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Dialogue (diálogos) is a fundamental concept in the existential foundations of philosophy, and metaphysics, from Aristotle to the present day, has been the fundamental form and very essence of philosophy. The first forms of dialogue can be traced back to ancient Greek tragedy, which portrays fateful events. In these tragedies, the chorus and actors engage in a dialogue that goes beyond everyday conversation. It serves to represent and understand these fateful events, involving both the posing of a thesis (statement) and its antithesis (opposition) in ancient Greek terms. This logical and linguistic structure finds its foundation in the concept of logos, which for Heraclitus extends beyond mere speech or words. The foundations of philosophical dialogue lie partly in ancient tragedy and partly in Heraclitus' concept of the struggle of opposites. Dialogue is a form of communication aimed at overcoming misunderstandings. It is distinct in its origin, foundation, and multifaceted development from both discussion and dispute. Particularly in the context of contemporary communication, it is valuable to revisit some of the elements and characteristics that differentiate these terms. From a historical perspective, philosophical dialogues are not always unambiguous or unified in form. Therefore, it is important to re-emphasize the core thread and crucial significance of philosophical dialogue, which has persisted for millennia and embodies the "eternal return" to humanity's metaphysical quest for truth and meaning. [ABSTRACT FROM AUTHOR]

This article reconstructs David Scott's theory of the interview. It draws on Scott's scholarly writing, as well as the prefaces and interviews he has conducted with Caribbean intellectuals in Small Axe, which he founded and edits. Scott argues for the interview as a way to avoid corrosive critique, instead emphasizing receptivity and listening to reconstruct and clarify cultural and intellectual history. Interviews offer an alternative form of criticism, and Scott's advocacy of them adds a new dimension to the debate over the value of critique versus surface reading. Scott introduces the concept of "problem-spaces" to understand the situation each generation of intellectuals has faced – notably for him, in the anglophone Caribbean. Interviews provide a distinctive genre to understand those problem-spaces and the different cultural, historical, and political senses that each generation carries. Just as Scott presents the interview as a mode to "think-with-others", this article tries to think with Scott. [ABSTRACT FROM AUTHOR]

Deciding how to relate to the Soviet past is a key question in the politics of memory for the societies and political elites of the post-Soviet countries. Throughout the post-Soviet decades Armenian political and intellectual elites tried to form a complex attitude to the Soviet past, neither rejecting, nor appropriating the Soviet legacy completely, but assimilating it within the paradigm of national history. Within this paradigm Soviet Armenia is viewed as a stage in the development of Armenian nationhood, as "the second republic", which links the first "attempt" at building a nation-state, "the first republic" of 1918–1920, to the "3rd republic", i.e. the post-Soviet state of Armenia. This paradigm, in which the Soviet past is neither completely rejected, or accepted, but certain elements of it are integrated into the national history narrative, is optimal for post-Soviet Armenia, given both the peculiarity of Armenia's historical experience (particularly the role played by Russia/USSR in the context of Armenian-Turkish relations), as well as the current geopolitical setting, in which Armenia and Russia are formal allies. This attitude, which can be described as "mnemonic ambiguity", allows the assertion of an independent and sovereign Armenian state as legitimate, while at the same time avoiding a confrontation with an ally in the realm of memory politics. [ABSTRACT FROM AUTHOR]

History can be considered a process of identity formation. Historical research has been undertaken with the aim of strengthening and supporting the idea of the nation-state, as only the nation-state could provide the necessary cultural unity for the intellectual and economic progress of its members. History is a discipline that defines us all. It teaches us, but we do not always learn from it. Not knowing our past means remaining children throughout our lives. The objective of history is not so much the chronological documentation of events, but rather the presentation and understanding of phenomena: besides detailing events, history seeks to describe, define, and understand, because, although full knowledge of the past is impossible, through it we can still advance to a higher level of understanding. One of the most damaging legacies of communist regimes is the distorted view of history they left behind. [ABSTRACT FROM AUTHOR]

This text offers the result of the dialogue, in the form of an interview, held with the French historian François Hartog in September 2022. The discussion is focused on Chronos, a book recently translated into Spanish, which closes the circle of his reflections on time while simultaneously opening up new routes. The interview is preceded by an introductory study in which both the career of this intellectual and some of the most relevant approaches in his work are briefly reviewed, and we trace the paths of their reception in Mexico. [ABSTRACT FROM AUTHOR]

Copyright of Recherches Sociographiques is the property of Recherches Sociographiques and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

When Jan Morris died in 2020, people from around the world praised her elegant and eloquent writing, and her extraordinary life. Her many achievements included the publication between 1966 and 1978 of the 'intellectual and artistic high-point of [her] career': the Pax Britannica trilogy charting the zenith and decline of the British Empire. The popular trilogy, which remains in print, played a key role in establishing the late twentieth-century cultural narrative that the British Empire was 'a force for good' in the world. Calling into question the boundary between history, fiction and memory, Morris draws heavily on theatrical techniques to both construct a narrative of Empire, one which is dominated by the adventures of individual imperialists, and draw attention to its fabrication. Attending closely to its mode of address, I argue that Morris's trilogy, while equivocal and, in places, critical, ultimately offers a reassuring narrative of Empire. At a time of debate about these histories, I argue that the memorialising of Morris in the wake of her death represents one example of a continuing refusal to face the ongoing consequences of Empire. [ABSTRACT FROM AUTHOR]

This two-handed text integrates in a single space the debate held by two indisputable academic figures, Georges Didi-Huberman, art historian, and Enzo Traverso, historian, in the French digital daily news aoc [Analyse Opinion Critique], between the months of May and October 2022. In a public exchange of letters, Didi-Huberman begins the discussion on a brief comment that Traverso includes in his book Revolution. An Intellectual History (2021), which alluded to a problematic image by photographer Gilles Caron —taken during the anti-Catholic demonstrations in Northern Ireland in 1969—, part of Soulèvements, an exhibition that Didi-Huberman curated for the Jeu de Paume Museum in Paris between 2016 and 2017. From this point, the debate between the two intellectuals will extend to one of the most interesting reflections, which shows two positions on the ways of seeing the image and its relationship to history. [ABSTRACT FROM AUTHOR]

This essay identifies key ideas associated with the Russian Revolution of October 1917 and its impact over more than a century. It highlights the emancipatory impact of the Revolution in its global and long­‑term aspects, while also emphasizing its inclusion as a crucial event in the processes of writing and interpreting contemporary history. Based on the great hopes it raised and the paths it followed and disseminated, its echoes are articulated with the role of propaganda, reflection and artistic and intellectual creation, as well as with its agents, as dynamic instruments of political change, cultural transformation and the production of a socialist ideal. In connection with this process, reference is also made to the place of the public intellectual and the reformulation of the very concept of revolution in relation to historical knowledge and the impact of memory, associating it with the fruitful dimension introduced by nostalgia and utopia. Overall, the essay offers an interpretative historical sense of the impact of the October Revolution throughout the twentieth century [ABSTRACT FROM AUTHOR]

In this article we discuss aspects of the trajectory of the Revista do Instituto Paraguayo that are related to themes about the discussion of the renewal of Paraguayan nationality in the late 19th and early 20th centuries, a moment when a number of intellectuals were striving to forge a new version of the country, which suffered the nefarious consequences of the War of the Triple Alliance (1864-1870). Since its emergence, this Journal has proposed the debate, in an interdisciplinary way, about a set of themes and issues that encompassed fundamental repertoires for the consolidation in the awakening of a national conscience. We highlight as the main leading of this performance the Generation of 900, formed by authors interconnected by an intellectual community interested in the national reconfiguration, based on culture, homeland, national history and the future. We hope to contribute to the debate on the role of this Journal as one of the essential platforms that synthesized aspirations that projected the country for the 20th century. [ABSTRACT FROM AUTHOR]

The reviews, editorials, and short summaries that appear in archived Czech periodicals provide an abundant source of documentation on the propagation of Italian culture, as well as the Italian reception of Czech literature and culture, shedding light on a number of important figures and institutions that played a role in Czech-Italian cultural exchange. This study examines the mutual cultural relations that took place at the level of various institutions, including the organisation of numerous lectures and conferences, at which notable guests were invited to speak on (and promote) Italian culture and language. At its peak, this cultural exchange also included the founding of a library of Italian literary works and publication of various periodicals, as well as the participation of both Czech and Italian academics and intellectuals residing in Prague in the promotion of Italian culture. [ABSTRACT FROM AUTHOR]

Tessa Roynon offers fascinating insights into the humour evident in Morrison's own life and novels. However, Ramdani explores her less-known role as a "non-scholar historian" of the Black past in the United States and highlights the important contributions of African Americans to nation building. Keywords: Black women intellectuals; history; contemporary context EN Black women intellectuals history contemporary context 1 5 5 05/12/22 20220301 NES 220301 This special issue of I Comparative American Studies, Black Female Intellectuals in Historical and Contemporary Context i , developed as part of an AHRC-funded network project over the past three years. Roynon teases out too the importance of intertextual links between Morrison, Alice Walker and Zora Neale Hurston demonstrating the networks that existed across time and space among Black women intellectuals. [Extracted from the article]

Copyright of Anuario de la Sociedad Argentina de Historia de la Educación is the property of Argentinean Society of History of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What is the role of the intellectual? And what is the relationship between culture, society and power? This essay attempts to answer these key questions by starting from the ideas that Norberto Bobbio had given us after World War II in the pages of his book Politica e cultura (Politics and Culture), in which he sketched a figure of the intellectual that was neither partisan nor Olympian, yet vaguely evocative of that Weberian wertfreiheit that already seemed a very problematic concept at the time. Bobbio's words, which already testified to the crisis of modern public reason, had to be set against the postmodern atmosphere and its effects, its critics and its advocates. Did postmodernism authorise disengagement, inviting us to cultiver notre jardin? Should it be discarded in order to recover a 'romantic' image of the engaged intellectual, a sort of 'Green Beret' of culture? The proposal of this essay is that the intellectual should play the role of saboteur, only to find himself rummaging through the rubble of History that he himself has contributed to disseminating. [ABSTRACT FROM AUTHOR]

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reinterprets algorithmic rationality by looking at the interaction between mathematical logic, mechanized reasoning, and, later, computing in the Russian Imperial and Soviet contexts to offer a history of the algorithm as a mathematical object bridging the inner and outer worlds, a humanistic vision that we, following logician Vladimir Uspensky, call the "culture of the impossible." We unfold the deep roots of this vision as embodied in scientific intelligentsia. In Part I, we examine continuities between the turn-of-the-twentieth-century discussions of poznaniye—an epistemic orientation towards the process of knowledge acquisition—and the postwar rise of the Soviet school of mathematical logic. Establishing this connection allows us to explain, in Part II, the role of the algorithm in disciplinary dynamics between mathematical logic and cybernetics and a characteristic understanding of programming, not as a narrow skill, but as a matter of consciousness. [ABSTRACT FROM AUTHOR]

Fifty years after the publication of "The Modern Practice of Adult Education," andragogy has significant presence in English-language adult education and related fields. This article takes stock of the development of this mid-century intellectual project. The context of mid-century adult education in North America is described, and the rhizomatic relationship with previous instances of the idea is examined. The effects of the project on practice and theory are considered and difficulties regarding lack of theoretical development and empirical investigation are identified. The discussion argues that the continuation of the andragogical project depends on development of key aspects, including stronger connections with international manifestations of andragogy. [ABSTRACT FROM AUTHOR]

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The article discusses The Black Legend Today, between History and Politics, which includes The Black Legend has been and continues to be the perfect pretext for society to Spanish, and in particular its political and intellectual elites, renounce project a critical look on their own past, that past near or remote of which it feels both product and continuation.

Copyright of Memorias is the property of Fundacion Universidad del Norte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers d'Études Africaines is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article concerns the way in which the eye topos functions in Paweł Hertz's Sedan and Kazimierz Brandys' The Wooden Horse, works representing Polish literature of retribution written in the 1940s. The role of the process of seeing is interpreted by means of the category of melancholy, and the protagonists in these works are presented as melancholics. Standing in front of a window or in the quiet of European museums, members of the intelligentsia do not so much focus on passive contemplation but rather protest against History. The desire to constantly use the eyes has an existential and political sense. Recognition of the phenomenon of a melancholic gaze in the literature of retribution enriches the traditional interpretation of this trend in literature by lending it a new context and allowing rehabilitation of the intellectuals portrayed in it. [ABSTRACT FROM AUTHOR]

One of the main themes that Maxim Gorky developed throughout his life was that of the honest (good) Russian man and the Russian intelligentsia's endless role of enlightening him and protecting him from the authorities. This theme runs through all the writer's major works, from the early Chelkash and the autobiographical trilogy to the final unfinished novel The Life of Klim Samgin. In continuing the theme of "the people" as it appeared in the nineteenth-century Russian literature, in works of such authors as Alexander Pushkin, Nikolai Gogol, Ivan Turgenev, Leo Tolstoy, and especially his contemporaries - Nikolai Leskov and Anton Chekhov - who were close to him in spirit, Gorky not only testifies to the "bestial nature" of the Russian people, but, finding no intelligible explanation for that wildness, never hides his contempt for it. Gorky himself offers no opinions as to whether this wildness was the result of life in an extremely harsh natural environment or of centuries of foreign and later domestic slavery. This, however, should not be viewed as a reproach to Gorky, because in the more than eighty years since his death, we, his descendants, have found no such answers, either. [ABSTRACT FROM AUTHOR]

Copyright of Revista Arqueologia Pública is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the Brazilian literary scene of the early 1950s, the almost simultaneous publication of Jorge Amado's O Mundo da paz (1952) and Subterrâneos da Liberdade (1954), and Viagem (1954) and Memórias do Cárcere (1954) scored by Graciliano Ramos. Brazilian novelists already consecrated by the critics and the public, both reveal in these publications the radicality with which they identify with communism and with the Soviet experience. At the same time, the travel accounts and the books of memory, if viewed together, evidence the presence of two narrative traditions: literary proper and political engagement of intellectuals. Thus, what is intended here is to show how these two traditions appear in the work of the two writers, especially in their reports of travel to the USSR. From the point of view of political militancy and literary resources, both writers used the "border genre" to share with their readers some kind of commitment to the history of recent national politics, communism, and to endorse the experience. [ABSTRACT FROM AUTHOR]

Copyright of Kwartalnik Historii Nauki i Techniki is the property of Polska Akademia Nauk, Instytut Historii Nauki and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Al-Frahids Arts is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)