The history of England from the revolution to the commencement of the present administration : [Texto impreso] written in continuation of Mr. Hume's History

Indice

Complejidad Esencial: Un argumento por la complementariedad entre ciencia y sensibilidad = Essential Complexity: An argument for complementarity between science and sensibility

Esta investigación recoge un cúmulo de intereses en torno a un modo de generar arquitectura muy específico: La producción de objetos con una forma subyacente no apriorística. Los conocimientos expuestos se apoyan en condiciones del pensamiento reciente que impulsan la ilusión por alimentar la fuente creativa de la arquitectura con otros campos del saber. Los tiempos del conocimiento animista sensible y el conocimiento objetivo de carácter científico son correlativos en la historia pero casi nunca han sido sincrónicos. Representa asimismo un intento por aunar los dos tipos de conocimiento retomando la inercia que ya se presentía a comienzos del siglo XX. Se trata por tanto, de un ensayo sobre la posible anulación de la contraposición entre estos dos mundos para pasar a una complementariedad entre ambos en una sola visión conjunta compartida. Como meta final de esta investigación se presenta el desarrollo de un sistema crítico de análisis para los objetos arquitectónicos que permita una diferenciación entre aquellos que responden a los problemas de manera completa y sincera y aquellos otros que esconden, bajo una superficie consensuada, la falta de un método resolutivo de la complejidad en el presente creativo. La Investigación observa tres grupos de conocimiento diferenciados agrupados en sus capítulos correspondientes: El primer capítulo versa sobre el Impulso Creador. En él se define la necesidad de crear un marco para el individuo creador, aquel que independientemente de las fuerzas sociales del momento presiente que existe algo más allá que está sin resolver. Denominamos aquí “creador rebelde” a un tipo de personaje reconocible a lo largo de la Historia como aquel capaz de reconocer los cambios que ese operan en su presente y que utiliza para descubrir lo nuevo y acercarse algo al origen creativo. En el momento actual ese tipo de personaje es el que intuye o ya ha intuido hace tiempo la existencia de una complejidad creciente no obviable en el pensamiento de este tiempo. El segundo capítulo desarrolla algunas Propiedades de Sistemas de actuación creativa. En él se muestra una investigación que desarrolla un marco de conocimientos científicos muy específicos de nuestro tiempo que la arquitectura, de momento, no ha absorbido ni refleja de manera directa en su manera de crear. Son temas de presencia casi ya mundana en la sociedad pero que se resisten a ser incluidos en los procesos creativos como parte de la conciencia. La mayoría de ellos hablan de precisión, órdenes invisibles, propiedades de la materia o la energía tratados de manera objetiva y apolítica. La meta final supone el acercamiento e incorporación de estos conceptos y propiedades a nuestro mundo sensible unificándolos indisociablemente bajo un solo punto de vista. El último capítulo versa sobre la Complejidad y su capacidad de reducción a lo esencial. Aquí se muestran, a modo de conclusiones, la introducción de varios conceptos para el desarrollo de un sistema crítico hacia la arquitectura de nuestro tiempo. Entre ellos, el de Complejidad Esencial, definido como aquella de carácter inevitable a la hora de responder la arquitectura a los problemas y solicitaciones crecientes a los que se enfrenta en el presente. La Tesis mantiene la importancia de informar sobre la imposibilidad en el estado actual de las cosas de responder de manera sincera con soluciones de carácter simplista y la necesidad, por tanto, de soluciones necesarias de carácter complejo. En este sentido se define asimismo el concepto de Forma Subyacente como herramienta crítica para poder evaluar la respuesta de cada arquitectura y poder tener un sistema y visión crítica sobre lo que es un objeto consistente frente a la situación a la que se enfrenta. Dicha forma subyacente se define como aquella manera de entender conjuntamente y de manera sincrónica aquello que percibimos de manera sensible inseparable de las fuerzas ocultas, creativas, tecnológicas, materiales y energéticas que sustentan la definición y entendimiento de cualquier objeto construido. ABSTRACT This research includes a cluster of interests around a specific way to generate architecture: The production of objects without an a priori underlying form. The knowledge presented is based on current conditions of thought promoting the illusion to feed the creative source of architecture with other fields of knowledge. The sensible animist knowledge and objective scientific knowledge are correlative in history but have rarely been synchronous. This research is also an attempt to combine both types of knowledge to regain the inertia already sensed in the early twentieth century. It is therefore an essay on the annulment of the opposition between these two worlds to move towards complementarities of both in a single shared vision. The ultimate goal of this research is to present the development of a critical analysis system for architectural objects that allows differentiation between those who respond to the problems sincerely and those who hide under an agreed appearance, the lack of a method for solving the complexity of the creative present. The research observes three distinct groups of knowledge contained in their respective chapters: The first chapter deals with the Creative Impulse. In it is defined the need to create a framework for the creative individual who, regardless of the current social forces, forebodes that there is something hidden beyond which is still unresolved. We define the "rebel creator" as a kind of person existing throughout history who is able to recognize the changes operating in its present and use them to discover something new and get closer to the origin of creation. At present, this type of character is the one who intuits the existence of a non obviable increasing complexity in society and thought. The second chapter presents some systems, and their properties, for creative performance. It describes the development of a framework composed of current scientific knowledge that architecture has not yet absorbed or reflected directly in her procedures. These are issues of common presence in society but are still reluctant to be included in the creative processes even if they already belong to the collective consciousness. Most of them talk about accuracy, invisible orders, properties of matter and energy, always treated from an objective and apolitical perspective. The ultimate goal pursues the approach and incorporation of these concepts and properties to the sensible world, inextricably unifying all under a single point of view. The last chapter deals with complexity and the ability to reduce it to the essentials. Here we show, as a conclusion, the introduction of several concepts to develop a critical approach to analyzing the architecture of our time. Among them, the concept of Essential Complexity, defined as one that inevitably arises when architecture responds to the increasing stresses that faces today. The thesis maintains the importance of reporting, in the present state of things, the impossibility to respond openly with simplistic solutions and, therefore, the need for solutions to complex character. In this sense, the concept of Underlying Form is defined as a critical tool to evaluate the response of each architecture and possess a critical system to clarify what is an consistent object facing a certain situation. The underlying form is then defined as a way to synchronously understand what we perceive sensitively inseparable from the hidden forces of creative, technological, material and energetic character that support the definition and understanding of any constructed object.

A Comparative Analysis of Hedging in a Corpus of Two Written Legal Discourse Genres

Esta tesis doctoral, que es la culminación de mis estudios de doctorado impartidos por el Departamento de Lingüística Aplicada a la Ciencia y a la Tecnología de la Universidad Politécnica de Madrid, aborda el análisis del uso de la matización (hedging) en el lenguaje legal inglés siguiendo los postulados y principios de la análisis crítica de género (Bhatia, 2004) y empleando las herramientas de análisis de córpora WordSmith Tools versión 6 (Scott, 2014). Como refleja el título, el estudio se centra en la descripción y en el análisis contrastivo de las variedades léxico-sintácticas de los matizadores del discurso (hedges) y las estrategias discursivas que con ellos se llevan a cabo, además de las funciones que éstas desempeñan en un corpus de sentencias del Tribunal Supremo de EE. UU., y de artículos jurídicos de investigación americanos, relacionando, en la medida posible, éstas con los rasgos determinantes de los dos géneros, desde una perspectiva socio-cognitiva. El elemento innovador que ofrece es que, a pesar de los numerosos estudios que se han podido realizar sobre los matizadores del discurso en el inglés general (Lakoff, 1973; Hübler, 1983; Clemen, 1997; Markkanen and Schröder, 1997; Mauranen, 1997; Fetzer 2010; y Finnegan, 2010 entre otros) académico (Crompton, 1997; Meyer, 1997; Skelton, 1997; Martín Butragueňo, 2003) científico (Hyland, 1996a, 1996c, 1998c, 2007; Grabe and Kaplan, 1997; Salager-Meyer, 1997 Varttala, 2001) médico (Prince, 1982; Salager-Meyer, 1994; Skelton, 1997), y, en menor medida el inglés legal (Toska, 2012), no existe ningún tipo de investigación que vincule los distintos usos de la matización a las características genéricas de las comunicaciones profesionales. Dentro del lenguaje legal, la matización confirma su dependencia tanto de las expectativas a macro-nivel de la comunidad de discurso, como de las intenciones a micro-nivel del escritor de la comunicación, variando en función de los propósitos comunicativos del género ya sean éstos educativos, pedagógicos, interpersonales u operativos. El estudio pone de relieve el uso predominante de los verbos modales epistémicos y de los verbos léxicos como matizadores del discurso, estos últimos divididos en cuatro tipos (Hyland 1998c; Palmer 1986, 1990, 2001) especulativos, citativos, deductivos y sensoriales. La realización léxico-sintáctica del matizador puede señalar una de cuatro estrategias discursivas particulares (Namsaraev, 1997; Salager-Meyer, 1994), la indeterminación, la despersonalización, la subjectivisación, o la matización camuflada (camouflage hedging), cuya incidencia y función varia según género. La identificación y cuantificación de los distintos matizadores y estrategias empleados en los diferentes géneros del discurso legal puede tener implicaciones pedagógicos para los estudiantes de derecho no nativos que tienen que demostrar una competencia adecuada en su uso y procesamiento. ABSTRACT This doctoral thesis, which represents the culmination of my doctoral studies undertaken in the Department of Linguistics Applied to Science and Technology of the Universidad Politécnica de Madrid, focusses on the analysis of hedging in legal English following the principles of Critical Genre Analysis (Bhatia, 2004), and using WordSmith Tools version 6 (Scott, 2014) corpus analysis tools. As the title suggests, this study centers on the description and contrastive analysis of lexico-grammatical realizations of hedges and the discourse strategies which they can indicate, as well as the functions they can carry out, in a corpus of U.S. Supreme Court opinions and American law review articles. The study relates realization, incidence and function of hedging to the predominant generic characteristics of the two genres from a socio-cognitive perspective. While there have been numerous studies on hedging in general English (Lakoff, 1973; Hübler, 1983; Clemen, 1997; Markkanen and Schröder, 1997; Mauranen, 1997; Fetzer 2010; and Finnegan, 2010 among others) academic English (Crompton, 1997; Meyer, 1997; Skelton, 1997; Martín Butragueňo, 2003) scientific English (Hyland, 1996a, 1996c, 1998c, 2007; Grabe and Kaplan, 1997; Salager-Meyer, 1997 Varttala, 2001) medical English (Prince, 1982; Salager-Meyer, 1994; Skelton, 1997), and, to a lesser degree, legal English (Toska, 2012), this study is innovative in that it links the different realizations and functions of hedging to the generic characteristics of a particular professional communication. Within legal English, hedging has been found to depend on not only the macro-level expectations of the discourse community for a specific genre, but also on the micro-level intentions of the author of a communication, varying according to the educational, pedagogical, interpersonal or operative purposes the genre may have. The study highlights the predominance of epistemic modal verbs and lexical verbs as hedges, dividing the latter into four types (Hyland, 1998c; Palmer, 1986, 1990, 2001): speculative, quotative, deductive and sensorial. Lexical-grammatical realizations of hedges can signal one of four discourse strategies (Namsaraev, 1997; Salager-Meyer, 1994), indetermination, depersonalization, subjectivization and camouflage hedging, as well as fulfill a variety of functions. The identification and quantification of the different hedges and hedging strategies and functions in the two genres may have pedagogical implications for non-native law students who must demonstrate adequate competence in the production and interpretation of hedged discourse.

Segon rahonament que tingueren Don Pascasio y Patatorta [Texto impreso] : abentse tornat à encontrar una vesprada en la alameda, y no podentse negar Patatorta al argument, comensà Don Pascasio de este modo

Hay un ejemplar encuadernado con: Romans, y coloqui nou, pera divertir el humor y desterrar la melancolia, yà que no tenim dinès ... (NP849.91/3085)

La invención en la obra de Julio Lafuente: entre la utopía y la construcción

La obra de Julio Lafuente es extraordinariamente abundante y heterogenea, de un experimentalismo tan admirable en casos particulares como difícilmente caracterizable en su conjunto. El inventario ha revelado la existencia de más de 360 proyectos, de los que cerca de 200 están construidos, e incluye obras de arquitectura, urbanismo, escenografía y mobiliario, muchas de ellas reconocidas internacionalmente y profusamente publicadas entre 1950 y 1980. Es decir, nos encontramos ante un panorama de producción, divulgación y reconocimiento de su obra en el pasado reciente que contrasta con el actual desconocimiento de la misma. Situación que esta tesis doctoral pretende revertir. La investigación se articula en dos partes. La primera de ellas constituye el núcleo argumental y se compone de cuatro capítulos que permiten comprender el carácter de la obra de Julio Lafuente: su biografía profesional, una panorámica contextualizada de su obra, el estudio en profundidad de dos obras escogidas y la revisión transversal de los aspectos más relevantes en su arquitectura. Este primer volumen incluye dos capítulos adicionales: una bibliografía exhaustiva de sus obras y la traducción de publicaciones específicas coetáneas, recogidas en un anexo. La segunda parte consiste en una catalogación de la obra de Julio Lafuente, inexistente hasta la fecha, desarrollada por la autora en paralelo a su participación en la realización del Archivo de Julio Lafuente en Roma, lo que ha facilitado el acceso directo a la documentación original. Una revisión panorámica de diversas obras de Lafuente en relación con otras obras y corrientes de pensamiento coetáneas ha permitido comprender la pertenencia inequívoca de la obra de Julio Lafuente a su contexto: fundamentalmente, la Italia del período comprendido entre 1950 y 1980, un contexto del que se nutre y al que contribuye sin descanso. La mayor parte de la abundante obra arquitectónica de Lafuente se dedica al desarrollo de edificios de vivienda, normalmente construidos en los ensanches de Roma. En el conjunto de esta prolija trayectoria sobresalen, sin embargo, algunos logros extraordinarios que han permitido apoyar el desarrollo argumental de la investigación. Entre ellos, se han escogido para su estudio en profundidad dos obras —el hotel en la roca (1967), en Gozo (Malta) y el hipódromo de Tor di Valle (1959), en Roma—, que constituyen sendos casos singulares en los que Lafuente alcanza las cotas más altas de coherencia, significación y calidad arquitectónica, y que caracterizan el marco en el que se desarrolla la investigación: entre la utopía y la construcción. Al mismo tiempo, se trata de dos obras complementarias que llevan al extremo algunos de los aspectos a los que Julio Lafuente presta más atención en el conjunto de su obra, como la relación con el lugar, la invención estructural o el cuidado de los detalles constructivos. Estos rasgos se han revisado de un modo transversal en el último capítulo, incidiendo en algunos casos particulares que, a modo de metonimia, han permitido tomar la parte por el todo. La investigación confirma el compromiso de la obra de Lafuente con la lógica constructiva, si bien la componente idealizada se reconoce, aunque en un tono menor respecto al empeño constructivo, en una gran parte su arquitectura. Esta tendencia a la idealización es, posiblemente, una de las razones que ha llevado a quienes hasta hoy han escrito sobre su obra, a especular con las ideas de invención y utopía en la arquitectura de Julio Lafuente. El catálogo inédito de la obra de Julio Lafuente constituye la segunda parte de la tesis doctoral y permite realizar consultas posteriores que puedan dar continuidad a la investigación aquí iniciada. ABSTRACT The architectural work of Julio Lafuente is extraordinary wide and heterogeneous, of so admirable experimentalism in particular cases as difficult to be characterized as a whole. The inventory of his work has revealed the existence of more than 360 projects, of which about 200 are built, including works of architecture, urban planning, scenery and furniture, many of which were internationally recognized and widely published between 1950 and 1980. This overview of production, spread and recognition of his work in the recent past hugely contrasts with the current lack of knowledge of it. Situation that this PhD thesis aims to reverse. The thesis is divided into two parts. The first part is the core argument and comprises four sections that provide insights into the nature of the work of Julio Lafuente: professional biography, a contextualized view of his work, in-depth study of two selected works and cross review of the most relevant aspects in his architecture. This volume includes an exhaustive bibliography and translation of contemporaneous specific publications, incorporated in an annex. The second part consists of a catalog of the work of Julio Lafuente, non-existent to date, developed in parallel with the participation of the author in the making process of the Archive of Julio Lafuente in Rome, which has provided access to the original documentation. Research develops a wide-ranging approach to the architecture of Julio Lafuente in its context. To this purpose, various of his works have been reviewed in relation to other contemporary works, which have revealed a direct attachment of Lafuente’s work to its context: mainly Italy, for the period between 1950 and 1980. Most of his wide architectural work is related to housing projects, usually built in the extensions of Rome. In this broad regular work, however, highlight some outstanding achievements which have given support to the research argumental line. Among them, two works have been selected for an in-depth study: the hotel in the Maltese rock of Gozo (1967) and the Tor di Valle racecourse building (1959) in Rome. Both are individual cases in which Lafuente reaches the highest levels of coherence, significance and architectural quality, and both characterize the frame in which this research takes place: between utopia and construction. These selected projects are two complementary works that embody some of the aspects to which Julio Lafuente pays more attention, such as the experiencing of place, the structural invention or concern for construction details, among others. These features have been reviewed through a transversal regard in the last chapter, focusing on some particular cases, in the way in which metonymy is used, allowing to take the part for the whole. Research confirms that the work of Julio Lafuente stands out for its commitment to construction logic, while the idealized component is recognized, although in a minor key with respect to constructive engagement, in most of his architecture from the beginning to his latest proposals. This tendency to idealization is probably one of the reasons that has often led to those who have written about him, to speculate on the ideas of invention and utopia in the work of Julio Lafuente. The unpublished catalog of the work of Julio Lafuente, which constitutes the second part of the thesis, presents the architectural work of Julio Lafuente and allows further research that could continue the one started here.

Road to 1966 : caminos hacia "complejidad y contradicción en la arquitectura", en la cultura arquitectónica de la segunda posguerra en EE.UU

Complejidad y contradicción en la arquitectura ha resultado ser una de las referencias capitales más aludidas, citadas y reproducidas de la literatura arquitectónica de los tiempos recientes. No en vano, en la introducción de la propia obra, Vincent Scully afirmó que «probablemente es el texto más importante sobre arquitectura desde ‘Vers une Architecture’, escrito por Le Corbusier en 1923». Sin embargo, sus fuentes parece que están inexploradas o, al menos, no examinadas. Por ello, Road to 1966 se plantea como un trabajo de investigación con tres objetivos de partida fundamentales: (1) el interés en estudiar el debate arquitectónico candente, creado con las fricciones surgidas entre los protagonistas de unos años que cambiaron el estado de lo que se consideraba una obra legítima en arquitectura; (2) se pretende ampliar la cronología del desarrollo intelectual de un texto, el de Venturi, que marcó la segunda mitad del siglo xx, de manera retroactiva hasta los años de la II Guerra Mundial, cuando parece que empezaban a ser coherentes y reconocibles unas nuevas posiciones desde las que aproximarse a las cuestiones de la práctica, la teoría y la historia de la arquitectura; (3) poder ofrecer una nueva interpretación de dicho texto de Venturi, entendido no como el origen primigenio de parte de las grandes transformaciones de la arquitectura reciente (de los últimos cincuenta años), sino como el resultado necesario de esa cronología intelectual previa. La arquitectura norteamericana de estos años de posguerra ha resultado ser crucial en su posterior desarrollo, y, especialmente, en relación al libro de Venturi. De hecho, Scully en la introducción de la edición original de Complejidad y contradicción, señalaba que «el principal argumento del libro está expuesto a finales de los cincuenta». Que la arquitectura del siglo xx tiene en la Norteamérica de los años sesenta -cuando se consolida la figura de Venturi- uno de sus capítulos más decisivos, frecuentemente asumido como el paso siguiente a la importada modernidad heroica europea, hoy parece no ser discutido por casi nadie. Ahora bien: ¿qué ocurre con los años intermedios? ¿Qué acontece entre el final de la II Guerra Mundial y esos años sesenta? La posible carencia de una postura dominante y clara quizás haya sumido esta etapa en un cierto olvido o descuido por parte de historiadores y críticos. Así, este trabajo se estructura alrededor del papel que ocupa el texto venturiano, sin ser éste su único protagonista. Tomado más bien como excusa, la tesis va profundizando de manera deductiva en el conjunto de circunstancias que pudieron llevar a su autor hacia las conclusiones que desarrolló, detectando los ambientes biográficos y formativos, pensamientos compartidos e influencias epistemológicas y profesionales mutuas, que justificarían una novedosa interpretación de dicho texto como el corolario necesario de un panorama de crisis y cambios - éste sí protagonista en este trabajo-, al contrario de cómo habitualmente se ha venido entendiendo dicha obra. La investigación se centra predominantemente en el rastreo de las fuentes citadas por el propio Venturi en su libro, así como de los textos de mayor difusión (generalmente revistas profesionales no exclusivamente académicas, además de libros, catálogos de exposiciones, actas de simposios…), y no tanto en las obras construidas o proyectadas; sí, quizás, en los términos en los que dichas obras fueron publicadas, comentadas o reseñadas. Así, se ha adoptado una aproximación concebida sub specie bibliotecae, donde se han aplicado unos métodos de trabajo caracterizados por su componente cronológica, y, después, analítico-comparativa: dicho de otro modo, un método historiográfico-periodístico capaz de relacionar las historias o cursos de ciertas ideas o nociones, dentro de un contexto general más amplio en sus derivadas arquitectónicas, estéticas, socio-generacionales, culturales, filosóficas, científicas, políticas, literarias… Con ello, se pretende establecer una relectura del primer libro de Venturi y sus años de gestación desde unas nuevas concepciones, más modernas que postmodern(ist)as, proponiendo una posible evolución en la arquitectura más reciente cuyas raíces, a fin de cuentas, tendrían su origen en la Norteamérica de 1946 a 1966. ABSTRACT Complexity and Contradiction in Architecture has proved to be one of the capital, alluded references cited and reproduced in the architectural literature of the recent times. Not surprisingly, in the Introduction to the book, Vincent Scully wrote that "yet it is probably the most important writing on the making of architecture since Le Corbusier´s ‘Vers une Architecture’, of 1923". However, its sources seem to be unexplored or at least not examined. Therefore, Road to 1966 is presented as a research with three fundamental starting objectives: (1) first, the interest in studying the burning architectural debate, created within the arising frictions among the protagonists of the years that changed the status of what was considered a legitimate work in architecture; (2) second, it seeks to extend the chronology of the intellectual background of the book written by Venturi, which marked the second half of the twentieth century, in a retroactive manner to the years of the World War II, when it seems that some new positions from which to approach the issues of practice, theory and history of architecture began to be consistent and recognizable; (3) lastly, to offer a new interpretation of Venturi’s text, now understood not as the primal source of the great transformations of the recent architecture (of the last fifty years), but as the necessary result of that background intellectual chronology. The American architecture of these post-war years has proved to be crucial in its later stages, and especially in relation to the book of Robert Venturi. In fact, Scully in the Introduction to the first edition of Complexity and Contradiction, noted that "the major argument of this book was laid out in the late fifties". The fact that the architecture of the twentieth century –when the leading figure of Venturi was consolidated- has in the North America of the sixties one of its most decisive chapters, (often assumed as the next step to the imported European heroic modernism) today seems to be discussed by almost anyone. Now, what about the intervening years? What happens between the end of the World War II and the sixties? The potential lack of a clear dominant position of this stage may have plunged it into oblivion or oversight by historians and critics. Thus, this research is structured around the role that occupies Venturi’s work, whereas this is not its only subject. Rather taken as an excuse, the thesis deepens deductively in the set of circumstances that could lead its author to the conclusions he developed in 1966, detecting biographical and academic environments, shared thoughts and epistemological and mutual professional influences, that would justify a new interpretation of this book as a necessary corollary of an outlook of crisis and change (this major and center subject in this dissertation), contrary to what has been commonly understood upon this work. The research focuses predominantly on tracing the sources cited by Venturi himself in his book, as well as other texts of wider dissemination and outreach (usually professional journals not exclusively academic, as well as books, catalogs of exhibitions, symposia proceedings...), and not so much in the buildings or unbuilt projects; but also, perhaps, it is focused in the terms in which these works were published, commented or reviewed. Hence an approach conceived sub specie bibliotecae has been adopted, with working methods characterized by their chronological component, and then the analytical-comparative one: in other words, a historiographicaljournalistic method able to relate stories or courses of certain ideas or notions, within a broader general context in its architectural, aesthetic, sociological-generational, cultural, philosophical, scientific, political, literary... sides. This approach intends to establish a re-reading of Venturi’s first book and its years of gestation, from some new understandings, more modern than postmodern(ist), proposing a possible evolution of the latest architecture whose roots, after all, would have their origin in the North America of 1946-1966.

Written on the threshold

One of the most productive discoveries of art and architectural criticism is the comparative reading between different situations. It is an approach that does away with all conventions and destroys any attempt to codifing the future. It also reveals the futility of established styles or movements. In the early 20th century, the Russian Formalists spoke of the dissimilarity of the similar in literature and more than a few studies on the visual arts have used the comparative method, from Heinrich Wolfflin to Robert Venturi. But something more has to be added, personal biography. The involvement of the individual, their name and their life, in the history of art bursts in with all the force of what is real, with no need for credibility, because it merely is what it is. The histories of architecture and art tell things in a believable, perfectly connected manner, without the fits and starts of personal biography - when this appears we find ourselves in a different sort of situation.

Little journeys to homes of great scientists ... written by Elbert Hubbard ...

bk. 2

Little journeys to homes of great scientists ... written by Elbert Hubbard ...

bk. 1

Why the fair innings argument is not persuasive

The fair innings argument (FIA) is frequently put forward as a justification for denying elderly patients treatment when they are in competition with younger patients and resources are scarce. In this paper I will examine some arguments that are used to support the FIA. My conclusion will be that they do not stand up to scrutiny and therefore, the FIA should not be used to justify the denial of treatment to elderly patients, or to support rationing of health care by age.

Gestos de formação: experiências de integração ensino-serviço em saúde + arte literária

Este trabalho, fruto de uma iniciativa de mestrado profissional, combinou pesquisa científica com arte literária, especialmente com o romance Ensaio Sobre a Cegueira, de José Saramago. O objetivo desta pesquisa: elaborar um ensaio baseado em um processo de argumentação para pensar a minha formação em saúde a partir de diferentes experiências. Para desenvolvê-lo, uso o seguinte argumento: as minhas experiências no Programa de Educação pelo Trabalho para a Saúde (PET-Saúde) são um diferencial na minha formação em Educação Física. Para demonstrar a validade desse argumento, levantei premissas e discorri sobre elas a fim de concluir esse processo de argumentação. São elas: (1) diversificação do cenário de ensino-aprendizagem; (2) aproximação de estudantes com o ambiente de trabalho; (3) vivência interprofissional com vistas ao exercício da integralidade; (4) abertura para outros modos de pensar o corpo na formação em Educação Física. A propósito das experiências dos participantes da pesquisa, foi feito um encontro no qual conduzi duas atividades: narrativas individuais escritas e roda de conversa nos moldes de um grupo focal. Como resultado, apresento experiências de integração ensino-serviço de estudantes de Educação Física na atenção primária/atenção básica em saúde a partir do PET-Saúde no Projeto da USP-Capital, versão de 2010-2012. A partir delas, destacamos que houve mudanças nos modos de pensar e de operar as práticas de saúde, além de transformar o profissional a ponto de ele se interessar e defender o SUS como espaço de trabalho. É interessante enfatizar que as experiências produziram o que denomino gestos, movimentos que poderão inspirar ou instigar estudantes e profissionais da saúde na reflexão a respeito da formação.

April 4, 1968: Death, Difference, and Dialogue

Robert Kennedy's announcement of the assassination of Martin Luther King, Jr., in an Indianapolis urban community that did not revolt in riots on April 4, 1968, provides one significant example in which feelings, energy, and bodily risk resonate alongside the articulated message. The relentless focus on Kennedy's spoken words, in historical biographies and other critical research, presents a problem of isolated effect because the power really comes from elements outside the speech act. Thus, this project embraces the complexities of rhetorical effectivity, which involves such things as the unique situational context, all participants (both Kennedy and his audience) of the speech act, aesthetic argument, and the ethical implications. This version of the story embraces the many voices of the participants through first hand interviews and new oral history reports. Using evidence provided from actual participants in the 1968 Indianapolis event, this project reflects critically upon the world disclosure of the event as it emerges from those remembrances. Phenomenology provides one answer to the constitutive dilemma of rhetorical effectivity that stems from a lack of a framework that gets at questions of ethics, aesthetics, feelings, energy, etc. Thus, this work takes a pedagogical shift away from discourse (verbal/written) as the primary place to render judgments about the effects of communication interaction. With a turn to explore extra-sensory reasoning, by way of the physical, emotional, and numinous, a multi-dimensional look at public address is delivered. The rhetorician will be interested in new ways of assessing effects. The communication ethicist will appreciate the work as concepts like answerability, emotional-volitional tone, and care for the other, come to life via application and consideration of Kennedy's appearance. For argumentation scholars, the interest comes forth in a re-thinking of how we do argumentation. And the critical cultural scholar will find this story ripe with opportunities to uncover the politics of representation, racialized discourse, privilege, power, ideological hegemony, and reconciliation. Through an approach of multiple layers this real-life tale will expose the power of the presence among audience and speaker, emotive argument, as well as the magical turn of fate which all contributes the possibility of a dialogic rhetoric.

Enhancing Conservation Options: An Argument for Statutory Recognition of Options to Purchase Conservation Easements (OPCEs)

The most dynamic component of the conservation movement in the United States for the past three decades has been land conservation transactions. In the United States, land conservation organizations have protected roughly 40 million acres of land through transactions. Most of these acres have been protected using conservation easements. Climate change threatens the vast conservation edifice created by land conservation transactions. The tools of land conservation transactions are, traditionally, stationary. Climate change means that the resources that land conservation transactions were intended to protect may no longer remain on the land protected. Options to purchase conservation easements (OPCEs) have long played a modest but important role in conservation law practice. In the world climate change is creating, with its substantial uncertainties and shifting windows of opportunity, OPCEs can serve more complicated and strategic purposes. The ability of OPCEs to serve important roles in protecting land in the context of uncertainty would be significantly increased if state legislatures amend current conservation easement statutes to (1) specifically recognize OPCEs, (2) immunize OPCEs from a range of potential common law challenges, (3) guarantee the durability and transferability of OPCEs, and (4) integrate OPCEs into the burgeoning body of conservation easement law. These statutory amendments would do for OPCEs what conservation easement statutes have done for conservation easements: transform them into an essential multi-purpose tool for conservation in a changing world.