Cultura e natureza no jovem Nietzsche: o problema da formação (bildung)

Dedicamo-nos ao estudo do modo como aparece a questão sobre a formação do ser humano no pensamento de Friedrich Nietzsche (1844-1900), entendendo que ele dialoga com a antiguidade grega e com a tradição sobre a questão da formação (Bildung) na Alemanha dos séculos XVIII e XIX. Para tanto realizamos alguns apontamentos sobre o classicismo e o idealismo alemão, além do sentido e consequência dos princípios fundamentais da Aufklãrung. A pesquisa se desdobra a partir do modo como Nietzsche entende o sentido da arte em si mesma, e consequentemente, do modo como o seu agente, o artista, realiza um movimento que imita a dinâmica de existência da própria natureza; o que ocasiona primeiramente uma mudança na concepção do que seja obra de arte concepção fundamental ao pensamento sobre a Bildung já no século XVIII para determinar o que deve ser o homem. Com isso, é preciso rever os fundamentos sobre os quais se assentaram o humanismo alemão moderno, e ser redefinido o que é humanidade e o que é natureza e que relação há entre elas. Nesta revisão das definições que norteiam os direcionamentos da cultura por meio da formação dos indivíduos, realiza-se a crítica nietzscheana quanto às razões e metas dos meios de educação modernos e de sua institucionalização. Ao mesmo tempo que, por outro lado, refletimos sobre a proposta do que seria de fato a constituição de uma cultura que correspondesse ao ideal trágico de humanidade: ou seja, de uma formação que educasse para finalidades mais altas dos homens, que correspondessem à meta metafísica da natureza. O que é o homem? Quais são suas metas mais altas? O que é o mundo ou a natureza? O que é a arte? O que é a cultura? São estas questões fundamentais que norteiam esta dissertação, considerando-se a hipótese de que a idéia de formação em Nietzsche é uma forma de superar a Bildung clássica pautada na racionalidade e moralidade, mas de modo distinto à pretensão de superação das oposições proposta pelo idealismo.

Tipología exegética de Jodoco Badio Ascensio. El caso de las «Sátiras» de Persio

[ES] En este trabajo, vamos a intentar explicar cuál es la tipología exegética de Jodoco Badio Ascensio a través de sus comentarios al autor satírico romano Persio Aulo Flaco. Es el propio humanista quien nos aporta los criterios que ha seguido, aunque como se verá no siempre los respeta.

Casamento, vida privada e comicidade à luz das comédias de Plauto e Gil Vicente

O presente trabalho tem por objetivo o estudo crítico-teórico da comediografialatina pré-clássica e portuguesa humanista nas figuras de Plauto e Gil Vicente,considerando os aspectos relativos ao conceito de família, de casamento e de vidaprivada. Investigando as obras "" e "Comédia do Viúvo", realizamosAululariainicialmente um minucioso estudo da função e importância social destes conceitosnos contextos específicos da Roma Antiga, no período republicano, e de Portugal natransição da Idade Média para o Renascimento. Procedendo então a análises dasobras, à luz dos temas propostos, identificaremos como se expressam nodesenvolvimento temático no interior da encenação. A partir do conceito decomicidade e possíveis estratégias para sua obtenção fundamentadas em teóricoscomo Henri Bergson e Vladimir Propp, procuramos encontrar pontos deconvergência e divergência entre os tratamentos temáticos dos autores de modo aelucidar também a influência do modo de pensar social como elemento decisivo daexpressão literária. Tal estudo do elemento cômico será aprofundado tendo comoponto de partida trabalhos filosóficos e teóricos de Gilles Deleuze, Mikhail Bakhtin eFriedrich Nietzsche

Individuação e inocência: composições com Simondon e Whitehead

A filosofia viveu um tempo de luminosidade crua em que havia contentamento (pelo menos entre os filósofos dignos de serem estudados) com a postulação das condições de possibilidade que cabiam no horizonte que essa luz podia, então, iluminar. Tudo que escapasse desse horizonte era obscuridade, irracionalidade, mera especulação e, pior de todas as ofensas: metafísica. Mas, alguma filosofia do séc. XX encontrou uma outra distribuição de luminosidade que permitiu um pensamento em claro-escuro, em tonalidades nuançadas em que a nitidez absoluta dos contornos se viu fluidificar, em que as figuras puras e sólidas se mostraram como híbridas, nebulosas derramadas, em que os objetos entraram na história e os homens se misturaram com a natureza, em que os movimentos do mundo e as imagens na consciência saíram da dualidade das qualidades primárias e secundárias e se aventuraram em novas perspectivas (aventuras que ainda atravessam desde a fenomenologia até o cinema). É neste cenário de novas distribuições que reaparece a questão da individuação apontando para uma outra concepção do indivíduo, não mais substancial e suporte de qualidades, não mais ancorado nos pares matéria e forma, atual e potencial. Tais pares se revelam insuficientes por não darem conta das impurezas que vêm à tona e das surpreendentes possibilidades inventadas (simbioses, alianças, infecções) e não somente atualizadas a partir de um potencial (filiação, reprodução). Nesse novo modo de compor, o atributo não mais se remete a um predicado qualidade, mas ao acontecimento, não mais às possibilidades latentes, mas à potência a ser inventada nas composições, nas relações constituintes dos diferentes modos de existência. Simondon foi o primeiro filósofo a levar em conta, de modo específico, o indivíduo se inventando em composição, daí ter renovado a questão da individuação e transformado o estatuto da relação. O ser é relação, tal é, com Simondon, a proposição que passa a figurar no centro do pensamento da individuação. Mas se, por um lado, havia essa promoção da relação, por outro lado, parecia não haver a liberação dos modos que, enfim, remetiam a uma natureza dos possíveis. Mesmo não funcionando como princípio, essa natureza parecia capturar os modos num potencial, de tal maneira que um novo humanismo, tão sufocante quanto qualquer outro, acompanhava toda a produção de Simondon. Não à toa, sua narrativa dos diferentes modos se fecha no encontro de uma unidade capaz de suportar o multirealismo dos híbridos que surgiam por toda parte. As metas, os sentidos do devir que povoam a obra de Simondon não seriam os ecos de uma velha moral da pureza, da luminosidade branca?Para escapar desse rebatimento da aventura dos modos em tipos privilegiados de relação que levavam a restaurar a unidade perdida, era preciso se lançar na inocência do processo das inumeráveis atividades de um tecido sem base, jogo de linhas impuras em cruzamentos inventados a cada momento. Nesse sentido: era o pensamento especulativo, expresso em sua própria escrita em zig-zag, de Whitehead já um antídoto aos possíveis rebatimentos da nova filosofia da individuação num mundo por demais reconhecido? É esse o espírito da composição nesse trabalho: a individuação simondoneana com a insistência em se entregar à aventura inocente dos processos se fazendo que se encontra em Whitehead (e nos muitos aliados que foram convocados para que outras músicas se façam ouvir).

Reżyserki na indeksie. Historia kina kobiet w Europie Środkowej w Wschodniej

Autorka dokonuje krytycznej rekapitulacji wskazówek metodologicznych dotyczących pisania historii kina kobiet w anglojęzycznej literaturze przedmiotu, odnosząc je do specyfiki kinematografii środkowo- i wschodnioeuropejskiej. Projekt dyskursu historii kina kobiet wpisuje w postulaty ponowoczesnej historiografii i nowej humanistyki, poszukującej tradycji grup mniejszościowych oraz krytycznie odnoszącej się do historii tradycyjnej. Problematyka kina kobiet w dyskursie historii kina powinna, zdaniem autorki, objąć także doświadczenia edukacyjne i zawodowe kobiet, związki biografii zawodowej i prywatnej oraz publiczne i wyobrażone wizerunki reżyserek.

Max Stirner's relevance to contemporary philosophy: a critical analysis

The aim of this dissertation is to revive the 19th-century thinker Max Stirner’s thought through a critical reexamination of his mistaken legacy as a ‘political’ thinker. The reading of Stirner that I present is one of an ontological thinker, spurred on as much—if not more—by the contents of Hegel’s Phenomenology of Spirit as it is the radical roots that Hegel unintentionally planted. In the first chapter, the role of language in Stirner’s thought is examined, and the problems to which his conception of language seem to give rise are addressed. The second chapter looks at Stirner’s purportedly ‘anarchistic’ politics and finds the ‘anarchist’ reading of Stirner misguided. Rather than being a ‘political’ anarchist, it is argued that we ought to understand Stirner as advocating a sort of ‘ontological’ anarchism in which the very existence of authority is questioned. In the third chapter, I look at the political ramifications of Stirner’s ontology as well as the critique of liberalism contained within it, and argue that the politics implicit in his philosophy shares more in common with the tradition of political realism than it does anarchism. The fourth chapter is dedicated to an examination of Stirner’s anti-humanism, which is concluded to be much different than the ‘anti-humanisms’ associated with other, more famous thinkers, such as Foucault and Heidegger. In the fifth and final chapter, I provide an answer to the question(s) of how, if, and to what extent Friedrich Nietzsche was influenced by Stirner. It is concluded that the complete lack of evidence that Nietzsche ever read Stirner is proof enough to dismiss accusations of plagiarism on Nietzsche’s part, thus emphasizing the originality and singularity of both thinkers.

A Politics of the Unspeakable: The Differend of Israel

Israel's establishment in 1948 in former British-Mandate Palestine as a Jewish country and as a liberal democracy is commonly understood as a form of response to the Holocaust of WWII. Zionist narratives frame Israel's establishment not only as a response to the Holocaust, but also as a return to the Jewish people's original homeland after centuries of wandering in exile. Debates over Israel's policies, particularly with regard to Palestinians and to the country's non-Jewish population, often center on whether Israel's claims to Jewish singularity are at the expense of principles of liberal democracy, international law and universal human rights. In this dissertation, I argue that Israel's emphasis on Jewish singularity can be understood not as a violation of humanism's universalist frameworks, but as a symptom of the violence inherent to these frameworks and to the modern liberal rights-bearing subject on which they are based. Through an analysis of my fieldwork in Israel (2005-2008), I trace the relation between the figures of "Jew" and "Israeli" in terms of their historical genealogies and in contemporary Israeli contexts. Doing so makes legible how European modernity and its concepts of sovereignty, liberalism, the human, and subjectivity are based on a metaphysics of presence that defines the human through a displacement of difference. This displaced difference is manifest in affective expression. This dissertation shows how the figure of the Jew in relation to Israel reveals sexual difference as under erasure by the suppression of alterity in humanism's configuration of man, woman, and animal, and suggests a political subject unable to be sovereign or fully represented in language.

The conflict between realism and abstraction in the field of spanish art as an iteration of la "Querelle des Anciens et des Modernes"

Based on the analysis model favored by the study of the conditions in which the seventeenth century Querelle des Anciens et des Modernes took place, we examine the case of confrontation between realism and abstraction, which occurred in the context of Spanish art in the nineties of the twentieth century. Connections are established with other aesthetic conflicts which are considered part of a genealogy whose most explicit antecedent could be placed in the before mentioned complaint, such as the confrontation between realism and abstraction in the American art scene, which occurred in the fifties of the last century, and the more recent controversy on pluralism and the end of art.

Pastoral

This chapter argues that Milton’s Epitaphium Damonis, a neo-Latin pastoral lament on the death of Charles Diodati, is marked by the author's Petrarchan self-fashioning. This is achieved through intertextual engagement with Petrarch's Bucolicum Carmen (especially Ecls. 1 and 10). Milton as the wandering Thyrsis, undertaking a methaphorical and literal journey into the world of Italian humanism, appropriates and adapts the metaphorical departure from and return to a pastoral world now shattered by plague and death. Recourse to the quasi-Augustinian monasticism of Petrarchan neo-Latin pastoral facilitates the poem's crossing of a monastic limen via its subtle interaction with a hagiographic intertext, the Vita Sancti Deodati. Now pastoral saint and scholar become united in death and in subsequent apotheosis.

Migration to Northern Ireland

For a long time the society in Northern Ireland has been considered in binary terms of Protestantism or Catholicism, reflecting the two majority communities. Tradition and culture have long played an important role for these communities and the latest arrival of migrants has complicated this already complex picture. Problems have arisen with respect to social attitudes with incidences of discrimination being experienced by particular groups. Clearly cohesion and positive integration is not necessarily something that flows from an appropriate legislative framework. But equally, and perhaps more optimistically, early indications are that civil society and locality are important for building positive inter-group relations. This article presents a brief overview of recent patterns and processes of migration to Northern Ireland. It is based on ongoing research into this subject that has been conducted by the author since 2005. It presents the key features of recent migration before identifying some challenges arising for our society.

Analogies to semantic and syntactic mental labour in the Feist decision

The Supreme Court of the United States in Feist v. Rural (Feist, 1991) specified that compilations or databases, and other works, must have a minimal degree of creativity to be copyrightable. The significance and global diffusion of the decision is only matched by the difficulties it has posed for interpretation. The judgment does not specify what is to be understood by creativity, although it does give a full account of the negative of creativity, as ‘so mechanical or routine as to require no creativity whatsoever’ (Feist, 1991, p.362). The negative of creativity as highly mechanical has particularly diffused globally.

A recent interpretation has correlated ‘so mechanical’ (Feist, 1991) with an automatic mechanical procedure or computational process, using a rigorous exegesis fully to correlate the two uses of mechanical. The negative of creativity is then understood as an automatic computation and as a highly routine process. Creativity is itself is conversely understood as non-computational activity, above a certain level of routinicity (Warner, 2013).

The distinction between the negative of creativity and creativity is strongly analogous to an independently developed distinction between forms of mental labour, between semantic and syntactic labour. Semantic labour is understood as human labour motivated by considerations of meaning and syntactic labour as concerned solely with patterns. Semantic labour is distinctively human while syntactic labour can be directly humanly conducted or delegated to machine, as an automatic computational process (Warner, 2005; 2010, pp.33-41).

The value of the analogy is to greatly increase the intersubjective scope of the distinction between semantic and syntactic mental labour. The global diffusion of the standard for extreme absence of copyrightability embodied in the judgment also indicates the possibility that the distinction fully captures the current transformation in the distribution of mental labour, where syntactic tasks which were previously humanly performed are now increasingly conducted by machine.

The paper has substantive and methodological relevance to the conference themes. Substantively, it is concerned with human creativity, with rationality as not reducible to computation, and has relevance to the language myth, through its indirect endorsement of a non-computable or not mechanical semantics. These themes are supported by the underlying idea of technology as a human construction. Methodologically, it is rooted in the humanities and conducts critical thinking through exegesis and empirically tested theoretical development

References

Feist. (1991). Feist Publications, Inc. v. Rural Tel. Service Co., Inc. 499 U.S. 340.

Warner, J. (2005). Labor in information systems. Annual Review of Information Science and Technology. 39, 2005, pp.551-573.

Warner, J. (2010). Human Information Retrieval (History and Foundations of Information Science Series). Cambridge, MA: MIT Press.

Warner, J. (2013). Creativity for Feist. Journal of the American Society for Information Science and Technology. 64, 6, 2013, pp.1173-1192.

Robot

Klimowski’s graphic novel, Robot, was commissioned by the Adam Mickiewicz Institute in Warsaw to mark Poland’s Presidency of the European Union’s Cultural Programme in 2011. Self Made Hero and Timof Comiks published the book simultaneously in the UK and Poland. Klimowski adapted and translated Stanisław Lem’s short fiction ‘The sanatorium of Dr Vliperdius’ (1977), aiming to develop a new position for illustration and the graphic novel aside from mainstream graphic novels and literature, and a new approach to visual bookmaking. The project proved to be an artistic challenge: Lem often proclaimed his disapproval of adaptations of his work, dismissing even Andrei Tarkovsky’s film adaptation (1972) of his novel Solaris (1961). Produced in collaboration with Danusia Schejbal, Robot features a diptych form, counter-pointing (both formally and conceptually) two contrasting stories. The first is a colourful parable describing a totalitarian and autocratic regime that must be vanquished, the second a monochromatic dialectic on philosophy, humanism and mechanisation. Klimowski and Schejbal’s publication is intended to challenge stereotypes and established styles and formulas associated with the production of graphic novels. Much emphasis was laid upon the depiction of space and location, artificiality and realism. Silence and the suspension of linear time were also strong features of the artists’ investigations. These qualities were recognised and discussed by the media, in particular by a panel of critics on Polish Television’s Cultural Channel, in the most respected comics blog, Zeszyty Komiksowe (http://zeszytykomiksowe.org/recenzja_robot, 2012), and by Monika Malkowskain in the national newspaper Rzeczpospolita (2011). The artists gave a special talk at the Science Museum, London, during the Robot Festival ‘Robotville’ (December 2011). Lem, one of the world’s leading writers of science fiction, was featured throughout the year in the UK on stage, cinema and in literary events (Barbican Centre London, British Library, Science Museum London).

From space immaterial: the invisibility of the lawscape

This article aims to interrogate law's ambivalent relationship with urban space. It deals with the paradoxical relation between law and the city, visibility and invisibility, materiality and abstraction, and polis and metropolis. It builds on previous work on the lawscape, namely the priority of invitation by law or the city to be conditioned by the other, and expands this line of thought towards a more tangible understanding of visibility and its mutual constitution with invisibility. We believe that spatialisation is a relevant avenue for law's (re)conceptualisation because it moves away from a description of humanism based on the universality of subjectivity, and paves the way for a particularised and material description of law's multiplicity that specifically addresses law's social positioning. This inevitably leads to a dematerialisation of space and the reinstatement of circularity between concreteness and abstraction. Inspired by some of the themes addressed by the contributors in this issue, we begin constructing a vocabulary of lawscaping, where law and urban space are brought together in an epistemological embrace that targets and eventually questions the solipsistic way in which the two of them have been conceptualised so far.

On righteousness and dignity : two challenging issues since early modern times

Concepts such as righteousness, equality, tolerance and freedom are nowadays considered fundamental issues that should prevail in any society. Balance and righteousness thrive however on a very thin layer. We are, in fact, living in an era of duality and antithetical paradigms. This essay approaches two Renaissance authors who dealt with the same matters in their works, at a very different time and through different ways of reflection: Thomas More and Sir Walter Raleigh.