The ways in which other animal species can be informative about human biology are not exhausted by the traditional picture of the animal model. In this paper, I propose to distinguish two roles which laboratory organisms can have in biomedical research. In the more traditional case, organisms act as surrogates for human beings, and as such are expected to be more manageable replicas of humans. However, animal models can inform us about human biology in a much less straightforward way, by (...) being used as measuring devices—what I call their instrumental role. I first characterize this role and provide criteria for it, before illustrating it with some examples from biomedical research, especially cancer research. In such an instrumental role, phenotypes are not expected to phenocopy human phenomena, but instead have the purely instrumental value of detecting or measuring differences. I argue that the instrumental role is more prevalent than might first be suspected, and that some characteristics of contemporary biomedical research are increasingly shifting the use of laboratory organisms to the instrumental role. Finally, in light of the distinction proposed, I discuss the meaning of the expression “animal model”. (shrink)

Authentic Replicas: Buddhist Art in Medieval China by Hsueh-man Shen. Honolulu: University of Hawai‘i Press 2019. 352 pp.; 132 illustrations, 113 in colour. Hb $72 ISBN-13: 9780824867058.

En esta réplica se analizan las ideas de Manuel Atienza sobre cómo evaluar la argumentación judicial. La crítica se enfoca en la afirmación de que, en cada ámbito del Derecho (legislativo, judicial, abogacía, etc.), los criterios de corrección son diferentes. Se sostiene, en cambio, que los criterios que sirven para el ámbito judicial son iguales a los criterios que rigen los argumentos de los abogados. Si bien los argumentos de los abogados buscan la persuasión, su éxito requiere que se cumplan (...) los estándares usados por los jueces al evaluarlos. Donde sí cabe la distinción es respecto de la argumentación del legislador, pues en ese ámbito sus argumentos no dependen de las opiniones de los jueces al ser los propios legisladores autoridad en materia de interpretación de leyes. In this paper the author examines Manuel Atienza's ideas on how to evaluate judicial argumentation. One of the highlights of his work is the assertion that in every area of the law the marking criteria are different. The critique of this paper focuses on denying that the criteria used for the judiciary are different from the criteria governing lawyers' arguments. While the arguments of lawyers seek persuasion to succeed, they need to fulfill the standards used by judges to evaluate them. The distinction apparently does hold in relation to the legislative's argumentation because in this area arguments do not depend on the views or criteria of the judges insofar as the legislator himself is an authority, in his own sphere, in matters of interpretation of laws and the constitution. (shrink)

Referindo-se ao capítulo 6 da minha Introduction to Logical Theory, o professor Calabria demonstra de modo correto e sistemático que, tal como exposta, a doutrina da pressuposição implica uma concepção da lógica que é substancialmente desviante tanto no que diz respeito à lógica tradicional como à lógica moderna clássica.

Traduçáo. texto Normal 0 21 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabela normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} retirado de Carlos E. Caorsi (Ed.). Ensayos sobre Strawson . Universidad de la República/Faculdad de Humanidades y Ciencias de la Educación, Montevidéo,1992, p. 55-71.

El objeto de este escrito es el de responder a las críticas que Juliana da Silveira Pinheiro hiciera a mi libro (Pavesi, 2008) en la reseña publicada por Kriterion en junio del año pasado (Pinheiro, 2011). Ensayaremos pues una defensa de nuestra tesis sin renunciar, sin embargo, a otra aspiración más amplia: la de abrir un campo de discusión sobre un texto, Las Pasiones del Alma y un problema muy vigente en los estudios cartesianos actuales, este es: el que se (...) refiere al valor explicativo del cuerpo como causa segunda de las pasiones. (shrink)

The task of this brief presentation is to “establish a dialogue” with Streeck’s text, attempting to fill the hiatus between the answer and the original question that Habermas’ interpretation intended to pose to those wishing to simply dispose of economic and monetary union, ending up by dismantling the political and cultural integration project that inspired the founding fathers. Streeck complains about the “levity” with which many reviewers accepted “as a slogan” the “killer-argument” [Totschlagargument] of the “nostalgic option” provided by the (...) interpretation of his most recent publication and the excuse for his removal from the assembly of “guardians of the Holy Grail”. Now, while acknowledging that in the thesis of the author of Gekaufte Zeit [4] there is no trace of nationalist seeds, which – as Altiero Spinelli observed – “had caused the catastrophe of the two World Wars” [5], Habermas’ critique seizes the unrealistic thoughtlessness of an idea that ends up evoking the system of “European cooperation” between the now impotent national states. We can do without the “specialisation in Europeanism” that according to Streeck, would be required as a preliminary to discuss European policy in the German public arena, but not criticism that is constructive and not defeatist. (shrink)

RESUMO O artigo propõe uma leitura do trabalho do teórico pós-colonial Edward Said por meio de um olhar bakhtiniano. Ainda que Said e Bakhtin tenham se engajado de forma diferente na política de suas respectivas épocas e que tivessem ideias distintas sobre a relação entre ética e política, seus escritos abrangentes têm sido adaptados e suas ideias apropriadas por estudiosos em diferentes áreas - com frequência, as mesmas. Eles compartilharam a paixão pelo diálogo, explorando a alteridade e a exotopia, e (...) acreditando na responsa-habilidade. O que o romance era para Bakhtin, o pianismo era para Said, como crítico musical. Said nunca desempenhou o papel de guia do consumidor ou de guardião. Era antes o par crítico ou o professor que atribui menções. A variedade de possíveis respostas do público sempre condicionou as suas. Em toda sua vida musical Said pensou como Bakhtin, talvez sem saber disso. As críticas musicais de Said eram, por definição, respostas ou réplicas. Eram híbridas, narrações e transmissões bivocais, mas também apropriações, como eram os romances aos olhos de Bakhtin. Os escritos de Said sobre música foram analisados à luz de vários conceitos-chaves de Bakhtin: dialogismo, endereçamento, responsa-habilidade e o papel do contexto.ABSTRACT The article reads the work of the postcolonial theorist Edward Said through a Bakhtinian lens. Although Said and Bakhtin engaged differently with the politics of their time and had different ideas on the relationship between ethics and politics, their wide-ranging writings have been adapted and their ideas appropriated by scholars in many different fields-often the same ones. They shared a passion for dialogue, for exploring otherness and outsidedness, and for believing in response-ability. What the novel was to Bakhtin, pianism was to Said, the music reviewer. Said never played the role of consumer guide or gate-keeper. He was more the peer reviewer or the grade-assigning professor. The multiple possible responses of the audience always conditioned his own. Said thought like Bakhtin all his musical life, perhaps without knowing it. Said's music reviews are, by definition, responses or rejoinders. They are hybrid, double-voiced narrations and transmissions, but also appropriations, as was the novel, in Bakhtin's eyes. Said's writings on music are analyzed in light of several key Bakhtinian concepts: dialogism, addressivity, response-ability, and the role of context. (shrink)