to a real reunion with the family, in Precious, the metaphorical ‘fence’ is the limit of her world. From this interpretation, we will undertake our reflection about what we consider to be the alienation of the modern world and the silence we produce about them. (shrink)

Resenha: KARASCH, Mary C. Before Brasília: frontier life in Central Brazil. Albuquerque: University of New Mexico Press, 2016.

L'ed. delle Obligationes si basa su quattro mss.: Praha, Knihovni Metropolitni Kapituly, M.CXLV ; Oxford, New College, E 289 ; Praha, Státní Knihóvna CSR, VIII E 11 ; Salamanca, Biblioteca de la Universidad, 2358 . Nell'introduzione l'A. prende in esame la tradizione manoscritta delle opere di Giovanni Tarteys, fornendo anche una breve notizia biografica di questo magister artium attivo ad Oxford tra la fine del Trecento e gli inizi del Quattrocento. Segue un'analisi comparata del De Obligationibus di Giovanni con le (...) trattazioni analoghe di altri maestri, tra i quali Rodolfo Strode, Gualterio Burley, Paolo da Venezia e Giovanni Wyclif. Discussi infine i criteri di edizione. (shrink)

Este ensaio pretende levantar as seguintes questões: 1. de que modo é possível reconstituir o sentido de moral segundo um amor-próprio cujo conteúdo é dado menos por um isolamento ou negaçáo do outro do que por um trabalho pessoal sobre si mesmo, em vista de um êthos , de uma ética? 2. em que medida o valor da moral hoje em dia pode ser deslocado da lei universal para uma atitude de diferença, da normalidade do comportamento para o cultivo de (...) si e, por fim, da verdade sobre o sujeito para uma subjetivaçáo ascética que náo exige a prerrogativa de uma identidade, mas a transformaçáo de si na relaçáo consigo e com os outros? Tais questões sáo levantadas a partir de Friedrich Nietzsche, Michel Foucault e Fernando Savater. Palavras-chave: Amor-próprio, Estética da existência, Ética, Identidade. (shrink)

Context: The idea for this article sprang from a desire to revive a conversation with the late Ernst von Glasersfeld on the heuristic function - and epistemological status - of forms of ideations that resist linguistic or empirical scrutiny. A close look into the uses of humor seemed a thread worth pursuing, albeit tenuous, to further explore some of the controversies surrounding the evocative power of the imaginal and other oblique forms of knowing characteristic of creative individuals. Problem: People generally (...) respond to humor, i.e., they are inclined to smile at things they find funny. People like to crack jokes, make puns, and, starting at age two, human infants engage in pretense or fantasy play. Research on creativity, on the other hand, has mostly scorned the trickster within. Cognitivists in particular are quick to relegate wit, whimsy, and even playfulness to the ranks of artful or poetic frivolities. Method: We use the emblems of the craftsman, the trickster, and the poet to highlight some of the oblique ways of knowing by which creative thinkers bring forth new insights. Each epitomizes dimensions intrinsic to the art of “possibilizing.” Taken together, they help us better understand what it means to be playful beyond curious, rigorous beyond reasonable, and why this should matter, even to constructivists! Results: The musings characteristic of creative individuals speak to intelligent beings’ ability to use glitches intentionally or serendipitously as a means to open up possibilities; to hold on to a thought before spelling it out; and to resist treating words or images as conventional and arbitrary signs regardless of their evocative power. To fall into nominalism, Bachelard insisted, is a poet’s nightmare! Implications: Psyche is image, said Jung, and when we feel alive we rely on the imaginal to guide our reason. Note that image is not here to be understood as a picture in the head or a photographic snapshot of the world. The imaginal does not represent, it brings forth what we understand beyond words. It does not lock us into a single mode. Instead, it is a call to be mindful, in Ellen Langer’s sense: in the present, mentally alert, and on the outlook for our psyche’s own surprising wisdom (sagacity. Constructivist content: Debates on the heuristic function and epistemological status of oblique ways of knowing have long occupied constructivist scholars. I can only guess whether my uses of Jung’s imaginal or Bachelard’s anti-nominalism would have amused or exasperated Ernst! I do know that, on occasion, Ernst the connoisseur, bricoleur, and translator allowed the rationalist-within to include the poet’s power to evoke as a legitimate form of rationality. He himself has written about oblique knowing as legit! (shrink)

Cet ouvrage se propose de mener l'enquête tant sur les accusations de scepticisme et sur les modes de défenses spécifiques que ces dernières imposent de mettre en place, que sur la façon dont les mêmes arguments circulent et peuvent servir à des projets contraires. Cette perspective polémique permet ainsi de s'interroger sur les étiquettes philosophiques, sur la circulation des arguments, et sur leur force et leur portée, non seulement au sein du corpus sceptique, mais aussi à l'intérieur des systèmes sommés (...) de répondre aux questions qu'ils posent."--Page 4 of cover. (shrink)

Tejera, strongly influenced by Dewey, operates on the working hypothesis that art is both a kind of experience and a kind of making, and addresses himself to the "inextricably related" problems of the ends and the creation of art. Creativity becomes the key; man is viewed as "the creative animal," and artistic creation is seen as a sort of natural human activity, to be understood in relation to all other human activities. Most traditional problems of aesthetics are taken up at (...) some point, but it is not quite clear how all the parts fit together. The book contains forty-five prints and, considered in terms of its physical format, is something of a work of art in its own right.—A. E. J. (shrink)

Contrary to Favrholdt's opinion, a book that "contains many mistakes" may nevertheless be a good book; it may even be a masterpiece. Thus, although Favrholdt's Interpretation contains many mistakes, it is nevertheless a good book. Unlike most commentaries on the Tractatus, Favrholdt makes a concerted effort to come to grips with the work as a whole. He tries to show that the thesis of extensionality is fundamental, and that the rest of the Tractatus is a working out of the consequences (...) of that thesis. Several of his interpretations are highly questionable, and he has a tendency to give up too easily on some crucial points. But he does give us an original and highly provocative treatment.—A. E. J. (shrink)

Each member of pragmatism's triumvirate is the subject of a separate study which sketches his intellectual biography, surveys his philosophical position, and takes account of the typical criticisms. The accounts are not subtle.--A. E. F.

1. El acto humano, deber y derecho -- 2. Derechos individuales, familia y sociedad.