Um estudo sobre as origens da Lógica Matemáitca

The present study has as objective to explaining about the origins of the mathematical logic. This has its beginning attributed to the autodidactic English mathematician George Boole (1815-1864), especially because his books The Mathematical Analysis of Logic (1847) and An Investigation of the Laws of Thought (1854) are recognized as the inaugural works of the referred branch. However, surprisingly, in the same time another mathematician called Augutus of Morgan (1806-1871) it also published a book, entitled Formal Logic (1847), in defense of the mathematic logic. Even so, times later on this same century, another work named Elements of Logic (1875) it appeared evidencing the Aristotelian logic with Richard Whately (1787-1863), considered the better Aristotelian logical of that time. This way, our research, permeated by the history of the mathematics, it intends to study the logic produced by these submerged personages in the golden age of the mathematics (19th century) to we compare the valid systems in referred period and we clarify the origins of the mathematical logic. For that we looked for to delineate the panorama historical wrapper of this study. We described, shortly, biographical considerations about these three representatives of the logic of the 19th century formed an alliance with the exhibition of their point of view as for the logic to the light of the works mentioned above. In this sense, we aspirated to present considerations about what effective Aristotelian´s logic existed in the period of Boole and De Morgan comparing it with the new emerging logic (the mathematical logic). Besides of this, before the textual analysis of the works mentioned above, we still looked for to confront the systems of Boole and De Morgan for we arrive to the reason because the Boole´s system was considered better and more efficient. Separate of this preponderance we longed to study the flaws verified in the logical system of Boole front to their contemporaries' production, verifying, for example, if they repeated or not. We concluded that the origins of the mathematical logic is in the works of logic of George Boole, because, in them, has the presentation of a new logic, matematizada for the laws of the thought similar to the one of the arithmetic, while De Morgan, in your work, expand the Aristotelian logic, but it was still arrested to her

Na trilha do poético: um caso de angústia da influência

Diese These besteht aus der Analyse der Enteignungsverhältnisse und der Misselung, welche in den Texten der Ursprung des Kunstwerkes und die Hymnen Hölderlins vorkommen. Germanien und der Rhein sind in den 30en-Jahren letzten Jahrhunderts von Martin Heidegger verfasst worden. Ab anwendung der kritischen Methodologia von Harold Bloom und der starken Texgestaltung von Richard Rorty wird es deutlich, dass die Heideggers Lesungen der Hölderlins Poesia als ei Ersatzversuch der von Hegel entwickelte Kulturgeschichte ab deutescher Überlieferung klassicher Studien, die das tragische Erlebnis der alten Griechen als grundlegender Punkt des Westen Daseins vorbringen, verstanden werden können. So verlegt Heidegger die Aufbauachse der Entstehungserzälung des Abendlandes in Richtung Dichtkunst, indem er in seiner Wendung zum Dichterischen gleichzeitig auf der Suche nach einer abweichenden Feststellung der vorherrschaftlichen These ist, in welcher die Tragödie das grosse Antrittsereignis der westlichen Zivilisation darstellt, und darüber hinaus noch der Herstellung einer innigen Verbindung zwischen der Poesie von Hölderlin und Hesiudus, um die Enge der dichterischen Überinstimmung zu zeigen, welche die alten Griechen und die zeitegemässigen Deutschen verbrände. Dieser geistige Aufbau Heideggers hat man somit als ein überholungsversuch Hegels Einfluss und Denkungsart zur Vollendung der von Nietzsche begonnenen Überwindungsaufgabe des Hegelianismus´zu verstehen

Veredas infinitas, Recepção italiana de Grandes sertões: veredas

L'obiettivo principale di questo lavoro è valutare le difficoltà di comprensione e di identificazione nella ricezione da parte della cultura italiana dell'opera Grande sertão: veredas, da quelle trovate, in modo pionieristico, dal traduttore italiano, a quelle che sono state percepite e indicate al momento della lettura dai critici, dagli accademici, dall'autore di questo lavoro e, soprattutto, dai lettori comuni, mostrando, allo stesso tempo, che i problemi avuti dagli italiani nella traduzione esistono, sotto certi aspetti, anche per i brasiliani urbani, poiché la dimensione linguistico-geografica presente nel romanzo è così peculiare, che perfino molti lettori di lingua portoghese ignorano il mondo plasmato dal linguaggio di Guimarães Rosa rivelando una esacerbazione della questione universale espressa nella formula "traduttori, traditori". Partendo da tutto ciò, abbiamo cercato di dimostrare che, sebbene la traduzione di Edoardo Bizzarri abbia raggiunto un eccellente risultato, l'opera rosiana, così come nella poesia e di più di qualsiasi altra narrativa, comporta, nel passaggio da un idioma all'altro, perdite irrimediabili, tanto relative all'armonia musicale e ritmica, quanto alla richezza semantica che si occulta nel testo originale

A Teatralidade em Clarice Lispector

This article comments on some aspects of Clarice Lispector’s theatricality It aims to highlight particular aspects of Lispector’s plastic and sensorial text pointing out and discussing about its materiality and performartic qualities. So, this article will look at the existing tension between literality and theatricality which is a constant within Lispector’s work since her inaugural work Perto do Coração Selvagem.