The stewardship paradigm : an enquiry into the ethical obligation associated with being in control of resorces

The resource allocation and utilization discourse is dominated by debates about rights particularly individual property rights and ownership. This is due largely to the philosophic foundations provided by Hobbes and Locke and adopted by Bentham. In our community, though, resources come not merely with rights embedded but also obligations. The relevant laws and equitable principles which give shape to our shared rights and obligations with respect to resources take cognizance not merely of the title to the resource (the proprietary right) but the particular context in which the right is exercised. Moral philosophy regarding resource utilisation has from ancient times taken cognizance of obligations but with ascendance of modernity, the agenda of moral philosophy regarding resources, has been dominated, at least since John Locke, by a preoccupation with property rights; the ethical obligations associated with resource management have been largely ignored. The particular social context has also been ignored. Exploring this applied ethical terrain regarding resource utilisation, this thesis: (1) Revisits the justifications for modem property rights (and in that the exclusion of obligations); (2) Identifies major deficiencies in these justifications and reasons for this; (3) Traces the concept of stewardship as understood in classical Greek writing and in the New Testament, and considers its application in the Patristic period and by Medieval and reformist writers, before turning to investigate its influence on legal and equitable concepts through to the current day; 4) Discusses the nature of the stewardship obligation,maps it and offers a schematic for applying the Stewardship Paradigm to problems arising in daily life; and, (5) Discusses the way in which the Stewardship Paradigm may be applied by, and assists in resolving issues arising from within four dominant philosophic world views: (a) Rawls' social contract theory; (b) Utilitarianism as discussed by Peter Singer; (c) Christianity with particular focus on the theology of Douglas Hall; (d) Feminism particularly as expressed in the ethics of care of Carol Gilligan; and, offers some more general comments about stewardship in the context of an ethically plural community.

Philosophy as a Path to Happiness : Attainment of Happiness in Arabic Peripatetic and Ismaili Philosophy

The aim of the dissertation is to explore the idea of philosophy as a path to happiness in classical Arabic philosophy. The starting point is in comparison of two distinct currents between the 10th and early 11th centuries, Peripatetic philosophy, represented by al-Fārābī and Ibn Sīnā, and Ismaili philosophy represented by al-Kirmānī and the Brethren of Purity. They initially offer two contrasting views about philosophy in that the attitude of the Peripatetics is rationalistic and secular in spirit, whereas for the Ismailis philosophy represents the esoteric truth behind revelation. Still, they converge in their view that the ultimate purpose of philosophy lies in its ability to lead man towards happiness. Moreover, they share a common concept of happiness as a contemplative ideal of human perfection, which refers primarily to an otherworldly state of the soul s ascent to the spiritual world. For both the way to happiness consists of two parts: theory and practice. The practical part manifests itself in the idea of the purification of the rational soul from its bodily attachments in order for it to direct its attention fully to the contemplative life. Hence, there appears an ideal of philosophical life with the goal of relative detachment from the worldly life. The regulations of the religious law in this context appear as the primary means for the soul s purification, but for all but al-Kirmānī they are complemented by auxiliary philosophical practices. The ascent to happiness, however, takes place primarily through the acquisition of theoretical knowledge. The saving knowledge consists primarily of the conception of the hierarchy of physical and metaphysical reality, but all of philosophy forms a curriculum through which the soul gradually ascends towards a spiritual state of being along an order that is inverse to the Neoplatonic emanationist hierarchy of creation. For Ismaili philosophy the ascent takes place from the exoteric religious sciences towards the esoteric philosophical knowledge. For Peripatetic philosophers logic performs the function of an instrument enabling the ascent, mathematics is treated either as propaedeutic to philosophy or as a mediator between physical and metaphysical knowledge, whereas physics and metaphysics provide the core of knowledge necessary for the attainment of happiness.

Racionalidad de la filosofía política

Resumen: Se plantea, en primer lugar, el estado de la cuestión de la índole de la Filosofía Política como filosofía práctica, desde sus inicios en la tradición clásica griega hasta la actualidad. En el pensamiento griego se destaca Aristóteles con la justificación del ejercicio de la racionalidad práctica en los asuntos políticos. En la modernidad la filosofía práctica sale de escena, privándosela de legitimidad epistemológica. Por último, se valora una interesante propuesta en el pensamiento alemán del siglo XX por rehabilitar la filosofía práctica en clave aristotélica. Frente al estado de la cuestión se retoma a Aristóteles desde la lectura tomasiana de lo político y de la Filosofía Política. Su propósito ha sido el de salvar la verdad y la certeza de la Filosofía Política, la posibilidad de juicios de verdad y falsedad en el orden moral y político y, en especial, afirmar su validez normativa como saber filosófico, analizando la comunidad política en esa posibilidad de ser considerada como objeto-científico- filosófico-práctico-moral.

Hekate, de deusa ctônica dos atenienses do período clássico à deusa da feitiçaria no imaginário social do Ocidente

Nosso eixo temático se desenvolve a partir do questionamento do epíteto de Deusa da Feitiçaria atribuído tardiamente à deidade grega Hekate. A partir do período Clássico em Atenas iniciaram-se críticas às práticas mágico-religiosas cujo objetivo era fazer mal ao inimigo; realizadas por indivíduos (mágoi - magos) os quais também sabiam utilizá-las para a cura, como o uso das phármaka (ervas). O desenvolvimento da Escola de Medicina Hipocrática, no período Clássico, e seus tratados médicos, se configuram como uma das críticas direcionadas aos mágoi e das divindades que evocavam em suas práticas mágicas. Um tratado em especial, Da Doença Sagrada, combate a divinização da epilepsia e as práticas curativas desta enfermidade através da persuasão dos deuses. Platão também teceu críticas aos que ofereciam seus serviços mágicos de porta em porta por uma pequena quantia. Acreditamos que a partir dessas críticas se desenvolveu no imaginário social ateniense a relação entre a deusa grega Hekate e a magia de fazer mal ao inimigo cuja permanência é observada nos dias atuais. Nosso arcabouço teórico constitui-se dos conceitos desenvolvidos pelo filósofo polonês Bronislaw Baczko no verbete imaginação social na Enciclopedia Einaudi.

Albucasis, Traitier de Cyrurgie: Edition de la traduction en ancien fran?ais de la Chirurgie d'Abu'l Qasim Halaf Ibn ?Abbas al-Zahrawi du manuscrit BNF, fran?ais 1318.

Trotter, David, Albucasis, Traitier de Cyrurgie: Edition de la traduction en ancien fran?ais de la Chirurgie d'Abu'l Qasim Halaf Ibn ?Abbas al-Zahrawi du manuscrit BNF, fran?ais 1318 (Niemeyer, 2005)

Le sacrement du malheur chez Simone Weil

Pour Simone Weil, le malheur est « quelque chose de spécifique, irréductible à toute autre chose, comme les sons, dont rien ne peut donner aucune idée à un sourd-muet ». Il s’apparente à un sacrement, à un rite sacré susceptible de rapprocher l’homme du divin. Et si la pensée weilienne se révèle non-conformiste pour aborder la figure du malheur, c’est parce qu’elle ne se limite pas à une tradition unique, mais trouve écho tant dans la religion chrétienne et le Nouveau Testament que dans la philosophie grecque de l’antiquité – principalement le stoïcisme et le platonisme – et dans certains textes orientaux tels que la Bhagavad-Gîtâ et le Tao Te King. Par un singulier amalgame de ces influences, Weil donne naissance à une méthode spirituelle dont une des étapes fondamentales est le malheur, thème très fécond pour dénouer et affronter le dialogue entre spiritualité et contemporanéité. Parce que cette méthode ne peut pleinement être appréhendée que sur la frontière de l’athéisme et de la croyance religieuse, approfondir ses implications permet d’interroger les traces du sacré dans les civilisations occidentales. Retracer les étapes de son développement permet également de sonder le rapport qu’entretiennent les hommes avec le malheur, ainsi que de porter un regard sensible sur une époque où l’actualité fait souvent état des malheureux alors que le malheur d’autrui semble être une réalité à fuir.

Érasme en français : édition critique de la "Paraphrase sur l’epistle de saint Paul l’apostre aux Roumains" d’Hubert Kerssan (1526)

La contribution intellectuelle d’Érasme de Rotterdam (ca 1466-1536), en particulier dans les domaines exégétique, philologique et littéraire, a été décisive pour l’histoire des idées et l’évangélisme humaniste. Ses "Paraphrases sur le Nouveau Testament", visant principalement à clarifier le propos des saintes Écritures, représentent l’aboutissement de tout son travail exégétique. Davantage qu’un commentaire savant, elles ont contribué à diffuser la piété et le savoir biblique chez les laïcs, ce qui explique le franc succès qu’elles ont remporté au XVIe siècle. Toutefois, la question de leur réception et de leur diffusion en langue française reste encore peu explorée. La "Paraphrase sur l’épître de Paul aux Romains" a eu une importance toute particulière dans le contexte de la Réforme religieuse. Elle a été traduite du latin au français dans un manuscrit rédigé en 1526 par Hubert Kerssan, chanoine de Nivelles, dans le Brabant wallon. Destinée sans doute à un usage privé ou, du moins, à une diffusion plus restreinte, cette traduction est restée dans l’ombre jusqu’à aujourd’hui et son existence même est encore inconnue de la critique, d’où notre projet de la rendre accessible grâce à l’établissement d’une édition critique. Ce travail éditorial a été l’occasion d’étudier la traduction de Kerssan en regard du texte original, ce qui nous a permis de déterminer comment elle s’en distingue, de même que de réfléchir au choix du mode de diffusion manuscrit dans le contexte humaniste du XVIe siècle. Après près de cinq siècles, le manuscrit de Nivelles peut enfin acquérir une certaine visibilité. Il saura contribuer à l’étude de la réception et de la diffusion de la pensée érasmienne dans les milieux francophones en Europe ainsi qu’aux problèmes théologiques et culturels posés par l’œuvre d’Érasme.

The Place of the Gods : Biblical, Tragic, and Humanist Modes in Shakespeare’s Antony and Cleopatra

Ce mémoire se focalise sur la pièce Antony and Cleopatra de Shakespeare en relation avec la pensée biblique, l’humanisme de la Renaissance et les caractéristiques de la tragédie comme genre littéraire et philosophie grecque. La chute d’Adam et Eve dans la Bible, ainsi que le conflit entre le héros tragique et les dieux, sont deux thèmes qui sont au centre de ce mémoire. Le mythe de la chute d’Adam et Eve sert, en effet, d’un modèle de la chute—et par conséquent, de la tragédie—d’Antoine et Cléopâtre mais aussi de structure pour ce mémoire. Si le premier chapitre parle de paradis, le deuxième évoque le péché originel. Le troisième, quant à lui, aborde une contre-rédemption. Le premier chapitre réfère à l’idée du paradis, ou l’Éden dans la bible, afin d’examiner ce qui est édénique dans Antony and Cleopatra. La fertilité, l’épicuréisme, l’excès dionysien sont tous des éléments qui sont présents dans la conception d’un Éden biblique et Shakespearien. Le deuxième chapitre est une étude sur la tragédie comme genre fondamentalement lié à la pensée religieuse et philosophique des grecs, une pensée qui anime aussi Antony and Cleopatra. Ce chapitre montre, en effet, que les deux protagonistes Shakespeariens, comme les héros tragiques grecs, défient les dieux et le destin, engendrant ainsi leur tragédie (ou ‘chute’, pour continuer avec le mythe d’Adam et Eve). Si le deuxième chapitre cherche à créer des ponts entre la tragédie grecque et la tragédie Shakespearienne, le troisième chapitre montre que le dénouement dans Antony and Cleopatra est bien différent des dénouements dans les tragédies de Sophocle, Euripide, et Eschyle. Examinant la pensée de la Renaissance, surtout la notion d’humanisme, la partie finale du mémoire présente les protagonistes de Shakespeare comme des éternels rebelles, des humanistes déterminés à défier les forces du destin.

Modelo de gestión del conocimiento para una empresa del sector de insumos químicos para la industria farmacéutica, cosmética y de alimentos: caso Disaromas S.A.

La creación de conocimiento al interior de las organizaciones es visible mediante la dirección adecuada del conocimiento de los individuos, sin embargo, cada individuo debe interactuar de tal manera que forme una red o sistema de conocimiento organizacional que consolide a largo plazo las empresas en el entorno en el que se desenvuelven. Este documento revisa elementos centrales acerca de la gestión de conocimiento visto desde varios autores y perspectivas e identifica puntos clave para diseñar un modelo de gestión de conocimiento para una empresa del sector de insumos químicos para la industria farmacéutica, cosmética y de alimentos de la ciudad de Bogotá.

CUP Intermediate Greek-English Lexicon

Document design and typeface design: A typographic specification for a new Intermediate Greek-English Lexicon by CUP, accompanied by typefaces modified for the specific typographic requirements of the text. The Lexicon is a substantial (over 1400 pages) publication for HE students and academics intended to complement Liddell-Scott (the standard reference for classical Greek since the 1850s), and has been in preparation for over a decade. The typographic appearance of such works has changed very little since the original editions, largely to the lack of suitable typefaces: early digital proofs of the Lexicon utilised directly digitised versions of historical typefaces, making the entries difficult to navigate, and the document uneven in typographic texture. Close collaboration with the editors of the Lexicon, and discussion of the historical precedents for such documents informed the design at all typographic levels to achieve a highly reader-friendly results that propose a model for this kind of typography. Uniquely for a work of this kind, typeface design decisions were integrated into the wider document design specification. A rethinking of the complex typography for Greek and English based on historical editions as well as equivalent bilingual reference works at this level (from OUP, CUP, Brill, Mondadori, and other publishers) led a redefinition of multi-script typeface pairing for the specific context, taking into account recent developments in typeface design. Specifically, the relevant weighting of elements within each entry were redefined, as well as the typographic texture of type styles across the two scripts. In details, Greek typefaces were modified to emphasise clarity and readability, particularly of diacritics, at very small sizes. The relative weights of typefaces typeset side-by-side were fine-tuned so that the visual hierarchy of the entires was unambiguous despite the dense typesetting.

Ética e educação clássica: virtude e felicidade no justo meio

O presente estudo debruça-se sobre a interface do problema educativo com a problemática da ética, compreendendo a pedagogia com a arte/ciência voltada para a busca do bem educar/instruir/formar. Para tanto, o texto mobilizará conceitos da concepção ética da Aristóteles; e, na atmosfera mental da Grécia clássica, recorre-se ao termo específico grego e transdisciplinar na origem: paideia. A seguir, este ensaio procura pontuar alguns aspectos da concepção iluminista a propósito do tema, valendo-se da noção kantiana de imperativo categórico, a qual teria sido precedida pelo parecer de Rousseau, segundo o qual a vontade - e não a razão - seria a marca distintiva do gênero humano no ambiente natural. A idéia de Piaget de uma ética da reciprocidade também é aqui mobilizada. Abordando diacronicamente a temática, serão analisados conceitos de autores clássicos no debate da relação entre educação e ética, com destaque para o sentido conferido por Hanna Arendt para a autoridade como critério distintivo da relação assimétrica entre o educador (as gerações adultas de maneira geral) e os estudantes (ou as novas gerações). Arendt defende, como conceito e pressuposto operatório, a dimensão necessariamente conservadora do ato educativo: compete ao educador preservar do mundo as novas gerações e preservar o mundo das novas gerações - para que estas não destruam o suporte e o acervo cultural acumulados.

Pissing Glass and the Body Crass: Adaptations of the Scatological in Théophile

Examination of scatological motifs in Théophile de Viau’s (1590-1626) libertine, or ‘cabaret’ poetry is important in terms of how the scatological contributes to the depiction of the Early Modern body in the French lyric.1 This essay does not examine Théophile’s portrait of the body strictly in terms of the ‘Baroque’ or the ‘neo-Classical.’ Rather, it argues that the scatological context in which he situates the body (either his, or those of others), reflects a keen sensibility of the body representative of the transition between these two eras. Théophile reinforces what Bernard Beugnot terms the body’s inherent ‘eloquence’ (17), or what Patrick Dandrey describes as an innate ‘textuality’ in what the body ‘writes’ (31), and how it discloses meaning. The poet’s scatological lyric, much of which was published in the Pamasse Satyrique of 1622, projects a different view of the body’s ‘eloquence’ by depicting a certain realism and honesty about the body as well as the pleasure and suffering it experiences. This Baroque realism, which derives from a sense of the grotesque and the salacious, finds itself in conflict with the Classical body which is frequently characterized as elegant, adorned, and ‘domesticated’ (Beugnot 25). Théophile’s private body is completely exposed, and, unlike the public body of the court, does not rely on masking and pretension to define itself. Mitchell Greenberg contends that the body in late sixteenth-century and early seventeenth-century French literature is often depicted in a chaotic manner because, ‘the French body politic was rent by tumultuous religious and social upheavals’ (62).2 While one could argue that Théophile’s portraits of a syphilis-ridden narrators are more a reflection of his personal agony rather than that of France as a whole, what emerges in Théophile is an emphasis on the movement, if not decomposition of the body.3 Given Théophile’s public persona and the satirical dimension of his work, it is difficult to imagine that the degeneration he portrays is limited only to his individual experience. On a collective level, Théophile reflects what Greenberg calls ‘a continued, if skewed apprehension of the world in both its physical and metaphysical dimensions’(62–3) typical of the era. To a large extent, the body Théophile depicts is a scatological body, one whose deterioration takes the form of waste, disease, and evacuation as represented in both the private and public domain. Of course, one could cast aside any serious reading of Théophile’s libertine verse, and virtually all of scatological literature for that matter, as an immature indulgence in the prurient. Nonetheless, it was for his dissolute behavior and his scatological poetry that Théophile was imprisoned and condemned to death. Consequently, this part of his work merits serious consideration in terms of the personal and poetic (if not occasionally political) statement it represents. With the exception of Claire Gaudiani’s outstanding critical edition of Théophile’s cabaret lyric, there exist no extensive studies of the poet’s libertine œuvre.4 Clearly however, these poems should be taken seriously with respect to their philosophical and aesthetic import. As a consequence, the objective becomes that of enhancing the reader’s understanding of the lyric contexts in which Théophile’s scatological offerings situate themselves. Structurally, the reader sees how the poet’s libertine ceuvre is just that — an integrated work in which the various components correspond to one another to set forth a number of approaches from which the texts are to be read. These points of view are not always consistent, and Théophile cannot be thought of as writing in a sequential manner along the lines of devotional Baroque poets such as Jean de La Ceppède and Jean de Sponde. However, there is a tendency not to read these poems in their vulgar totality, and to overlook the formal and substantive unity in this category of Théophile’s work. The poet’s resistance to poetic and cultural standards takes a profane, if not pornographic form because it seeks to disgust and arouse while denigrating the self, the lyric other, and the reader. Théophile’s pornography makes no distinction between the erotic and scatological. The poet conflates sex and shit because they present a double form of protest to artistic and social decency while titillating and attacking the reader’s sensibilities. Examination of the repugnant gives way to a cathartic experience which yields an understanding of, if not ironic delight in, one’s own filthy nature.