Although the effectiveness of some tobacco programs and policies has been clearly demonstrated in reducing the overall population smoking prevalence, the health benefits are not equally distributed across all socio-economic classes; a situation that clearly runs against the equalitarian ethos of most modern states. In this article, we evaluate the benefits of using Sen’s Capability Approach as a theory of social justice to guide public health program and policy development in a way that would prevent the further increase of inequalities (...) in health outcomes. Starting from four consensual goals of tobacco control practice (i.e. that individuals live a smoke-free life, that smokers quit smoking, that non-smokers are protected from exposure to second-hand smoke and that smoking cessation support is accessible) we found that besides the standard interventions (e.g. education on the harms of smoking, policies to reduce exposure to SHS) an iniquity-proof tobacco control program needs also to address the lack of options of underprivileged people in affordable smoke-free settings and in leisure activities. We conclude that an ethical tobacco prevention program needs to address the broader social determinants of health such as the socio-economic policies that put a strain on people’s capacity to shun or quit smoking. (shrink)

Bijural services as factors of production -- Commentary A on Breton and Salmon -- Commentary B on Breton and Salmon -- The challenge of incomplete law and how different legal systems respond -- Commentary C on Pistor and Xu -- Commentary D on Pistor and Xu -- Coevolution as an influence in the development of legal systems -- Commentary E on Breton and Des Ormeaux -- Commentary F on Breton and Des Ormeaux -- The demand for (...) bijurally trained Canadian lawyers -- Commentary G on Davis and Trebilcock -- Commentary H on Davis and Trebilcock. (shrink)

Risk-taking behaviours often reflect ambivalent ways of calling for the help of one’s close friends and family – those who count. It is an ultimate means of finding meaning and a system of values; and it is a sign of the adolescent’s active resistance and his attempts to find his place in the world again. It contrasts with the far more insidious risk of depression and the radical collapse of meaning. In spite of the suffering it engenders, risk-taking nevertheless has (...) a positive side, fostering independence in adolescents and a search for reference points, it leads to a better self-image and is a means of developing one’s identity. It is nonetheless painful in terms of its possible repercussions: injuries, death or addiction. But let us not forget that the suffering is upstream, perpetuated by a complex relation between a society, a family structure and a life history. Paradoxically, for some young people who are suffering, the risk is rather that they will remain immured in their world-weariness, with a potentially radical outcome (i.e. suicide). The turbulence caused by risk-taking behaviours illustrates a determination to be rid of one’s suffering and to fight on so that life can, at last, be lived. (shrink)

This issue of Mélusine pursues the research initiated in 1982 on the surrealist book, without giving the last word on such a complex subject. Demonstrating erudition worthy of La Revue d'histoire littéraire de la France, the contributors propose new ideas and points of view. By the sheer abundance of technical terms, the articles would have astonished the avant-garde poets and artists in question, who were so very fond of entertainment. Some contributors examine the illustrated book, the artist's book and the (...) book-object in general as surrealist publications, while others focus on a single book or even on the non-book imagined by André Breton.In her introduction, editor Andrea Oberhuber describes the evolution of .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Playtexts: Ludics in Contemporary LiteratureWalter E. BromanPlaytexts: Ludics in Contemporary Literature, by Warren Motte; 233 pp. Lincoln: University of Nebraska Press, 1995, $31.50.When readers early encounter such stuff as “Thus in the category of agôn, for example, hide-and-seek would tend toward paidia, whereas chess would tend toward ludus” (p. 7), they suspect that this book will be a rugged and humorless read, in spite of the fun hinted (...) at in the title. Much of the book turns out to fulfill this dread. There is no escaping the sour smell of academic jargon: “to privilege,” “to foreground,” “to marginalize,” “diegetic frame,” etc., or the tangled infelicities of academic prose.Professor Motte sets out to examine a series of texts, “... each text considered a different ludic economy with its own rules and norms, but all texts defined as language games” (p. 15). While struggling through the discussions of Gombrowicz’s Ferdydurke, André Breton’s Nadja, or Albertine Sarrazin’s Astragal, one catches glimpses of a book that might have assumed sumptuous flesh. This is especially true in the chapter on Nabakov’s Pale Fire, which is quite interesting and well written. Nabakov’s is “an agonistic game that pits Kinbote against Slade, the Sladeans against Kinbote, Kinbote against us the readers, Nabakov against Kinbote, we the readers against Nabakov” (p. 81). This is a game in which Nabakov offers his readers “a full partnership in the creative process” (p. 82). I was forced to recognize that I had enjoyed reading Pale Fire, all the while only being aware of a minim of these ludic convolutions!A major problem with this book and with the books Professor Motte discusses can be shown most vividly in the chapter on Georges Perec’s La Disparition, where the game is to write an entire novel without using the letter “e.” This “literary machine” is supposed to be geared for expressing the iron impositions of life and its ineluctable loss and lack. I suspect that this semantic juice is squeezed out only by critical legerdemain. The discussion merely succeeds in convincing me that this literary tour de force might be suitable for Guinness’s Book of Records, but would likely be a boring read. It reminds me of a Rube Goldberg contraption or of Johnson’s dog walking on its “hinder legs.” Calling this a lipogram linked to Greek antiquity does little to rinse away the sweaty scent of useless exertion.Professor Motte includes a quotation from Eco referring to Swift’s book-making machine in the Grand Academy of Lagado, which provides a sinister and ludicrous image of much of this ludic literature. Eco sees the text as a “combinatory, ludic machine” (p. 191). This literature as machine and game is remarkable for its lack of any concern for the reader: “... the game is finally less vital for us than it seems to have been for Gombrowicz” (p. 68). Compare this with Dryden who took it as axiomatic that the audience’s “concernment” is of vital importance. Now, though, the readerly text is supplanted by the writerly (p. 163). René Bellato builds up “a narrative technique based on the systematic [End Page 243] frustration of the reader’s expectations...” (p. 166). A kind of apex of readerly boredom is devised in Harry Matthew’s literary machine “Matthew’s algorithm”—exemplified by the permutational poetics in Le Savoir des rois, where the same verse is given endless alterations of word order. There lurks a sniffy implication that if you don’t go along with this sort of game you aren’t a good reader. I don’t mind straining to be a good reader if the reward is commensurate with the effort. Professor Motte never explains why we ought to bother.Professor Motte presents various interesting theories of play, as diverse as Huizinga’s Homo Ludens and Freud, but his own position is not easy to discern. He seems to be sympathetic with Calvino’s notion that “all literature is play” (p. 142). For this to be true, the definition of ludics or play would have to have a Humpty Dumpty squishiness. It would have to be ample... (shrink)

L’objectif de cet article est de montrer qu’à la fin du xiii e siècle un tournant s’est opéré dans la compréhension de la nature du syllogisme sophistique, allant d’une définition axée sur ses caractéristiques formelles vers une définition tenant compte de ses caractéristiques pragmatiques. La première position est celle de Simon de Faversham, développée vers 1280 et probablement durant son séjour à la Faculté des arts de Paris. La seconde position est celle de Raoul le Breton, dernier des plus (...) grands maîtres ès arts parisien. C’est dans leurs réponses respectives que se révèle leur désaccord sur la manière de concevoir le syllogisme sophistique. (shrink)

O presente artigo é uma reflexão sobre o envelhecimento hoje, entendendo que neste momento coincidem a maior longevidade da população e um contexto ideológico de busca da “juventude para sempre”. Tal contexto é caracteristicamente midiático, fortemente marcado pelo consumo e contribui decisivamente para a soberania da imagem a partir do imperativo da constante busca pela aparência de juventude, através de grande quantidade e diversidade de produtos a serem consumidos. Para trabalhar o tema, foram utilizados textos de alguns autores que tratam (...) sobre envelhecimento e corporeidade, destacando-se o autor Le Breton e sua percepção da incidência das transformações da técnica sobre o corpo. Dialogamos com os autores a partir do ponto de vista fenomenológico e hermenêutico do conceito Husserliano de “Corpo Próprio”. (shrink)

This paper aims to perform a possible heuristic analysis of the film "The Exterminating Angel" (El Angel Exterminador) – produced in 1962 by the Hispanic Mexican director Luís Buñuel – through the platonic thought present in the books: "The Symposium" (Συμπόσιον), and "Republic" (Πολιτεία). It also presents an argument on the film's scriptural, artistic, and historical characteristics, such as some /intersections of its aesthetic movement, the Surrealism – specific correlations with Breton and Benjamin will also be made. Finally, the (...) guiding thread that will run through the entire research is the approximations between the above authors and Karl Marx's theory. (shrink)

Cet ouvrage se consacre à une période encore mal connue de l'évolution du philosophe, les années 1945-1951. Pendant cette phase de transition indispensable à la compréhension de la genèse des derniers écrits, Merleau-Ponty commence à se libérer des concepts classiques pour s'acheminer vers deux éléments capitaux de sa pensée: la chair et l'empiétement. A partir du bilan moral et politique de 1945, il fait de l'empiétement une figure de la modernité, et travaille en lui l'alliance singulière de pessimisme et d'optimisme (...) par laquelle il veut traduire sa propre version de l'existentialisme. Dans une complicité significative avec l'onirisme des " psychanalyses " de Bachelard, de la " co-naissance " de Claudel et de l'" amour fou " de Breton, Merleau-Ponty prépare ses propres éléments ontologiques, aux antipodes de l'imaginaire sartrien. (shrink)

Il volume analizza il pensiero trascendentale di Johann Gottlieb Fichte (1762-1814) nei suoi elementi costitutivi. In particolare viene messo in evidenza che l’intento principale della filosofia fichtiana è quello di edificare un “sistema della libertà”, fondato sul primato del pratico (das Praktische) e dei costitutivi pratici della coscienza umana: l’intuizione intellettuale, l’immaginazione produttiva, lo Streben ed in primis il volere. Viene quindi sottolineato che uno dei vertici della speculazione di Fichte è rappresentato dal concetto di “volere puro” che costituisce il (...) fondamento del conoscere e dell’agire, determinando la natura stessa dell’uomo e dell’assoluto. Nel volume vengono ampiamente utilizzati i nuovi testi messi a disposizione dall’edizione critica delle opere fichtiane curata da Reinhard Lauth: particolare attenzione viene data ai manoscritti di lezioni Dottrina della scienza nova methodo (1796-99) e all’epistolario intercorso tra Fichte e F.H. Jacobi sul rapporto tra la riflessione filosofica e la fede religiosa. Nella parte finale del libro compaiono due Appendici: la prima è dedicata al filosofo bretone Jules Lequier (1814-1862), autore che - ispirandosi a Fichte - elabora una filosofia della libertà tesa a superare una concezione della natura umana deterministica e positivistica; la seconda Appendice è incentrata sull’originale interpretazione del pensiero cartesiano data da Reinhard Lauth (1919-2007): quest’ultimo scorge nel cogito cartesiano il fondamento di una filosofia trascendentale ante litteram che anticipa le posizioni di Kant e di Fichte e che pone le basi per un “pensiero trascendentale della libertà”. -/- AUTORE Tommaso Valentini (Spoleto, 1979) è professore associato di “Filosofia politica” presso l’Università degli Studi “Guglielmo Marconi” di Roma, dove insegna anche “Storia della filosofia moderna”. È docente incaricato di “Ermeneutica filosofica” presso la Pontificia Università Antonianum. Nel 2003 si è laureato in Filosofia sotto la guida del Prof. Armando Rigobello; nel 2008 ha conseguito il titolo di Dottore di ricerca (PhD) in “Etica e antropologia filosofica” presso l’Università degli Studi del Salento. Dal 2006 al 2008, grazie ad una borsa di studio, ha condotto le sue ricerche sul pensiero classico tedesco a Monaco di Baviera presso la Ludwig-Maximilians Universität e la Fichte-Kommission dell’Accademica Bavarese delle Scienze. Dal 2015 è membro del Consiglio nazionale dell’ADIF (Associazione Docenti Italiani di Filosofia). È co-direttore della rivista scientifica on line «Aretè. International Journal of Philosophy, Human & Social Sciences». Ha pubblicato numerosi articoli su Kant, J.G. Fichte, il personalismo e l’ermeneutica filosofica (in particolare Paul Ricoeur). Tra le sue pubblicazioni: Soggetto e persona nel pensiero francese del Novecento, Editori Riuniti university press, Roma 2011; I fondamenti della libertà in J.G. Fichte, Editori Riuniti university press, Roma 2012; Filosofia e cristianesimo nell’Italia del Novecento, Drengo Edizioni, Roma 2012; nel 2015 è stato curatore del volume Natura umana, persona, libertà. Prospettive di antropologia filosofica ed orientamenti etico-politici, LEV, Roma 2015; nel 2017 è stato curatore (con il Prof. Luca Mencacci) del volume collettaneo dal titolo “La dialettica esaurita? A 100 anni dalla Rivoluzione d’Ottobre. Interpretazioni politiche, filosofiche, estetiche”, Presentazione del Prof. Rocco Pezzimenti, Drengo Edizioni, Roma; per la rivista «Aretè» ha curato (con il Prof. Andrea Gentile) due numeri monografici: nel 2017 il volume dal titolo “A partire da Kant: interpretazioni e metamorfosi del trascendentale”, nel 2019 il volume dal titolo “Dialettica. Sui molteplici significati di un concetto teoretico e storico-politico”. (shrink)

Resumo No Manifesto surrealista, de 1924, Breton explicita o produto da atividade surrealista como uma “luz de imagem”, gerado pela aproximação involuntária de duas realidades distantes. Essa estrutura dupla da imagem surrealista tem um caráter disruptivo, que rompe com a nossa percepção da realidade cotidiana. Com isso, abre-se a possibilidade de um espaço para a crítica social e histórica, bem como para uma intervenção estético-política justamente em uma sociedade na qual as formas tradicionais de crítica parecem estar neutralizadas. Essa (...) experiência surrealista e esse espaço aberto por ela Walter Benjamin caracteriza respectivamente com a fórmula “iluminação profana” e “espaço de imagem”. Ambos apresentam uma grande semelhança com alguns pontos e consequências, em seus conceitos, tanto de “imagem do pensamento”, como de “imagem dialética”, sobretudo na medida em que esses conceitos também são formulados em meio à crise cultural da sociedade europeia, nos 1920, e buscam uma saída revolucionária para a mesma. Trata-se de investigar aqui, por meio de uma análise comparativa dessas concepções de imagem, até onde vai a influência e a relevância do surrealismo para o pensamento figurativo-dialético de Benjamin e para sua compreensão da história.In the Surrealistic manifest from 1924, Andre Breton explains the product of surrealistic action as a “light of image” resulting from an arbitrary approach of two distant realities. This double structure of surrealistic image has a disrupting character that breaks our common perception of reality. Thus can open a space for social and historical criticism as well as for an aesthetical-political intervention in a society where traditional forms of criticism seem to be neutralized. Walter Benjamin defines this surrealistic experience and its opened space respectively with the expressions “profane illumination” and “image space”. Both have similarities with Benjamin’s ideas of “thought image” and “dialectical image”, especially because they were elaborated amidst the cultural european crisis in the 1920ies looking to find a revolutionary way out of it. Through a comparative analysis of these notions of image, this paper proposes to investigate the influence and the relevance of surrealism for Benjamin’s dialectical-figural way of thinking and his comprehension of history. (shrink)

Seul, saint, fou, idiot -- Des deux inanités : de dieu et de l'histoire -- Ou bien Dieu... ou bien l'histoire (Hegel, Dostoïevski, Chestov, Kojève & Bataille) -- Des trois religions des années trente (communisme, fascisme et surréalisme) et d'une quatrième (Acéphale) -- Penser le fascisme (Freud, Reich & Bataille) -- La folie Acéphale (Ou la religion antichrétienne, antifasciste, anticommuniste) -- In-signifiances d'Acéphale (Blanchot & Bataille) -- Le surréalisme au service de la religion (Artaud, Breton & Bataille) -- Felix (...) Culpa -- Éloge du péché (Sartre & Bataille, entre autres) -- Sainteté du mal (Charlotte d'Ingerville & Sainte) -- Vies & livres -- Correspondances coïncidences -- Une amitié intenable (Leiris & Bataille) -- Histoire d'un trompe-l'oeil -- L'idiotie de Bataille -- Une passion paradoxale de la raison. (shrink)

A prominent view of psychopathic moral reasoning suggests that psychopathic individuals cannot properly distinguish between moral wrongs and other types of wrongs. The present study evaluated this view by examining the extent to which 109 incarcerated offenders with varying degrees of psychopathy could distinguish between moral and conventional transgressions relative to each other and to nonincarcerated healthy controls. Using a modified version of the classic Moral/Conventional Transgressions task that uses a forced-choice format to minimize strategic responding, the present study found (...) that total psychopathy score did not predict performance on the task. Task performance was explained by some individual subfacets of psychopathy and by other variables unrelated to psychopathy, such as IQ. The authors conclude that, contrary to earlier claims, insufficient data exist to infer that psychopathic individuals cannot know what is morally wrong. (shrink)

L’agiografia fa parte dei generi letterari nei quali si esprimono con più libertà concezioni teologiche e morali non convenzionali, che ci svelano un Medioevo meno uniforme di come lo si immagina. L’articolo presenta alcuni esempi tratti da testi originari di diverse aree, dal Mediterraneo greco all’Irlanda, dall’epoca tardoantica al basso Medioevo. Di santi come il bretone Macuto, Epifanio di Salamina, i martiri edesseni e svariati abati irlandesi si narrano azioni mosse da permalosità, vendicatività, gelosia, competizione. Ancora nelle storie di santi (...) irlandesi, tra cui Brigida, compare il miracolo dell’eliminazione di un feto indesiderato dal grembo della madre. Il bolognese Procolo è celebrato per aver assassinato a sangue freddo il suo persecutore. La greca Irene è assunta fisicamente in cielo. Nella Navigatio Brendani, infine, la figura di Giuda è oggetto di una pietà del tutto eccezionale. Tutte queste anomalie generano alcune reazioni di censura e mitigazione nella ricezione e trasmissione dei testi, ma fondamentalmente sono accettate e conservate, testimoniando l’apertura e varietà dottrinale ancora possibile in epoca medievale. Hagiography is one of the literary genres in which unconventional theological and moral conceptions are most freely expressed, revealing a less uniform Middle Ages than we imagine. The article presents some examples from texts originating in different areas, from the Greek Mediterranean to Ireland, from late antiquity to the late Middle Ages. Saints such as the Breton Macutus, Epiphanius of Salamis, the Edessenian martyrs and several Irish abbots are described as acting out of touchiness, vindictiveness, jealousy and competition. In the stories of other Irish saints, including Bridget, we read the miracle of the elimination of an unwanted foetus from his mother’s womb. The Bolognese Proculus is celebrated for having cold-bloodedly murdered his persecutor. The Greek Irene is physically assumed into heaven. Finally, in the Navigatio Brendani, the figure of Judas is granted a quite exceptional piety. All these anomalies arouse some reactions of censorship and mitigation in the reception and transmission of these texts, but fundamentally they are accepted and preserved, testifying to the doctrinal openness and variety still possible in medieval times. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Bioethics, Volume 36, Issue 2, Page 201-209, February 2022.

Chi si occupa di teatro incontra il gioco innanzitutto come una categoria estetica insita nei processi che caratterizzano l’atto teatrale. Ma dall’approfondimento di tali meccanismi emerge anche la potenzialità conoscitiva del gioco, come condizione umana di profonda consapevolezza di sé. Attraverso un percorso che passa attraverso Breton, Platone, Huizinga, e Alessandro Fersen, viene qui proposta una lettura del gioco come carattere fondamentale dell’arte e della conoscenza.

The history of philosophy exhibits recurrent interest in the phenomenon and claims of mysticism. Contemporary philosophers (e.g., Blondel, Heidegger) have recognized the irreducibility of mystical experience to philosophical analysis, and adopted a receptive attitude toward it, considering it a valuable source of insight into the religious way of life. In Philosophie et mystique, Breton pursues this latter task according to a phenomenology of relations in which “being-in” the element of the Absolute appears as the essential structure of mystical experience. (...) From this perspective, it becomes necessary to see a rationality that is both proper to mysticism and intelligible to philosophy. (shrink)

E. J. Lowe; Indicative and counterfactual conditionals, Analysis, Volume 39, Issue 3, 1 June 1979, Pages 139–141, https://doi.org/10.1093/analys/39.3.139.

Cet ouvrage se propose de mener l'enquête tant sur les accusations de scepticisme et sur les modes de défenses spécifiques que ces dernières imposent de mettre en place, que sur la façon dont les mêmes arguments circulent et peuvent servir à des projets contraires. Cette perspective polémique permet ainsi de s'interroger sur les étiquettes philosophiques, sur la circulation des arguments, et sur leur force et leur portée, non seulement au sein du corpus sceptique, mais aussi à l'intérieur des systèmes sommés (...) de répondre aux questions qu'ils posent."--Page 4 of cover. (shrink)

This paperback edition of Dodds's standard edition of Plato's Gorgias is designed to meet the needs both of undergraduates and professional scholars. The text and apparatus criticus are based on a fresh survey of the evidence: two major manuscripts are here for the first time fully collated, and account has been taken both of new papyri and of the exceptionally rich indirect tradition. The text is supplemented by a full introduction giving details on the subject and structure of the dialogue, (...) its characters and intended historical setting, the real date of composition, and the background to Plato and Athens at the time of composition. The commentary, besides explaining Platonic usages and discussing textual points, aims to treat the historical, philosphical, and literary questions which arise from the text. (shrink)

The foundation of the Christian counselling movement -- Christian counselling in the UK -- The aims of Christian counselling -- Integrating psychological and biblical truth -- Sigmund Freud--the founding father of psychotherapy -- The individual psychology of Alfred Adler -- Abraham Maslow--the man with new age tendencies -- Carl Rogers--a man who believed in himself -- Albert Ellis--the aggressive atheist -- The Bible's verdict on psychological 'truth' -- The case against Larry Crabb -- Self-esteem: the secular foundation -- Self-esteem and (...) the Christian counselling movement -- Self-esteem dogma in the light of scripture. (shrink)

The book mirrors the psychoanalytic situation, mediating between the interiority of Nietzsche's biography (and the philosophical world he created for himself) ...

This article proposes a geostatistical solution for area-to-point spatial prediction (downscaling) taking into account boundary effects. Such effects are often poorly considered in downscaling, even though they often have significant impact on the results. The geostatistical approach proposed in this article considers two types of boundary conditions (BC), that is, a Dirichlet-type condition and a Neumann-type condition, while satisfying several critical issues in downscaling: the coherence of predictions, the explicit consideration of support differences, and the assessment of uncertainty regarding the (...) point predictions. An updating algorithm is used to reduce the computational cost of area-to-point prediction under a given BC. In a case study, area-to-point prediction under a Dirichlet-type BC and a Neumann-type BC is illustrated using simulated data, and the resulting predictions and error variances are compared with those obtained without considering such conditions. (shrink)