As provas metafísicas da existência de deus em René Descartes

Le but de cet article est de présenter les éléments de preuve de l existence de Dieu présentée dans les Méditationes Métaphysiques de René Descartes, en soulignant son importance et son rôle dans le projet philosophique cartésien. La recherche visait á comprendre comment Descartes, étant um homme de science, la recherche de Dieu dans le pilier et d assurer leur philosophie. Par consé quence que Descartes propose de remplacer lui promettant de construire une nouvelle science fondée sur des bases sûres. Ainsi, le texte suit um ordre qu une partie de doute méthodologique comme um élément essentiel pour surmonter une connaissance née de l incertitude et généralisée et d opinions comme étant de droite, pour finalement atteindre la vérité dans les sciencies, Grace à la découverte Du premier cours, le cogito, moi pensant, alors existantes. Trouvé cette certitude, le sujet qui a en elle l idée d um être infini qui contient toutes perfections et, comme Il fera la démonstration de la preuve a posteriori et a priori. Et donc cet être ne peut pas être considéré comme inexistant projet assurant Descartes

Ciência como montagem, montagem como ciência

The thesis describes parallel possibilities between the knowledge built in theatre and in Science. The narrative is constructed through a reflexive observation of the process of making a threatical play, specifically O Tempo da Chuva by Grupo Beira de Teatro , in analogy to the process of making a scientific theory, specifically the one described by Werner Heisenberg in his book Physics and Beyond: encounters and conversations . It sets a dialog with authors/actors from various areas of knowledge, such as Edgar Morin, Werner Heisenberg, René Descartes, Paul Feyerabend, Paul Caro, Juremir Machado da Silva, Maria da Conceição de Almeida, Renato Ferracini, among others. It discusses the hypothesis that Science is the process of building and the theatrical process of building a play can also be systematized, likewise science. The thesis defends, as the complexities science may suggest, a method as a strategy. Developed throughout the process, such method could only be verified at the end, when the elements of the setting of atomic physics theories and theatre were correlated. Questions such as: the place of theatre and science in our contemporary society and the political and ethical role of artists and scientists are at the episthemological basis of this narrative which we have started, but it is not even close to a conclusion

Merleau-Ponty: uma ontologia do visível

This work discusses the ontology of the visible at the thought of Maurice Merleau-Ponty (1908-1961), which points to a depth and opacity of the perceived world that oppose transparency of geometric world thought by René Descartes (1596-1650). At first we approached the Cartesian discourse developed in Dioptrics Descartes, the first of three scientific discourses published in 1637, being introduced by the famous Discourse method. In this sense, this research discusses the mechanistic explanation that the modern philosopher has the vision, process comprising the formation of images on the retina and its communication to the brain, and the subsequent reading performed by an immaterial mind. Discusses the notion of image as a result of the interpretation of the spirit because, for Descartes, is not the eye that sees, but the spirit that reads and decodes the signals that the body receives the world. At another point, reflected on the criticism of the philosopher Maurice Merleau-Ponty at the thought of overflight present in Dioptrics Descartes. Therefore, it takes as its reference the third part of the book The Eye and the Spirit (1961), in which the intellectualist approach of vision is considered a failed attempt to move away from the visible to rebuild it from anywhere . In this sense, it reflects on a new ontology proposed by Merleau-Ponty thinking being without departing from the puzzles of the body and vision. Puzzles that show a promiscuity between the seer and the seen, between sentient and sensitive. Thus, this paper discusses how visibility was treated by the contemporary philosopher, not as something to be judged by the spirit to get a real nature of things, but as a manifestation of the same things. Finally, this research explores the ontology of the visible in merleaupontiano thought, an ontology that does not rebuild or appropriates visible by a thought of overflight, but what you do from your own visibility as compared original and constant with depth in the world.

Merleau-Ponty: uma ontologia do visível

This work discusses the ontology of the visible at the thought of Maurice Merleau-Ponty (1908-1961), which points to a depth and opacity of the perceived world that oppose transparency of geometric world thought by René Descartes (1596-1650). At first we approached the Cartesian discourse developed in Dioptrics Descartes, the first of three scientific discourses published in 1637, being introduced by the famous Discourse method. In this sense, this research discusses the mechanistic explanation that the modern philosopher has the vision, process comprising the formation of images on the retina and its communication to the brain, and the subsequent reading performed by an immaterial mind. Discusses the notion of image as a result of the interpretation of the spirit because, for Descartes, is not the eye that sees, but the spirit that reads and decodes the signals that the body receives the world. At another point, reflected on the criticism of the philosopher Maurice Merleau-Ponty at the thought of overflight present in Dioptrics Descartes. Therefore, it takes as its reference the third part of the book The Eye and the Spirit (1961), in which the intellectualist approach of vision is considered a failed attempt to move away from the visible to rebuild it from anywhere . In this sense, it reflects on a new ontology proposed by Merleau-Ponty thinking being without departing from the puzzles of the body and vision. Puzzles that show a promiscuity between the seer and the seen, between sentient and sensitive. Thus, this paper discusses how visibility was treated by the contemporary philosopher, not as something to be judged by the spirit to get a real nature of things, but as a manifestation of the same things. Finally, this research explores the ontology of the visible in merleaupontiano thought, an ontology that does not rebuild or appropriates visible by a thought of overflight, but what you do from your own visibility as compared original and constant with depth in the world.