A influência da Química nos saberes médicos acadêmicos e práticos do século XVIII em Portugal e no Brasil

At the dawn of the eighteenth century chemistry was establishing itself as a physical science on its own right, after a long ancillary relationship with medicine and pharmacy, which had began two centuries before. This association, and the many changes that came along the scientific revolution spread into many walks of life. The Luso-Brazilian world, apparently so removed from the new developments, could not help to be touched by them, as this study shows, in which two contemporary medical authors are analysed. Both were Portuguese who had long lived in Brazil; both practised and wrote extensively on Medicine; both felt the influence of the new times, albeit in quite different ways.

O fabrico e uso da pólvora no Brasil colonial: o papel de alpoim na primeira metade do século XVIII

Gunpowder played a significant role in colonial Brazil. This reached a climax in the eighteenth century, when the country's large gold output enticed the greed of many. The French invasion of Rio de Janeiro in 1711 made the city's defense even more pressing to the metropolis. Brigadier Alpoim symbolized this reaction. He was a leading Luso-Brazilian engineer of that century, whose multiple activities set him apart in colonial life. These activities included a pioneer role in teaching the manufacture and use of gunpowder, about which he wrote extensively during the first half of the eighteenth century. His work is thus among the first to treat chemical technology in the colony at such an early age.

Johann Andreas Cramer e o "ensaio químico mineral" no século XVIII

In this research, we seek to corroborate the contributions of Chemistry to the identification, extraction and classification of minerals in the XVIII century, as well as, to approach the discussion that History of Chemistry shouldn't be understood in terms of a tight line of thoughts. For that, we analyze the work of Johann Andreas Cramer (1710-1777), Elements of the Art of Assaying Metals. Cramer proposed a method of mineral assaying based on the chemical behavior of the bodies, which allowed him to identify, extract and classify the minerals with more assertiveness.

Collagen XVIII/endostatin expression in experimental endotoxemic acute renal failure

Acute renal failure (ARF) is a frequent complication of Gram-negative sepsis, with a high risk of mortality. Lipopolysaccharide (LPS)-induced ARF is associated with hemodynamic changes that are strongly influenced by the overproduction of nitric oxide (NO) through the cytokine-mediated up-regulation of inducible NO synthase. LPS-induced reductions in systemic vascular resistance paradoxically culminate in renal vasoconstriction. Collagen XVIII is an important component of the extracellular matrix expressed in basement membranes. Its degradation by matrix metalloproteases, cathepsins and elastases results in the formation of endostatin, claimed to have antiangiogenic activity and to be a prominent vasorelaxing agent. We evaluated the expression of endostatin/collagen XVIII in an endotoxemic ARF model. ARF was induced in C57BL/6 mice by intraperitoneal injection of LPS (10 mg/kg) followed by sacrifice 4 and 12 h later. Kidney tissue was the source of RNA and protein and the subject of histological analysis. As early as 4 h after LPS administration, blood urea, creatinine and NO levels were significantly increased compared to control. Endostatin/collagen XVIII mRNA levels were 0.71 times lower than sham-inoculated mice 4 h after LPS inoculation, returning to normal levels 12 h after LPS inoculation. Immunohistological examination revealed that acute injury caused by LPS leads to an increase of endostatin basement membrane staining in association with the decrease of CD31 endothelial basement membrane staining. These results indicate that in the early phase of endotoxemic ARF the endostatin levels were not regulated by gene expression, but by the metabolism of collagen XVIII.

Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians

The combined influence of tempo and mode on emotional responses to music was studied by crossing 7 changes in mode with 3 changes in tempo. Twenty-four musicians aged 19 to 25 years (12 males and 12 females) and 24 nonmusicians aged 17 to 25 years (12 males and 12 females) were required to perform two tasks: 1) listening to different musical excerpts, and 2) associating an emotion to them such as happiness, serenity, fear, anger, or sadness. ANOVA showed that increasing the tempo strongly affected the arousal (F(2,116) = 268.62, mean square error (MSE) = 0.6676, P < 0.001) and, to a lesser extent, the valence of emotional responses (F(6,348) = 8.71, MSE = 0.6196, P < 0.001). Changes in modes modulated the affective valence of the perceived emotions (F(6,348) = 4.24, MSE = 0.6764, P < 0.001). Some interactive effects were found between tempo and mode (F (1,58) = 115.6, MSE = 0.6428, P < 0.001), but, in most cases, the two parameters had additive effects. This finding demonstrates that small changes in the pitch structures of modes modulate the emotions associated with the pieces, confirming the cognitive foundation of emotional responses to music.

Schelling e a constituição da estética musical

O presente artigo conta investigar o processo de constituição da estética musical a partir da teoria da arte elaborada por F. W. J. von Schelling. Para tanto, espera-se mostrar a maneira pela qual o filósofo alemão procura redimensionar as bases que davam sustentação à chamada estética sistemática para, a partir de uma ponderação extremamente inovadora, caracterizar a música como um objeto original de saber.

From transcendental to practical intersubjectivity: a social psychological approach to Kant's musical aesthetics

It is well known that Kant’s aesthetics is framed intersubjectively because he upholds the claim of taste to universality. However, the transcendental foundation of this shared universality is a supersensible ground which is taken for granted but which cannot be brought directly into communicative experience. Kant’s reliance on the synthetic a priori structure of aesthetic judgment also removes it from the sphere of observable personal interaction. This argumentative strategy exposes it to skeptical challenge and generates inaccessible references to inner representations (be they intuitions, categories of the understanding or rational ideas). It is not sufficient, as Kant did, to propose a description of aesthetic experience that is subjectively plausible and thereby claim its intersubjective validity. It is indispensable to embody intersubjectivity in behavior and language. In practical intersubjectivity, aesthetic attitudes are dealt with in a concrete and accessible manner without relying on mentalistic assumptions as a foundation. Conceptual terms such as 'agreeable’, 'beauty’, 'sublime’, 'ugly’, 'universality’ acquire new meaning in a conversational context and aesthetic claims are tested in a dialogical game semantics model.

Filosofia, tom e ilusão musical em Kant: da vivificação sonora do ânimo à recepção do tom da razão

O artigo tenciona, primeiramente, enriquecer o estudo da função que o conceito de tom desempenha na ideia kantiana de razão, ao estendê-lo à análise da música como arte dos sons que a Crítica do Juízo contém. Em segundo lugar, propõe-se determinar os motivos pelos quais a matemática se revela incapaz, devido à especificidade do método filosófico e à corporalidade da recepção musical, respectivamente, de expressar o modo de proceder da razão e da arte dos sons. Finalmente, aponta-se para uma semelhança entre música e razão, no que diz respeito à rejeição que compartilham da queda na Schwärmerei, apesar da distância que se estabelece entre ambas enquanto duas maneiras contrárias de exercitar e fomentar a vida e o sentimento dela.