Zeami Motokiyo 世阿弥 元清 (1363–1443) gilt als Schöpfer des klassischen Nō-Theaters und war nicht nur ein herausragender Darsteller, sondern auch Autor vieler Stücke, die noch heute aufgeführt werden. Neben diesen Stücken hat Zeami aber auch theoretische Traktate zur Übungspraxis des Nō-Theaters verfasst, die über viele Jahrhunderte hinweg geheim überliefert wurden und als Anweisungen für seine Nachfolger gedacht waren. In diesen Traktaten reflektiert Zeami auf seine Kunst und stellt sie als einen Übungsweg nach buddhistischem Vorbild dar, als eine ästhetische, aber auch (...) spirituelle Praxis, einen Lebensweg (道 dō, michi), der auf die Verkörperung grundlegender Prinzipien abzielt. Im Folgenden möchte ich vor allem anhand dieser theoretischen Schriften nachvollziehen, welche Rolle der Ausdruck „von-selbst-so“ (自然 jinen, chin. zìrán) bzw. „von selbst“ (onozukara), der heutzutage als Übersetzung für den europäischen Natur-Begriff verwendet wird, in Zeamis Konzeption der leiblichen Übungspraxis spielt und dies mit Stellen aus anderen Schriften vergleichen. Zunächst werde ich aber in knapper Weise zurückverfolgen, was leibliche Praxis vor dem Hintergrund des Daoismus und des Zen-Buddhismus im Kontext der japanischen Übungswege bzw. Wegkünste bedeutet. (shrink)

RESUMENPara Gadamer, la medicina es un arte que, a diferencia de las otras artes (las artes de los artistas), no produce obras de arte. Pero en este saber hacer, vacío de arte, «sin obra» radica su valor hermenéutico más propio. Esto da lugar a una declaración gadameriana que, en la época del positivismo científico, parece una ofensiva injuria: «La medicina es un arte». Estos vínculos entre Estética y Medicina nos pueden parecer sorprendentes, sin embargo ya en Nietzsche existen, pero en (...) términos diferentes. Para Nietzsche, como veremos, el proceso artístico está fisiológicamente determinado. Esto quiere decir que el arte es considerado como una función orgánica, como algo subordinado a la vida que sirve funcionalmente a la misma.PALABRAS CLAVESARTE, SALUD, CURACIÓNABSTRACTFor Gadamer, medicine, in contrast to the other arts (the arts belonging to artists), does not produce works of art. But it is in this knowing how to execute, bereft of art, this non-work of art that its true hermeneutic value inheres. This gives rise to the Gadamerian affirmation that appears in our era of scientific positivism to be a downright insult: Medicine is an art. These links between Aesthetics and Medicine may strike us as surprising, and yet they are already present in Nietzsche, though in different terms. For Nietzsche, as we shall see, the artistic process is physiologically determined. This means that art is looked upon as an organic function, as something subordinate to life, functionally serving it. KEYWORDSART, HEALTH, HEALING. (shrink)

De acuerdo con una influyente interpretación, ejemplificada por von Herrmann, la postura que se asuma con respecto a la metodología reflexiva marca el contraste entre una vertiente reflexiva y una vertiente hermenéutica de la investigación fenomenológica. Recientemente, autores como Zahavi, Crowell y Cai han cuestionado la legitimidad de establecer dicho contraste a partir del método de la reflexión. Mi propósito es discutir la crítica central que Heidegger, basándose en Paul Natorp, dirige a la reflexión fenomenológica. Luego de presentar tres posibles (...) interpretaciones de la crítica de Heidegger, y de sugerir la pertinencia de una de ellas, argumento que para contrarrestar dicha crítica es necesario ir más allá de la defensa de la metodología reflexiva que Husserl esboza en el § 79 de Ideas I, y apelar a una distinción entre una objetualidad cósica y una objetualidad temática, sugerida en textos husserlianos posteriores.According to an influential interpretation, epitomized by von Herrmann, the stance that one takes on the reflective methodology determines a contrast between a reflective and a hermeneutic understanding of the phenomenological investigation. In recent years, authors like Zahavi, Crowell, and Cai have challenged the validity of this interpretation. My aim in this article is to discuss the critique that Heidegger, drawing on ideas from Paul Natorp, addresses to phenomenological reflection. I first present three possible interpreta-tions of Heidegger’s critique, and suggest the superiority of one of them. Secondly, I argue that in order to respond to that critique one must go beyond the defense of reflection indicated by Husserl in § 79 of Ideas I, and appeal to a distinction between thing-objecthood and thematic objecthood, suggested in some of Husserl’s later writings. (shrink)

Nas reflexões sobre percepção, voltando-se às coisas mesmas, a filosofia de Merleau-Ponty busca compreender o percebido em seu ser desde o instante primeiro, isento de qualquer cognição possível. Esse movimento metodológico é marcadamente inspirado na Fenomenologia, tal como preconizada por Edmund Husserl, ao anunciar a consciência intencional. Esta não é mais um predicamento egocêntrico, como concebido pela tradição filosófica, mas sim a consciência da percepção enquanto intencionalidade, movimento, verbo, que se constitui no instante do voltar-se noético para o objeto intuído. (...) Isso nos proporciona uma ampla compreensão dos diversos modos de ser do ente que somos nós, em nossa cotidianidade mediana e contemporânea. Além disso, compreendem-se os modos como percebemos os outros, humanos como nós, em sua alteridade e corporeidade. Os corpos se movimentam em estéticas, impressões e expressões, ritmos, danças, poesia, sendo percebidos de diferentes maneiras, ganhando diversas conotações significativas, marcadas pela historicidade e linguisticidade vividas. Considerando a filosofia merleau-pontyana à luz de um viés estético, como poderiam ser compreendidos os corpos dromomaníacos, aqueles que se deslocam incessantemente, sempre impulsionados a estarem onde não estão? Este estudo tem como objetivo instigar a reflexão filosófica sobre o que poderia estruturar esses afetos, buscando vislumbrar outros sentidos além da descrição de existências malogradas, reduzidas a meros objetos de pesquisa psicopatológica. O que poderiam dizer esteticamente os corpos em seus movimentos e fixações, em suas impressões e expressões, em sua capacidade infinita de suscitar novos sentidos e significados? (shrink)

Resumen: Esta exposición intenta comprender las formas culturales de comunicación y fijación mnémica en una narración específica que Davi Kopenawa, chamán Yanomami, expone al antropólogo Bruce Albert, en virtud de los modos de existencia amazónicos, refiriéndose en particular a la intensidad de los espíritus selváticos y a la experiencia chamánica con los mundos espirituales. En el contexto de una extensión vegetal dispersa y sobresaliente, afirmamos una sociabilidad cotidiana en el marco de una “ética respetuosa o amorosa” entre todas las formas (...) de vida, expresada estéticamente en formas significantes y transportadoras de emociones desarrolladas por la cosmología amazónica. Para ello utilizamos las nociones que Aby Warburg emplea en su estudio de la cultura de las imágenes, en tanto curso por el que estas pueden entenderse como organismos vivientes susceptibles a transformación, preservando su propia biología en la trasmisión codificada de la memoria.: This exhibition tries to understand the cultural forms of communication and mnemic fixation in a specific narrative that Davi Kopenawa, Yanomami shaman, exposes to the anthropologist Bruce Albert, by virtue of Amazonian modes of existence, especially referring to the intensity of jungle spirits and experience Shamanic with spiritual worlds. In the context of a dispersed and outstanding plant extension, we affirm a daily sociability within the framework of a “respectful or loving ethic” among all life forms, aesthetically expressed in significant and transporting forms of emotions developed by Amazonian cosmology. For this we use the notions that Aby Warburg uses in his study of the culture of images, as a course by which they can be understood as living organisms susceptible to transformation, preserving their own biology in the coded transmission of memory. (shrink)

The so-called “disquotational theory of truth” has not previously been developed much beyond the thesis that saying, for example, that ‘Snow is white’ is true amounts only to saying that snow is white. Marian David has set out to see what further sense can be made of the disquotational theory, and to compare its merits with those of correspondence theories of truth. His prognosis is that an intelligible disquotational theory of truth can be developed but will suffer from drastic shortcomings (...) that make it all but unusable. (shrink)

The question of the status-onto-epistemological-the art is plausible to apply it to any context and cultural domain? Some authors argue that yes without any remorse, address this position in this note: [1] makes a briefly is a bibliographic description of the debates on this problematic, [2] raises the issue of the status of art, within the framework supported by Belting and Lessing, and [3] in correspondence with the above, indicated summarily the difficulties and considerations to take into account when attempting (...) to apply licentiously this approach to what we consider is not "Western art", exempli gratia, the Islamic. (shrink)

The role played by witnesses of bullying in nursing settings remains little studied, despite their potential relevance in explaining the onset and development of bullying. The objective of this study was to develop a model to account for witnesses’ intention to help and helping behaviour in response to bullying in a nursing setting. Three hundred and thirty‐seven witnesses completed self‐report measures of variables predicting intention to help and helping behaviour. A full structural model was constructed using structural equation modelling. The (...) intention to help victims was elicited by tension, group identity, support to peers’ initiative to intervene and absence of fear of retaliation. However, engagement in helping behaviour was only predicted by the absence of fear of retaliation. This study shows that witnesses of bullying in nursing settings do not remain impassive, but their experienced discomfort and intention to help victims is not sufficient to predict helping behaviour. Fear of possible retaliation if intervening in favour of victims constitutes a crucial factor explaining witnesses’ hesitation to help victims. Several implications for the implementation of policies directed at eradicating bullying in nursing settings are discussed. (shrink)

This paper analyzes the relationship between the meanings of the particular aesthetic judgments (I) pronounced by any person on artwork and the artwork itself. The purpose is to state the following hypothesis: it is false that a consumer is stupid and unable to recognize the quality work of art and meaning of, it is more, all the phrases enunciated in natural language is not a conjecture, but that recognize and reflect the quality of the work. A work of art like (...) any other human product, is likely to be measured and therefore valued, fact, despite the opinion of the artists. Preliminary results obtained lead us to that decision there are common patterns for each of the elements of the art world, which also requires the formulation of a much more simple and elegant. (shrink)

Clásicos y modernos -- Convenciones y mixturas -- Cine independiente -- El nuevo canon -- Cine latinoamericano -- Cine ecuatoriano -- Temas.

This chapter provides an overview and critical discussion of cosmological arguments for theism, with special focus on the Kalam argument and arguments from contingency.

Shame, shame management and reintegrative shaming feature in some restorative justice literature, and may have implications for schools. Restorative justice in schools is effective when perpetrators of wrong-doing can accept and take ownership of their wrongful acts, are appropriately remorseful, and seek to make amends. Shame may be understood as an ethical matter if it is regarded to arise because of the contradiction between the wrongful act and the individual’s sense of self and self-worth. Shame management (that is, seeking reintegrative (...) over stigmatising shaming) can be regarded to reflect a form of social responsibility as it contributes to community restoration by repairing ruptured social relationships. The notion of shaming and acknowledgement of harm thus assumes norms of acceptable community behaviour, attitudes and relationships, and is therefore also an ethical matter. Successful restorative practices in schools depend on the school-wide existence and practice of such norms, and mesh with virtues education, stimulated by the contemporary demand of many national curricula to promote so-called key competencies. Although the concepts of restorative justice and reintegrative shaming serve as a context for this article, its chief impetus was provided by an evaluative study of a group of New Zealand schools, in the course of which notions such as shame, reintegration and exclusion became evident. The chief purpose of this article is to consider and problematise shame from the perspective of the philosophy of education, and ask whether the concept of shame has a place in schools, whose important aims ought to include the development of democratic citizenship. (shrink)

En este artículo nos ocupamos de la Polémica conceptual entre la lectura de la metafísica de Aristóteles que hace el profesor suizo André de Muralt, que se vertebra sobre la doctrina analogía del ser, y la interpretación de Pierre Aubenque, que defiende una Interpretación aporética, que niega la presencia de tal doctrina en los textos aristotélicos. Esbozaremos, por tanto, dos imágenes muy distintas del pensamiento aristotélico. El Aristóteles de Aubenque es un filósofo que fracasa en su pretensión científica y que (...) acaba reconociendo la imposibilidad de unificación de la ciencia física y la ciencia de los principios, inaugurando un pensamiento del límite y del ideal inalcanzable de la perfecta univocidad, lo que constituye el problema de/ser que no alcanza una solución El Aristóteles de Muralt es el artífice de la invención del discurso metafísico, que se estructura sistemáticamente, proveyendo los temas, los conceptos y las grandes líneas de fuerza que en su desarrollo analógico impulsarán el nacimiento de las diversas formas del pensamiento Occidental. (shrink)