NOVA ANOTAÇÃO SINTÉTICA, NUMA PERSPECTIVA DE DIREITO PÚBLICO, AINDA AO ACÓRDÃO 212/95, DO TRIBUNAL CONSTITUCIONAL (PORTUGUÊS), DE 20.04.1995 - O DEVER FUNDAMENTAL DE EXISTIR NA LEI EM VIGOR UMA RESPONSABILIDADE CRIMINAL DAS "PESSOAS COLECTIVAS" (OU "PESSOAS JURÍDICAS") E A CONSTITUIÇÃO DA REPÚBLICA PORTUGUESA, V.G. O CASO DO ART. 7º DO REGIME GERAL DAS INFRACÇÕES TRIBUTÁRIAS E DO ART. 3.º DO REGIME DAS INFRACÇÕES ANTIECONÓMICAS E CONTRA A SAÚDE PÚBLICA

Resumo: 1 – Sumário do Acórdão do Tribunal Constitucional n.º 212/1995, de 20 de Abril; 2 – Parte principal do Acórdão do Tribunal Constitucional n.º 212/1995, de 20 de Abril: cfr. http://www.tribunalconstitucional.pt/tc/acordaos/19950212.html , 18 de Maio de 2012; 3 – Anotação sintética; 3.1 – Introdução à anotação sintética e suas características neste caso concreto; 4 – O RIAECSP (Regime das Infracções Anti-Económicas e Contra a Saúde Pública) e a responsabilidade criminal das pessoas colectivas e equiparadas, prevista no seu art. 3.º; 5 – Societas delinquere non potest?; 6 – Breves traços históricos do brocardo societas delinquere non potest; 7 - Alguns dos marcos relevantes na Doutrina penal portuguesa recente acerca da responsabilidade penal das organizações, entes colectivos, pessoas colectivas, pessoas jurídicas; 8 - Os art.os 12.º/2 e 2.º da CRP e a Responsabilidade Criminal dos Entes Colectivos, pessoas jurídicas; 9 - O art. 29.º/5 da CRP - ou o princípio non bis in idem - e a responsabilidade criminal das organizações, dos entes colectivos, das pessoas colectivas; 10 – Conclusões. § Summary: 1 - Summary Judgment of the Constitutional Court No. 212/1995 of 20 April; 2 - The main part of the Constitutional Court Ruling No. 212/1995 of 20 April: cfr. http://www.tribunalconstitucional.pt/tc/acordaos/19950212.html, May 18, 2012; 3 - short annotation; 3.1 - Introduction to synthetic note and its features in this particular case; 4 - The RIAECSP (Status of Anti-Economic Offences and Against Public Health) and the criminal liability of companies and similar persons, provided for in his art. 3; 5 - delinquere Societas non potest ?; 6 - Brief historical traces of societas aphorism delinquere non potest; 7 - Some of the important milestones in recent Portuguese criminal Doctrine about the criminal liability of organizations, public entities, legal persons, legal entities; 8 - art.os 12/2 and 2 of CRP and Criminal Responsibility of loved Collective, legal entities; 9 - Art. 29/5 CRP - or the principle of non bis in idem - and the criminal liability of organizations, collective entities, of legal persons; 10 - Conclusions.

Un Carner invisible: els 'Proverbis d'ací i d'allà' (1974)

Capítol 12 de 'Josep Carner: l'exili del mite (1945-1970)', sobre el llibre pòstum de refranys i aforismes 'Proverbis d'ací i d'allà' (1974).

Aforismin kieli ja mieli

Summary: The language and mind of an aphorism

De temperantia

Arkit: 2 arkintunnuksetonta lehteä, A-B4 C2.

Nietzsche como destino da filosofia e da humanidade? interpretação contextual do § 1 do capítulo "por que sou um destino", de ecce homo

The following translation is a reduced and revised version of the paper Schicksal Nietzsche? Zu Nietzsches Selbsteinschätzung als Schicksal der Philosophie und der Menschheit (Ecce Homo, Warum ich ein Schicksal bin §1)" - originally published in Nietzsche-Studien 37 (2008) - which was specially prepared to be presented in lecture organized by the Grupo de Pesquisa Spinoza & Nietzsche (Spinoza & Nietzsche research group - SpiN), in the Universidade Federal do Rio de Janeiro (Rio de Janeiro's Federal University), on September 14, 2009. In the text, the autor employs his own philological-hermeneutical methodology, which is called contextual interpretation, in the purpose to clarify the concepts of the first aphorism from "Why I am a destiny", from Ecce Homo, in its own context, in the context of Ecce Homo and in the context of the entire work from Nietzsche.

Friedrich Nietzsche. Metteur en scène de la forme aphoristique

Les écrits aphoristiques de Friedrich Nietzsche (1844-1900) posent une évidente difficulté. Cette difficulté n’a pas échappé à l’auteur qui a recommandé à ses lecteurs, en 1887 dans sa préface à Zur Genealogie der Moral, qu’ils pratiquent en lisant ses aphorismes un « art de l’interprétation [Kunst der Auslegung] » [KSA, V, p. 255, § 8.]. Malheureusement, Nietzsche ne dit pas précisément en quoi consiste une telle lecture. Comment le lecteur doit-il alors interpréter les écrits aphoristiques de Friedrich Nietzsche? Pour répondre à cette question herméneutique nous nous servirons de la « métaphore du théâtre », présente en filigrane dans l’œuvre du philosophe. Notre mémoire se propose d’abord d’examiner ce que Nietzsche a lui-même dit au sujet des « formes brèves » (la maxime, la sentence, mais surtout l’aphorisme), et en même temps ce qu’il attend plus particulièrement d’un lecteur de ces formes d’expression. Cette analyse philologique du corpus nietzschéen se fera aussi à la lumière des commentaires que Peter Sloterdijk (1947-) et Sarah Kofman (1934-1994) ont proposés de la philosophie nietzschéenne. Après avoir nous-mêmes analysé les propos de Nietzsche portant sur ce qu’il estime être un lecteur à la hauteur de ses écrits, il sera dès lors possible de porter un jugement critique sur la pertinence et la portée des études de Sloterdijk et Kofman qui abordent eux-mêmes la mise en scène de la pensée nietzschéenne au moyen de la métaphore du théâtre. Une part importante de notre critique portera notamment sur la nature synthétique de leurs interprétations philosophiques, menées dans une perspective thématico-synthétique et trans-aphoristique, qui marginalisent à bien des égards la particularité et l’autonomie des formes d’expression au moyen desquelles Friedrich Nietzsche s’exprime.

Military doctrine, command philosophy and the generation of fighting power: genesis and theory

Military doctrine is one of the conceptual components of war. Its raison d’être is that of a force multiplier. It enables a smaller force to take on and defeat a larger force in battle. This article’s departure point is the aphorism of Sir Julian Corbett, who described doctrine as ‘the soul of warfare’. The second dimension to creating a force multiplier effect is forging doctrine with an appropriate command philosophy. The challenge for commanders is how, in unique circumstances, to formulate, disseminate and apply an appropriate doctrine and combine it with a relevant command philosophy. This can only be achieved by policy-makers and senior commanders successfully answering the Clausewitzian question: what kind of conflict are they involved in? Once an answer has been provided, a synthesis of these two factors can be developed and applied. Doctrine has implications for all three levels of war. Tactically, doctrine does two things: first, it helps to create a tempo of operations; second, it develops a transitory quality that will produce operational effect, and ultimately facilitate the pursuit of strategic objectives. Its function is to provide both training and instruction. At the operational level instruction and understanding are critical functions. Third, at the strategic level it provides understanding and direction. Using John Gooch’s six components of doctrine, it will be argued that there is a lacunae in the theory of doctrine as these components can manifest themselves in very different ways at the three levels of war. They can in turn affect the transitory quality of tactical operations. Doctrine is pivotal to success in war. Without doctrine and the appropriate command philosophy military operations cannot be successfully concluded against an active and determined foe.

As desventuras do duty to mitigate the loss no Brasil : nascimento (e morte) de um brocardo

Primeiramente, o trabalho descreve sinteticamente a tradição common law, inserindo o o duty to mitigate the loss em contexto próprio. Então, traça as linhas gerais que, naquele cenário, conformam o instituto. Atenção é dada aos fundamentos do duty to mitigate the loss e às funções por ele desempenhadas, inclusive nos casos subordinados à United Nations Convention on Contracts for the International Sale of Goods (CISG). No contexto próprio, o duty to mitigate the loss tem por fundamento primeiro a causation e funciona como um limitador do quantum indenizatório; não trata de um “dever”; cabe ao demandante; tem na razoabilidade das medidas mitigadoras e no reembolso das despesas incorridas características essenciais. Em segundo lugar, a dissertação investiga o duty to mitigate the loss no Brasil, a partir da doutrina selecionada e de decisões do Superior Tribunal de Justiça e de diversos tribunais estaduais. As pesquisas demonstram que o duty to mitigate the loss, sob o nome de mitigation doctrine, ingressou no Brasil pela doutrina, mas desta forma repercutiu pouco nos tribunais. Desprovido desta influência doutrinária anterior, o duty to mitigate the loss retornou ao Brasil por meio de enunciado do Conselho da Justiça Federal, proposto em documento cujo conteúdo é objeto de reflexões neste trabalho, notadamente na questão da íntima relação entre o duty to mitigate the loss e a boa-fé objetiva. A partir do leading case no Superior Tribunal de Justiça, que adotou o enunciado e o documento que lhe serviu de proposta, o duty to mitigate the loss expandiu rapidamente no Brasil. Em São Paulo, foi alçado à princípio e brocardo. No Superior Tribunal e Justiça, foi considerado sub-princípio da boa-fé e aplicado em questões adjetivas e substantivas criminais. Comparativamente, o duty to mitigate the loss no Brasil guarda remotas semelhanças ao instituto homônimo da common law. Este trabalho aponta as diferenças entre os intitutos e concluí com a sistematização das funções que o duty to mitigate the loss desempenha no Brasil, formulando proposta para a reedição de enunciado do Conselho da Justiça Federal.

A formação da escuta: subjetividade e política

Pós-graduação em Educação - IBRC

Max Bill: variaciones sobre la búsqueda de la belleza

Max Bill es un artista lógico. Quince variaciones sobre el mismo tema 1938, podría ser el epítome de la lógica de Bill: la obra como resultado de la aplicación de leyes distintas sobre una estructura de orden. La gran diversidad formal de la obra de Max Bill –entre sus diseños de objetos, su tipografía, su pintura, su escultura o su arquitectura no parece haber líneas formales evidentes- se debe a que, para él, cada tarea es diferente y depende de medios y leyes propios. Una diversidad que podría ser erróneamente interpretada como un tipo de eclecticismo. Su conferencia en el Werkbund suizo de 1948 “belleza de la función, belleza como función”, se aleja del discurso funcionalista al proponer la belleza como una igual al resto de funciones. Cada obra ha de satisfacer la finalidad para la que ha sido construida y cumplir todas las funciones que en ella intervienen pero, además, ha de ser bella. La particularidad de Bill estriba en que, reconociéndose a sí mismo como un artista lógico, incluye la belleza como una más de las funciones a cumplir por cualquier objeto. Su famoso aforismo en relación a la configuración del entorno, desde la cuchara a la ciudad, incluiría la arquitectura en el ámbito de los objetos que han de cumplir esta nueva función. La búsqueda de la belleza será una constante en su obra. No una belleza generalizable y determinada a priori, sino una belleza entendida como predicado singular, individualizada para cada tarea. De este modo, podemos analizar, alternativamente, la belleza lógica de sus construcciones geométricas y la belleza simbólica de sus monumentos; la belleza del espacio sin fin en las superficies de una sola cara y la belleza prefabricada en sus más austeras realizaciones; la belleza elemental de sus esculturas y la belleza corriente con que sus arquitecturas se integran en la ciudad. Podemos plantearnos la posibilidad de una belleza de la estructura y entender simultáneamente la belleza cruda de su obra maestra, los edificios de la Escuela de Ulm. La búsqueda de la belleza nos ayudará a entender que, en la obra de Bill, la razón intuitiva -como modo de conocimiento- toma mayor importancia de la que parece. La forma como suma de todas las funciones en unidad armónica, será el resultado de un adecuado equilibrio entre razón lógica y razón intuitiva. ABSTRACT Max Bill is a logical artist. We could consider “Fitfteen variations on the same theme”, 1938, as the Bill’s logic epitome: the work as a result of the application of different tectonic laws on the order structure. The variety of the form in Bill’s work –his designed objects, his typography, his painting, his sculpture, or his architecture do not seem to have, between them, a direct line connecting the form- is due to the fact that, for him, each task is different and it depends on the own means and tectonic laws. A kind of diversity that could be misinterpreted like certain type of eclecticism. His lecture at the Suisse Werkbund (1948) “beauty from function and as function” is far from the functionalist speech, when proposing beauty as an equal to the rest of functions. In his own words, each work has to satisfy the purpose it was built for and fulfill all functions, and furthermore it has to be beautiful. Seeing himself as a logical artist, Bill however introduces beauty as one more of the functions that any object has to fulfill. His famous aphorism related to the environment management, from the spoon to the city, would include architecture as one more of the objects that have to satisfy this new function. The pursuit of beauty is a constant in his work. It won’t be a general beauty determined in advance, but a singular predicate, individualized for each task. That way, we can analyze, alternatively, the logical beauty of his geometric constructions and the symbolical beauty of his monuments; the beauty of the endless space in the single-sided surfaces and the prefabricated beauty in his most stricts constructions; the elemental beauty of his sculptures and the ordinary beauty with which some of his architectures are integrated in the city. We can also try the possibility of a beauty from the structure and understand, at the same time, the raw beauty of his architectural masterpiece, the buildings of the Ulm School of Design. The pursuit of beauty in Bill’s work will help us to understand that intuitive reason, as a way of knowledge, takes more importance than it seems. Form, as the harmonious expression of the sum of all functions, will be the result of an appropriate balance between logical and intuitive reason.

La cabaña moderna. Microrrelatos de arquitecturas en busca de sentido

Desde la revolución ilustrada e industrial de finales del s. XVIII se ha venido desarrollando, con fuerza inigualada a lo largo de la historia, algo que es consustancial al hombre y que le ha permitido constituirse como tal frente al resto de animales: la técnica. Como sentencia Ortega, no hay hombre sin técnica. Pero, al mismo tiempo, va quedando cada vez más claro -como también nos señala Ortega- que el sentido y la causa de la técnica están fuera de ella, y que la técnica no es en rigor lo primero, sino que su finalidad le ha de ser prefijada por un deseo original pre-técnico. Si esto no fuera así el hombre perdería su propio sentido, pues el hombre es puro afán, un ente cuyo ser consiste no en lo que ya es, sino en la que aún no es. Sin embargo, el progresivo desencantamiento del mundo como consecuencia del desarrollo de la sociedad industrial vino a sustituir los viejos mitos por una interpretación racional y abstracta que renunciaba a cualquier búsqueda de sentido que trascendiese los hechos brutos. De este modo, la perdida de sentido del hombre frente a la técnica desarrollada por él mismo le dejaba desnortado y convertido en un sujeto pasivo en manos de un malentendido progreso. Frente a esta pérdida de sentido detectada ya a principios del siglo XX y denunciada con más fuerza a partir de la Segunda Guerra Mundial, el postmodernismo del último tramo del pasado siglo pudo no sólo oficializar su desaparición, sino consignar su deslegitimación. Ante a esto, sostenemos la necesaria existencia de sentido en cualquier arquitectura que se desarrolle plenamente y, especialmente, en la arquitectura de la modernidad -y aún de la modernidad tardía o postmodernidad- muchas de las veces no explicitado como tal frente al sobredimensionamiento técnico que ha venido marcando la pauta desde la revolución industrial. Al mismo tiempo, ya no se puede hablar de un único sentido, universalizable, sino de una pluralidad de sentidos que definirán distintas arquitecturas. Partiendo de la petitio principii de que el tema capital de la arquitectura en la modernidad ha sido la vivienda, el objeto arquitectónico que reúne las mejores características para desarrollar esta búsqueda de sentido lo hemos encontrado en la cabaña moderna, donde se cumple el aforismo corbusierano que señala que “quand l’économie est au maximum, l’intensité est au maximum”. Al mismo tiempo “al representar la plenitud a través de su misma negación”, la cabaña moderna se puede entender como una sublimación de la arquitectura a través de pequeños objetos donde han quedado destiladas las distintas esencias de la modernidad. Mediante el análisis de seis pequeñas construcciones situadas en archipiélagos arquitectónicos radicalmente distantes –el campamento de Ocatillo (F. Ll. Wright, 1929); la Caja (R. Erskine, 1942); el Cabanon (Le Corbusier, 1952); la casa cúpula en Carbondale (R. B. Fuller, 1960); el refugio en Oropesa (F. J. Sáenz de Oíza, c.1967-1977) y el pabellón de invitados en Kempsey (G. Murcutt, 1992)- la aparente aporía que supone la cabaña moderna, frente a la más lógica, en principio, cabaña primitiva, cobra sentido. Efectiva mente, el referente mítico de la cabaña primitiva, tal y como fue enunciado por Laugier, se correspondía con el estadio más primitivo de la modernidad, con sus orígenes, precisamente porque la crítica que se hacía en ella de la arquitectura se basaba en criterios exclusivamente técnicos que remitían a los orígenes constructivos de la arquitectura como fórmula para salir del entramado retórico en el que ésta se encontraba perdida. La cabaña moderna trasciende, sin embargo, aquella primitiva fase de la modernidad, de la que la cabaña de Laugier es paradigma, en la medida en que la crítica que se realiza ahora es doble, pues a la crítica de carácter técnico que encontramos en cada una de las cabañas se le añade una crítica de sentido que no se encuentra supeditada, en ninguno de los casos, a la componente técnica, tal y como sin embargo sucedía con Laugier, donde la pretendida regeneración moral de la arquitectura era consecuencia directa de su depuración técnica. En la cabaña moderna, al contrario, encontramos una pluralidad de sentidos que orientan y fuerzan el desarrollo de la techné en direcciones que llegan a ser radicalmente diferentes, construyendo unos relatos que habrán de ser, por tanto, necesariamente parciales, pero de los que la arquitectura, en cualquier caso no podrá prescindir si es que quiere seguir siendo fiel a sí misma, tal y como, efectivamente, lo comprendieron Wright, Erskine, Le Corbusier, Fuller, Sáenz de Oíza y Murcutt, cuando se esforzaron por que estas pequeñas arquitecturas que hemos visitado, tan sólo unas cabañas, fueran unas cabañas con sentido, unas cabañas modernas. ABSTRACT Since the illustrated and industrial revolution of the XVIII century it has been developing, with unequally strength through history, something that is inherent to man and that has allowed him to become himself against the rest of animals: technique. As Ortega says, there is no man without technique. But, at the same time, it is becoming increasingly clear –as Ortega also says- that the sense and the cause of the technique are beyond technique itself, and that technique is not actually the first thing, but that its purpose must be predefined by a pre-technique original desire. If it were not like this, man would lose his own sense, because man is pure desire, an entity whose being is not what already is, but what still doesn’t is. However, the progressive disenchantment of the world as the result of the development of the industrial society came to change the old myths by a rational and abstract interpretation that renounced to any search of meaning that transcended the brute facts. Thereby, the loss of sense of man against the technique developed by man himself let him aimless and converted in a passive object in the hands of a misunderstood progress. Against this loss of sense already detected at the beginning of the XX century and denounced in a stronger way since the Second World War, the postmodernism of the late decades of the last century could not only formalize its disappearance, but also consign its delegitimization. On the contrary, we maintain the necessary existence of sense in any architecture that is fully developed and, specially, in the modern architecture –and even in the late Modernism or Postmodernism- many times not made explicit as such against the technique oversizing that has been setting the pattern since the industrial revolution. At the same time, we can not talk about an only and universal sense, but about a plurality of senses that will define different architectures. On the basis of the petitio principii that dwelling has been the capital issue of modern architecture, the architectonic object that possesses the best features for developing this search of sense has been found in the modern hut, where is fulfil the Corbusieran aphorism that says that “quand l’économie est au maximum, l’intensité est au maximum”. At the same time, “representing plenitude through its own negation” the modern hut can be understood as a sublimation of architecture through small objects where the different essences of modernity have been distilled. Through the analysis of six small buildings located in radically distant architectonic archipelagos –the Ocatillo dessert camp (F. Ll. Wright, 1929); the Box (R. Erskine, 1942); the Cabanon (Le Corbusier, 1952); the dome-home in Carbondale (R. B. Fuller, 1960); the retreat in Oropesa (F. J. Sáenz de Oíza, c. 1967-1977) and the guest house in Kimpsey (G. Murcutt, 1992)- the apparent aporia that represents the modern hut, against the, initially, more logical primitive hut, makes sense. Indeed, the mythical reference of the primitive hut, as it was enunciated by Laugier, belonged to the most primitive state of modernity, with its origins, precisely because the criticism of the architecture that was made there was based in exclusively technique criteria, referring to the constructive origins of architecture as the formula to get out of the rhetoric labyrinth in which architecture was lost at the moment. However, the modern hut transcends that primitive phase of modernity, of which Laugier’s hut is paradigm, since the criticism that is made is double, because to the criticism on the technique that we find in every hut we must add a criticism on the sense that is never subordinated to the technique component, as it was the case in Laugier, where the intended architectonic moral regeneration was a direct consequence of its technical depuration. In the modern hut, on the contrary, we find a plurality of senses that guides and drives the development of techné in radically different directions, building narratives that must be, then, necessarilly partial, but of which architecture could never leave aside if it still wants to be faithful to itself, as Wright, Erskine, Le Corbusier, Fuller, Sáenz de Oíza and Murcutt seemed to understand when they tried hardly to make these small architectures that we have visited, these huts, huts full of sense, modern huts.

The Dialectics of Modernity - Recognizing Globalization. Studies on the Theoretical Perspectives of Globalization

The volume The Dialectics of Modernity - Recognizing Globalization. Studies on the Theoretical Perspectives of Globalization is the product of a work of that quarter of the century, which has been continuing, since 1989 up today, the true beginning of the globalization. Therefore, because that concept was not existing at that time, the work is not yet directed, in the first years, on the globalization itself. As it can be seen, this concept pushed through only in the second half of the nineties, when the concept could also be already statistically revealed in the world press. How a group of researchers from Hungary was enquirying during the nineties, according to partners of conversation at home and abroad, with whom one could talk about how the new world emerging with 1989 can actually be described, is a long story, the theory of which consists in the fact, that we apparently live in a world, where the most part of the people, even worse, even most of the intellectuals are hardly interested in how this one really looks like. On looking for partners, the circle of the authors of this volume was created. In Hungary, we quickly reached our limit (which much later did not prevent us from appearing, such as if we had always been living in the theoretically worked globalization). The French group around Jacques Poulain reacted the fastest way (and later around Francois de Bernard, with his particularly valuable homepage www.mondialisations.org), not much later the contact with the Russian colleagues around Alexandr Shumakov was created, in which Encyclopedia of the Globalization our contribution could already appear in 2003. On these traces, we came to the productive relationship with Leonid Grinin and Andrey Korotayev. Finally, we mention the Fürstenfeld's initiative, founded since 2009 with Melitta Becker's help in the framework of the Centre for the Interdisciplinary Research in this Austrian city. A relevant part of the author inside this book participated from the beginning in the work of the group. The individual contributions to this volume are linked together by a common interest in knowledge. This is the theoretical view of the phenomenon of the globalization. From the beginning, it was not further defined or limited to certain approaches, particularly an independent theory of the globalization was not intended. We started from the fact, that every legitimately revealed theoretical approach can contribute legitimately to a later theory of the globalization. In this way, the further contacts with Nico Stehr and the members of the Dresden group for the investigation of the security problems arose, mainly with Ernst Woit. Hegel defined the philosophy as the flight of the Owl of Minerva, which "begins its flight only with the falling twilight". Through the theoretical investigation of the globalization always becoming interdisciplinary, we wanted by no means to debate about this incomparable aphorism. We simply started from the conviction, that a new reality should not remain without any description.