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No full textAristotle tells us in Metaphysics that Pherecydes did not speak everything in mythological language (1091b8), because, in his dialogue with the mythical tradition, he provides us with a cosmology that is not only marked by action gods. In his narrative about the origin of the cosmos, Pherecydes presents original divine powers generating from elements such as water, air and fire. One of these divine powers, Zás, working with love, and not as a warrior, embroidering a cloak and transforming himself into Eros to be able to acquire the generating power of everything that is. Therefore, Pherecydes reformulates both the narratives regarding divine events and those about the emergence of the cosmos, not depending exclusively on action gods. In this work I intend to explain how Ferécides’ thinking is inserted in the process of development of thought in the face of astonishment of what is.Aristotle tells us in Metaphysics that Pherecydes did not speak everything in mythological language (1091b8), because, in his dialogue with the mythical tradition, he provides us with a cosmology that is not only marked by action gods. In his narrative about the origin of the cosmos, Pherecydes presents original divine powers generating from elements such as water, air and fire. One of these divine powers, Zás, working with love, and not as a warrior, embroidering a cloak and transforming himself into Eros to be able to acquire the generating power of everything that is. Therefore, Pherecydes reformulates both the narratives regarding divine events and those about the emergence of the cosmos, not depending exclusively on action gods. In this work I intend to explain how Ferécides’ thinking is inserted in the process of development of thought in the face of astonishment of what is.Aristotle tells us in Metaphysics that Pherecydes did not speak everything in mythological language (1091b8), because, in his dialogue with the mythical tradition, he provides us with a cosmology that is not only marked by action gods. In his narrative about the origin of the cosmos, Pherecydes presents original divine powers generating from elements such as water, air and fire. One of these divine powers, Zás, working with love, and not as a warrior, embroidering a cloak and transforming himself into Eros to be able to acquire the generating power of everything that is. Therefore, Pherecydes reformulates both the narratives regarding divine events and those about the emergence of the cosmos, not depending exclusively on action gods. In this work I intend to explain how Ferécides’ thinking is inserted in the process of development of thought in the face of astonishment of what is.Aristotle tells us in Metaphysics that Pherecydes did not speak everything in mythological language (1091b8), because, in his dialogue with the mythical tradition, he provides us with a cosmology that is not only marked by action gods. In his narrative about the origin of the cosmos, Pherecydes presents original divine powers generating from elements such as water, air and fire. One of these divine powers, Zás, working with love, and not as a warrior, embroidering a cloak and transforming himself into Eros to be able to acquire the generating power of everything that is. Therefore, Pherecydes reformulates both the narratives regarding divine events and those about the emergence of the cosmos, not depending exclusively on action gods. In this work I intend to explain how Ferécides’ thinking is inserted in the process of development of thought in the face of astonishment of what is.Aristóteles nos diz na Metafísica que Ferécides não teria dito tudo em linguagem mitológica (1091b8), pois, em seu diálogo com a tradição mítica, nos fornece uma cosmologia não somente marcada pela ação dos deuses. Em sua narrativa sobre a origem do cosmo, Ferécides apresenta potências divinas originais gerando a partir de elementos como água, ar e fogo. Uma dessas potências divinas, Zás, age amorosamente, e não guerreiramente, bordando um manto e transformando-se em Eros para poder adquirir a potência da geração de tudo que é. Portanto, Ferécides reformula tanto as narrativas a respeito das ações divinas como aquelas sobre o surgimento do cosmo, já não mais dependendo exclusivamente da ação dos deuses. Com esse trabalho, pretendo explicitar como o pensamento de Ferécides se insere no processo de desenvolvimento do pensamento diante do espanto do que há
Le romantisme revolutionnaire au 20 siecle. Ernst Bloch, surréalisme, situationnisme, ecosocialisme
Full text linkThis paper discusses revolutionary romanticism as a worldview that transcends the nineteenth-century literary movement and offers a cultural and political critique of capitalist modernity. This romanticism opposes utilitarianism and rationalisation and defends qualitative and communitarian values. Its twentieth-century expression can be found in figures and movements like Ernst Bloch, surrealism, situationism and eco-socialism. Ernst Bloch’s utopian philosophy, centred on the concept of ‘Not Yet’, proposed a radical critique of capitalism and a harmonious alliance with nature. André Breton’s Surrealism combined social revolution with the re-enchantment of the world, rejecting positivism and exploring the imaginary. Guy Debord and Situationism denounced consumer society and idealised pre-modern forms of community, turning nostalgia into a revolutionary tool. Eco-socialism is interpreted as a contemporary utopia inspired by pre-capitalist values and indigenous ways of life, proposing a sustainable civilisation based on solidarity. The paper concludes that revolutionary romanticism persists as a cultural and political framework, linking the past to a utopian future, criticising modernity and inspiring social transformation.L’article traite du romantisme révolutionnaire en tant que vision du monde qui transcende le mouvement littéraire du XIXe siècle, en proposant une critique culturelle et politique de la modernité capitaliste. Ce romantisme s’oppose à l’utilitarisme et à la rationalisation, en défendant des valeurs qualitatives et communautaires. Son expression au XXe siècle se retrouve dans des figures et des mouvements tels qu’Ernst Bloch, le surréalisme, le situationnisme et l’écosocialisme. Ernst Bloch se distingue par sa philosophie utopique centrée sur le concept du « Pas encore », en proposant une critique radicale du capitalisme et une alliance harmonieuse avec la nature. Le surréalisme d’André Breton associe révolution sociale et réenchantement du monde, en rejetant le positivisme et explorant l’imaginaire. Guy Debord et le situationnisme dénoncent la société de consommation et idéalisent les formes communautaires prémodernes, transformant ainsi la nostalgie en un outil révolutionnaire. L’écosocialisme est interprété comme une utopie contemporaine, inspirée par les valeurs précapitalistes et les modes de vie indigènes, proposant une civilisation durable et solidaire. L’article conclut que le romantisme révolutionnaire persiste en tant que cadre culturel et politique, reliant le passé à un avenir utopique, critiquant la modernité et inspirant la transformation sociale
Hilomorfismo: Nariz achatado de Aristóteles, a vela de cera de Descartes, o prato e o cão de Kant, a garrafa de cerveja castanha de Husserl. : Notes sobre The History of the Hylomorphism: From Aristotle to Descartes (Oxford: OUP, 2023).
No full textThis seemingly simple question, "What is hylomorphism?", is not so straightforward to answer. We shall attempt to address this question by presenting and interpreting "On The History of Hylomorphism". We shall, therefore, examine closely the link between matter and form, body and soul, primarily in Aristotle's work. We then move on to Descartes, who goes to the extreme of radically separating soul (form) from body (matter). I shall read David Charles's detailed and insightful introduction, as well as Lilli Alanen's chapter on Descartes. We shall consider Descartes' perception of a burning wax candle. Subsequently, I shall venture a glimpse into the future of the narrative. We shall examine Kant's plate circularity and geometric circles in the "Doctrine of Schematism" (resembling David Charles's Sigma-Structure) and attempt to engage with the phenomenological stance, analysing Husserl's "brown bottle of beer", where the morphē-hylē relationship undergoes a transformation in his analyses of time consciousness.Esta pergunta aparentemente simples, “O que é o hilomorfismo?”, não é assim tão fácil de responder. Tentaremos responder a esta questão apresentando e interpretando “Sobre a história do hilomorfismo”. Assim, examinaremos de perto a ligação entre matéria e forma, corpo e alma, principalmente na obra de Aristóteles. Passamos depois a Descartes, que vai ao extremo de separar radicalmente a alma (forma) do corpo (matéria). Lerei a introdução detalhada e perspicaz de David Charles, bem como o capítulo de Lilli Alanen sobre Descartes. Consideraremos a perceção de Descartes de uma vela de cera a arder. Em seguida, aventurar-me-ei a vislumbrar o futuro da narrativa. Examinaremos a circularidade da placa de Kant e os círculos geométricos na “Doutrina do Esquematismo” (que se assemelha à Estrutura Sigma de David Charles) e tentaremos envolver-nos na posição fenomenológica, analisando a “garrafa castanha de cerveja” de Husserl, onde a relação morphē-hylē sofre uma transformação nas suas análises da consciência do tempo
Melodia da vida: O espaço da música e o vivido da psique patológica, sob a batuta de Eugène Minkowski
Full text linkThis work intends to meditate on the way in which music can constitute a “gateway” to the lived experience. Starting from Eugène Minkowski's investigations, we will use music to highlight the various ways of experiencing space. The nature of phenomenological thinking will lead us to expand our investigation to the dimensions of body, time, and alterity. Our ultimate objective involves building a study base, which allows us to think about the human being as an “embodied being in the world”, from which we can provide new elements of comprehensibility to pathological psychic states in future works.O presente trabalho pretende meditar sobre a música enquanto “porta de entrada” para o vivido. Partindo das investigações de Eugène Minkowski, servimo-nos da música para colocar em evidência os vários modos de viver o espaço. A natureza do pensar fenomenológico levar-nos-á a expandir a nossa investigação às dimensões de corpo, tempo e alteridade. O nosso derradeiro objectivo passa pela edificação de uma base de estudo, que nos permita pensar o humano enquanto “ser corporalizado no mundo” e a partir do qual possamos fornecer novos elementos de compreensibilidade aos estados psíquicos patológicos em trabalhos futuros
A mediação dos arquivos coloniais: Notas sobre “Construindo melhores futuros arquivísticos através do reconhecimento da injustiça epistémica” de Charles Jeurgens
Full text linkThe commentary on “Building better archival futures by recognizing epistemic injustice” by Charles Jeurgens begins to approach some of the ideas and concepts that he analyses, namely “epistemic justice” and, in special, “hermeneutical injustice”. Follows a mention to diverse researches and initiatives revisiting colonialism in Portugal and a critical mention on the extensive use of the term decolonisation applied, for instance, to the archives. The “myth of impartiality and neutrality” of the archivists deserves a specific attention, as well as the difficulties surrounding their practices’ transparency. The uniqueness of the colonial archives is questioned, in comparison with other archives equally demanding a rigorous study. Finally, doubts are raised on the role of archivists and archival institutions regarding the colonial archives as a matter of justice.O comentário a “Construindo melhores futuros arquivísticos através do reconhecimento da injustiça epistémica”, de Charles Jeurgens, começa por explorar algumas das ideias e conceitos analisados pelo autor, nomeadamente a “justiça epistémica” e, em especial, a “injustiça hermenêutica”. Segue-se a menção de diversas investigações e iniciativas que revisitam o colonialismo em Portugal e uma crítica ao uso extensivo do termo descolonização aplicado, por exemplo, aos arquivos. O “mito da imparcialidade e neutralidade” dos arquivistas recebe uma atenção específica, bem como as dificuldades que envolvem a transparência das suas práticas. A singularidade dos arquivos coloniais é questionada, em comparação com outros arquivos que também exigem um estudo rigoroso. Por fim, são levantadas dúvidas sobre o papel dos arquivistas e das instituições arquivísticas em relação aos arquivos coloniais, tratados como uma questão de justiça
[Recensão a] CALVO MARTÍNEZ, José Luis, Los cuatro evangelios. Edición bilingüe, traducción y notas, Editorial Trota, Madrid, 2022, 613 pp. ISBN: 978-84-1364-062-4
No full textUm negativo da liberdade: o crime enquanto acto performativo linguístico. Leituras de Edgar Allan Poe e de Mário de Sá-Carneiro.
Full text linkThe present study stems from a quote from Mário de Sá-Carneiro where the latter evokes the concept of perversity in Edgar Allan Poe’s works, which is one of the main themes in “The Imp of Perverse” and “The Black Cat”. In these short stories the perspective of perversity refers to a variation of sensitive states with no given reason. The way crime and death constitute metaphors for writing which express performative acts of the language, both in Edgar Allan Poe and Mário de Sá-Carneiro, will be analysed. The relationships of similarity between artist and assassin, as well as between the murder weapons, the pen and the pen-knife, will be explored with the aim of establishing a connection between the act of violence and the act of writing. The physical reactions prone to be felt by the protagonist on the act of writing the occurrence will be analysed, and the question will be made on whether the exercise of describing the crime may lead to a double experience of the pleasure of committing the crime, just as Pierre Klossowski identified in the Marquis de Sade’s works.Este estudo parte de uma citação de Mário de Sá-Carneiro, na qual este evoca o conceito de perversidade na obra de Edgar Allan Poe, que é um dos temas centrais de “The Imp of Perverse” e “The Black Cat”, e nos quais a perspectiva de perversidade designa uma variação de estados sensíveis sem uma razão concreta, para a definição do desejo de perversidade em ambos os autores. Analisar-se-á como o crime e a morte, tanto na obra de Edgar Allan Poe como na obra de Mário de Sá-Carneiro, constituem metáforas da escrita que expressam actos performativos da linguagem. Explorar-se-ão as relações de semelhança entre artista e assassino, e entre as armas do crime, caneta e pen-knife, com o objectivo de estabelecer uma conexão entre o acto violento e o acto de escrita. Analisar-se-ão as reacções físicas passíveis de ser sentidas pelo protagonista no acto de escrita do acontecimento, e questionar-se-á se o exercício de descrição do crime pode conduzir a uma dupla experimentação do prazer de cometer o crime, tal como Pierre Klossowski identificou na obra do Marquês de Sade
Espinho: questionando a transformação do território e o lugar da habitação através das fontes audiovisuais
Full text link With this paper we intend to present a systematic reading of the architectural transformations that characterized Espinho until the 1970s, through the application of methodologies for analyzing audiovisual sources. The objectives are to demonstrate these sources’ possibilities for the study of architecture, as well as to compare the various images of the territory over three decades with the reality shown by archive sources. We also seek to interrogate housing architecture’s place in the territory’s filmic depictions, as well as its role in the transformations that took place in the second half of the century. With the transformations of Espinho at the end of the 20th century and its progressive de-characterization, given its richness as documentary testimony of a constructed reality that is very dear to the History of Architecture in Portugal, based on the impact of the housing function, it is urgent to analyze the images preserved by these sources.Com este artigo pretendemos apresentar uma leitura sistematizada das transformações arquitetónicas que caracterizaram Espinho até à década de 1970, através da aplicação de metodologias de análise de fontes audiovisuais. Os objetivos centram-se na demonstração das possibilidades destas fontes para o estudo da arquitetura, bem como no confronto dos vários registos e imagens do território, ao longo de três décadas, com a realidade evidenciada pela documentação de arquivo. A presente investigação procura igualmente interrogar o seu lugar nas representações fílmicas do território, bem como o seu papel nas transformações operadas no aglomerado urbano na segunda metade do século XX. Com as transformações de Espinho no final do século XX e progressiva descaracterização da cidade, e face à sua riqueza enquanto testemunho documental de uma realidade construída muito cara à História da Arquitetura em Portugal, assente no impacte da função habitacional, urge analisar e valorizar as imagens por estas fontes conservadas
