Populist representation is the process by which a body or set of bodies become the signifier of a powerful act of political transgression of the social order. We call this specific type of representative linkage ‘synecdochal representation’. In it, the leader’s body performs three key functions: it mirrors certain popular traits that are characterized as ‘low’, it displays marks of exceptionality, and it appropriates symbols of institutional power. These tasks are performed through particular ways of acting, dressing, talking, eating, and (...) the like, in public. Social media has become a key locus for bodily self-presentation because it is used to create the appearance of intimacy and spontaneity through the distribution of ‘candid’ pictures and videos. This paper will analyze how the self-presentation of populist and non-populist leaders are established through Twitter, what images they choose to disseminate, and how they are re-signified by the audience. To do so, we will focus on the two Latin American politicians: Cristina Fernández (with a populist style) and Mauricio Macri (with a technocratic one). (shrink)

En el presente artículo se estudia la prueba a priori de Leibniz en favor de la medición de las fuerzas en su correspondencia con De Volder. El objetivo general es demostrar que este argumento no tiene privilegio para entender la noción leibniziana de acción primitiva de las sustancias. En primer lugar, se analiza el contexto histórico y conceptual que permite comprender dicha prueba a priori. En particular, se explica por qué Leibniz moviliza este argumento y se especifican las nociones allí (...) utilizadas, tales como la de fuerza, acción y acción formal. En segundo lugar, se estudia la estructura de la prueba para analizar su validez. Para ello, se presentan los principales problemas que fueron objeto de las críticas de De Volder y se muestra bajo qué supuesto la prueba es sólida. En tercer lugar, se examina el alcance de esta prueba en relación con el argumento a posteriori y se argumenta que no tiene ninguna ventaja en lo que concierne a la comprensión de la metafísica de Leibniz. (shrink)

Resumen En este trabajo evaluamos el impacto que la adopción de la relatividad del movimiento tiene en la metafísica de Leibniz. En particular argumentamos que el abandono de la comprensión absolutista del mismo anula su noción juvenil de sustancia corpórea. En primer lugar analizamos cómo entiende Leibniz las nociones de cuerpo y movimiento en el periodo juvenil y defendemos que la comprensión absolutista de este último constituye una piedra angular en su primera concepción de la sustancia corpórea. En segundo lugar (...) exponemos los argumentos leibnizianos a favor de la relatividad del movimiento durante el período parisino y mostramos su repercusión en el concepto juvenil de sustancia corpórea.In this paper we evaluate the impact of Leibniz's defense of relativity of motion on his metaphysics. We argue that the abandonment of the absolutist position makes void his first notion of corporeal substance. First, we analyze Leibniz's conception of body and movement in his youth and explain how the assumption of absolute motion during these years plays a role in his notion of corporeal substance. Second, we examine his arguments in favor of relativity of motion during the Parisian period and show the repercussion on his first conception of the corporeal substance. (shrink)

En el trabajo evaluamos el impacto que la crítica de Leibniz a los números infinitos tiene en el desarrollo de su metafísica de los cuerpos. Luego de exponer el vínculo que el filósofo alemán traza entre el cuerpo, la extensión y las cantidades infinitas en su período juvenil (1663-1672), analizamos sus reflexiones del período parisino sobre las paradojas de los números infinitos (1672-1676) y argumentamos que la defensa de la inconsistencia de tales números constituye un punto de inflexión en su (...) comprension de los cuerpos y, asimismo, marca el inicio de su ofensiva contra la res extensa.In this paper we study the impact of Leibniz’s critique of infinite numbers in his metaphysics of bodies. After presenting the relation that the German philosopher establishes in his youth between the notions of body, extension and infinite quantities (1672-1673), we analyze his thoughts on the paradoxes of the infinite numbers (1672-1676) and we claim that his defense of the inconsistency of such numbers is an inflexion point in his conception of body and mark the beginning of his offensive against the res extensa. (shrink)

Resumen En el presente trabajo analizo el concepto de cuerpo en los escritos maduros de Leibniz. En el marco del debate contemporáneo acerca del estatus de la sustancia corpórea examino el entramado de las tres nociones sobre las que se construye la metafísica leibniziana de los cuerpos, a saber, la de materia prima, la de cuerpo orgánico y la de extensión. En cada caso evalúo el estatus ontológico que Leibniz les reconoce así como el papel que cumplen en su metafísica.In (...) this paper I examine the concept of body in Leibniz’s mature writings. In the context of the contemporary debate on the status of the corporeal substance, I analyze the relation between the three notions from which he builds his metaphysics of bodies, namely, the primary matter, the organic body, and the extension. For each case I evaluate their ontological status and the role they play in his metaphysics. (shrink)

In the present paper we study the relationship between the notions of force, cause and subject of motion in Leibniz’s early dynamics. First, we specify the role that the problem of the subject and cause of motion played in the development of his dynamics. Second, we analyze the distinction between force and quantity of motion and the validity and limits of his proof. Third, we study and evaluate the limits of the arguments for establishing that forces are inherent to bodies. (...) Our main goal is to show that between 1678 and 1686 Leibniz dissociates the problem of the subject from the problem of the cause of motion and, furthermore, that even though the problem of establishing that force is inherent to particular bodies played a major role in the discovery of his dynamics, it has no place in its justification. (shrink)

En el presente trabajo estudiamos el concepto de naturaleza en Leibniz y Boyle y la fundamentación que a partir de dicha noción cada uno ofrece del mecanicismo. De modo más específico, proponemos que De ipsa natura de Leibniz se articula como un debate póstumo con A Free Enquiry into the Vulgarly Received Notion of Nature de Boyle, siendo el objetivo inicial del texto leibniziano revisar la concepción boyleana de naturaleza y ofrecer una fundamentación alternativa del mecanicismo que permita introducir una (...) comprensión internalista de las leyes naturales. Palabras Clave: Leibniz, Boyle, naturaleza, mecanicismo, fuerza. (shrink)

Resumen: En el presente trabajo estudiamos la teoría atomista que Leibniz propone en De summa rerum. Luego de explicar las razones que esgrime con vistas a introducir átomos materiales en la naturaleza, defendemos una doble hipótesis. En primer lugar, mostramos que el atomismo leibniziano recibe inspiración de la cosmología cartesiana. En segundo lugar, proponemos que esta teoría ha de comprenderse en el marco de sus reflexiones acerca de la sustancia corpórea y que es concebida con vistas a superar las dificultades (...) que el período parisino presenta a su metafísica juvenil.: In this paper we study Leibniz's atomist theory in De summa rerum. After explaining why he introduces material atoms in nature, we defend a double hypothesis. First, we show that Leibnizian atomism receives his inspirations from Cartesian cosmology. Second, we hold that this theory should be understood in the context of his reflections on corporeal substances and, furthermore, that it is conceived in order to overcome the inconveniences that the Parisian period present to his metaphysics of youth. (shrink)

It is precisely through movement that the subject inscribes itself into the world and becomes visible to others. The subject is a movement directed to the outside, that is to say, the subject is desire. Desire is the “tension” toward the “extrême dehors” that we call the world. In all of his works Maurice Merleau-Ponty reaffirms, without thematizing it, a conception of life as movement, and of body as action and desire: the human being is “a certain lack of....” In (...) other words, it is the distance between myself and the absent that drives me to move, to annul the distance through motion. Thus life is nothing but the unfinished act of moving into space and thereby creating space—the space in which we, as desire and movement, encounter both others and the world. As the act of moving is the way one appears to another, every relationship is based on appearing. In short, life is the movement that leads us towards the world and coincides with our desire to make it appear.C’est précisément par le mouvement que le sujet s’inscrit dans le monde et devient visible pour les autrui. Le sujet est un mouvement dirigé au dehors, c’est-à-dire, le sujet est désir. Le désir est la « tension » vers le « dehors extrême » que nous appelons le monde. Partout, Merleau-Ponty affirme, sans la thématiser explicitement, une conception de la vie comme mouvement, et une conception du corps comme action et désir : l’homme est « un certain manque de ». En d’autres termes, c’est la distance entre moi-même et l’absente qui me force à bouger, à annuler la distance à partir du mouvement. Donc la vie n’est rien que l’acte inachevé de bouger dans l’espace et par là la création de l’espace – l’espace dans lequel nous, comme désir et mouvement, rencontrons les autrui et le monde. Comme l’action est le moyen par lequel l’un apparait à l’autre, tous les rapports sont basés sur l’apparence. En bref, la vie est le mouvement qui nous amène vers le monde et qui coïncide avec notre désir de le faire apparaître.È attraverso il movimento che il soggetto si iscrive nel mondo e diviene visibile per l’altro. Il soggetto è un movimento in direzione del “fuori”, il che significa che il soggetto è desiderio. Il desiderio è “tensione” verso quell’“estremo fuori” che chiamiamo mondo. Ovunque Merleau-Ponty riafferma, senza tematizzarlo esplicitamente, una concezione della vita come movimento, e una concezione del corpo come azione e desiderio: l’uomo è “una certa mancanza di”. In altri termini, è la distanza tra me e l’assente che mi forza a muovermi, ad annullare la distanza tramite il movimento. Dunque la vita non è che l’atto incompiuto di questo muoversi nello spazio e di questo creare lo spazio – lo spazio nel quale noi come desiderio e movimento incontriamo gli altri e il mondo. E poiché l’azione è il mezzo attraverso cui l’uno appare all’altro, tutti i rapporti sono basati sull’apparenza, e la vita è il movimento che ci conduce verso il mondo e che coincide col nostro desiderio di farlo apparire. (shrink)

RESUMO Este artigo tem por objetivo apresentar o conceito de aspas verbo-visuais e suas classificações. O fenômeno deve ser entendido como um desdobramento metaenunciativo opacificante, resultante de determinadas relações entre elementos verbais e visuais constitutivos de um mesmo enunciado, uma vez tomada sua dimensão verbo-visual. São três as classificações do fenômeno: aspas verbo-visuais de relação direta entre elementos verbais e visuais, aspas verbo-visuais de opacificação de elementos verbais no plano visual e aspas verbo-visuais de alegoria verbo-visual opacificante. A contribuição pretendida (...) é oferecer ao campo dos estudos sobre a linguagem o conceito de aspas verbo-visuais e suas classificações, com o intuito de auxiliar com um novo instrumental teórico-metodológico as pesquisas que se debruçam sobre a dimensão verbo-visual dos enunciados e suas formas de produção de efeitos de sentido. ABSTRACT This article aims to present the concept of verbal-visual quotation marks and their classifications. Once the phenomenon is taken in its verbal-visual dimension, it must be understood as an opacifying meta-utterative unfolding, resulting from certain relations between verbal and visual elements that constitute the same utterance. The three classifications of the phenomenon are: verbal-visual quotation marks with a direct relationship between verbal and visual elements; verbal-visual quotation marks that opacify verbal elements on the visual plane, and verbal-visual quotation marks with opacifying verbal-visual allegory. This paper aims to contribute to the field of language studies by providing it with the concept of verbal-visual quotation marks and its classifications, and to offer a new theoretical-methodological instrument to research that focuses on the verbal-visual dimension of utterances and their ways of producing meaning effects. (shrink)

ResumoNo início do século xviii, Isaac Newton publicou seu principal trabalho sobre óptica, o Opticks. Impregnado por uma perspectiva indutiva, o livro logo se tornou a principal referência para os estudos sobre a luz e as cores, sendo amplamente popularizado pelos seguidores de Newton. Neste artigo, analisamos como dois importantes livros contribuíram para essa popularização e também qual era a imagem de ciência que tencionavam propagar, o Élements de la philosophie de Newton de Voltaire e o Newtonianismo per le dame (...) de Algarotti. Será possível perceber que ambos os autores distorceram o conteúdo do livro de Newton, no intuito de propagar uma imagem idealizada das ideias newtonianas e da própria filosofia natural.In the beginning of 18th century, Newton published his main work about light and colors, the Opticks. Impregnated by an inductive perspective, the book became the major reference for the studies about light and colors, being widely popularized by Newton's followers. In this article, we analyze how two important works contributed to this process of popularization and also what image of science they intended to propagate: Voltaire's Elements of Newton's philosophie and Algarotti's Sir Isaac Newton's philosophy explain'd for the use of the ladies. We will be notice that both authors distorted the content of the Opticks, in order to propagate an idealized image of Newtonian ideas and natural philosophy itself. (shrink)

http://dx.doi.org/10.5007/1808-1711.2008v12n2p193 In this paper I claim that the bias to pass from the acknowledgement of the explanatory virtues of a hypothesis to the belief that it is true or approximate to the truth is so strong that scientific realists can hardly elude that temptation. For that reason, some philosophers, like McMullin and Okasha, following Peirce and Hanson, participate of the conviction that the skill of founding scientific explanations bears the ability of founding true theories. But, this way, they pass the (...) limits that they themselves had fixed and their attempt to overcome objections like the one which was formulated by van Fraassen against the inference to the best explanation fails. (shrink)

This paper is devoted to the investigation of term-definable connexive implications in substructural logics with exchange and, on the semantical perspective, in sub-varieties of commutative residuated lattices (FL ${}_{\scriptsize\mbox{e}}$ -algebras). In particular, we inquire into sufficient and necessary conditions under which generalizations of the connexive implication-like operation defined in [6] for Heyting algebras still satisfy connexive theses. It will turn out that, in most cases, connexive principles are equivalent to the equational Glivenko property with respect to Boolean algebras. Furthermore, we (...) provide some philosophical upshots like, e.g., a discussion on the relevance of the above operation in relationship with G. Polya’s logic of plausible inference, and some characterization results on weak and strong connexivity. (shrink)

Este artigo tem como objetivo discutir a Dualidade Onda-Partícula e o Princípio da Incerteza como expressões de uma ideia mais geral de natureza interpretativa: o Princípio de Complementaridade, formulado pelo físico dinamarquês Niels Bohr. Trata-se, conforme defenderemos, de uma interpretação antirrealista que é fundada na objetividade da Física. A impossibilidade de utilização simultânea das leis de conservação de energia e momento (asserção de causalidade) e da coordenação espaço-temporal será problematizada, analisando-se uma possível incompatibilidade desta complementaridade com o antirrealismo. Discute-se, ainda, (...) o processo de medição quântica numa perspectiva conceitual e epistemológica, e o significado da constante de Planck, enfatizando a ideia de que, nesta interpretação ortodoxa, o vetor de estado, que contém todas as informações do sistema, tem um significado meramente epistêmico. Assim, no que pese a extraordinária precisão com que a teoria quântica permite predizer e comunicar resultados de uma medida em um contexto experimental bem definido, a teoria não se ocupa de responder o que é o objeto quântico, no sentido ontológico, conferindo-lhe assim seu aspecto antirrealista e, ao mesmo tempo, objetivo. (shrink)

Far from being haphazard, Merleau-Ponty’s 1945 essay on cinema and 1953 notes on cinema for the lectures at the Collège de France are a precursor of a genuine phenomenology of cinema. Accordingly, in this paper I shall demonstrate that a phenomenology of movement and space tacitly appears in films, since cinema is the art of motion on screen and therefore the art of intersubjectivity par excellence. Moreover, I show that Merleau-Ponty’s ontological conception of the chiasm between the visible and the (...) invisible resembles the interlacing of the “two spaces” mentioned by Noël Burch. Likewise, the interpretation of the world as the “something else” that is simultaneously present and absent in every appearance corresponds, in cinema, to Alain Bergala’s “présence in absentia” of the off-screen on the screen – i.e., to the opening up of off-screen space by means of eyeline match and characters exiting and entering the frame. I finally claim that the use both of long take and depth of field, as analysed by film theorist André Bazin, and of specific camera movements, as analysed by neuroscientist Vittorio Gallese, preserves the continuity of reality and give the impression that the film is a perceptual experience that happens within reality’s space-time continuum.Loin d’être incohérent, l’essai de 1945 de Merleau-Ponty sur le cinéma et ses notes sur le cinéma pour son cours au Collège de France en 1953 sont les précurseurs d’une vraie phénoménologie du cinéma. Dans ce texte, je démontre qu’une phénoménologie du mouvement et de l’espace apparaît tacitement dans les films puisque le cinéma est l’art du mouvement à l’écran et par conséquent l’art de l’intersubjectivité par excellence. Par ailleurs, je montre que la conception ontologique de Merleau-Ponty du chiasme entre le visible et l’invisible ressemble à l’entrelacement des « deux espaces » mentionnés par Noël Burch. De même, l’interprétation du monde comme le « quelque chose d’autre » simultanément présent et absent dans toute apparition correspond, au cinéma à la « présence in absentia » du hors champ dans le champ d’Alain Bergala – à savoir l’ouverture de l’espace du hors champ par la technique du eyeline match et des personnages qui entrent et sortent du cadre. Je soutiens enfin que l’usage à la fois du plan long et de la profondeur de champ, analysés par le théoricien du cinéma André Bazin, ainsi que de mouvements spécifiques de caméra, analysés par le neuroscientifique Vittorio Gallese, préserve la continuité de la réalité et donne l’impression que le film est une expérience perceptive qui se produit à l’intérieur du continuum de l’espace temps de la réalité.Lungi dall’essere interventi estemporanei, i saggi di Merleau-Ponty sul cinema del 1945 e le sue note sul cinema per il corso al Collège de France del 1953 sono precursori di un’autentica fenomenologia del cinema. In questo articolo intendo mostrare come nei film si delinei tacitamente una fenomenologia del movimento e dello spazio, poiché il cinema è l’arte del movimento sullo schermo e per eccellenza l’arte dell’intersoggettività. Inoltre, intendo mettere in luce come la concezione ontologica merleau-pontyana del chiasma di visibile e invisibile si accosti all’intreccio dei “due spazi” menzionati da Noël Burch. In modo analogo, considererò l’interpretazione del mondo come il “qualcos’altro” che è al contempo presente e assente in ogni apparizione come corrispondente, nel cinema, a quella che Alain Bergala definisce la presenza “in absentia” del fuori campo sullo schermo, ossia all’apertura dello spazio fuori campo per mezzo del raccordo sullo sguardo e dell’ingresso e dell’uscita dei personaggi rispetto all’inquadratura. Infine, sosterrò che tanto l’impiego del long take e della profondità di campo, descritti dal teorico del cinema André Bazin, quanto l’uso di specifici movimenti di macchina, analizzati dal neuroscienziato Vittorio Gallese, preservino la continuità del reale e forniscano l’impressione che il film sia un’esperienza percettiva che si svolge entro il continuum spazio-temporale della realtà. (shrink)