L'éthique de la discussion de Habermas repose sur deux piliers : le principe de discussion (D) et le principe d'universalisation (U). L'analyse du concept d'intérêts universalisables, l'étude de la justification que Habermas donne au principe (U) et la considération du défi du contextualisme sont notamment les trois démarches accomplies dans cet ouvrage, qui permettent d'interroger la possibilité et la nécessité de l'universalisabilité des normes pour qu'elles soient dites morales et d'envisager une éthique de la discussion sans recours au principe d'universalisation (...) (U). (shrink)

Dans des travaux récents, l’aspect logique du thème de la prescience et de la causalité divines chez Boèce a été largement exploité, surtout dans les études vigoureuses de François Beets et John Marenbon. Cependant, si on considère l’ensemble des textes boéciens sans se borner à en privilégier quelques extraits, il apparaît que certains éléments de cette thématique peuvent encore être soulignés, principalement dans le sens du caractère négatif du discours sur la connaissance, la prescience et la causalité divines. Cela semble (...) permettre, par conséquent, de continuer le débat au sujet de ce qu’on pourrait nommer l’épistémologie philosophico-théologique de Boèce. (shrink)

In the language \(\lbrace 0, 1, \circ, \preceq \rbrace \), where 0 and 1 are constant symbols, \(\circ \) is a binary function symbol and \(\preceq \) is a binary relation symbol, we formulate two theories, \( \textsf {WD} \) and \( {\textsf {D}}\), that are mutually interpretable with the theory of arithmetic \( {\textsf {R}} \) and Robinson arithmetic \({\textsf {Q}} \), respectively. The intended model of \( \textsf {WD} \) and \( {\textsf {D}}\) is the free semigroup generated (...) by \(\lbrace {\varvec{0}}, {\varvec{1}} \rbrace \) under string concatenation extended with the prefix relation. The theories \( \textsf {WD} \) and \( {\textsf {D}}\) are purely universally axiomatised, in contrast to \( {\textsf {Q}} \) which has the \(\varPi _2\) -axiom \(\forall x \; [ \ x = 0 \vee \exists y \; [ \ x = Sy \ ] \ ] \). (shrink)

We show that we can interpret concatenation theories in arithmetical theories without coding sequences by identifying binary strings with \(2\times 2\) matrices with determinant 1.

Troca de cartas a respeito de teoria musical, entre Leibniz e Henfling, em 1706.

Ao permitir a distinção entre uma boa Música e uma Mùsica má, Boécio aponta para o efeito moral que a música intrumental pode causar no ouvinte, levando-o a entrar ou não em si e a descobrir ou não a música humana. Percebendo ou não a música humana, ele pode, ainda, chegar ou não à música do mundo.

Resumo: Muitos trabalhos em história da filosofia, eminentemente em história da filosofia medieval, são marcados por uma oposição metodológica entre três abordagens: a ênfase na estrutura interna de um pensamento; a ênfase na investigação de um tema ou conceito; a ênfase na inserção de um pensamento em seu contexto histórico-filosófico. No entanto, é possível defender a aproximação dessas três abordagens, e mesmo a combinação delas, em vista de um ganho de inteligibilidade dos pensamentos estudados. É o que pretende o presente (...) artigo, procurando apontar para a artificialidade da oposição entre as três abordagens e defendendo um modelo comunicacional que a supere.: Many works in history of philosophy, especially in the history of medieval philosophy, are marked by a methodological opposition between three approaches: an emphasis on the internal structure of a thought, an emphasis on investigating a theme or concept, and an emphasis on the place of a thought in its historical-philosophical context. However, it is possible to defend the approximation of these three approaches, and even their combination, aiming at greater intelligibility of the thoughts under investigation. This article aims to point out the artificiality of the opposition between the three approaches and to defend a communicational model that overcomes it. (shrink)

We study first-order concatenation theory with bounded quantifiers. We give axiomatizations with interesting properties, and we prove some normal-form results. Finally, we prove a number of decidability and undecidability results.

O artigo visa analisar, em linhas gerais, a arqueologia do sujeito operada por Alain de Libera, o que será feito pela concentração no estudo de duas teses fundamentais: Descartes chegou ao sujeito menos por reflexão e mais por refração, em seu debate com Hobbes e Regius, ao tentar escapar da redução do indivíduo à vida corporal e, portanto, à passividade; Tomás de Aquino e Pedro de João Olivi teriam sido os responsáveis por dar certo acabamento a uma temática elaborada desde (...) a Patrística, eminentemente por Agostinho de Hipona, que teria formulado um esquema compreensivo do eu como suporte e como agente. This article aims to analyze the fundamentals of Alain de Libera’s archeology of the subject. Two central thesis will be investigated here: Descartes arrived at his theory of the subject in a controversy with Hobbes and Regius, in order to avoid the reduction of the individual to bodily life and passivity; Thomas Aquinas and Peter John Olivi were responsible for a mature approach to the theme of the subject, which had been elaborated by Patristic authors, eminently by Augustine of Hippo, who formulated a comprehensive scheme of the self as support and agent. (shrink)

The advancement of Artificial Intelligence (AI) poses challenges in the field of bioethics, especially concerning issues related to life and death. AI has permeated areas such as health and research, generating ethical dilemmas and questions about privacy, decision-making, and access to technology. Life and death have been recurring human concerns, particularly in connection with depression. AI has created systems like Thanabots or Deadbots, which digitally recreate deceased individuals and allow interactions with them. These systems rely on information generated by AI (...) users during their lifetime, raising ethical and emotional questions about the authenticity and purpose of these recreations. AI acts as a mediator between life, death, and the human being, enabling a new form of communication with the deceased. However, this raises ethical issues such as informed consent from users and the limits of digital recreation. Companies offer services like the Digital Resurrection of deceased individuals and the generation of hyper-realistic avatars. Still, concerns arise about the authenticity of these representations and their long-term emotional impact. Interaction with Thanabots may alter perceptions of death and finitude, leading to a potential “postmortal society” where death is no longer viewed as a definitive end. Nevertheless, this raises questions about the value of life and the authenticity of human experiences. AI becomes a bridge between the living and the dead, partially replacing rituals and mystical beliefs. As technology advances, there will be a need for greater transparency in interacting with AI systems and ethical reflections on the role of these technologies in shaping perceptions of life and death. Ultimately, the question arises of whether we should allow the dead to rest in peace and how to balance the pursuit of emotional relief with authenticity and respect for the memory of the deceased. A deeper ethical consideration is needed on how AI alters traditional notions of life, death, and communication in contemporary society. In this research, an interdisciplinary approach was utilized to conduct a comprehensive systematic review of the recent academic literature, followed by a detailed analysis of two key texts. Central ideas were extracted, and recurring themes were identified. Finally, a reflective analysis of the findings was conducted, yielding significant conclusions and recommendations for future research. (shrink)

O presente artigo pretende fazer uma exposição de temas e duas personalidades da história do pensamento e das letras no Brasil. Benedito Nunes e Clarice Lispector. Razão e imaginação que se encontram na memória, personagem Macabéa, da novela a hora da estrela de Clarice Lispector. A vida da moça nordestina: desvalida, solteira, obtusa, enfermiça, desamparada, religiosa. É o centro onde os dois autores circulam e adentram como em uma atmosfera oceânica. O que trazem? O Mistério perene que é a vida (...) humana. (shrink)

This research aimed to identify the constituent elements of the musicographic document and whether they show signs of cultural memory and the composer's identity. This is a bibliographic and documentary research, using the indexical method. Data analysis and interpretation were based on a qualitative approach. The results indicated that the musicographic document brings together elements of the social structure, musical elements and technological elements capable of revealing the context of the production of the documentary item, as well as the traces (...) of memory and identity of the composer. Therefore, the study concludes that musical composition can be considered a significant cultural memory device. (shrink)

Juvenal opens his eighth Satire with the question stemmata quid faciunt?, supplies an answer in line 20, nobilitas sola est atque unica virtus, and devotes the rest of the poem to exhorting his addressee to virtuous activity, both by negative exempla drawn from the degenerate nobility and by positive exempla drawn from the plebs, novi homines and the like. In lines 39–70 he addresses one particularly self-important noble and attempts to deflate his bombastic pride: in 56–67 he adduces an extended (...) illustration from the animal world, apparently such as was common in the schools of rhetoric. (shrink)

In Juvenal's third satire the main speaker, Umbricius, delivers a speech of farewell as he prepares to leave Rome. In it, he mounts a sustained attack on life in the capital. By contrast, he praises Italian country towns, a combination of laudatio and vituperatio which is foreshadowed in the prefatory praise of provincial Cumae and denigration of Rome.

These lines, presented as they appear in the O.C.T., are among the most difficult and hotly disputed that Juvenal wrote. The poet defends his decision not to attack contemporary politicians directly: ‘expose a Tigellinus’, he says, ‘and you know what the consequences will be’. It has long been recognized that the consequences related are probably inspired by those suffered by the Christians in A.D. 64 during the reign of Nero, and so vividly described by Tacitus.

It is gratifying to read, in a recent issue of this periodical, Mr. A. A. Barrett's informed exposition of the syntax of this passage, even though he balks at the need to extract a grammatical subject for the verb deducit in 157 from the relative pronoun qua in the previous line. However his persuasive presentation of what he relies on as evidence in support of his suggested interpretation from the mosaics from Zliten in Tripolitania, which portray scenes in an amphitheatre, (...) may seduce the unwary into an over-ready acquiescence in his proposal to read raeda in 157 for taeda of the manuscript tradition. Juvenal's words were correctly understood by T. Maguire as long ago as 1881, and the solution was restated with clarity in a note by W. V. Clausen recently. (shrink)

This paper draws on Juvenal's intertextual relationship with comedy to solve a textual crux involving fish-names. The monograph by Ferriss-Hill will no doubt warn scholarship away from the treatment of Roman satire's intertextuality with Old Comedy for a time. Yet, Greek comedy's influence on Roman satire is far from exhausted, and this paper will show that this influence goes more widely, and more deeply, than is usually seen. In time, one might hope for a renewed monographic treatment of the subject.

What is the point of isdem ? Editors of Juvenal pass over the word without comment and most translators are content with an unexplained ‘the same’. But if it means ‘the same as the ships that made the bridge’, it is odd that it should be put with the first clause. On the other hand, if Juvenal means the same ships as those that passed through the Athos canal, the reference must be to the fleet that sailed to Greece and (...) not to the boats that formed the bridge. The awkwardness of the passage is shown up by the obscurity of the Budé translation: ‘la mer tellement couverte de ces mêmes navires que, solidifiée, elle aurait supporté les roues des chars.’. (shrink)

The traditional interpretation of line 149 understands in praecipiti as a metaphor expressing the height that vice has reached in Juvenal's day. Vice is now ‘at its zenith’, ‘at its highest point’, ‘auf demGipfel’, ‘at its acme’, ‘a son comble’, ‘at a climax’, ‘at a dizzy height’. Lewis and Short have a special sub-heading, II. B. 3. b., for this example of praeceps and translate ‘at its point of culmination’.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Juvenal: Satires, Book IRichard A. LaFleurSusanna Morton Braund, ed. Juvenal: Satires, Book I. Cambridge: Cambridge University Press, 1996. viii 1 323 pp. Cloth, $64.95; paper, $22.95. (Cambridge Greek and Latin Classics)This new text and commentary on Juvenal’s book 1 (Satires 1–5) is for two reasons a most welcome addition to the Cambridge Greek and Latin Classics series. First, Susanna Braund has published extensively and incisively on Roman satire, (...) Juvenal in particular, over the past fifteen years; her several articles and the books Beyond Anger: A Study of Juvenal’s Third Book of Satires (Cambridge 1988), Roman Verse Satire (Greece and Rome New Surveys in the Classics no. 23, Oxford 1992), and The Roman Satirists and Their Masks (Bristol 1996) have all made valuable contributions to our understanding of the genre. Second, modern editions of Juvenal with text and commentary are in short supply (J. Ferguson’s remains the best in English; see my combined review of his 1979 Macmillan and E. Courtney’s important but expensive, and textless, 1980 commentary in CJ 79 [1984] 257–62), and Braund’s work, while it includes only the satirist’s first book, not only offers enough material for an undergraduate course (nearly a thousand lines) but elucidates the volume’s thematic unity in a way that will enhance our students’ appreciation of Juvenal’s later books as well and of Roman poetry books in general.The book’s apparatus is standard for the Cambridge series: a succinct but helpful and up-to-date bibliography and brief index conclude the volume, and the forty-page introduction discusses Roman verse satire generally, Juvenal’s major predecessors (Lucilius, Horace, and Persius), the little we know for certain of Juvenal’s life, what Braund rightly characterizes as the overarching characteristics of his art—indignation, rhetoric, and epic—along with various details of style and meter, the Satires’ influence on subsequent literature, and finally the manuscript tradition. All of this is economically managed and cogent, not least the discussions on several pertinent topics: persona and the “autobiographical monologue as the chief mode of presentation” in satire as in the other “personal” genres of elegy, lyric, and epigram; indignatio and the “moral ambiguity of anger,” which must condition our response to Laronia in Satire 2, Umbricius in 3, and the other “unreliable satirist” figures who control so much of the rhetoric in Juvenal’s early books; and his exploitation of epic motifs from the [End Page 474] heroic past in depicting the sordid realities of contemporary Rome. One could go further with this last point: it is a major purpose of the epicisms in Juvenal’s programmatic first poem to define satire as anti-epic and its topsy-turvy world and all its players—the satirist included—as utterly anti-heroic. The satirist’s Rome, quintessentially vicious, is on the brink of destruction (omne in praecipiti vitium stetit, 1.149), on the eve of another Great Flood, in fact, like that survived by only Deucalion and Pyrrha (this is the point, deliberately recalling through ring composition the flood sequence in 1.81–84, of utere velis, / totos pande sinus at 1.149–50, a point missed by commentators generally and not just Braund, who explains the phrase simply as a grandiloquent “nautical metaphor” with the sense of “off you go at full pelt”). And yet the best this latter-day Lucilius can do, as he whimpers in Satire 1’s closing verses, is to decline his predecessor’s battle-wagon, helmet, and sword and wage war only against Rome’s villainous dead.The most profitable section of Braund’s introduction is her “Overview of Book I” (30–36), which thoughtfully surveys “the persistence and development” of several dominant themes and images that recur throughout the book: the city of Rome itself, its palaces and alleyways seething with corruption (“the Book is a catalogue of Rome’s vices”); the “degradation of the patron-client relationship (amicitia),” which can be viewed as book 1’s major unifying theme (see Illinois Classical Studies 4 [1979] 158–77); the “day in the life” motif, advancing the action from morning to night both within Satire... (shrink)

For a defence of ‘crudum’ against Courtney's strictures, see the reviews by Goodyear and Reeve. I am presently concerned not with the unresolved crux in verse 144, but with the medical reason for the death of the glutton. Galen , quoted by Mayor, warned that one should not bathe after eating να μ μραξις κατ νερς κα παρ γνηται. More recently, Courtney ad loc. has quoted Persius 3.98ff. and has attributed the death to ‘apoplexy’, which in more modern parlance is (...) called a ‘stroke’ or a ‘cerebral haemorrhage’. What Persius and Juvenal are actually describing is not a stroke but what was formerly known as ‘acute indigestion’ and is now called a ‘heart attack’, as indeed ought to have been obvious from ‘nescio quid trepidat mihi pectus’ at Persius 3.88, and ‘tange, miser, uenas et pone in pectore dextram’ at 3.107. As Duff says, ‘the natural and ordinary time for bathing was just before the cena, but the gluttons of this time had discovered that digestion was temporarily promoted by the unhealthy practice of bathing in very hot water immediately after the meal’. Modern medical research has shown why this practice was very unhealthy indeed. As a meal is digested, the pulse rate is elevated, and bathing in hot water increases it even further. The consumption of alcohol, such as that described at Persius 3.92–3 and 99–100, would further accelerate the heart beat. The synergistic effect of these three circumstances, digesting a heavy meal, metabolising a large dose of alcohol, and bathing in hot water, was liable to cause a heart attack in an overweight man whose arteries were clogged with cholesterol. (shrink)

A. A. Barrett's recent addition of a raeda to Juvenal 1.155 is a novel and ingenious contribution to the ago-old debate over the text and meaning of the passage in question. His proposal is, however, vulnerable to the following objections. First, it is worth emphasizing that there is no manuscript variant for the traditional reading taeda. In a passage so fraught with problems and textual discrepancies, this is probably suggestive.

If such rhetorical flourishes are allowed any weight against indisputable historical fact, what strange inferences might we not draw from Juvenal's exclamation: “… Arma quidem ultra litora Iuuernae promouimus” or “de conducendo loquitur iam rhetore Thyle.“’.