Ce commentaire intégral des Conjectures de Nicolas de Cues manifeste toute la fécondité de l'oeuvre dans sa complexité. Il élucide l'art général des conjectures, en explore et approfondit les sources doctrinales (en particulier lulliennes) et scientifiques : optiques, mathématiques, biologiques et médicales... Il montre ainsi que la théorie cusaine de la connaissance constitue une hénologie des points de vue et met en évidence l'articulation du rapport entre la vérité, objet de toute recherche connaissante, et l'altérité, condition de tout (...) être fini, et notamment de l'homme. La vérité dans l'altérité se révèle alors comme condition de possibilité de tout ce qui est à partir de l'Un - ce qui constitue l'ordre de l'être - et comme condition de possibilité de toute pensée. Il s'agit, dès lors, de saisir la singularité de l'approche cusaine de la réflexion réciproque entre l'ordre de la pensée et l'ordre de l'être. Après avoir analysé le concept central de conjecture, entendu non comme une simple supposition, mais bien comme une connaissance inadéquate du vrai, la première partie déploie les principes de la nouvelle méthode, fondée sur l'analogie fondamentale entre mens humaine et mens divine. La découverte de ces principes nécessite l'exposition d'une théorie du nombre articulée à celle, d'inspiration proclusienne, des quatre unités (divine, intellectuelle, rationnelle et sensible). Cette première partie conduit à la mise en place de figures manuductrices, paradigmatiques pour notre connaissance. La seconde partie du commentaire explicite les exemples d'application de l'ars coniecturalis donnés par le Cusain en mathématiques, en philosophie naturelle et en anthropologie. Le lecteur découvrira ici comment les Conjectures engagent une philosophie de l'esprit et une philosophie critique, fondamentalement liées à une pensée de l'hétéronomie. (shrink)

Commissions of experts regularly meet to reply to questions such as: What will be the population of the country, or even of our planet, in ten, fifteen or twenty-five years? In what proportion will production have increased, what modifications will its composition and utilizations have undergone? The attraction of efforts to forecast the future continues. That is a fact. How does it proceed? That is a problem, one on which de Jouvenel focuses on in this book. The Art of Conjecture (...) clearly explains what the "study of the future" can mean. De Jouvenel emphasizes the logical and political problems of forecasting and discusses methods in economics, sociology, and political science by which the future can be studied. More importantly, he discusses the fallacies to which the "study of the future" is peculiarly likely to give rise. The author argues that it is natural and necessary for the population to have visions of the future. Without this, he states, we would only be able to set one opinion of the future against another. If the origins and meanings of these predictions remained obscure, only the event could decide among the opinions. If any man can be said to have created the serious "study of the future" in our time, it is Bertrand de Jouvenel. Futuribles, a periodical he created, continues to represent a major turning point in contemporary social science. Jouvenel aimed to show how "the art of conjecture" could inform prudential judgment and allow citizens and statesmen to detect troubles before they arise. (shrink)

Le De coniecturis de Nicolas de Cues illustre le danger de solipsisme qui menace toute doctrine faisant de la recherche de la « vérité précise » une recherche sans fin. Ce thème n’est pas sans évoquer celui de la traduction. Si la connaissance est individualisée, souligne le Cusain, la compréhension des autres hommes devient en effet problématique : « Personne ne peut jamais concevoir parfaitement la compréhension d’autrui, même si certains s’en approchent plus que d’autres ». Comment pouvons-nous savoir ce (...) que pense un autre homme? Comment pouvons-nous savoir que les signes par lesquels nous communiquons avec les autres ont la même signification pour eux et pour nous? Si les différentes conjectures des différentes personnes sont sans rapport les unes avec les autres, elles sont intraduisibles. Comment donc nous comprendre? Telles sont les questions soulevées par cet article. (shrink)

In this paper art history and visual studies, the disciplines that study visual culture, are presented as a field whose conjectural paradigm can be used to understand the epistemic problems associated with abduction. In order to do so, significant statements, concepts and arguments from the work of several specialists in this field have been highlighted. Their analysis shows the fruitfulness and potential for understanding the study of visual culture as a field that is interwoven with the assumptions of abductive cognition.

The aim of this paper is to examine the considerations on stochastic arts in Antiquity and to show how Galen’s analysis concerning the “art of conjecturing” constitutes a preferable alternative to the traditional ways used by philosophers to explain the inherent fallibility in the medical art. By distinguishing the scientific diagnosis from the conjectural one, Galen encompasses all cases relevant to the medical art. The former, because of its general nature, can be theorized. As for the latter, it concerns only (...) the individual and is therefore not likely to enter the theory, except by the method that makes it possible. This paper attempts to outline the modus operandi underlying the technical conjecture in order to illustrate Galen’s deftly developed position on a subject almost exclusively investigated by philosophers until then. (shrink)

In this paper art history and visual studies, the disciplines that study visual culture, are presented as a field whose conjectural paradigm can be used to understand the epistemic problems associated with abduction. In order to do so, significant statements, concepts and arguments from the work of several specialists in this field have been highlighted. Their analysis shows the fruitfulness and potential for understanding the study of visual culture as a field that is interwoven with the assumptions of abductive cognition.

Après avoir donné quelques informations générales sur le corpus des Sermons de Nicolas de Cues, l’article se centre sur le concept de manuductio (fait de prendre par la main). Issue de la tradition dionysienne, il s’agit là d’une notion très importante pour le Cusain. L’intellect humain ne découvre que peu à peu les réalités les plus hautes, il a besoin pour cela d’un guide expérimenté qui l’initie à la pratique de la contemplation. L’art des Conjectures, l’enseignement du De Visione (...) Dei, les développements trinitaires du Cribratio Alkorani sont présentés par Nicolas comme des manuductiones. Ici l’on montre que le sermon est bien conçu par le Cusain comme une manuductio dans la foi, menant les fidèles à une compréhension plus profonde de l’être et de l’agir du Christ. La philosophie joue un rôle, limité, mais réel, dans cette guidance vers l’intelligence de la foi. (shrink)

This article examines an eighteenth-century historical work, Antoine-Yves Goguet's De L'origine des loix, des arts, et des sciences, et de leurs progrès chez les anciens peuples. Goguet studied ancient cultures, but maintained that they were inferior to modern European civilization. His methodology, wide erudition, and detailed footnotes were praised at the time, including by the customarily critical Edward Gibbon. Goguet's work was translated into several languages and was influential into the beginning of the nineteenth century, although he was later all (...) but forgotten. The article discusses his work in the context of eighteenth-century scholarship. (shrink)

PurposeTo explore the mindfulness practice, its long-term effects, facilitators and barriers, in clinical clerkship students 2 years after participation in an 8-week mindfulness-based stress reduction training.MethodA qualitative study was performed by semi-structured in-depth interviews with 16 clinical clerkship students selected by purposive sampling. Students had participated in a MBSR training 2 years before and were asked about their current mindfulness practice, and the long-term effects of the MBSR training. Thematic analysis was conducted using the constant comparison method. Data saturation was (...) reached after 16 interviews.ResultsMost interviewees were still engaged in regular, predominantly informal, mindfulness practice, although some discontinued mindfulness practice and reported an “unchanged lifestyle.” Three main themes came forward; “focused attention and open awareness” during daily activities as core elements of long-term mindfulness practice; “changes in behavior and coping” that resulted from taking a pause, reflecting, recognizing automatic behavioral patterns and making space for a conscious response; “integration in personal and professional life” by enhanced enjoyment of daily activities, improved work-life-balance and making different career choices. Barriers and facilitators in starting and maintaining mindfulness practice were understanding and intention as “pre-conditions”; practical, personal, and professional factors of students in maintaining practice.ConclusionTwo years after participation in a MBSR training, many interviewees were still engaged in mindfulness practice contributing to both personal and professional changes. In light of the high clerkship demands, MBSR training could be a valuable addition to medical curricula, supporting medical students in developing necessary competencies to become well-balanced professionals. (shrink)

DISSERTAÇÃO DE MESTRADO BUENO, Marcos Paulo de Oliveira. A arte de crer na contemporaneidade : possibilidades e limites do cristianismo segundo Gianni Vattimo. 2012. 127 folhas. Dissertação (Mestrado) – Pontifícia Universidade Católica de Minas Gerais, Programa de Pós-graduação em Ciências da Religião, Belo Horizonte.

Excerpt from L'Art de Sentir Et de Juger en Matière de Goût Nous 'zivons' employé trois especes de papier _à la réimpres'sion de ce livre; ce qui forme trois éditions. La premiere, de luxe et tirée àtrès petit nombre sur du papier Velin.' About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, (...) preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

El presente volumen incluye la edición crítica, acompañada de un completo estudio introductorio, del Arte de bien morir, texto en prosa sin autor declarado, y de La contienda del cuerpo y alma, una composición en verso firmada por Antón López de Meta. Ambas obras integraban un mismo libro destinado a preparar al hombre para enfrentar su tránsito final hacia la vida eterna y forman parte de la tradición del Memento mori.

The Florilegium Coislinianum, from which we are editing the chapter dealing with words beginning with the letter ?, is a large Byzantine anthology, dating back to the 9th-10th cent. Its manuscript tradition has been exhaustively explored for the first time in this article and our edition is based on 11 manuscripts, dated from the 10th to the 14th cent. We also compared the Florilegium Coislinianum with the Sacra Parallela and the Loci Communes.

This paper intends to show how Schopenhauer‟s „eristic dialectics‟, defined by him as „the art of being right‟, arise from the combination of two lines of thought on dialectics: the Aristotelian tradition, in which dialects are understood as an argumentative discourse based on generally accepted notions; and the tradition set in motion by Kant, which understands dialectics as a logic of appearances or of illusion. The interpretation we favor, and which we intend to argue in this work, is the following: (...) while attempting to assimilate and to go beyond the teachings of both traditions, Schopenhauer sets forth the basic elements of a kind of communicative rationality in which the polemical functioning of language, understood as the effective instrument of a certain „will of power‟, becomes the sole factor which determines the consolidation of social beliefs and values. (shrink)

The subject of the ethical vocation of Nietzsche’s thinking is arousing increasing interest in the history of the ethics of the analytic tradition. Recent studies have sought above all to dissolve the conflicts that arise from the attempt to reconcile his open immoralism with his project of revaluing all values. According to John Rawls, Nietzsche is a moral elitist: the value that he attributes to the lives of great men such as Socrates or Goethe shows that the search for knowledge (...) and the cultivation of the arts by a few capable individuals is important enough to justify the sacrifice of values such as freedom and justice. This reading cannot account for the special educational role that Nietzsche recognizes in the great artists and great philosophers. In order to ground this hypothesis, I shall examine the significance of the subject of self-elevation in Schopenhauer as Educator. Following James Conant’s reading, I want to support the view that Nietzsche can be placed within that register of the moral life that Stanley Cavell called moral perfectionism. My conjecture is that the perfectionist line runs through the entire arc of Nietzsche’s thinking and is the basis of the various lines of criticism in his critique of morality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Nos faysoms contre Nature...”: Fourteenth-Century Sophismata and the Musical Avant GardeDorit TanayThe secular musical repertory of the late fourteenth century has been described in terms of unparalleled rhythmic intricacies, reflecting a conscious tendency to exhaust the scope of free play within the parameter of time in music. 1 Historians of music see in such musical complexity a case of a musical system in disarray, to be explained by patterns (...) that seem always adequate to account for phases of aberration from stylistic norm, such as the notions of mannerism or fin de siècle phenomenon, understood literally as well as figuratively. 2Current views seem to echo contemporaneous observations. The late fourteenth-century poet-musician Guido cast his critique on what he interprets as a shift towards chaotic musical expression, in a form of an introspective ballade:Or voit tout en aventure Puis qu’ainsi me convient fayre A la novelle figure Qui doyt a chascun desplayre; Que c’est trestout en contraire De bon art qui est parfayt: Certes, ce n’est pas bien fayt. [End Page 29]Nos faysoms contre Nature De ce qu’est bien fayt deffayre; Que Philipe qui mais ne dure Nos dona boin exemplaire. Nos laisons tous ses afayres Por Marquet le contrefayt: Certes, ce n’est pas bien fayt. L’art de Marquet n’a mesureN’onques rien ne sait parfyre; D’ansuir et de portrayre C’est trop grant outrecuidure Ces figures, et tout traire Ou il n’a riens de bon trayt: Certes, ce n’est pas bien fayt. 3Curiously enough, Guido set his ballade to a melody that evokes some of the obscenities deplored in the poem. The musical text displays needless complication, being notated by deceitful figures that are willful, misleading, and difficult to decipher and follow. 4 The literary text, similarly, diversifies words in a vein of irony and ambiguity, clouding any indication as to whether the speaker is for or against the new style. In other words Guido’s esthetic position is sophistic, self-amused, and self-conscious.Since artistic expressions are generally conceived as reflecting their consumers, late-medieval chansons have been interpreted as a manifestation of the incredibly decadent yet sophisticated social milieu in which and for which the music was created. To ground further the argument for the correspondence between the countenance of the music and that of its audience, historians invoke the proximity in time and space between the evolution of the manneristic musical style, significantly in Avignon, and the Great Schism (1378–1417) that [End Page 30] followed the Babylonian Captivity. This famous crisis in the papal reign has been associated with a strong tendency to secularization in the papal Court, by which life styles became luxurious if not licentious. 5This socio-historical account is based on suggestive conjectures, comprising in part explanatory commonplaces. No direct relation can be established between the “Great Schism” or the specific social condition, of Avignon and the most refined music of the late fourteenth century. Furthermore, the claim of the above social account for a contextual approach is misleading. In fact no solid immanent relations are shown to exist between a complex, quasi-degenerate society on the one hand, and the intricate rhythms of the music on the other. The attribution of complexity in the broadest sense of the term does not satisfy our curiosity as to the possible interdependence between style and society. Interestingly enough, as far as late fourteenth-century chansons style is concerned, such an association can even be countered, considering the coincidental cultivation of the new simple style in the complex and decadent Burgundian courts of the waning Middle Ages. 6Here I propose to examine the late fourteenth-century musical style not on the background of social procedures but in the context of fourteenth century scientific thought, and to demonstrate immanent and structural cohesion between a compositional trend that features manipulations within the dimension of musical time and the sciences which investigate the properties of time qua continuum. This affinity concerns a parallel, yet not a completely overlapping, development directed towards the ultimate refinement of the notion of mensura. In other words we are dealing here... (shrink)

En la siguiente exposición se propone un comentario de la obra del filósofo cubano Pablo Guadarrama González, denominada Pensamiento filosófico latinoamericano. Humanismo, método e historia. La perspectiva humanista que es postulada contiene una serie de precisiones que son analizadas en sus implicaciones teóricas y prácticas. Asimismo, se extiende su estudio de las ideas filosóficas a distintos momentos del desarrollo particular seguido en América Latina, al igual que está acompañada esta tarea historiográfica de consideraciones metodológicas que resultan significativas. Desde el conjunto (...) de temas planteados por el autor se retoman sus aportes en relación a debates que se inscriben en el cruce disciplinario de la filosofía y la historia de las ideas, que se ubican inicialmente en el contexto latinoamericano pero aspiran a una proyección con alcances universales. We comment the Cuban philosopher Pablo Guadarrama González’s Latin American philosophical thinking. Humanism, method and history. The humanistic perspective posited therein contains some assumptions that we analyze in their theoretical and practical implications. Furthermore, we extend his study of philosophical ideas to different moments of Latin America’s particular development, being this historiographic task accompanied by significant methodological considerations. Of all the themes posed by this author, we take his contributions to the debates raised in the interdisciplinary intersection of philosophy and the history of ideas, initially located in a Latin American context but with universal projection. (shrink)

La presente investigación hace una revisión de la producción académica publicada sobre educación religiosa escolar entre los años 1991-2020 en Hispanoamérica, donde la ERE ha estado presente en los sistemas educativos en estos países a partir de la primera evangelización desde la época de la colonia, cambiando de finalidades, métodos y formatos. Entender su lugar en la escuela actual requiere identificar los cambios históricos, de contexto y finalidad, y las distintas preocupaciones de sus actores educativos. La investigación hace una revisión (...) general de las publicaciones de la región, puntualizando en el caso colombiano, argentino, mexicano y uruguayo. La metodología usa un análisis de contenido que identifica tres niveles de análisis del texto: de superficie, analítico e interpretativo. Los hallazgos se clasificaron en cinco temáticas: 1) análisis jurídicos; 2) estudios historiográficos; 3) análisis sobre las nuevas realidades sociales y educativas; 4) análisis de los currículos y la práctica pedagógica del maestro; y, 5) fundamentación epistemológica de la ERE. La revisión permite concluir que el tipo de educación religiosa escolar de cada país en Hispanoamérica está determinado por la comprensión de laicidad que cada país tenga en su ordenamiento constitucional y por las complejas trayectorias históricas de las relaciones Iglesia – Estado en su consolidación como nación. Además, los documentos dan cuenta de diversidad de enfoques y preocupaciones por la necesidad –o no- de una educación religiosa fundamentada teológica y pedagógicamente, para un contexto religioso y cultural claramente diverso y plural en el cual se encuentran jóvenes y adolescentes que asisten a la escuela, algunos en búsqueda de identidad y sentido de vida. (shrink)

"TAKE A LINE cut in two unequal sections, one for the kind that is seen, the other for the kind that is thought, and go on and cut each section in the same ratio". In order to follow this request, not only must one know geometry, which treats linear magnitudes; one must also know the relations between geometry and the art which treats kinds. The problem of the first cut in the line is the problem of determining what ratio of (...) two parts of a line is the same as the ratio of the two kinds: visible and thinkable. In order to solve this problem, a procedure seems to be needed for deciding when a ratio of magnitudes, a geometric ratio, is the same as a ratio of kinds, or at least what ratio of magnitudes is the same as the ratio of visible to thinkable. (shrink)

Os sentidos da paixão foram originalmente um curso livre que o Núcleo de Estudos e Pesquisas da Fundação Nacional de Arte (Funarte) promoveu no Rio de Janeiro, São Paulo, Brasília e Curitiba e que atraiu cerca de setecentas a mil pessoas em cada cidade. Prova da fertilidade do curso é este livro apaixonado. Nele, alguns dos mais brilhantes intelectuais brasileiros discutem desde o amor em Platão até a paixão em Pasolini, passando por Freud, Walter Benjamin e Clarice Lispector, o que (...) só comprova a riqueza de um tema que até então não havia sido objeto de um debate como este.ÍndiceApresentaçãoPor que tanta paixão? Adauto NovaesOS SENTIDOS DA PAIXÃOO conceito de paixão - Gérard LebrunSobre o medo - Marilena ChauiPlatão: as várias faces do amor - José Américo Motta PessanhaO CANTO DAS PAIXÕESA glória - Renato Janine RibeiroA inveja - Renato MezanA melancolia de Ulisses - Olgária MatosPaixão da igualdade, paixão da liberdade: a amizade em Montaigne - Sérgio CardosoA paixão dionisíaca em Tristão e Isolda - José Miguel WisnikO lenço e o caos - Jorge ColiPasolini: paixão e ideologia - Michel LahudA paixão de Clarice Lispector - Benedito NunesPoesia: a paixão da linguagem - Paulo LeminskiÉdipo e a paixão - Hélio PellegrinoO Dom de Édipo - Luiz Renato MartinsLou Andreas-Salomé: a paixão viva - Luzilá Gonçalves FerreiraA PAIXÃO REVOLUCIONÁRIAA alegoria da liberdade - Jorge ColiA paixão revolucionária e a paixão amorosa em Stendhal - Renato Janine RibeiroA PAIXÃO SILENCIOSARazão e paixão - Sérgio Paulo RouanetA psicanálise e o domínio das paixões - Maria Rita KehlBenjamin: política e paixão - Katia Muricy. (shrink)

Nietzsche identificó la filosofía como _arte de la transfiguración _en la edición de _La gaya ciencia_ de 1887. Esta expresión tiene un fuerte vínculo con la última obra de Rafael Sanzio, _La trasfigurazione_, comentada en _El nacimiento de la tragedia_, en donde el arte es considerado como transfigurador. Tanto la filosofía como el arte se relacionan con el acto de transfigurar y ambas deben ponerse en relación con la vida; la cual ha de ser transfigurada por el amor.

À travers une vingtaine de contributions de chercheurs et d'artistes, L'art tout contre la machine invite à réfléchir à la médiation de la technique dans notre rapport au monde telles que les pratiques artistiques contemporaines en esquissent le sens. Il se divise en trois parties, qui tissent de nombreux liens entre elles : « Technique et nature » ; « Interfaces relationnelles et dispositifs génératifs » et « Outils conviviaux et machines domestiques ». Les objectifs sont multiples : interroger des (...) œuvres et des procédures artistiques pour leur capacité à mettre en évidence les incidences des dispositifs machiniques sur nos environnements d'existence ; faire apparaître les filiations de dispositifs de création a priori hétérogènes en interrogeant les circulations entre différents régimes de technicité ; mettre en relief enfin la portée politique et artistique d'une compréhension conviviale des outils de création et la spécificité du rapport à la technique qui la sous-tend. (shrink)

Este estudo trata de algumas relações possíveis entre as concepções dos filósofos Friedrich Nietzsche e Michel Foucault, no tocante à constituição do Estado moderno e de um novo sujeito. Analisa-se o surgimento das artes de governo a que se debruça Foucault, com um enfoque voltado para a construção da subjetividade moderna. Ao mesmo tempo, examina-se o conceito de espírito cativo postulado por Nietzsche, em que um indivíduo é forjado pela modernidade em nome de uma suposta implantação da paz. Nesse sentido, (...) buscamos estabelecer algumas conexões entre a formação do Estado e do sujeito modernos, aquele visto como peripécia das artes que, nos últimos séculos, tem conduzido este. (shrink)

L’art – qu’est-ce à dire? Pourquoi Heidegger semble-t-il considérer, avec Hegel, mais peut-être en un sens différent, qu’il n’y a plus d’art? Pourquoi est-il allé, en son cheminement avec ou vers la peinture, de Van Gogh à Cézanne et Paul Klee? Telles sont quelques-unes des questions abordées et envisagées ici.

Through close examination of the texts, the author shows how 15th-century philosopher Nicholas of Cusa developed an understanding of uncertainty that opened the way for human intelligence, despite its inherent weaknesses, to find out more about ourselves, the world, and what lies beyond.

O presente artigo trata da arte de escutar, apontando sua carência em nosso cotidiano, assim como alguns dos obstáculos a seu cultivo. Demonstra o quanto a filosofia clínica se faz necessária devido a tal carência, e levanta a hipótese de um papel relevante para a escuta atenta ao trabalho do sacerdote, assim como a possibilidade dele, através de seu trabalho, suscitá-la na comunidade.