Os costumes – coustumes – têm um papel central em Os Ensaios de Michel de Montaigne. Não só porque deles o ensaísta extrai os mais variados exemplos – leçons – utilizados em seus textos, mas sobretudo porque Montaigne entende que as regras morais, as leis, a ordem civil e toda convenção social estão ancoradas na sedimentação dos hábitos ao longo dos anos. O que, a princípio, parece trivial, é, na verdade, uma guinada em relação à tradição filosófico-política, na medida em (...) que Montaigne desloca a fundamentação do político, da moral e das leis da própria natureza – como concebiam os filósofos da antiguidade – e de Deus – como concebiam os filósofos cristãos –, para o terreno dos costumes, terreno este eminentemente humano. Este artigo detém-se num capítulo – De la Coustume et de ne Changer Aisément une Loy Receue – dos Ensaios para demonstrar como Montaigne opera esse deslocamento das leis e do político do fundamento natural para os costumes – mos maiorum. (shrink)

There is a striking difference, however, between the ways female and male modernists define and describe literal or figurative costumes. Balancing self against mask, true garment against false costume, Yeats articulates a perception of himself and his place in society that most other male modernists share, even those who experiment more radically with costume as metaphor. But female modernists like Woolf, together with their post-modernist heirs, imagine costumes of the mind with much greater irony and ambiguity, in part (...) because women's clothing is more closely connected with the pressures and oppressions of gender and in part because women have far more to gain from the identification of costume with self or gender. Because clothing powerfully defines sex roles, both overt and covert fantasies of transvestism are often associated with the intensified clothes consciousness expressed by these writers. But although such imagery is crucially important in works by Joyce, Lawrence, and Eliot on the one hand, and in works by Barnes, Woolf, and H. D. on the other, it functions very differently for male modernists from the way it operates for female modernists.Sandra M. Gilbert, professor of English at the University of California at Davis, is the author of Acts of Attention: The Poems of D.H. Lawrence and In the Fourth World; the coauthor, with Susan Gubar, of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, and its sequel, No Man's Land: The Woman Writer and the Twentieth-Century Literary Imagination. (shrink)

The article by Professor Webster on ‘South Italian Vases and Attic Drama' in C.Q. xlii, pp. 15–27, raises problems for the reader of Roman comedy. Professor Webster takes the view that the Latin plays are good evidence for the costumes worn on the Greek stage; he even says that ‘the Greek original of Sceparnio in the Rudens certainly wore the phallus’, thus reviving a suggestion of Skutsch which Marx thought sehr k's argument that ancient works of art, in particular Italian (...) vases and terra-cottas, afford faithful representations of the costumes worn on the Attic stage. ‘It is certain’ ‘that the actors in Eubulus’ Auge looked like the figures on the vase'. (shrink)

The object of the study is a screen costume in cinema as an element of the visual and artistic-figurative system of a Chinese film in the genre of "wuxia". The subject of the study is the problem of the formation of historical costume in the films of Wuxia, the historical and cultural origins of the costume and the peculiarities of interpretation in various films of Wuxia. Such issues as the degree of study of the topic under consideration (...) and a number of paintings from the late 1970s to the 1980s are analyzed. The analysis of the works reveals the specifics of the costume in Wuxia films, its relationship with traditional Chinese theater. Special attention is paid to the analysis of examples of the use of color in a costume as an expression of personality, social status and other characteristics of a character. The questions about the methods of displaying gender identity in a suit were raised. The methodology of the research consists in using a systematic approach at the intersection of art criticism, aesthetics, art practice, painting, film studies and film criticism. A systematic method, a historical and cultural method, and a system-structural analysis are used, which made it possible to consider the costumes of the characters as an integral part of the artistic concept of films by Chinese directors. The work provides a comprehensive study of the screen costume as a visual and expressive means, which helps to create a film image in the context of an artistic and imaginative solution to the subject-spatial environment of a Chinese film using the example of the Wuxia genre. For the first time, the historical and cultural origins of the costume are established at the stage of formation of the genre in cinema. The interpretive techniques and principles of Chinese directors in the use of costume in Wuxia films of the late 1970s - 1980s are revealed. The interpretation of the costume in the works of various Wuxia film directors is largely consistent with the traditional principles of the Beijing Opera. The hero's costume is perceived as an important means of communication with the viewer, visualization of the social status, clan affiliation, personality and emotional experiences of the heroes. Chinese directors of Wuxia films generally adhere to realism in the depiction of costumes of a number of socially labeled characters: a warrior (for example, a samurai), a monk, etc. Weapons make up the most important part of the character's costume, the type of weapon is also clearly consistent with his image, expressing primarily the social status of the hero. (shrink)

The aim of this article is to examine the concept of ›custom‹ (Gepflogenheit) in Wittgenstein’s philosophy. Any meaningful human action is underpinned by rules. Custom is situated in the transition phase from the actual rule to the following of this rule. However, as the concept of ›rule‹ is a term with blurred edges and does not allow any ›interpretations behind interpretations‹, it can- not guarantee objectivity. Therefore, a platonic perspective must be adopted which involves fixed rules but makes it impossible (...) to distinguish between appearance and reality. From a grammatical point of view, it is impossible for an agent to follow a rule privately and only once. In this context disposition characterizes the process of a game in two ways, both psychologically as well as physiologically. The notion of custom is examined in the context of an understanding of language game. For Wittgenstein, neither ›Intention‹ nor ›Absicht‹ are considered states of consciousness because they are only of temporary but not of permanent nature. (shrink)

Professor Beare has attacked the position established by Alfred Körte in 1893 and accepted in large measure by Sir Arthur Pickard-Cambridge in Dithyramb, etc., and Festivals. The following reply is brief because I have dealt with the works of art at some length in Rylands Bulletin, xxxvi , 563 f. and in a forthcoming number of Ephemeris Archaiologike. The statement of Aristotle . I have tried to show that various elements in the ‘phallic performances’ were taken over by comedy and (...) that we have some evidence that the leaders of padded dancers wore the phallos. (shrink)

Professor Webster has replied briefly to my article on this subject, and has dealt elsewhere with the works of art. One point I will gladly concede. In referring the phlyakes-vases to ‘the fourth or third century’ I was quoting Pickard-Cambridge's words in Dithyramb, etc. , p. 267. But in Dramatic Festivals , Pickard-Cambridge, perhaps influenced by Trendall, speaks of the fourth century only.

t is generally believed that the actors of Aristophanic comedy wore phallic dress. For example Mr. James Laver tells us that ‘in Old Comedy the actors all wore clothes grotesquely padded, and each was provided with an enormous phallus of red leather. The female characters too were padded, and over the padding wore the long chiton if they belonged to the upper classes, and the short one if they belonged to the lower.‘ Similarly Haigh says that ‘the Old Comedy was (...) the direct descendant of the boisterous phallic performances at the festival of Dionysus. … The actors therefore regularly wore the phallus. (shrink)

In my second article on this subject I asked Professor Webster to clarify his previous statements. My article was shown to him before publication, and his reply will be found immediately following it. I will confine my remarks here to a single point, because it is simple and decisive. The only passage in ancient literature explicitly connecting the phallus with Old Comedy is Clouds 537 f. There Aristophanes says that his play does not wear ‘any stitched-on leather, hanging down, red-tipped, (...) thick, to make the children laugh’. Webster, following Körte, throws all the emphasis on and interprets the passage as meaning ‘the phalli worn in this play do not hang down’. Asked why so much emphasis should be placed on the word , he makes no reply. (shrink)

We will seek to position certain aspects of Pascal’s speculationfrom an epistemological background. We are going to frame them, moreprecisely, within what is called, in Theory of Knowledge, the traditionof Epistemic Foundationalism. The intention here will be to show thegenesis of the first principles, essential for the entire epistemologicalframework in this tradition, and the consequences arising therefrom.For this purpose, we will compare the pascalian developments with thecartesian ones on the subject. We hope, at the end of the article, to havedemonstrated (...) the strength and novelty of the pascalian solution and the moral desideratum to which it can lead us. (shrink)

This paper examines the manipulation of costume by characters in Aristophanes' Acharnians, Thesmophoriazusae, and Frogs. Costume control is viewed as a type of comic competition. In Acharnians, Dicaeopolis' overall mastery is expressed by his control over costume; in Thesmophoriazusae, the Relative experiences a series of costume-related humiliations; in Frogs, Dionysus and Xanthias exchange costume, reducing Dionysus' status. Successful manipulation of costume is associated with masculinity and heightened status, while failure to control costume is (...) correlated with emasculation and lowered status. Characters' handling of costume has additional reference to the poet's degree of mastery over the elements of dramatic production. (shrink)

Resumo: O setor de vestuário trouxe novas chances de desenvolvimento ao mercado, como resultado do avanço da sociedade e da expansão da cultura e da arte. Além de ter alto valor decorativo, como sua extensão e ampliação, o desempenho do vestuário também pode existir, independentemente, como uma arte. No entanto, ao moldar a imagem artística do desempenho do vestuário, o foco principal concentra-se na apresentação de imagens externas, sem a expressão das características rítmicas e conotativas dos movimentos corporais, o que (...) não apenas enfraquece o efeito visual do desempenho, mas também afeta sua integridade e continuidade. Portanto, compreender a relação entre o desempenho do vestuário e o corpo e promover sua integração e penetração mútuas são de grande valor e importância, para o desenvolvimento atual da arte visual. A filosofia do corpo é uma disciplina filosófica que explora o corpo e as experiências corporais. Ela preocupa-se com a maneira como o corpo percebe e existe. Isso pode encorajar atores e figurinistas a considerarem como as roupas moldam e comunicam a identidade social e pessoal, além de observarem como a performance do figurino pode explorar a diversidade e a mudança de identidade. O presente artigo explica a relação entre o corpo e a estética, com base na história do desenvolvimento, na função e no valor do desempenho das roupas, combinados com a teoria da filosofia do corpo, a fim de estudar mais profundamente a relação entre o desempenho do vestuário e o corpo, de sorte a aumentar a eficácia do desempenho do vestuário. Do ponto de vista da filosofia do corpo, trata-se de um fator indispensável no desempenho do figurino. Este, por sua vez, pode alcançar a expressão artística do corpo, sendo que ambos interagem e se promovem. A íntima relação entre os dois tem importância significativa para o alcance de níveis mais elevados de representação visual, no desenvolvimento das atividades estéticas. (shrink)

In the early modern period costume books and albums participated in the shaping of a new visual culture that displayed the diversity of the people of the known world on a variety of media including maps, atlases, screens, and scrolls. At the crossroads of early anthropology, geography, and travel literature, this textual and visual production blurred the lines between art and science. Costume books and albums were not a unique European production: in the Ottoman Empire and the Far (...) East artists and geographers also pictured the dress of men and women of their own and faraway lands hybridizing the Renaissance western tradition. Acknowledging this circulation of knowledge and people through migration, travel, missionary and diplomatic encounters, this Element contributes to the expanding field of early modern cultural studies in a global perspective. (shrink)

In this paper, which is the second in a series, I continue to consider the relation between the American pragmatist Charles Sanders Peirce and the German idealist G. W. F. Hegel. This article focuses on their views of epistemology and inquiry, and their accounts of the relation between language and thought. As with the earlier paper, it is argued that fruitful similarities between their positions on these issues can be found.

This paper considers the relation between the American pragmatist Charles Sanders Peirce and the German idealist G. W. F. Hegel . While Peirce engaged with Hegel’s thought quite extensively, his often critical comments on the latter have made it hard to see any genuine common ground between the two; recent ways of reading Hegel, however, suggest how this might be possible, where the connections between their respective metaphysical positions and views of the categories are explored here. Issues relating to their (...) epistemology and philosophies of languages are considered in a companion article. (shrink)

The objective of the study is to trace the evolution of costume design in the Song Dynasty, highlighting key aesthetic influences, materials, and techniques employed in clothing creation and to explore the underlying aesthetic principles and thoughts that guided costume creation in the Song Dynasty, including notions of beauty, harmony, and symbolism. This study try to investigate the specific materials and techniques used in creating Song Dynasty costumes and their impact on the overall aesthetic value, considering aspects such (...) as fabric, embroidery, dyeing, and tailoring methods. In the course of the aesthetic study, this study looked very closely at artworks from the Song Dynasty in an effort to comprehend the aesthetic concepts such as beauty, harmony, and symbolism that influenced costume design during that time period. During the materials and techniques investigation, this study used scientific approaches to get a better understanding of the materials that were used in the production of the costumes. Additionally, this study worked with specialists to get a more in-depth examination of the processes used for dyeing, embroidery, and tailoring. According to the findings, the aesthetic ideals that guided costume production underwent a process of evolution during the course of the Song Dynasty. During the early decades of the 20th century, there was an emphasis placed on elegance and harmony with nature. This is shown in the usage of delicate silks and subtle floral designs at the time. When Neo-Confucianism became more popular, ideas of integrity and symmetry began to influence costume design (Table 1 and Table 2). This resulted in color combinations that were more harmonious and the integration of yin-yang symbols.. Pseudo-evidence on silk, sophisticated needlework, state of the art natural coloring procedures and ahead tailoring techniques demonstrate how such components played their particular part towards the attractiveness of cloth products made under Song Dynasty. Firstly this research gives an understanding of the interplay diverse influences such as changing circumstances from historical, cultural and artistic perspectives that fused together to form a rich legacy in beauty and elegance that adds immensely to the understanding of the aesthetic nature of costume design throughout Song Dynasty. (shrink)

At the beginning of the fifth century there was a change in the style of clothing worn by Athenian men.1 When Thucydides speaks of it,2 he first describes how the Greeks of ancient times used to carry weapons in everyday life, just as the barbarians of his own day still did. The Athenians were the first to lay weapons aside and to take up a relaxed and more luxurious way of life.

Over the past decade, many politicians and celebrities in North America have found themselves embroiled in scandals that involved them having worn black make-up and in at least one incident white make-up. In most of these cases, the used make-up was part of a costume for Halloween, Purim, Carnival, or a themed party. This article challenges the view that wearing cross-racial make-up on such occasions as part of personal costumes—as opposed to costumes that are integral to specific cultural traditions, (...) such as the New Orleans Zulu parade—is always wrong. To do so, it assesses the five most promising objections to this practice. Although some of these objections count against certain uses of cross-racial make-up, I show that in several high-profile cases where such make-up was worn, none of them had force, whether because the objections themselves were implausible and/or because they did not apply. (shrink)

As to the wearing of a leather phallus by fifth-century comic actors, Pickard- Cambridge wrote: ‘Aristophanes’ resolution to avoid such indecencies does not seem to have lasted long.’ One year would not have beenlong; and Beare, who resumed Thiele's position, and Webster, who supported that of Körte, carried on a controversy on the matter without reference to what I believe is a relevant, if misunderstood, text.

The Dong costume patterns in Qiandongnan have a long history and distinctive regional cultural characteristics, and their patterns contain high cultural and emotional values. Nowadays, the development of traditional patterns and cultural symbols of Dong costumes is facing many new challenges, which require expanding the application carriers of the patterns and giving them a new life. This is the value of inheritance, revitalization, and innovation of costume patterns, as well as a new direction for the development of Dong (...) traditional costume patterns. In this thesis, the origin, connotation, and cultural symbols of Dong costumes in Qiandongnan are studied in depth, aiming to explore their role in Dong's cultural inheritance. Through the historical tracing and cultural connotation analysis of Dong costumes, we find that they are not only a decorative tool but also a vivid expression of Dong culture relying on the profound historical background. Through the comprehensive study of Dong costumes, the cultural heritage of traditional patterns of Dong costumes not only provides strong support for the cultural inheritance of the Dong people but also provides useful inspiration for the protection and inheritance of other ethnic cultures. By strengthening the cognition and dissemination of cultural symbols, we are expected to promote exchanges between different cultures and realize communal development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 369-406 [Access article in PDF] The Body And Its Representations In Aristophanes' Thesmophoriazousai:Where Does The Costume End? Eva Stehle Aristophanes' Thesmophoriazousaiis a rich and funny play, but it gives the impression of lacking a sustained point. Theater directors can happily stage it, subverting Aristophanes by casting women and recasting the text to speak to modern disputes over gender, sex, and politics, as (...) Mary-Kay Gamel has done so wonderfully (see her article in this volume). But the student of comedy who wishes to study the play in the context of its original production in 411, probably at the City Dionysia, has a harder time. Because it has no overt political theme it was for long passed over as a paignion, an escape from relevance in the tense atmosphere of that spring. As a "woman play" it seems less satisfactory than Lysistrata or Ekklesiazousai because it has no female lead character and Euripides' nameless kinsman (whom I call "Inlaw") upstages the women and their concerns. 1 With the current interest in performance and the metatheatrical aspects of comedy, Thesmophoriazousai has finally come into its own as a sly dialogue on theater and ritual, comedy versus tragedy, and gender. 2 But the older view remains in effect that the play has no politics. At the same time, it is assimilated to Aristophanes' other plays in its thematics, while its striking anomalies go unremarked. As a result, it still does not quite come into focus. [End Page 369]As a play about ritual and theater, Thesmophoriazousai is said to absorb women's ritual and restage it within its own festival setting at the City Dionysia. Yet this is the only one of Aristophanes' surviving plays in which the principal male characters exit the stage before the end of the play. Here they flee, in female dress to boot, leaving the chorus to play out the final scene with the Scythian slave. 3 Euripides and Inlaw do not share in the fun of sending the slave running in one wrong direction then another. And the play ends as it began, on Nesteia, the day of fasting for the women performing the Thesmophoria. 4 No revelry brings on the transition to feast and renewal that the audience probably expected. No procession points the way to a new instauration created by the comedy. 5 Given the importance of processions in Athenian life as an expression of community revival, this is a speaking absence. 6As a play about tragedy and comedy, Thesmophoriazousai is said to show the triumph of comedy over tragedy as the more encompassing and flexible art form. The plots of tragedy fail to rescue Inlaw, while a comic plot succeeds: Euripides brings on a dancing girl, Elaphion, who seduces the Scythian slave away for sex while Euripides frees Inlaw. But Euripides' final trick is no comic plot. In the Aristophanic comic plot the [End Page 370] hero wins a desirable young woman, often one whose name promises new fertility, peace, or power; he does not give one away to the blocking figure. 7 Euripides also capitulates to the women, promising never to speak ill of them again. Only by relinquishing both triumph and sex (and thereby also festivity) does he salvage his poor kinsman's life. Euripides' plot fit for a "barbarian nature" (1129) is rather a farcical version of his own rescue-play plot: like Helen and Andromeda it involves deceiving the blocking figure, which allows the principals to escape while leaving others (chorus or a god) to thwart the chase. But its success is based on abandoning pure representation and giving the "real" (within the world of the play) woman away to the internal audience in order to rescue a pseudo-woman.As for gender representation in the play, most analysis holds that men prevail. Different commentators take Aristophanes to be revealing that women on stage are all really men, or questioning what a woman really is since she is the very figure of mimesis, or showing that women deserve... (shrink)

This paper presents a brief contribution to the study of the historical sources of Kant’s practical philosophy, discussing the Kantian project of a metaphysics of morals as a doctrine of duties in the context of German natural law of the 17th and 18th centuries. At first, Christian Thomasius’ distinction between internal and external obligation is exposed as the basis for the differentiation between legal duties and ethical duties. Then the Kantian opposition between a doctrine of right and a doctrine of (...) virtue is discussed against the background of Alexander Baumgarten’s and Gottfried Achenwall’s reception of Thomasius. (shrink)

Alexander’s proclamation as King of Asia was not a claim to be the new king of Persia or the new Great King. Alexander’s empire was one above and beyond the local kingship of Persia, and this “revisionist” interpretation of Alexander’s kingship requires a new assessment of Alexander’s reconfigured royal costume. Alexander rejected the upright tiara (the symbol of Achaemenid kingship) and the “Median” (or riding) dress, such as the kandys and anaxyrides. In adopting a new and impressive royal (...) class='Hi'>costume, Alexander expressed the exalted nature of his recently won kingship of Asia by devising a hybrid Macedonian– Persian dress. (shrink)

O artigo aborda a problemática que envolve a terceira seção da obra Fundamentação da Metafísica dos Costumes, mais precisamente a questão referente à validade sintética a priori do imperativo categórico na determinação da vontade humana. Muito embora a lei moral seja universalmente reconhecida por todos os seres racionais, Kant precisa demonstrar a sua efetividade no que diz respeito à vontade humana, a qual é empiricamente afetada. Deste modo, a estratégia argumentativa kantiana gira em torno de uma tentativa de deduzir a (...) autonomia moral da noção transcendental de liberdade, o que se mostra impossível, pois, nesse contexto, ainda não há como comprovar a validade objetiva de tal conceito. Apesar do esforço empreendido por Kant, todos os argumentos aqui erigidos esbarram na impossibilidade de se conhecer o âmbito inteligível, de modo que tal questão só vai ser levada a cabo na Crítica da Razão Prática. (shrink)

During the last two decades, many thinkers on Iranian cinema have had many things to say about censorship, especially the issue of the veil imposed on women’s gender by the authorities in Iran. In this paper, I will describe Hamid Dabashi’s narrative as related to the concept of “truth” to show further that the veil issue has reached a new phase in Iran. Although much of what Dabashi defines as the absented body of women in his article “Body less faces: (...) Mutilating modernity and abstracting women in an ‘Islamic cinema’” may still hold, I believe his over-arching narrative doesn’t contribute enough to our understanding of the new relations among the authorities and actresses’ Fashion styles on red carpets. This paper’s method is connected with cultural and visual studies through Roland Barthes’ semiotics. I first focus on Hamid Dabashi’s conception of “truth” and how he believes “truth” is related to Islamic ideology and embodied in Iranian post-revolutionary cinema to further (through analysing photos of Iranian actresses’ clothing who attend festivals) conclude that Iranian women try to adopt new resistances in choosing their costumes compared to the early two decades of post-revolutionary Iran. The presence of Iranian women in festivals especially regarding what they wear has established a new interwoven relationship with authorities which has somewhat not been surveyed properly. By surveying the photos of their fashion and style I conclude that they are in constant negotiation with authorities through what they rebelliously wear. (shrink)

Resumo: Neste artigo, partindo do conceito nietzschiano de eticidade do costume, apresentaremos duas visões de ética na antiguidade grega, quais sejam, a que prescreve o respeito à tradição, em que vige a incondicionalidade da obediência e a que se segue e suplanta a anterior mediante a transposição do valor ao plano imaginário. Surge, então, a incondicionalidade da norma.: In this article, starting from the Nietzschean concept of custom ethics, we will present two visions of ethics in the Greek antiquity, (...) which are, the one that prescribes the respect of tradition, in which rules the unconditionality of obedience and the one that follows and supersedes the anterior through the transposition of value to the imaginary plane. Arises then, the unconditionality of norm. (shrink)

NA PRIMEIRA PARTE DO PRESENTE ARTIGO, COMEÇO POR UM ESBOÇO SOBRE A RELAÇÃO ENTRE LIBERDADE, MORAL E MUNDO EM KANT. NA SEGUNDA PARTE DISCUTO OS EXEMPLOS DE CHRISTIAN WOLFF E CHRISTIAN AUGUST CRUSIUS COMO DUAS VERSÕES MODERNAS DO INDIFFERENTISMUS MORAL. NA TERCEIRA PARTE, PROPONHO A IDÉIA DE QUE A CONCEPÇÃO DE DEVER MORAL, EXPLICITADA POR KANT NOS ANOS 1780 E 90, PRESSUPÕE A LIBERDADE HUMANA DE PODER ESCOLHER ENTRE UMA AÇÃO POR DEVER, UMA AÇÃO CONFORME AO DEVER E UMA CONTRÁRIA (...) AO DEVER. NA QUARTA E ÚLTIMA PARTE, POR FIM, TENTAREI MOSTRAR QUE A CRÍTICA DE KANT À CONCEPÇÃO DA LIBERTAS INDIFFERENTIAE NA METAFÍSICA DOS COSTUMES NÃO ESTÁ EM CONTRADIÇÃO COM SUA IDÉIA DE QUE, DO PONTO DE VISTA MORAL, O HOMEM PODE E TEM DE SE DETERMINAR LIVREMENTE À AÇÃO. CERTAMENTE ESSA INTERPRETAÇÃO CONDUZ A ALGO COMO UMA DISCRETA ANTINOMIA DA RAZÃO PURA PRÁTICA, EMBORA ESTA NÃO SEJA UMA DENOMINAÇÃO DO PRÓPRIO KANT. (shrink)

Resumo: A expressão “moralidade do costume” aparece pela primeira vez em Aurora e é significativamente reproduzida em Para a genealogia da moral. Uma pesquisa dos textos nos quais tal expressão é utilizada revela sua centralidade no estudo genealógico nietzschiano, e como ela está ligada a uma decisiva comparação com a filosofia prática de Kant.: The expression “morality of custom” first appears in Daybreak and is significantly reproduced in the Genealogy of Morality. A study of texts in which such an (...) expression is used reveals its centrality in the Nietzschean genealogical approach, as well as how it is linked to a decisive comparison with Kant's practical philosophy. (shrink)

RESUMO O artigo tem como objetivo pôr em questão duas objeções comumente lançadas contra a "Metafísica dos Costumes", a saber, a sua falta de "clareza sistemática" quando comparada com outras obras críticas centrais de Kant, e também a admissão aparentemente equivocada da legalidade como conceito legítimo de um sistema metafísico prático. Argumentar-se-á que a identificação do ato do livre arbítrio como conceito supremo do sistema permite responder às críticas lançadas ao, por um lado, apresentar um princípio de ordenação sistemática empregado (...) de forma análoga em outras obras reconhecidamente sistemáticas, e, por outro, justificar a posição central ocupada no sistema pelo ato correto ou conforme ao dever, ensejando a possibilidade de que tanto o Direito quanto a legalidade ética sejam concebidos como autênticos elementos de uma "Metafísica dos Costumes". ABSTRACT This paper casts doubt on two objections commonly raised against the "Metaphysics of Morals", namely, its lack of "systematic consistency" when compared with other central works of Kant's critical philosophy and also the apparently misleading admission of legality as a legitimate concept of his practical metaphysical system. It will be argued that the identification of the act of free choice as the supreme concept of the system allows us to face these criticisms firstly by presenting a principle of systematic arrangement which is employed in other admittedly systematic works, and secondly by justifying the central position occupied by the right act, or the action in conformity with duty in Kant's system of morals, which allows for the possibility that both Law and ethical legality be considered as authentic elements of a "Metaphysics of Morals". (shrink)

Xenofonte foi um dos autores clássicos mais desconsiderados do último século. O descrédito que marcou seus escritos socráticos é uma consequência das conclusões a que chegaram, no começo do século XX, alguns historiadores que buscavam uma solução à Questão socrática. Segundo alguns comentadores, desde as origens dessa Questão, o testemunho de Xenofonte foi submetido a críticas impiedosas: 1) Xenofonte não era um filósofo, mas, sim, um militar e político e 2) Xenofonte se empenhava em defender seu mestre da acusação de (...) ser subversivo, representando a ordem estabelecida e os valores tradicionais. Em harmonia com tais comentadores (L.-A. Dorion, L. Brisson e L. Rossetti), pensamos que Xenofonte é um filósofo cuja obra tem qualidades que lhe são intrínsecas. Entretanto, pensamos também que, se, por um lado, hoje a reabilitação dos escritos socráticos de Xenofonte está bastante avançada, por outro lado, não devemos silenciar toda e qualquer problematização do conteúdo de sua filosofia, pois tal tentativa seria tão nociva quanto aquela de silenciar o filósofo. Partindo dessa consideração, o intento deste artigo é mostrar que – embora Xenofonte, no Econômico, estabeleça pela boca de Iscômaco qual é o lugar de atuação (χώρα) e quais são as tarefas ou funções (ἔργα) das mulheres no âmbito da cidade, alegando que elas devem se ater ao interior da casa e exercer as tarefas ou funções que lhe são próprias por natureza (φύσει), o que os costumes (νόμοι) confirmam – o argumento da natureza (φύσις) tem nesta obra o papel retórico de justificar os costumes (νόμοι), protegendo-os de investidas críticas. (shrink)