BackgroundDouble-blind peer review has been proposed as a possible solution to avoid implicit referee bias in academic publishing. The aims of this study are to analyse the demographics of corresponding authors choosing double-blind peer review and to identify differences in the editorial outcome of manuscripts depending on their review model.MethodsData includes 128,454 manuscripts received between March 2015 and February 2017 by 25 Nature-branded journals. We investigated the uptake of double-blind review in relation to journal tier, as well as gender, country, (...) and institutional prestige of the corresponding author. We then studied the manuscripts’ editorial outcome in relation to review model and author’s characteristics. The gender (male, female, or NA) of the corresponding authors was determined from their first name using a third-party service (Gender API). The prestige of the corresponding author’s institutions was measured from the data of the Global Research Identifier Database (GRID) by dividing institutions in three prestige groups with reference to the 2016 Times Higher Education (THE) ranking. We employed descriptive statistics for data exploration, and we tested our hypotheses using Pearson’s chi-square and binomial tests. We also performed logistic regression modelling with author update, out-to-review, and acceptance as response, and journal tier, author gender, author country, and institution as predictors.ResultsAuthor uptake for double-blind submissions was 12% (12,631 out of 106,373). We found a small but significant association between journal tier and review type (p value < 0.001, Cramer’s V = 0.054, df = 2). We had gender information for 50,533 corresponding authors and found no statistically significant difference in the distribution of peer review model between males and females (p value = 0.6179). We had 58,920 records with normalised institutions and a THE rank, and we found that corresponding authors from the less prestigious institutions are more likely to choose double-blind review (p value < 0.001, df = 2, Cramer’s V = 0.106). In the ten countries with the highest number of submissions, we found a large significant association between country and review type (p value < 0.001, df = 10, Cramer’s V = 0.189). The outcome both at first decision and post review is significantly more negative (i.e. a higher likelihood for rejection) for double-blind than single-blind papers (p value < 0.001, df = 1, Cramer’s V = 0.112 for first decision; p value < 0.001; df = 1, Cramer’s V = 0.082 for post-review decision).ConclusionsThe proportion of authors that choose double-blind review is higher when they submit to more prestigious journals, they are affiliated with less prestigious institutions, or they are from specific countries; the double-blind option is also linked to less successful editorial outcomes. (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)

O trabalho trata da experiência do autor em estudos de aspectos da relação estabelecida entre Georg Wilhelm Friedrich Hegel e Karl Heinrich Marx, notadamente aqueles de caráter metodológico. O texto passa também em revista uma produção europeia recente, principalmente italiana, que reivindica competentemente um estudo genético da referida temática. Nosso texto tem portanto a intenção de expor para o leitor brasileiro dimensões da interpretação internacional diretamente relacionada com as citadas teorias desenvolvidas por Hegel e Marx. Parte significativa do argumento final (...) do trabalho está preocupada com a demonstração do conteúdo cognitivo da teoria de Hegel, retomada por Marx, que corrobora elementos de uma lógica modal, fortemente apoiada naquilo que Hegel denomina determinações-da-reflexão, um importante mergulho feito pela Filosofia na investigação científica acerca da coesão interna de objetos apreendidos pela capacidade humana de abstração, onde coexistem orientações vinculadas ao espelhamento mental de entes exteriores à consciência, sempre ressignificados a partir das modalidades singularidade, particularidade e universalidade. Essa absorção metódica distingue objetividades produzidas pela atividade humana da realidade exterior natural. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:WHAT VOEGELIN MISSED IN THE GOSPEL John J. Ranieri Seton Hall University Violence and order are the themes that structure Voegelin's work. From the early writings composed in response to the emergence of National Socialism to the closing years ofhis life in which he confessed to a "perhaps misplaced sensitivity towards murder"1 as the primary catalyst for his philosophical pursuits, Voegelin is preoccupied with the relationship between the (...) good of order and the violence that can both undermine and preserve that order. His theory of consciousness, his philosophy of history, and his "new science ofpolitics" form a complementary whole when understood as expressions of his lifelong concern to find ways to guard against social and political chaos. This preoccupation with order makes Voegelin especially wary of any social, political, or religious movements which, in his view, contribute to the dissolution ofsocial stability. It is in this context that his uneasy relationship with the Bible must be understood. While acknowledging the importance of the Jewish and Christian scriptures in the historical unfolding of the differentiation ofthe divine Beyond, Voegelin also maintains that many of the forces of disorder in modern society have been generated within their orbit.2 The dazzling intensity ofthe encounter with the biblical God can lead to dissatisfaction with life in this world, resulting in reactions of either withdrawal from the surrounding culture or the more immediately de- '"Autobiographical Statement at Age 82" in 77¡e Beginning and the Beyond: Papersfrom the Gadamer and Voegelin Conferences (117). 2See Order and History, vol. 1, Israel and Revelation (xii-xiv); Order and History, vol. 4, The Ecumenic Age (20, 27); "The Gospel and Culture," in The Collected Works ofEric Voegelin,vo\. 12, Published Essays, 1966-1985(200-210). 126John J. Ranieri structive alternative of trying, by whatever means necessary, to bring a recalcitrant society into conformity with the divine perfection. As revelation of the "God beyond the gods" the Old and New Testaments are unsurpassable expressions ofthe transcendent source of order. At the same time, they are the seedbeds in which social upheaval easily germinates. As generators of both order and disorder, few biblical books have been as influential as the four gospels. It is Voegelin's treatment ofthese texts that will be my concern here. The ambiguity ofVoegelin's relationship to the gospels is reflected in the twofold meaning ofthe word "missed" in the title ofthis essay. In the first place, the word can be understood as referring to Voegelin's critique ofthe gospels; to speak ofwhat Voegelin "missed" in this sense is to focus on that which he finds lacking in them (yet wishes were there). My primary interest, however, is on the meaning ofthe word as indicating that which Voegelin fails to understand about the gospels. The two meanings are related; for it is in Voegelin's criticism of the gospels that we can detect the manner in which he misunderstands them. In order to make this clear, it is necessary to say something about his evaluation and critique; only then will it be possible to raise relevant questions about his approach. After summarizing Voegelin's perspective on the gospels, I introduce the thought of René Girard as possible counterpoint. This is followed by a comparison of Voegelin and Girard with regard to their understanding ofthe gospel texts. A concluding section offers reflections on Voegelin's evaluation ofthe gospels. I realize that there is little to be gained from finding fault with a thinker for not doing what it was never his intention to do in the first place. At times, some of Voegelin's Christian critics succumb to this tendency when they berate him for what they consider to be his failure to satisfy the litmus test of Christian orthodoxy.3 Apart from the difficulty of defining Christian orthodoxy, these kinds of charges overlook the fact that Voegelin does not consider himself to be a Christian theologian, and that his "concern with 3 Of course, the question as to whether Voegelin's philosophy is adequate as a foundation for Christian theology may be an important one for the theologian to consider. But Voegelin does not see himself as providing such a foundation. For critics... (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)

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)

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

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)

Né vers 1600 en Italie, l'opéra encourait les foudres de Marcello dès 1720. L'ouverture des salles au public, les nécessités commerciales et le vedettariat l'avaient éloigné des idéaux qui présidèrent à sa naissance. L'opuscule de Benedetto Marcello aborde, sur le ton de la dérision et de la satire, tous les aspects de l'opéra, du livret à la musique, en passant par les chanteurs, les compositeurs, les directeurs de théâtre, la mise en scène, etc. Le texte méritait une nouvelle traduction française (...) (la dernière datait de la fin du dix-neuvième siècle), plus précise et plus complète, car le savant compositeur de l'Estro poetico-armonico y déploie une verve irrésistible, proche de celle dont se servira Carlo Goldoni dans l'imprésario de Smyrne. Cette satire représente l'étincelle qui allait embraser le flambeau de la réforme par le biais du comte Francesco Algarotti (1712-1764) poète et écrivain. Son Essai sur l'Opéra en musique contient en effet tous les points importants sur lesquels Calzabigi et Gluck allaient asseoir leur reconstruction : choix du livret, rôle de la poésie et de la musique, rôle des chanteurs, du compositeur, moyens et contrôle artistiques des productions. La traduction française qu'un fit Chastellux en 1773, nonobstant sa finesse et son élégance, fait pourtant figure de " belle infidèle ". Force nous était donc d'élaborer là encore une nouvelle traduction de ce texte fondateur. A côté de ces deux grands titres, nous avons réuni un dossier important d'écrits émanant des acteurs de la réforme : Métastase, Angiolini, Calzabigi, Gluck et Du Roullet. (shrink)

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)

Poetas que se destacaram pela sátira. Ecos satíricos em outros discursos poéticos. Juvenal, que não soube mentir, ocupou o seu tempo tentando a educar os romanos: Quid Romae faciam? Mentiri néscio. Que fazer em Roma? Não sei mentir.(I, 3, 41) A emergência urbana tornou o povo romano civilizado, mas insensato em suas preces suplicantes de desejos aos deuses: Juvenal, Sátiras, X.

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.“’.

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)

A partir do século XVIII, na Europa, muitos intelectuais europeus passaram a alimentar o gosto e o interesse pelas questões populares. O filósofo alemão Johann Gottfried Herder é considerado um dos expontes que influenciaram muitos intelectuais, cujas ideias alimentaram o movimento romântico. Contrariando a mentalidade racionalizante iluminista, tais ideias conduziram os adeptos dessa tendência a voltarem-se aos estudos da tradição campesina, buscando, no povo e no seu passado glorioso, o elemento constituidor da nacionalidade, particularmente na canção e na poesia populares. (...) Aos intelectuais românticos estava essa questão posta como missão educadora. Em terras brasileiras, tal interesse se fortaleceu ainda no período Regencial, alimentado pela lógica do contexto que foi se constituindo logo após a nossa independência política. Deveu-se, sobretudo, à iniciativa dos intelectuais românticos brasileiros, nutridos pelos referidos ideais do Romantismo europeu, notadamente francês, moldado pelo Espiritualismo Eclético, e firmes na convicção da missão restauradora de educação da pátria através da instituição de sua história e sua literatura. Em um percurso histórico e compreensivo, intentamos mostrar que as ações do poeta cearense Juvenal Galeno, expressas em suas obras, estavam sintonizadas com a referida causa romântica e, assim, definir o mesmo como intelectual com propósito de missão educadora. Palavras-chave : Romantismo. Canção popular. Missão educadora. Intelectuais românticos. (shrink)

The MS. 410 of the Bibliotheque publique of Valenciennes consists of 70 leaves of vellum, written in Caroline minuscules in the 11th century. The titles Ivvenalis liber primvs incipit and Explicit Ivvenalis. Incipit Persivs are in small rustic capitals. The MS. contains Juvenal and Persius in that order. The last leaf but one has been cut out, that containing Pers. vi. 8 dant–vi. 71 exits. Juvenal, Sat. xvi, follows at the end of Sat. xiv, fol. 56v: then Sat. (...) xv follows on Sat. xvi, fol. 57v, after which comes Persius, fol. 60v, beginning with the Choliambi, which precede Sat. i. The MS. has usually 32, occasionally 34, lines on a page. There are interlinear glosses, but no scholia, and no titles to the Satires, with three exceptions: Pers. iv. ‘In hac satira reprehendit illos qui honores cupiebant’ Juv. v. ‘Ad trebium loquitur’ xi. ‘De uictus comparatione.’. (shrink)

A Page of this MS, which however I discovered independently, is reproduced by M. Chatelain in his Paléographie des Classiques Latins, and for an account of the codex I refer to vol. ii. p. 11 of that work. The volume consists of four parts: Juvenal, ff. 1–47; Persius, ff. 48–59; Horace, ff. 60–93; Juvenal, ff. 94–113. This last part contains Sat. i. 1–ii. 66, iii. 32–vi. 437, i.e. two intermediate leaves, the two outside double leaves of the first (...) quire of eight, of 34 lines on a page, have been lost. The quires b and c are disordered. Foil. 94v–97 contain i. 1–ii. 66, ff. 98–105, v. 98–vi. 437, ff. 106–113, iii. 32–v. 97. (shrink)

The words I wish to delete in 48-9 spoil a ‘tricolon crescendo’ whose three members are clearly marked and whose verbs are perhaps deliberately varied in person and tense. The parataxis by means of hic is awkward, and the words seem to be a versified gloss. The Scholiast says : id est: to nobilis tantum et imperitus. nam de plebe, id est de humili familia, eloquentes exeunt, qui nobilium imperitorum causas defendunt; but that could be a paraphrase based on the (...) text as it stands in our manuscripts. (shrink)

Otloh de San Emeramo (Regensburg 1010-1070) accede al pensamiento de Platón a través de los escritos de los (neo)platónicos. Lee a los pitagóricos, a poetas romanos como Virgilio, Horacio, Lucano, Terencio, Juvenal, Fedro, Marciano Capella y, sobre todo, fue admirador y estudioso de Pseudo-Dionisio Areopagita –pretendió trasladar sus restos a San Emeramo, porque allí habría predicado–, a quien aborda a través de la traducción que realizara Juan Escoto Eriúgena. Estos pensadores le permiten distinguir el sentido “móvil” de la dialéctica, (...) en tanto ejercicio de ascenso y descenso al ámbito inteligible para comprender el sensible. Aplica la dialéctica como un arte para aproximarse a la verdad cuyo movimiento veremos ejemplificado en el encadenamiento de razonamientos, el análisis de sus contradicciones y el intento de su refutación para dilucidarlas y aceptar la duda como algo humano, de lo que no se puede escapar. Por ello compartimos fragmentos e interpretaciones en las que se vislumbra que las “ideas” tienen diferentes status ontológicos, motivo por el cual sus argumentaciones revisten el carácter de posible, accesible, opinable, aproximado, sin alcanzar la verdad absoluta. (shrink)

O artigo tem como objetivo recolocar a literatura infantil produzida por autoras e autores afro-brasileiros na história crítica da literatura infantil brasileira, com vistas a reescrever essa trajetória e colaborar com a formação de leitores de literatura com bases antirracistas e tecida na afropoética. Neste texto enfoco prioritariamente Gonçalves Crespo (1846-1883) e sua obra Contos para nossos filhos (1896), mas amplio o debate para outros autores afrodescendentes como João do Rio (1881-1921), Ildelfonso Juvenal (1894-1965) e Mestre Didi (1917-2013) e (...) a autora Ruth Guimarães (1920-2014) como precursores e integrantes da fundação da literatura infantil e juvenil brasileira. (shrink)

Voici le troisième tome de cette entreprise colossale que constitue le Dictionnaire des philosophes antiques, dans lequel sont recensés de façon exhaustive tous les noms reliés de près ou de loin à la philosophie, entendue au sens large du terme, sur une période qui s’étend des présocratiques jusqu’aux derniers néoplatoniciens du VIe siècle. Le premier tome paraissait en 1989 et couvrait par ordre alphabétique 517 noms, d’Abamon à Axiothée. Le deuxième tome paraissait en 1994 et présentait 540 noms allant de (...) Babélyca d’Argos à Dyscolius. Ce troisième tome mentionne 483 noms allant d’Éccélos à Juvénal, dont les notices ont été rédigées par soixante collaborateurs et spécialistes. Le directeur de ce Dictionnaire, Richard Goulet, s’excuse dans l’Avant-propos de «ce délai excessif» pour la parution du troisième tome. Mais personne sans doute ne lui en tiendra rigueur. L’édition et la traduction des œuvres complètes de Platon chez Les Belles Lettres de Paris se sont bien échelonnées sur une quarantaine d’années. Tous s’accorderont, au contraire, pour voir dans ce Dictionnaire un monument de la science française qui demandera encore beaucoup de temps et de patience avant d’être terminé. Ces trois tomes cumulent environ 1 540 noms sur les quatre mille qui ont déjà été projetés. (shrink)

Walter Map was a twelfth-century courtier and royal servant. He was a prolific writer, but De Nugis Curialium is the only surviving work confidently attributed to him. The book is a collection of short stories and anecdotes about the court, religion and history. Map's references demonstrate that he read widely, not only biblical and theological works, but also classical authors such as Horace, Virgil, Ovid and Juvenal. The only surviving manuscript of the work is a fourteenth-century copy once belonging (...) to the monk John Wells of Ramsey Abbey. The Cambridge bibliographer M. R. James would have been attracted to the breadth of Map's referencing, and the author's light-hearted writing style which was intended to entertain. James' 1914 Oxford publication corrected the earlier work of Thomas Wright who published an edition for the Camden Society in 1850. (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

Seine subtile Ironie, auch Selbstironie, liess Quintus Horatius Flaccus zum Meister der genuin romischen Dichtungsform der Satiren werden. Die Scharfe seines Vorgangers Lucilius wie die des Juvenal, der ihm folgen sollte, sind Horaz freilich fremd: ridentem dicere verum. Durch bewusste Regelverstosse verlieren die Hexameter ihre gravitatische Art, und die Verse platschern als reizvolles Geplauder dahin, denen man die sorgfaltige Durcharbeitung und Stilisierung kaum anmerkt. In den Epistulae, seinem Alterswerk, gibt sich Horaz gereift, ein Wahrheitssucher mochte er werden und wendet (...) sich popularphilosophischen Fragen und literarischen Problemen zu. De arte poetica, die dritte Epistel des zweiten Briefe-Buches, kreist um Fragen des Stils und der Charakterzeichnung.". (shrink)

Las siguientes páginas versan sobre la idea del Estado en la obra de José Ortega y Gasset, mostrando los cambios que en torno a aquella idea se producen en su pensamiento. En un primer periodo de mocedad, Ortega idealiza el papel de Estado influido por la tradición del pensamiento clásico y germano. En un segundo momento, a partir de la programática fecha de 1914, se producirá un giro en su pensamiento, quedando el Estado al servicio de la sociedad o la (...) realidad nacional, y por lo tanto en una posición “subalterna” frente a la posición dominante que Ortega le concedía en sus primeros años como intelectual. (shrink)

Neste artigo, busco elucidar a noção de política segundo Hannah Arendt a partir de um questionamento proveniente da sociologia de Ulrich Beck. Na medida que H. Arendt pensa a política como uma condição dependente da continuidade material assegurada por um mundo artificialmente construído, e U. Beck identifica na modernidade de risco o surgimento de uma série de instabilidades naturais socialmente iniciadas, pergunto em que medida tal transformação do mundo humano afeta a política tal como foi pensada pela autora. A partir (...) disso, reconstruo a leitura de H. Arendt acerca da relação da política com a condição humana, buscando elucidar tanto o sentido ético da política enquanto atividade reguladora de nossa liberdade (como visualizado pela autora), quanto o que significa pensar o ser humano como um animal livre e condicionado ao mesmo tempo. (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)