Vulnerabilidade externa e composição da posição internacional de investimentos: Brasil 2001-2010

The aim of this paper is to indicate that there was a significant change in the composition of the Brazilian International Investment Position in the period 2001-2010: international reserves became higher than the external debt and decreased the share of foreign liabilities denominated in foreign currency, getting smaller that the participation of the external liabilities denominated in domestic currency. These tend to suffer a double devaluation (prices and exchange rates) in times of crisis, thus characterizing the reduction of the external vulnerability in the financial sphere as evidenced in the global crisis hatched in 2008.

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.

L'Univers musical : journal et abonnement musical

1856 (A4)-1858 (A6).

L'Univers musical : journal et abonnement musical

1859 (A7)-1860 (A8).

L'Univers musical : journal et abonnement musical

1861 (A9).

L'Univers musical : journal et abonnement musical

1862 (A10).

L'Univers musical : journal et abonnement musical

1863 (A11)-1864 (A12).

L'Univers musical : journal et abonnement musical

1853 (A1)-1855 (A3).

L'Univers musical (Paris)

Périodicité : Bimensuel (nov. 1853-oct. 1860) ; hebdomadaire (nov. 1860-mars 1864)

Receipt from W. H. Eckhardt, Pianos, Organs, Sheet Music and Musical Merchandise for piano

Receipt from W. H. Eckhardt, Pianos, Organs, Sheet Music and Musical Merchandise for piano, May 9, 1887.