O presente artigo é fruto de trabalhos e pesquisas conduzidos pela equipe de coordenação do PNLD 2018 (Plano Nacional de Livros Didáticos), a qual se reuniu por duas ocasiões, juntamente com todos os pareceristas, em seminários exclusivamente dedicados ao projeto. O texto pode, pois, ser dividido em quatro seções, as quais (e cuja divisão) se revelarão suficientemente evidentes para o leitor. Em primeiro lugar, é apresentada uma revisão historiográfica (inédita, tanto quanto sabemos) do ensino de Filosofia no Ocidente, desde as (...) primeiras instituições da Antiguidade até a atualidade, mas com especial enfoque no caso brasileiro. Em segundo lugar, apresentamos uma revisão crítica da legislação mais relevante, sobretudo a vigente, para o processo de seleção dos manuais didáticos a distribuir pelas escolas brasileiras durante o período de vigência do edital, referindo em particular os critérios que nortearam tal seleção. Em terceiro lugar, são referidos alguns dos aspectos mais importantes das obras aprovadas neste edital do PNLD. Finalmente, são abordados alguns aspectos relativos aos desafios que o PNLD terá necessariamente que enfrentar, tendo em conta a conjuntura brasileira atual, nomeadamente os pacotes legislativos mais recentes a propósito do PNLD enquanto tal, mas também do papel da própria Filosofia no ensino obrigatório no nível médio. (shrink)

Resumo: Lopes dos Santos, ao colocar o Tractatus Logico-Philosophicus no que denomina “tradição crítica”, mostra que Wittgenstein delimita o alcance da filosofia ao eliminar sua pretensão de ser um tipo de conhecimento que, como a ciência, possa formular proposições verificáveis sobre objetos. E Wittgenstein faz isso de modo distinto da crítica moderna à metafísica, pois elimina o sujeito do problema: não é preciso recorrer a faculdades subjetivas para fazer essa delimitação, mas apenas à linguagem na qual o pensamento se (...) expressa. Por outro lado, na perspectiva da “tradição lógica”, há na mesma obra uma identificação entre a essência do “logos” que pode enunciar algo verdadeiro sobre o ser e do próprio ser do qual se fala nesse discurso. Nosso objetivo é destacar este vínculo com a “tradição lógica” para defender que, para além de uma “virada linguística”, há no Tractatus uma espécie de “metafísica silenciosa” que coloca problemas tais como o do sujeito e o da “essência” do mundo em seu correto lugar após passá-los pelo crivo da crítica. (shrink)

Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His (...) book will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'. (shrink)

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways (...) pictures represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

It is still a widespread assumption that metaphysics and ontology deal with roughly the same questions. They are supposed to be concerned with the fundamental nature of reality and to give an account of the meaning of 'existence' or 'being' in line with the broadest possible metaphysical assumptions. Against this, Markus Gabriel proposes a radical form of ontological pluralism that divorces ontology from metaphysics, understood as the most fundamental theory of absolutely everything. He argues that the concept of existence (...) is incompatible with the existence of the world and therefore proposes his innovative no-world-view. In the context of recent debates surrounding new realism and speculative realism, Gabriel also develops the outlines of a realist epistemological pluralism. His idea here is that there are different forms of knowledge that correspond to the plurality of fields of sense that must be acknowledged in order to avoid the trap of metaphysics. (shrink)

Gabriel Richardson Lear presents a bold new approach to one of the enduring debates about Aristotle's Nicomachean Ethics: the controversy about whether it coherently argues that the best life for humans is one devoted to a single activity, namely philosophical contemplation. Many scholars oppose this reading because the bulk of the Ethics is devoted to various moral virtues--courage and generosity, for example--that are not in any obvious way either manifestations of philosophical contemplation or subordinated to it. They argue that (...) Aristotle was inconsistent, and that we should not try to read the entire Ethics as an attempt to flesh out the notion that the best life aims at the "monistic good" of contemplation. In defending the unity and coherence of the Ethics, Lear argues that, in Aristotle's view, we may act for the sake of an end not just by instrumentally bringing it about but also by approximating it. She then argues that, for Aristotle, the excellent rational activity of moral virtue is an approximation of theoretical contemplation. Thus, the happiest person chooses moral virtue as an approximation of contemplation in practical life. Richardson Lear bolsters this interpretation by examining three moral virtues--courage, temperance, and greatness of soul--and the way they are fine. Elegantly written and rigorously argued, this is a major contribution to our understanding of a central issue in Aristotle's moral philosophy. (shrink)

Cet article vise à montrer en quoi la production de connaissances certifiées en logique représente un objet d'investigation sociologique, partant du suivi empirique et de l'analyse d'un processus collectif d'accréditation d'un théorème. Dépassant un traitement programmatique de cette question, prenant le contre-pied d'hypothèses réductionnistes, relativistes ou idéalistes et d'une stylisation des dynamiques en jeu, il souligne notamment l'importance du travail matériel des démonstrations, des interactions entre acteurs sociaux, de l'économie imparfaite de l'écriture, de la lecture et de la visibilité des (...) preuves, susceptible de conduire à la formation d'énoncés collectifs. Il livre les résultats d'une première exploration fondamentale de cités par trop occultées en sociologie : celles retranchées derrière les formalismes, les tours de main et les mécanismes probatoires des ouvriers de la logique. (shrink)

Trata-se da análise comparativa entre a concepção de justiça liberal igualitária de Ronald Dworkin e o modelo de justiça aristotélico-tomista de John Finnis. Com o intuito de demonstrar as especificidades de cada modelo, abordarei um ponto em comum entre as teorias, a saber: as ações afirmativas. Apresentarei esse tipo de política pública a partir do que Dworkin propõe, comparando-a com o que podemos deduzir da concepção de justiça finnisiana. Como obras norteadoras dessa pesquisa farei uso da Virtude soberana e Uma (...) questão de princípios de Dworkin e da obra Lei natural e direitos naturais de Finnis. (shrink)

Civil status, and particularly birth certificates, rather than identity papers, are the legal basis of identification in France. Its nineteenth-century history presents a complex picture, which cannot be reduced to a process of increasing state control. Far from implementing ambitious registration projects, French liberal administration left information scattered and scarce as compared to European standards. It had to find a balance between the need to provide open information in order to minimize uncertainty in social and economic relationships, and the protection (...) of personal and family honour and reputation. Citizens' agency and consent have been determinant in this process, whose traces are still visible in contemporary France. (shrink)

L'historiographie française prête une attention croissante à l'échelle microscopique, en associant essentiellement cette dernière à la microstoria italienne. Il existe pourtant, au Royaume-Uni et en Allemagne notamment, d'autres traditions nationales de « microhistoire », qui proposent des usages différents de ce niveau d'observation. De même, les propriétés prêtées au micro (le primat du local, le refus des explications fonctionnalistes) ne lui sont pas nécessairement spécifiques. À partir d'un objet précis, la question du rapport entre populations et ressources et sa formulation (...) par le modèle dit «homéostatique», l'article s'efforce de nuancer l'idée selon laquelle chaque échelle serait dotée d'attributs qui lui seraient propres. En montrant les convergences possibles entre des niveaux d'observation apparemment incommensurables, il considère que les effets d'échelles dépendent davantage de situations historiographiques locales que de propriétés abstraites. (shrink)

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a (...) wealth of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)

Much of our behavior is guided by our understanding of events. We perceive events when we observe the world unfolding around us, participate in events when we act on the world, simulate events that we hear or read about, and use our knowledge of events to solve problems. In this book, Gabriel A. Radvansky and Jeffrey M. Zacks provide the first integrated framework for event cognition and attempt to synthesize the available psychological and neuroscience data surrounding it. This synthesis (...) leads to new proposals about several traditional areas in psychology and neuroscience including perception, attention, language understanding, memory, and problem solving.Radvansky and Zacks have written this book with a diverse readership in mind. It is intended for a range of researchers working within cognitive science including psychology, neuroscience, computer science, philosophy, anthropology, and education. Readers curious about events more generally such as those working in literature, film theory, and history will also find it of interest. (shrink)

Where do we come from? Are we merely a cluster of elementary particles in a gigantic world receptacle? And what does it all mean? In this highly original new book, the philosopher Markus Gabriel challenges our notion of what exists and what it means to exist. He questions the idea that there is a world that encompasses everything like a container life, the universe, and everything else. This all-inclusive being does not exist and cannot exist. For the world itself (...) is not found in the world. And even when we think about the world, the world about which we think is obviously not identical with the world in which we think. For, as we are thinking about the world, this is only a very small event in the world. Besides this, there are still innumerable other objects and events: rain showers, toothaches and the World Cup. Drawing on the recent history of philosophy, Gabriel asserts that the world cannot exist at all, because it is not found in the world. Yet with the exception of the world, everything else exists; even unicorns on the far side of the moon wearing police uniforms. Revelling in witty thought experiments, word play, and the courage of provocation, Markus Gabriel demonstrates the necessity of a questioning mind and the role that humour can play in coming to terms with the abyss of human existence. (shrink)

It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings through touch. (...) This shows that pictures are not essentially visual representations. The view that pictures are essentially visual follows from influential views of the nature of depiction and of the nature of vision that are mistaken. By rooting out the mistake, we learn something about pictures, something about vision, and something about the doctrine that art media are individuated by the sense modalities. (shrink)

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

Cet article aborde la question générale du développement d'une histoire sociale des mathématiques et de la logique, à partir d'un cas historique. Il vise à rendre compte de certains traits de l'histoire récente de la logique floue. À cette fin, il met en oeuvre une sociologie des pratiques de démonstration et une approche fondée sur l'analyse matérielle du travail logique, notamment de l'activité d'écriture et de lecture. Il esquisse la construction d'une histoire sociale des formes de démonstration.

In recent years, many disciplines have become interested in the scientific study of morality. However, a conceptual framework for this work is still lacking. In The Moral Background, Gabriel Abend develops just such a framework and uses it to investigate the history of business ethics in the United States from the 1850s to the 1930s. According to Abend, morality consists of three levels: moral and immoral behavior, or the behavioral level; moral understandings and norms, or the normative level; and (...) the moral background, which includes what moral concepts exist in a society, what moral methods can be used, what reasons can be given, and what objects can be morally evaluated at all. This background underlies the behavioral and normative levels; it supports, facilitates, and enables them. Through this perspective, Abend historically examines the work of numerous business ethicists and organizations--such as Protestant ministers, business associations, and business schools--and identifies two types of moral background. "Standards of Practice" is characterized by its scientific worldview, moral relativism, and emphasis on individuals' actions and decisions. The "Christian Merchant" type is characterized by its Christian worldview, moral objectivism, and conception of a person's life as a unity. The Moral Background offers both an original account of the history of business ethics and a novel framework for understanding and investigating morality in general. (shrink)

Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...) pictures stand to benefit by taking "directive pictures" into account, as do theories of representation in general and mental representation in particular. (shrink)

Bom, Marilena, a gente queria que, inicialmente, você falasse da sua formação intelectual.Tomando como ponto de partida o curso colegial ou tomando como ponto de partida a Faculdade?

Le fruit d'une enquête sociologique, menée dans les années 1990 aux Etats-Unis, sur la forme d'activité scientifique réputée la plus pure et la plus rebelle à l'investigation des sciences sociales : celle des logiciens et des chercheurs en intelligence artificielle.

Working with a minimal theory of culture, according to which cultures are group-level patterns of specific types of activities, together with a modest theory of values as features that figure in reasons to promote or inhibit, this chapter provides constitutive accounts of hedonic, aesthetic, and artistic cultures, each organized around values in different ways. Hedonic cultures generate hedonic payoffs. Aesthetic cultures coordinate sundry activities around distinctive vocabularies of aesthetic value. Artistic cultures are ones where media of making are leveraged in (...) order to generate any of a range of different varieties of value. The argument for this three-way division of the geography of taste is that it provides an effective framework for empirical investigations of the striking degree of variation within each of the three cultures of taste. (shrink)

Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new understanding of the art form for the 21st century.

Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.

An exposition in five parts of the character of existentialist philosophy, including an analysis of the theories of Jean-Paul Sartre. Author Gabriel Marcel, a famous French dramatist, philosopher, and author of Le Dard, was a leading exponent of Christian existentialism.

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, (...) literary value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Pictures belong to stylistic systems that vary historically and culturally. This variation suggests that styles are conventional. However, styles are not conventional. Styles have perceptual functions that make them apt for use in some contexts and not others.