Attempting to provide an ontological framework for the notion of the non-personal Universe of Being proposed elsewhere, this paper – after some basic definitions – focuses on substances, one pillar of that notion. It recognizes only to individual substances a material existence, viewed as the entire complex of the properties instantiated in each of them. It then examines features of the general essence of substances. While such essence can be comprehended via abstract definitions, their individual essence cannot, I argue, because (...) it is not a concept but a reality, which I refer to as Being. This manifests powers, is inexhaustible growth and is one, although expressed differently in each individual. The possible connection of the human being with this reality is the second pillar of the notion of the non-personal Universe of Being, which I summarize and compare to other scenarios at the end. (shrink)

Marcus Perperna Veiento, proscribed in 82 BC while he was praetor in Sicily, represents a very interesting case of mobility. The proscription, a much more severe measure than exile, forced Perperna to a complex series of travels through the Western Mediterranean. His movements were aimed at organizing a resistance and, if possible, concerted military action against the Sullan and post-Sullan regimes in Rome, also by joining Lepidus’ and Sertorius’ revolts. The aim of this paper is to reconstruct in detail Perperna’s (...) itinerary in order to appreciate the peculiar features of his movements in light of his “forced migration”. (shrink)

No programa Homo Sacer, Giorgio Agamben estabelece denso diálogo com importantes autores como Walter Benjamin, Carl Schmitt, Hannah Arendt e Michel Foucault, formulando um moderno conceito de vida nua. O problema da vida nua (homo sacer), todavia, estende-se para outros trabalhos de Agamben, como A linguagem e a morte e O tempo que resta: um comentário à carta aos romanos, nos quais se apresentam outros termos, como profanação e o tempo-que-resta. No cotejo entre essas obras, este artigo se propõe a (...) articular os conceitos de vida nua (homo sacer) e de profanação, na sua relação com o problema do tempo (o tempo-que-resta),desenvolvidos por Giorgio Agamben. Nesse sentido, aflora discussão sobre o messiânico,por nós, aqui, associado com a figura do homo sacer. (shrink)

Deferred prosecution agreements (DPAs) are legal means, alternative to trial, for the resolution of criminal business cases. Although DPAs are increasingly used in the US and are spreading to other jurisdictions, the ethics of DPAs has hardly been subjected to critical scrutiny. We use a multidisciplinary approach straddling the line between philosophy and law to examine the ethics of DPAs used to resolve cases of multinational enterprises’ (MNEs) foreign corruption. Deontologically, we argue that the normativity of DPAs raises critical concerns (...) related to the notion of justice as punishment, with serious cases of international corruption resolved with minimal retribution for offending MNEs. Taking a utilitarian ethical perspective, we also evaluate the effect of DPAs on MNEs’ tendency to self-regulate or re-offend. Our conclusion, supported by critical analysis of the juridical literature and case evidence on MNEs’ recidivism, is that DPAs do not foster ethical behavior. (shrink)

O ensaio dialoga sobre imagens curriculares utópicas que, expressas na escola, representam os feitos ideais de condutas, comportamentos almejados para exaustão da vida nos curriculos que insistem no enquadramento. Logo, o objetivo é questionar a lógica quase imperial de veiculação de imagens das práticas curriculares. Para tanto são fabuladas cenas de escola que brincam com a lógica das estabilidades curriculares. Se a escola e a professora se veem, nesse contexto, obrigadas a registrar os currículos em imagens quase midiáticas, interessa-nos produzir (...) imagens no limite do aceitável. Afinal, o que se entende por currículos? Quais sentidos são produzidos a partir dessas invasões imagéticas? Uma escola que prolifera as imagens-perfeitas de sala de aula, de aluno, de professora etc. mais enlutam a vida que realmente a produzem. Na contramão, como produzir imagens para além do governo da vida? É possível afirmar a escola como uma potência do infinito? (shrink)

Presenta las microagencias colectivas que engendran formas de resistir los estándares establecidos, forjando nuevas formas de (re)existir y “ver, oír, pensar” en las escuelas, problematizando: ¿Cómo crean posibilidades las vidas cotidianas escolares, insertadas en una lucha micropolítica, con diferentes intensidades e impulsos de vida? Sostiene que la vida escolar diaria contribuye a los movimientos de lucha y resistencia a través de la creación de otros modos de (re)existencia.

Este texto pretende desenvolver a tese de que o principal interlocutor de Sócrates em A República, Glauco, irmão de Platão, revela qualidades semelhantes àquelas que serão exigidas dos guardiões e do futuro filósofo e governante da cidade construída na argumentação de Sócrates e seus interlocutores. Procura-se mostrar que isso pode ser encontrado em diversos momentos do diálogo. Pretende-se também extrair algumas consequências para a própria compreensão desse diálogo e da filosofia platônica como um todo.

Neste artigo, defenderei que o recurso à imagem de Giges que é feita por Glauco no livro II da República de Platão serve ao propósito de demonstrar que, dada a ambição (πλεονεξία) que é própria à natureza humana, a concessão de um poder ilimitado a quem quer que seja conduz fatalmente à tirania. Antes disso, contudo, reconstruirei a hipótese de Glauco para a origem da justiça e por fim sustentarei como Glauco, ao final do seu discurso, procura (...) superar o plano alegórico do relato que ele faz de Giges, sem, por outro lado, renunciar aos princípios que ali são postulados. Com isso, pretendo também mostrar que o discurso de Glauco constitui uma unidade minimamente consistente. Palavras-chave: Glauco; Giges; Técnica; Tirania. Glaucon’s speech and the birth of the tyrant in Republic II Abstract: In this article, I argue that Glaucon's use of the image of Gyges in Book II of Plato's Republic is intended to demonstrate that, given the human tendency towards ambition (πλεονεξία), the granting of unlimited power to anyone inevitably leads to tyranny. Before that, I first explain Glaucon’s hypothesis for the origin of justice. Then, I maintain how Glaucon attempts to go beyond the allegorical level of the Gyges story in his speech's conclusion, while still holding onto the principles presented therein. Through this, I aim to demonstrate that Glaucon's speech is a consistent unit. Key-words: Glaucon; Gyges; Skill; Tyranny. Le discour de Glaucon et la naissance du tyrant dans le livre II de la République Résumé: Dans cet article, je soutiendrai que l'utilisation de l'image de Gygès par Glaucon dans le Livre II de La République de Platon vise à démontrer que, compte tenu de la tendance humaine à l'ambition (πλεονεξία), l'octroi d'un pouvoir illimité à quiconque conduit inévitablement à la tyrannie. Avant cela, j'expliquerai d'abord l'hypothèse de Glaucon sur l'origine de la justice. Ensuite, je maintiendrai comment Glaucon cherche à dépasser le niveau allégorique de l'histoire de Gygès dans la conclusion de son discours, tout en conservant les principes présentés dans celui-ci. Ainsi, je vise à démontrer que le discours de Glaucon constitue une unité cohérente. Mots-clés: Glaucon; Gygès; Expertise; Tyrannie. Data de registro: 01/08/2023 Data de aceite: 22/11/2023. (shrink)

Guy Debord, founder of the Situationist International and filmmaker, kept a meticulous record of his correspondence between 1951 and 1994. Published by Fayard, the fifth volume of the correspondence includes several letters signed ‘Glaucos’ (a character from the Iliad), which were sent to Afonso Monteiro, Gianfranco Sanguinetti, Eduardo Rothe, and Jaime Semprún. In those letters, Debord developed several analyses of the ‘Carnation Revolution’, arguing that ‘the Portuguese proletariat’ had gone ‘further than the May 1968 movement’. Debord initially supported a local (...) group called Conselho para o Desenvolvimento da Revolução Social, but he would later criticise it for not taking sufficient action. He also encouraged Jaime Semprún to write La Guerre Social au Portugal, a book published by Éditions Champ Libre in May 1975. This article analyses Debord’s correspondence in 1974 and 1975, offering a critical assessment of how he related to the revolutionary situation in Portugal. (shrink)

Cet article a le but de montrer comment le monde animal et le monde divin interagissent pour former un réseau d’associations partagé à l’intérieur de la culture grecque, qui sert à explorer et définir la pratique de la possession (manía). Pour ce faire, nous avons choisi de nous pencher sur les juments de Potniai, une petite ville de la Béotie, dont l’histoire est racontée par Pausanias (9, 8, 1-2) : devenues folles après avoir bu à une source d’eau aux pouvoirs (...) extraordinaires, elles s’emballent, renversent leur maître, nommé Glaucos, et le démembrent. L’analyse fine des sources littéraires montre que ces animaux sont évoqués (notamment chez Euripide) pour exprimer certaines formes d’emprise divine, notamment celles, redoutables, de Dionysos et des Érinyes. D’autres dossiers suggèrent en effet qu’il existe dans la culture grecque des affinités profondes entre cet animal et la sphère de la folie provoquée par la colère. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Minerva Rava An Torva?Anastasios G. Nikolaidis1. Ovid Ars 2.659: Si paeta est, Veneri similis, si torva, Minervaetorva Merkel: flava R in marg. cum plerisque codd.: rava Heinsius: parva R cum aliquot dett.: fulva F.2. Priapea 36.4: Minerva torvo lumine est, Venus paetotorvo scripsi: flavo libri edd. vett.: flava et post hoc verbum commate interpunxit De Rooy (probant Vollmer, Clairmont, Parker): ravo Haupt: glauco Antonius.IMost codices for line 2.659 (...) of Ovid's Ars amatoria give flava in place of torva, but this reading does not suit the context (Ovid is suggesting ways of moderating the flaws of one's puella), which requires a word with a negative connotation.1 Among the proposed emendations, Heinsius' rava has been adopted by almost all editors of the Ars, but the elusive meaning of this adjective, in conjunction with its very limited use by the Latin poets and some other considerations that I explore below, allow us to look at this emendation afresh. In fact, apart from its appearance in the two lines under discussion, ravus seems to have been employed only on two other occasions, and only by Horace; and in one of them it is not the only codices reading (see note 11 below).2As a color term, ravus suggests a grey-yellowish or grey-bluish tinge, which corresponds to the implications of the Greek.3 The Greek word, however, was more extensively employed (see the respective [End Page 81] entries in LSJ and OLD) and more varied in meaning. With reference to eyes, for example, charopos appears to denote either the color of the iris (mostly in prose) or the flash, the glow of the gaze (nearly always in poetry; see note 5), which in turn may be due either to exuberant joy4 or-albeit not as frequently-to unrestrained fury.5 It appears, however, that in reference to human eyes charopos is a more or less complimentary term,6 whereas in reference to the eyes of animals, it carries rather negative overtones, whether it describes the color of the eyes or thegleam in them.7 We can thus account for the last explanation of charopos in Hesychius' Lexicon (). It seems that the connotation of the fierce glare, the awe-inspiring gaze, passed, at least to a small extent (see references in LSJ), from animals to humans, so that in a Lucian passage the goddess Athena is disparagingly depicted as charope (Dial. deor. 23.1: ).8 [End Page 82]It would follow, then, that rava, as applied to Minerva in the Ars amatoria passage, cannot refer to the color connotations of charopos (for these are positive)9 but only to the notion of a fierce glare, as is indeed appropriate to the warlike Athena.10 It may not be accidental, after all, that just before the first appearance of Athena in Homer (A 206), it is the glaring eyes of the goddess, not their color, that we encounter: (A 200; cf. Eustathius's commentary).11 On the other hand, one could argue that the eye color that the Greeks liked (charopon) was one that the Romans disliked (in which case rava would be appropriate), but the only evidence for this comes from the two passages we are discussing here.12 [End Page 83]In my view, the shortcoming in the puella that Ovid wants moderated is her grim, sullen countenance, her glaring look, not the color of her eyes. This is somewhat corroborated by the paeta of the first hemistich (again a kind of look, not color)13 and the comparison with Athena, who, as a war goddess, would have looked fierce. Yet, the adjective rava is not only used nowhere else by Ovid in any context;14 it is never attributed to Athena/Minerva/Pallas throughout Latin poetry.15 Even in Lucretius 4.1161, where the context is almost identical with that of Ars amatoria 2.659, Athena is only indirectly described as caesia (which translates see Aul. Gell. 2.26.19 and cf. André 1949, 178f.), a quality that is actually never attributed to Minerva by Latin poets (see Carter 1902, 113).16 By contrast, the adjective torvus... (shrink)

Este artigo analisa a apresentação do tema da pleonexia por Trasímaco, personagem da República de Platão. Ele explota a sua descrição do funcionamento do kratos (predomínio) tal como ele o observa em cidades reais e a conclusão normativa que ele parece tirar deste diagnóstico: ter mais (pleon ekhein) é o caminho para a prosperidade. Do ponto de vista da caracterização do seu personagem, notaremos também as atitudes competitivas que Trasímaco demonstra no diálogo com Sócrates, fazendo parecer que a persuasão seria (...) uma disputa em que persuadir equivale a ganhar, enquanto ser persuadido equivaleria a perder; mas aprender por cooperação mútua não parece uma opção. O artigo se desenvolve em três partes: I) o tratamento erístico que Trasímaco dá à persuasão, II) a apresentação do tema do motivo psico-político através do emprego da palavra kratos e derivadas, III) a tematização que Trasímaco, Glauco e Sócrates fazem da pleonexia. (shrink)

L’Olimpica 13 di Pindaro, dedicata a Senofonte di Corinto, presenta due caratteristiche macroscopiche: lunghi elenchi di vittorie ottenute dalla famiglia di Senofonte e un accumulo di miti strettamente legati alla città di Corinto (Sisifo, Medea, Glauco e Bellerofonte). Questa connessione con Corinto è stata fortemente rimarcata, con particolare attenzione alla famiglia degli Oligetidi e ai miti di Medea e Sisifo presenti nei perduti Korinthiaká di Eumelo. Nondimeno, l’ode sembra mostrare i tipici meccanismi atti a interessare pubblici secondari. Ritengo che (...) le narrazioni di Pindaro siano consapevolmente generiche, allo scopo di permettere riesecuzioni in festival e simposi. Dall’altro lato, anche la precisione dei cataloghi di vittorie può avere la funzione, in scenari di riesecuzione, di dare ai futuri ascoltatori la sensazione di trovarsi nel luogo della prima esecuzione (l’espediente della cosiddetta “pseudo-intimacy”). (shrink)

U članku se analizira Petrićeva usporedba Aristotelove podjele na supralunarni i sublunarni svijet s morskim bićem koje Petrić naziva Marinus Glaucus. Tu usporedbu, s bićem koje je dijelom riba, a dijelom kamen, rabi Petrić kako bi eksplicirao neprirodnost, monstruoznost spomenute Aristotelove podjele. Postavlja se pitanje što je ili tko je Marinus Glaucus. U članku se izlaže da Petrićev Marinus Glaucus najvjerojatnije u sebi ujedinjava i svojstva grčko-rimskog morskog polubožanstva koje se zove Glauko i osobine jedne vrste otrovnih riba koje se (...) u nekim europskim jezicima zovu kamene ribe, a svojstvena im je mimikrija, prilagodba okolišu u kojem žive, kamenu.Im Aufsatz wird der Petrić´s Vergleich der Aristotelischen Aufteilung in die sublunare und supralunare Welt, mit einem Wesen, das er als Marinus Glaucus bezeichnet, analisiert. Diesen Vergleich mit dem Wesen, das er als halb Fisch, halb Stein bestimmt, unternimmt Petrić um die Widernatürlichkeit, ja Monstruosität der genannten Aristotelischen Aufteilung darzulegen. Es wird die Frage gestellt, was, oder, wer ist Marinus Glaucus. Es wird vermutet, dass Petrić’s Marinus Glaucus zwei verschiedene Beschaffenheiten in sich birgt: die einer griechisch-römischen Halbgottheit namens Glauco und die einer Art giftigen Mittelmeerfische, die in einigen europäischen Sprachen Steinfische heißen und die eine Mimikry auszeichnet, die Fähigkeit sich der Welt in der sie leben, dem steinigen Meerboden, anzugleichen. (shrink)