Review of \u3ci\u3eThe Philosophy of the Western\u3c/i\u3e edited by Jennifer L. McMahon and B. Steve Csaki

The topic of this collection immediately raises a number of questions. In what sense do artworks have, or express, a philosophy ? If they can be said to imply or assert propositional claims, why not just make the claims and argue for them? Do the films just serve as examples of philosophical ideas? (The majority of these essays seem to take this approach.) If so, how important is it that the examples are artworks? Would complex and imaginative thought experiments do? Are commercial Hollywood films and television shows artworks at all, and if so, in what sense? Is an artwork a better artwork if it is in some sense philosophically sophisticated

Verdades e mentiras na obra inicial de Nietzsche

O presente artigo toma como diretriz uma pergunta fundamental: o que significa ver a filosofia do ponto de vista de uma vida afirmável e sustentável? Com base nessa pergunta, examina-se a natureza da alternativa filosófica proposta por Nietzsche ao ascetismo entranhado no âmago da filosofia ocidental, a autoridade com que esta alternativa é enunciada, bem como a relação existente entre a referida alternativa e o ascetismo por ela radicalmente criticado

The Affirmation of Life: Nietzsche On Overcoming Nihilism, de Bernard Reginster

Não se aplica

¿Lo mío y lo tuyo? El estado kantiano

Kant dice que es un deber salir del estado de naturaleza, para entrar en un estado civil: un deber de derecho (Rechtspflicht), no un deber de virtud. El artículo discute el argumento que él da para apoyar este punto de vista, así como el debate contemporáneo sobre la relación entre este deber de derecho y el imperativo categórico. De la discusión emerge una visión del estado kantiano que desafía la explicación convencional: en lugar de un estado diseñado para proteger derechos de propiedad individuales preexistentes, los derechos de propiedad se consideran como resultado de la misma constitución del estado.Kant says there is a duty to exit the state of nature and enter into a civil state: a duty of right (Rechtspflicht), not a duty of virtue. The article examines the argument he provides in support of this view, as well as contemporary discussion of the relationship between this duty of right and the categorical imperative. From this analysis emerges a distinctive view of the Kantian state that challenges the conventional account: rather than defining the state as a protector of preexisting individual property rights, property rights are seen as stemming from the constitution of the state

Heidegger and Blumenberg on modernity

The debate surrounding the way in which Heidegger and Blumenberg understand the modern age is an opportunity to discuss two different approaches to history. On one hand, from Heidegger's perspective, history should be understood as starting from how Western thought related to Being, which, in metaphysical thinking, took the form of the forgetfulness of Being. Thus, the modern age represents the last stage in the process of forgetfulness of Being, which announces the moment of the rethinking of the relationship with Being by appealing to the authentic disclosure of Being. On the other hand, Blumenberg understands history as the result of the reoccupation process, which means replacing old theories with other new ones. Thus, to the historical approach it is not important to identify epochs as periods of time between two events, but to think about the discontinuities occurring throughout history. Starting from here, the modern age will be thought of not as an expression of the radicalization of the forgetfulness of Being, but as a response to the crises of medieval conceptions. For the same reason, the interpretation of history as a history of the forgetfulness of Being is considered by Blumenberg to subordinate history to an absolute principle, without taking into account its protagonists' needs and necessities

Honneth, Butler and the Ambivalent Effects of Recognition

This paper examines the ambivalent effects of recognition by critically examining Axel Honneth’s theory of recognition. I argue that his underlying perfectionist account and his focus on the psychic effects of recognition cause him to misrepresent or overlook significant connections between recognition and power. These claims are substantiated by (1) drawing from Butler’s theory of gender performativity, power and recognition; and (2) exploring issues arising from the socio-institutional recognition of trans identities. I conclude by suggesting that certain problems with Butler’s own position can corrected by drawing more from the Foucauldian aspects of her work. I claim that this is the most promising way to conceptualise recognition and its complex, ambivalent effects

Moralidad confusa en "La sombra de una duda" (1943) de Alfred Hitchcock

The author uses Hitchcock's Shadow of a Doubt in two ways. In te first place, he proposes tat the cinema can suppose a way of doing philosophy that is not to represent a philosophical reflection but that isitself a way of philosophical exploration. Secondly, he analyzes the way in wich this occurs in the film, showing that the shadows of doubt that he suggests are a key element in Hitchcock's filmography, where betweenignorance, interpretation and morality, connections are established that erect in eminently philosophical questions: who are we and what's happening here?El autor usa La sombra de una duda de Hitchcock de dos modos. En primer lugar propone que el cine puede suponer un modo de hacer filosofía que no es representar una reflexión filosófica sino un modo de exploración filosófica propio. En segundo lugar, analiza la manera en que esto se da en la película, mostrando que las sombras de duda que sugiere son un elemento clave en la filmografía de Hitchock, donde entre el desconocimiento, la interpretación y la moralidad se establecen conexiones que se erigen en preguntas eminentemente filosóficas: ¿quiénes somos y qué estápasando aquí

Sobre "Vértigo" de Alfred Hitchcock

The author analizes the symbolic elements that define Hitchcock at the beginning of his film and reveals them (through Hitchcock’s psychopathic subtlety) essentialy from the beggining in a work with a core idea that can be the problema of killing (or be murdered by) the father or circumstances.El autor analiza los elementos simbólicos determinantes de la película de Hitchcock en el principio de la misma. Se nos revelan (a través de la sutileza psicopática de Hitchcock) esencialmente presentes ya desde el primer momento en una obra cuyo eje central podría decirse que es el problema de matar al (o morir a manos del) padre o de las circunstancias