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The Royal Asiatic Society in London houses a collection of magic lantern slides of China dating from the late nineteenth and early twentieth centuries. By investigating a selection of lantern slides, this article explores their epistemological nature and their wider relations to socio-cultural and political systems of power. These lantern slides highlight the complexity of our ways of seeing and representing that are embedded into particular historical and ideological systems in which meaning is both shaped and negotiated. This article argues that images are powerful conduits in disseminating and, if unchallenged, maintaining particular notions and ideas.

This work intends to analyze the presence and evolution of the oriental calligraphic line in the work of Domenec Cobella, specifically, of his landscape paintings carried out between 2003 and 2012 (phases Espirito Essencial and Espirito Zen).From 2003, with the beginning of the Essential Spirit stage (2003-2006), the landscape became the main theme in this artist's pictorial work. In the works developed during this period, there is an increasing synthesis of the elements that make up the picture, as well as the beginning of the application of the line as a modeling element between sign and meaning, in a purified epitome of the elements it composes. This debugging is taken to the extreme in the next phase, entitled Espirito Zen (2007-2012), where there is a link in the search for the essence of the elements to be represented, in a kind of formal synthesis of the external principles of the landscape. The line, or the line, becomes the material that leads to the union between sign and signifier, between painting and calligraphy, between form and stain, an idea shared by the Principle of the Unique Brushwork of Shitao.

Regardless of the historical evolution of money, some passages of Aristotle's works shed light on its meaning and nature. This paper will attentively consider these passages. The first section presents Aristotle's thoughts on money. While the second section analyses money as a unit of measurement, the third section deals with its conventional nature, and the fourth draws from the theories of signs elaborated by John Poinsot and Charles Peirce to expand the explanation of the nature of money as a sign. The conclusion considers three levels of consideration of money based on Aristotle's thoughts: (1) universal abstract money, (2) instantiated in specific currencies, and (3) the actualization of their properties and potentialities in actual economic dealings.

In line with current debates on African cultural heritage, this article considers the historical dislocation and a recent revival of Augustine of Hippo as a long-time hidden figure of North African memory. It focuses on the evolution of transcultural meaning in the process of memorization from colonial to postcolonial times. The main emphasis will be on the Algerian context, where Augustine was incorporated into colonial myth (Bertrand’s Afrique latine), what provoked a rejection until his figure was re-appropriated and shaped into a site of Maghrebian memory., Dans le contexte des débats actuels sur le patrimoine culturel africain, l’article discute le déplacement historique et la ressuscitation récente d’Augustin d’Hippone en tant que figure d’oubli dans la mémoire nord-africaine. Il envisage son évolution comme signe transculturel dans le processus de la mémorisation de l’ère coloniale à l’époque postcoloniale. L’accent sera principalement mis sur le contexte algérien, où Augustin a été incorporé dans le mythe colonial (l’Afrique latine selon Bertrand), ce qui a provoqué un refus jusqu’à ce que son personnage soit réapproprié et transformé en un site de la mémoire maghrébine.

As relações de Antonio Candido com o modernismo brasileiro são conhecidas, embora o seu significado, no âmbito da teoria literária, ainda esteja em aberto. A proposta deste ensaio é acompanhar não somente a vinculação dele com o movimento modernista, sobretudo o de São Paulo, mas também o modo como ele desdobrou com originalidade própria o núcleo estético desse movimento em um núcleo crítico e teórico, mediado pela figura intelectual de Mário de Andrade. Com esse fim, a ideia de formação será pensada aqui como o resultado de uma depuração de seu comprometimento e estudo do modernismo, e que pode, a partir de um retorno à matriz inicial de sua elaboração, transformar-se em uma perspectiva nova de leitura tanto da obra de Antonio Candido quanto da noção de modernismo.

O artigo tem por objetivo investigar os processos de construção de sentido em uma apresentação do Reisado de Mestra Mazé ocorrida a 22/09/2017 em Crato. A análise do texto sincrético, cujo plano da expressão articula elementos sonoros, visuais e tácteis, é pautada por três questões: 1) a eventual presença de uma estrutura formal que garanta a unidade narrativa do espetáculo; 2) quais procedimentos responderiam pelas construções identitárias e de alteridade no folguedo; 3) quais as estratégias de construção do efeito de sentido de tradição inerente a um texto percebido como imemorial. A metodologia utilizada parte da semiótica de Greimas e colaboradores, detendo-se na questão das comutações entre categorias da expressão e do conteúdo, bem como sua suspensão – o sincretismo de Hjelmslev. Conclui-se pela presença de uma forma responsável pela unidade do espetáculo, e procede-se à sua descrição. Detalham-se ainda procedimentos de construção de sentido de identidade e alteridade, apontando-se mecanismos interdiscursivos responsáveis pelo efeito de sentido de pertinência à tradição. Pondera-se por fim a respeito da necessidade de avanço da semiótica no estudo de textos sincréticos performáticos tradicionais, tanto pelos desafios epistemológicos para os estudos semióticos e das linguagens verbais e não-verbais como pela importância cultural de seu objeto.

On St John’s Eve 1590 a necromancer clergyman and his patient headed to the woods surrounding the Escorial Monastery in order to perform an interesting magical ritual invoking the devil to heal erectile dysfunction. An analysis of that ritual will allow us to take a closer look to the alleged magical character of Monastery of San Lorenzo del Escorial, as well as to figure out the meaning of the ceremonial and its elements. This way the archetype of the wizard and his ceremonial shall arise and can be related with the European mythical tradition.

espanolFrankenstein, la novela de Mary Shelley, es un trabajo primordial dentro de la Historia de las Ideas para encontrar los vinculos entre dos periodos centrales de la Modernidad: la Ilustracion y el Romanticismo. Podemos hacer tanto una interpretacion ilustrada de la novela como una interpretacion romantica. En este trabajo mostrare como es posible entrelazar ideas ilustradas y romanticas. Lograre mi objetivo interpretando el significado de dos ideas centrales que conforman el trabajo de Mary Shelley. Me refiero a la idea de ciencia y a la idea de «lo mujer». EnglishFrankenstein, the novel of Mary Shelley, is a main work for to find the links between two central periods of Modernity: Enlightenment and Romanticism. We can to do both an enlightened interpretation of the novel and a romantic interpretation. In this paper I will show how It´s possible interweave enlightened and romantic ideas. I will achieve my goal by analyzing the meaning of two central ideas. Both ideas make up Mary Shelley´s work. I refer to the idea of Science and Femininity.

El presente artículo hace una lectura crítica de lecturas relevantes que se han realizado sobre el concepto paulino de katechón. Abstraído de su contexto histórico y teológico, el katechón ha resultado un término clave para explicar la política contemporánea en Carl Schmitt, Jacob Taubes, Giorgio Agamben y Massimo Cacciari. Tras la estela del primero, el katechón pasó de ser una figura concreta de la teología paulina a convertirse en un elemento metahistórico de interpretación, que ha permitido dar sentido a una filosofía de la historia desde la modernidad. A través de una revisión bibliográfica de textos antiguos y modernos, se busca pensar la vigencia del concepto de katechón al interior del pensamiento político de nuestro tiempo.

This paper intends to analyse the way the woodcuts from Sebastian Brant’s Narrenschiff play a role in the transfer of the work into French. La grant nef des folz du monde (February 1499/1500) develops its own specific text/image relationship. It shows how the transfer from one language into another is accompanied by a new organisation of the meaning, part of the visual dimension being conveyed by the text. It is the case for the layout of the German incunable that gives the image a central part in the construction of the double page of each chapter and is partly transferred into textual devices as the French version leans towards traditional manuscript layouts in two columns. It is also the case in the translation process when the French text offers new developments inspired by the image to improve the impact of the satire. This reveals how a deeper connection is built between text and image in the translation process and how decisive the visual dimension of the book was for the adaptor who intends to unite into his text both a translation of the woodcuts and the text itself.

¿Qué ocurre con la recepción del poema cuándo su composición sobrepasa el uso tradicional del signo lingüístico y da al lector nuevos elementos para la formación de sentido? ¿Cómo se construye la significación a partir de lo inesperado? ¿Qué proponen al receptor los poemas vanguardistas? Estas son algunas de las preguntas que intentaremos contestar en este artículo, utilizando como objetos de estudio piezas poéticas del dadaísmo, de la poesía concreta y de la poesía experimental española. En nuestro recorrido iremos apuntando, analizando y proponiendo hipótesis acerca de la recepción de poemas de esa índole, que exigen la participación lectora a niveles muy altos. Nos apoyaremos en la Teoría de la Recepción de la Literatura, en la Semiótica y en la Teoría del Efecto Estético.

The 20 new woodcuts of the 1513 and 1516 editions sold by Michel Le Noir give to the protagonist a preferential figure, which shows him wearing his armor and represents him from a rather caricatured point of view. But as this series of new material covers only one third of the whole, the image collections from the woodcuts in Paris et Vienne, Artus de Bretagne, Olivier de Castille, Les Sept Sages de Rome, Hercules, Euvres et Brefves Exposicions were also used. Olivier de Castille was printed by Le Noir in 1505 (such a book had been put on sale in 1888, then disappeared), so the three illustrations brought by Hp reveal the value of their testimony. Reused woodcuts are useful, even when the meaning of their drawings has still a part that resists, because these images resonate with intertextual concerns. Several substitutes came in help to expand the great circle of literary references, with a concern for effective modernization, even if the advertising carried out relies more on the datation of printed publication of the texts concerned than on the original dates for the writing of such stories. Finally, new or to be classified in the category of reused woodcuts, the figures attributed to Huon as well as to his relatives have a lot of interesting information to reveal on their circulation, their dating and the justification of the associations which pushed them to take up and then resume service in Hp. Even silences can be talkative

The hometown of Jesus, Nazareth, is an international center of Christian pilgrimage that has capitalized on showcasing its sacred sites. Architect Antonio Barluzzi was commissioned to design Nazareth’s modern Basilica of the Annunciation in 1954, and a cornerstone for the project was laid in a well-attended ceremony. It seems that the establishment of the modern church was the catalyst for the eagerness with which the Israeli authorities approached establishing a Jewish monument in the region. In 1957, a design process for the Central Synagogue in Nazareth Illit (subsequently renamed Nof HaGalil) began, with the aim of proudly competing with the churches and mosques in the Nazareth region. Both the basilica and the synagogue were erected by Israeli construction firm Solel Boneh and were inaugurated in 1968 and 1969, respectively. This article examines the impact of the inception, establishment and building of Nazareth’s Basilica of the Annunciation on the drive to strengthen Jewish presence in the Nazareth region, which in turn stood behind the construction of the Nazareth Illit synagogue. This research is based on a comparative investigation of the histories of both structures, including early design proposals, architecture, and the religious artworks therein. This comparative investigation reveals the influence of the basilica on the synagogue and the shared aspects of their design and execution. While existing literature dedicated to the Central Synagogue in Nazareth Illit has focused on its significance and meaning as an Israeli architectural landmark, this article presents a new perspective, examining how a modern architectural trend was used as an agent in the struggle between local Jewish and Christian monumental dominance. It also contributes to the literature by shedding light on a heretofore overlooked quest for an appropriate architectural style for religious buildings in the Land of Israel during the mid-twentieth century.

This essay reexamines the network centered on the Boston Congregational minister and theologian Cotton Mather, the great Pietist theologian August Hermann Francke, several of the latter's associates in Halle and London, and Halle-sponsored Lutheran missionaries in the Danish colony of Tranquebar. It pursues the question what this network (which existed from circa 1710 into the 1730s) reveals about how the idea of a “Protestant religion” evolved as a theological construct and how “Protestantism” as a category of religious identity came to have meaning and resonance across denominational and linguistic divides. Through the Boston-Halle-Tranquebar exchange, the essay argues, “awakened souls” from Anglo-American Reformed and German Lutheran churches converged toward a conservative but dogmatically minimalistic understanding of the Christian religion that combined an intensely Christocentric, biblicist, and experiential piety with an activist-missionary and eschatological orientation—a package which was now equated with being truly “Protestant” or “protestantisch,” respectively. This reflects how the historical development of “Protestantism” intersected with larger philosophical and theological debates about “religion” and the different “religions” of humanity that involved Enlightenment thinkers as much as awakened Christians. The distinct version of “the Protestant religion” that first developed among the correspondents of this network would continue to evolve through the transatlantic awakenings of the eighteenth century and remain influential into the nineteenth century.

¿Cómo afrontar la revisión del estatuto aleteico del aforismo? Para responder a la pregunta y con Nicolás Gómez Dávila como referente, analizaremos su relación con lo falso o lo probable, su tendencia a la refutación o la iconoclastia, así como la forma conflictiva en que sus proposiciones se relacionan con lo común o constituyen verdades de vida. El carácter complejo de su condición genérica exige asimismo un estudio de las implicaciones enunciativas de su estatuto de ficción y de la manera en que sus lectores actualizan cierta búsqueda figurada de la verdad mediante una revelación epifánica del sentido. Finalmente, una aproximación genealógica al aforismo, sus juegos de verdad y discursos de veridicción apunta a dos aportaciones del último Foucault, el decir verdad del parresiasta y los hypomnematas, así como a una consideración del aforismo como un ritual vivo de la verdad., A clarification of the aleteic status of the aphorism entails a revision of some major keys for its critical elucidation: its relation to the false or the probable, its tendency to refutation or iconoclasty, as well as the conflicting way in which its propositions are related to the common or constitute truths of life. The complex nature of its generic condition also requires a review of the enunciative implications of its fiction status and the way in which its readers actualize a certain figurative search for truth through an epiphanic revelation of meaning. Finally, a genealogical approach to the aphorism, its truth games and veridiction speeches points to some contributions of the last Foucault, the truth-telling of the parresiasta and the hypomnematas, as well as a consideration of the aphorism as a living ritual of the truth.

Greek had held an important place in Roman society and culture since the Late Republican period, and educated Romans were expected to be bilingual and well versed in both Greek and Latin literature. The Roman school ‘curriculum’ was based on Hellenistic educational culture, and in the De grammaticis et rhetoribus Suetonius says that the earliest teachers in Rome, Livius and Ennius, were ‘poets and half Greeks’ (poetae et semigraeci), who taught both Latin and Greek ‘publicly and privately’ (domi forisque docuisse) and ‘merely clarified the meaning of Greek authors or gave exemplary readings from their own Latin compositions’ (nihil amplius quam Graecos interpretabantur aut si quid ipsi Latine composuissent praelegebant, Gram. et rhet. 1–2). Cicero, the Latin neoteric poets and Horace are obvious examples of bilingual educated Roman aristocrats, but also throughout the Imperial period a properly educated Roman would be learned in utraque lingua. The place of Greek in Quintilian's Institutio Oratoria reveals the importance and prevalence of Greek in Roman education and literature in the late first century a.d. Quintilian argues that children should learn both Greek and Latin but that it is best to begin with Greek. Famously, in the second century a.d. the Roman author Apuleius gave speeches in Greek to audiences in Carthage, and in his Apologia mocked his accusers for their ignorance of Greek.

From the 1480s onwards, printers began publishing occasional news. These are non-periodic printed that provided news about political et military events. They gave to see and read the facts et gestures of the kings who fought in the Italian wars and who were staged in the royal ceremonies of power. To compose these booklets, printers are accustomed to reusing engravings from previous publications, such as news pamphlets or historical chronicles and chivalry novels. The circulation of images induces a certain connection between history and fiction and establishes analogies between the actions of the living king (which the brochures give to read) and the previous kings and legendary knights (which they give to see). Based on selected examples from the reigns of Charles VIII to Francis I, this article aims to understand the effects that the reuse of images has on the meaning of the news broadcast and on the political imaginary that is instilled in the minds of readers.

Neste artigo, toma-se como objeto o Museu do Homem Americano, enquanto instituição ligada à circulação de saberes sobre sujeitos que (se) significam a (na) povoação nas/das Américas, em sua relação com o Parque Nacional Serra da Capivara. A análise que se apresenta tem como base as sequências discursivas presentes no site da Fumdham (Fundação Museu do Homem Americano) sobre o Museu e as anotações de campo efetuadas pela analista durante as visitas feitas ao local, entre os anos de 2010 e 2019. A partir da perspectiva da Análise de Discurso Materialista, compreende-se o Museu enquanto prática de significação (ORLANDI, 2014), em sua relação com a história, a memória, o sujeito e os sentidos.

espanolLa iglesia de Santa Maria de Arcos de la Frontera es una obra del maximo interes en el con-junto del Tardogotico andaluz. La ambiciosa reforma emprendida en el siglo XVI, muy condicionada por una primitiva fabrica del XIV a cuyo esclarecimiento tambien contribuimos, se desarrollo entre 1519 y 1553 contando con una participacion central y decisiva de Diego de Riano, en el seno de cuya compleja trayectoria cobra pleno sentido. Mas alla de su gran riqueza formal, su original concepcion espacial, apenas explorada, nos descubre estrechas conexiones con la sacristia de los Calices de la ca-tedral de Sevilla, asi como con la previa intervencion de Juan del Castillo en la iglesia de los Jeroni-mos de Belem. Englishhe Church of Santa Maria in Arcos de la Frontera is a main landmark in the context of the An-dalusian Late Gothic. The ambitious reform undertaken in the 16th century, greatly conditioned by a primitive 14th century building, to whose clarification we also contribute, was developed between 1519 and 1553 with a major and decisive participation of Diego de Riano, whose complex professional ca-reer gives meaning to this project. Beyond its outstanding formal richness, its authentic spatial con-ception, barely explored, reveals close connections with the Sacristy of Los Calices in the Cathedral of Seville as well as with the previous intervention of Juan del Castillo in the Church of the Jeronimos of Belem.

espanolEste articulo presenta un analisis del canto XIII de Arauco domado en cuanto imitacion articulada del libro II de la Eneida de Virgilio y del canto XIII de La Araucana de Ercilla. Se plantea que el examen de este ejercicio de aemulatio permite observar no solo la apropiacion creativa que hace el poeta criollo de sus modelos antiguos y modernos, sino tambien importantes matices de sentido de la obra. EnglishThis article presents an analysis of Canto XIII of Arauco domado in terms of an articulated imitation of Book II of Virgil’s Aeneid, and of Canto XIII of Ercilla’s La Araucana. It is posited that by studying this exercise in aemulatio we are able to observe the creole poet’s creative appropriation of models both ancient and modern, as well as appreciate significant nuances in the meaning of the poem.

There is an old saying that if you think you have discovered something new then it is because you don't read the German literature and there is some truth in this. When Plastic Surgery is mentioned the usual reply is "Ah, Gillies" as though he was the fons et origo of Plastic and Reconstructive surgery. The fact is that there were many more pioneering plastic surgeons outside the British Empire, whose work preceded and even surpassed Gilles. In 1818, Karl Ferdinand von Graefe published "Rhinoplastik" and coined the term plastic surgery (Plastische Chirurgie). Eduard Zeis, in 1838 published the textbook "Handbuch der plastischen Chirurgie" and established its meaning based on hundreds of references. Undoubtably, the first decades of the 20th century, especially the war between 1914 and 1918, were the genesis of most modern developments in plastic surgery and there were many more pioneering plastic surgeons outside the British Empire, whose work preceded, equalled and even surpassed Gillies, despite his admirable achievements.

La fiesta de los Santos Inocentes es un ejemplo especialmente informativo sobre el cambio litúrgico del rito viejo hispánico al Romano en la Península Ibérica después de 1080. No solo implicó un cambio de nombre y de fecha de la fiesta, sino también un cambio en el tenor y el significado de la misma que siempre debía encontrar el equilibrio entre la tragedia y la celebración. Las elaboradas lamentaciones alegóricas de la liturgia viejo hispánica fueron sustituidas, al principio, por lecturas y cantos más neutrales centrados en los infantes como santos mártires. Sin embargo, exposiciones más narrativas de la Masacre de los Inocentes pasaron a dominar en el siglo XII. Colecciones de sermones u homilías desempeñaron un papel importante en este proceso. Imágenes en pinturas murales –y, después de 1150, en escultura– comenzaron a manifestar plenamente el drama de esta fiesta.

Ionove Gistrama, A320160070. A Semiotics Analysis of The Novel Illustration on Harry Potter and The Prisoner of Azkaban By J.K. Rowling (2014). Research Paper. Muhammadiyah University of Surakarta September 2020. Ionove Gistrama, A320160070 novetrama@gmail.com Yeny Prastiwi, Ph.D Yeny.Prastiwi@ums.ac.id The purpose of this research is to study the novel illustration as a sign in Harry Potter and The Prisoner of Azkaban novel by J.K. Rowling (2014). Researcher shows how the illustrations can influence readers through an illustration of images, events, colours and also the typography that is displayed on the cover of the novel. This research is qualitative research. The data source used is the Harry Potter and The Prisoner of Azkaban novel by J.K. Rowling (2014) UK edition. The data collection technique is from analyzing the novel illustration. The theory used in this study is a semiotic analysis of literature, the study of the sign, meaning, metaphor and symbolism. The result of this study are as follows: first, the value of novel illustrations. Second, the meaning of colour psychology in the. Third, the reviews about the differences edition of Harry Potter and The Prisoner of Azkaban novel. Keywords: Harry Potter, Semiotic Analysis, Illustration, Color Psychology

The article considers the semiotic categories of Pierce: Firstness, Secondness, Thirdness. Their development led Pierce to critique the modern theory of the dual sign and to construct the logic of relations in the structure of the sign based on the triad of sign, object, and interpretant. The modern dualism of the sign, in which the two components, the signifier and the signified, were connected, is replaced by Pierce's process model, due to his introduction of interpreters into the structure of the sign. Peirce drew on the methodological implications of the four incapacities—no genuine introspection, no intuition in the sense of non-inferential cognition, no thought but in signs, and no conception of the absolutely incognizable—to attack philosophical Cartesianism. This allows Pierce to rethink the classical atomistic concept of language and show that a sign does not exist in isolation as a single idea or symbol, but is always woven into a grid of other signs. Thus, Pierce's approach demonstrates a holistic approach to language and reality as a system of signs. For Pierce, the concept of semiosis was a central concept of his semiotic theory. According to Pierce, no object functions as a sign until it is perceived as such. Each sign is able to generate an interpreter, and this process is almost endless. The idea of semiosis expresses the very essence of the relationship between the sign and the outside world - the object of representation exists, but it is inaccessible, as if «hidden» in a series of semiotic mediation. However, knowledge of this object is possible only by studying the signs generated by it. To know what a given sign denotes, the mind needs some experience of that sign's object, experience outside of, and collateral to, that sign or sign system. In that context Peirce speaks of collateral experience, collateral observation, collateral acquaintance, all in much the same terms

In the work De Europa by Enea Silvio Piccolomini, book no 20, regarding the history of Carinthia, stands recorded the story of prince Ingo, who, according to the legend, contributed significantly by way of his wit to the spreading of Christianity. This study presents the circumstances in which the Conversio Bagoariorum et Carantanorum, which contains an earlier record of the legend, came into being, and it examines the possible existence in historical reality of prince Ingo and his princely title. In the following, the author analyses the possible meaning and the significance to legal history of the term carta sine litteris (a charter without letters), which appears in other sources of the legend but not in the one recounted by Enea Silvio Piccolomini. Finally, the author presents the literary precursors to the legend of prince Ingo and his role in the Conversio as well as the path the legend took until being recorded by Enea Silvio.

In the PF 1888, 14 [89], Nietzsche distinguishes a tragic meaning and a christian meaning for suffering. With this conceptual pair, the philosopher designates the conflict between two antagonistic justifications of life, opposing two types ofsufferers with contrary needs. Oriented by the posthumous fragment mentioned the argumentation will follow in a retrospective chronology the exam of the main texts in which Nietzsche discusses the themes of suffering and meaning in that period. Starting from the On the Genealogy of Morals, one will see how the methodological discussion involved in the fluidity of meaning implies a counterposition to the ascetic ideal's pretension of establishing a fixed and universal meaning for suffering. Next, The Gay Science§370 will be considered, inasmuch as the heuristic of necessity provides Nietzsche with the distinction between two types of sufferers, as well as the configuration of the arts and philosophies in correspondence with their needs. Finally, the prefaces of 1886 will be interpreted as the theoretical framework that establishes the way of thinking of suffering by antagonistic pairs, since, in this setof texts, Nietzsche narrates how he learned to see the distinction between two types of philosophy: one that comes from weakness and another, from strength. Conclusively, considerations will be drawn, aiming to establish the typological contraposition of antagonistic sufferers as a legit reading key to analyze suffering in the final period of Nietzsche's philosophy No FP 1888, 14 [89], Nietzsche distingue um sentido trágico e um sentido cristão para o sofrimento. Com esse par conceitual, o filósofo designa o conflito entre duas justificaçõesantagônicas da vida, contrapondo dois tipos de sofredores com anseios contrários. O presente artigodefendea hipótese de que a mencionada distinção ilustraum modo de pensaro sofrimento, característico do período de 1886-1888da filosofianietzschiana. Partindo da Genealogia da Moral, ver-se-á como a discussão metodológica envolvida na fluidez de sentido implica uma contraposição à pretensão do ideal ascético de estabelecer um sentido fixo e universal para o sofrimento. Em seguida, será considerado o §370 da Gaia Ciência, no qual a heurística da necessidade fornece a Nietzsche a distinção entre dois tipos de sofredores, bem como a configuração das artes e filosofias em correspondência com seus anseios. Por fim, os prefácios de 1886 serão interpretados como o marco teórico que estabelece o modo de pensar o sofrimento por pares antagônicos, na medida em que, nesse conjunto de textos, Nietzsche narra como aprendeu a ver a distinção entre dois tiposde filosofar: um oriundo da fraqueza e outro, da força.Conclusivamente, serão traçadas considerações para estabelecer a contraposição tipológica de sofredores antagônicos como umachave de leituralegítimapara analisar o sofrimento no período final da filosofia de Nietzsche.

Historically, our theme is situated within the triangle of three of Kant's students: Hegel (1770-1831), Bolzano (1781-1848) and Peirce (1839-1914). All three wanted to change Kant's strict separation of philosophy and science by developing a new conception of logic. Bolzano inaugurated the so-called linguistic turn of philosophy which became the guiding principle of all analytical philosophy (Dummett, 2014) and he opposed Hegel’s unity of concept and object of knowledge. Charles Peirce took a middle position, a position that is expressed in his so-called Pragmatic Maxim (Peirce, CP 5.3). Taken together we might say that a universal principle of complementarity of meaning and reference, or of meaning and information (in the sense of Shannon) finds its origin in Post-Kantian philosophy. We encounter here the very same approach of principled thinking endorsed by Einstein in physics (special theory of relativity) or by the formal axiomatic approach in mathematics (Hilbert)! Key Words: Bolzano, Hegel, Peirce; Complementarity of sense and reference; Geometry from Euclid to Einstein; Hilbert. Historicamente, nosso tema se situa dentro do triângulo de três alunos de Kant: Hegel (1770-1831), Bolzano (1781-1848) e Peirce (1839-1914). Todos os três queriam mudar a separação estrita de Kant entre filosofia e ciência, desenvolvendo uma nova concepção de lógica. Bolzano inaugurou a chamada virada linguística da filosofia, que se tornou o princípio orientador de toda filosofia analítica (Dummett, 2014) e se opôs à unidade de conceito e objeto de conhecimento de Hegel. Charles Peirce assumiu uma posição intermediária, posição que se expressa em sua assim chamada Máxima Pragmática (Peirce, CP 5.3). Tomados em conjunto, podemos dizer que um princípio universal de complementaridade de significado e referência, ou de significado e informação (no sentido de Shannon) encontra sua origem na filosofia pós-kantiana. Encontramos aqui a mesma abordagem do pensamento baseado em princípios endossada por Einstein na física (teoria da relatividade especial) ou pela abordagem axiomática formal na matemática (Hilbert)! Palavras-chave: Bolzano, Hegel, Peirce; Complementaridade de sentido e referência; Geometria de Euclides a Einstein; Hilbert.

O presente artigo analisa a inclusão de pinturas e de fotografias em três romances de Eça de Queirós, designadamente O primo Basílio, Os Maias e A tragédia da Rua das Flores, como instantâneos narrativos que imortalizam momentos-chave em textos literários. A partir do “enquadramento” cinemático de 24 Frames, o último filme de Abbas Kiarostami, a minha análise foca o modo como a imagem de retratos pintados ou fotografias assumem significado para além daquilo que retratam, e também o modo como as respetivas narrativas permitem uma reconstituição daquilo que antecedeu a criação da imagem enquadrada e daquilo que se lhe segue.

Squares are places containing, bringing together people from different classes and cultures, exhibiting the identity/culture of societies/individuals, and functioning as a meeting and trade area. In this context, as a public place, architectural structures surrounding the squares and the squares present intangible content to the observer, far from being a physical reality, include ceremonial forms of expression, various images and sign elements and multifaceted elements and they are important in terms of semiotics because they constitute values in the process of meaning. Although semiotic studies constitute a research area examined in the field of linguistics, in this article, semiotics are associated with public place, the architectural forms surrounding the public place are accepted as a language and from this point, the squares that constitute the focus point of the cities are evaluated as areas in which various symbols/images are produced. With this acceptance, Eyup Sultan square was evaluated in the context of semiotics and an original research has been created. The reason for determining the square as a research area; the square has a historical background and exists as a place that produces symbols/images. Square; It is a place covered with meaningful symbols, where the trade continues dynamically, functions as a religious visitor, and produces symbols/images with its religious/civil architectural presence. In context of the study, the theories of semiotics theorists Ferdinand de Saussure, Charles Sanders Peirce and Roland Barthes have been examined, Roland Barthes's approach regarding how the public place should be examined in the context of semiotics has been associated and determined as the method of the current research. Roland Barthes's semiology theory detonation and connotation principles have been taken as reference, the place has been examined through participatory observation, the data obtained have been associated with the historical background of the square/district and the public place literature, the relationship between the square and the indicator approach was evaluated.

espanolEn el articulo se explica y se aboga a favor de la propuesta de Quentin Meillassoux de “filosofia irreligiosa” o “irreligion filosofica”, es decir, de una tercera postura entre religion y ateismo que plantea la concepcion de un Dios inexistente y por venir (Dios virtual) y de una recuperacion etico-filosofica de las nociones de esperanza, iortalidad, justicia y divinidad. Con referencias a distintos pensadores de la historia de la filosofia se busca enmarcar el significado y valor de la concepcion de Meillassoux. Despues de una exposicion breve de la filosofia del pensador frances, se realiza en sucesivos apartados la recuperacion critico-filosofica de conceptos religiosos basicos para concluir con una breve exposicion de la refutacion del “nihilismo” que hace Meillassoux, tarea filosofica importante como ninguna en nuestro tiempo. EnglishThe article explains and advocates in favor of Quentin Meillassoux’s proposal of “irreligious philosophy” or “philosophical irreligion”, that is, of a third position between religion and atheism that defends the conception of a nonexistent God and a God to come (virtual God), as well as an ethicalphilosophical recovery of the notions of hope, immortality, justice, and divinity. With references to different thinkers in the history of philosophy, we seek to frame the meaning and value of Meillassoux’s conception. After a brief exposition of his philosophy, the critical-philosophical recovery of basic religious concepts is carried out in successive sections, to conclude with a brief exposition of Meillassoux’s refutation of “nihilism”, an important philosophical task like none in our time.

The study has tried to answer the question of how the dominant discourse in the city tries to create meanings and forms an interpretation by using signs and symbols. Accordingly, common semiotics of Dur Untash city has been investigated. In three steps, including preparation, organization, and final report or conclusion, a content analysis method has been done. First, deconstruction views of reading place are explained and how an interpretation discourse is formed. Then we investigated some standard semantic features of Dur Untash city and an image of some familiar ideas and signs is projected. Finally, a bipolar semantic interpretation of these signs and images is presented. The dominant discourse of the city has wanted to catch a meaning, but none of its symbols and characters has such a valid capacity and authority. Therefore, the dominant discourses could not conjure spatial features controlled by meaning-making

espanolEste articulo examina la migracion de la teoria artistica de Europa a Hispanoamerica durante la modernidad temprana, y su apropiacion por parte de actores locales al momento de definir el papel del artista en la sociedad colonial. En el siglo XVII, el ideal contrarreformista del pintor de imagenes sagradas, virtuoso y piadoso, se hizo presente en la tradicion hagiografica de Lima, Quito y Santa Fe, la que celebraba la habilidad de los artistas religiosos como manifestacion de su piedad. Como ejemplos de virtud cristiana, estos artistas incrementaban el capital espiritual de las ciudades hispanoamericanas y como tal eran la base de la identidad y orgullo locales. La teoria artistica de la Contrarreforma adquirio un nuevo significado en Hispanoamerica, en el sentido de que sirvio para evidenciar tanto el exito del proyecto misionero como de una vision ideal y cristiana de las comunidades urbanas. La figura del pintor cristiano tuvo una singular importancia en narrativas jesuitas hispanoamericanas, puesto que fundamento las ideas de la orden sobre el proposito moral de las imagenes y de los artistas. EnglishThis article examines the migration of artistic theory from Europe to Spanish America in the early modern period and, more specifically, the way in which these ideas served to fashion the role of artists in colonial society. In the seventeenth century, Counter-Reformation ideas about the devout painter entered hagiographies written in Lima, Quito, and Santa Fe, which praised the artistic skill of religious artists as visible manifestation of their piety. As exemplars of Christian virtue, these artists stood as the spiritual capital of Spanish American cities and thus were instrumental in the shaping of local pride and identities. Tridentine artistic theory acquired a new meaning in colonial Spanish America, in the sense that it legitimized a view of Spanish American urban communities as Christian corporations. The figure of the Christian painter was particularly important in Jesuit narratives written in Spanish America, since it grounded the order’s ideas regarding the moral end of pictures and of artists.

In this excerpt, Bibler dissects the dual connection of past and present through sublation of the past in the present and on the basis of its preservation through their interaction. Culture is buil...

This research is backed up by the desire to understand and interpret the semiotic meaning in Ny. Talis (Kisah Mengenai Madras) novel by Budi Darma. The purpose of this study is to describe: (1) hermeneutic code; (2) semantic/semes code; (3) symbolic codes; (4) proaretic code, and; (5) cultural codes in Ny. Talis (Kisah Mengenai Madras) by Budi Darma. The theory used to analyze the data is Roland Barthes' semiotics which focuses on semiotic codes. The approach used is poststructural semiotics by applying heuristic and hermeneutic semiotic reading methods. Research data in the form of dialog quotes, words, sentences, and paragraphs that are related to the focus of research on semiotic codes. research data sources come from Ny. Talis (Kisah Mengenai Madras) by Budi Darma (1996) published by Balai Pustaka.The results of the research and discussion show that the semiotic codes in Ny. Talis (Kisah Mengenai Madras) novel there is a lexias fragment that connects five semiotic codes. Liaison lexias is nothing but the meaning of signification about death and matters related to death. In addition, the reality of life refers to death.

This study aims to describe the meaning and symbol of the Cawir metua ritual ceremony, namely the death ceremony for the Karo community in Seberaya village, Karo district, North Sumatra Province. The method used in this research is a qualitative descriptive method which is done by collecting data by observation and interviews; descriptions that are bold and deep in nature, working with key informants. The theoretical framework used is the Social Semiotics approach, which is to interpret language in the sociocultural context in which culture is interpreted in semiotic terms as an information system. Based on the research that has been done, the authors obtained the results of the research, namely the symbolic meaning of the Cawir metua ceremony is the existence of symbols that have philosophical meanings in the Cawir metua ceremony.are still poor and need to be improved.

Este artículo, que teje relaciones y dialoga con el que publica Isaac Felipe Azofeifa en el número 2 de la Revista de Filología y Lingüística de la Universidad de Costa Rica (1975), retoma una de las explicaciones en la autolectura de su escritura, ofrecida por el propio poeta. De esta manera, con la intención de trazar una línea interpretativa, se aborda el tópico del alba en una serie de poetas costarricenses (Azofeifa, Debravo, Amighetti y Chen Sham), en cuyos poemas la mañana se establece como punto de partida de una reflexión y de una celebración que involucra también al yo poético. La dimensión metafísica o existencial cobra todo su sentido a partir de las palabras de Azofeifa, para que desarrolle una retórica del movimiento y de la expansión, tal y como él proponía. La idea del homenaje-réplica a aquel artículo implica al mismo tiempo ofrecer una “autoexplicación” a mi trabajo como poeta, porque él la realizó allí con su poesía; razón por la cual me inserto en una temática y, siguiendo los pasos de Azofeifa, también me desdoblo de mi papel de creador.

El presente artículo se divide en dos secciones; en la primera, se analiza el empleo de dos géneros –originalmente ajenos a la literatura canónica– en la novela Operación Masacre (1957) del escritor argentino Rodolfo Walsh: el denominado “no ficción” y el género policial. El proyecto de denuncia a partir de su contexto de producción –Argentina tras la Revolución Libertadora (1955)– condiciona el uso de dichos géneros debido a su idoneidad para vincular ficción y realidad política. Pero la denuncia no se mantiene igual a lo largo de las distintas ediciones del libro, cuya evolución va en consonancia a otros cambios socio-políticos en el seno del país. En concreto, el acercamiento de la izquierda al peronismo genera una atracción en intelectuales que, como Walsh, ven en la doctrina de Perón un modo de resistencia política frente a las injusticias del Estado. Por ello, en la segunda parte del trabajo se examina dicha evolución en los paratextos de Operación Masacre ya que ponen de manifiesto esa aproximación de Walsh al peronismo y dan un nuevo sentido a la denuncia de su novela.

The aim of the article is to show the relationship between the classical conception of philology, the origins of hermeneutics and the evolution of the idea of universal religion from Antiquity to the 19th century. Just like in the context of the beginnings of Christianity philology contributed to create the Catholic understanding of this idea, in modern times, the development of philological methods contributed to the fragmentation of the idea in various fields: philosophical, esoteric, naturalistic or humanitarian. Hence, philology appears to be inseparable from hermeneutics and the history of religious ideas, and the latter, as inseparable from philology. In this context, the myth of the Babel Tower and its “confusion of tongues” may gain a new meaning.

Resumen Los cristianos y la teología leen la encarnación de Cristo como adviento e irrupción (avènement) de Dios en la historia de los hombres. Tomando ocasión de la lectura de Booz endormi de Victor Hugo, Charles Péguy presenta lo que él considera el único reconocimiento del acontecimiento (événement) de la encarnación por parte de un pagano (y de un bíblico). Esta lectura que al mismo tiempo es una presentación de un aspecto del pensamiento de Péguy sobre la encarnación, muestra a esta como una producción que también se refiere al hombre y para cuyo reconocimiento se necesitaría un método teológico que Péguy define como bergsoniano. De este modo, Péguy ofrece interrogaciones y un camino interesante para el pensamiento teológico y de la fe cristiana para volver a reflexionar sobre la verdadera humanidad del hebreo Jesús y sobre el significado que el hombre representa para el mismo Dios hecho carne. Abstract Christians and theology recognize the incarnation of Christ as the advent and the irruption (avènement) of God in human history. Taking the occasion of the reading of Boaz endormi by Victor Hugo, Charles Péguy presents what he considers the only recognition of the event (événement) of the incarnation by a pagan (and a biblical). This interpretation, which is at the same time a presentation of an aspect of Péguy's thought on the incarnation, shows it as a production that also refers to the man and whose recognition would require a theological approach that Péguy defines as Bergsonian. In this way, Péguy offers questions and an interesting path for theological thought and the Christian faith to reflect again on the true humanity of the Hebrew Jesus and on the meaning that man represents for God himself made human.

Since the onset of industrialization around the year 1800, along with its growing dependence on fossil fuels, have moved us from the Holocene era and into what is now being called the Anthropocene era. Much of the meaning attributed to the human- nature interaction is anthropocentric and this has resulted in causing a disturbing dialogue between nature and man. Many authors have tried to reform anthropocentric signs into the nature-centric sign to convey environmentalist themes and signify the natural environment as independent, culturally complex, and worthy of humanity’s respect. The paper aims to elaborate on the applicability of eco semiotics in literary analysis, especially in regards to fantasy and fictional literature. With the help of Antoine de Saint-Exupéry’s The Little Prince, Rudyard Kipling’s The Jungle Book, the 2016 animation film Moana, and the 2009 sci-fi film Avatar, this paper will examine the literature concerning eco semiotics(natural symbols and their interpretation across cultural-ecological boundaries) in an effort to provide an alternative to the positivist approach inherent in much contemporary environmental thought that has contributed to the present environmental crisis (Verhagen, 2008).

espanolEntre los anos 1964 y 1969, Peter Weiss trabaja en un ambicioso proyecto de reescritura dramatica de la Divina Comedia que se conoce como DC-Projekt yque esta considerado como uno de los casos de dantismo creativo contemporaneo mas originales y fascinantes del siglo XX. El presente articulo se centra en el analisis del drama Inferno (1964), una pieza dramatica aun inedita en Espana y concebida como parte integrante de dicho proyecto. El examen de la obra se realiza desde una pers-pectiva comparatista, especialmente atenta a los mecanismos de transcontextualizacion que sufren los contenidos e imagenes del poema medieval al adaptarse, despues de la crisis civilizatoria que supone Auschwitz, a un horizonte de sentido sin rastro de trascendencia religiosa. En concreto, se demuestra que la ambiguedad de los referentes extratextuales y la polisemia alegorica de la pieza vehiculan de manera implicita contenidos de fuerte critica politica EnglishBetween the years 1964 and 1969, Peter Weiss worked on an ambitious project, a dramatic rewriting of the Divine Comedy that is known as DC-Projekt. That is considered one of the most original and fascinating instances of the creative reception of the poem that has taken place in the 20th century. This article focuses on the analysis of the drama Inferno (1964), a dramatic piece, still unpublished in Spain, and conceived as an integral part of that project. The examination of the work is done from a comparative perspective, especially attentive to the transcontextualization mechanisms that suffer the contents and images of the medieval poem to adapt, after the civilizatory crisis that Auschwitz supposes, to a horizon of meaning without a trace of religious transcendence. In particular, it is shown that the ambiguity of the extratextual referents and the allegorical polysemy of the piece implicitly convey contents of strong political criticism

Recorrer la ciudad histórica implica observar -además de su “patrimonio edificado”- una serie de fragmentos que han perdido su contexto original. Así, numerosos artefactos todavía se encuentran dispersos aún en el lugar donde fueron dispuestos, pero hoy resultan incomprensibles en su uso y sentido. Dentro del universo de estos artefactos, las grandes placas azules de dirección de Rosario, Argentina, resultan extrañas por su numeración anómala, su materialidad atractiva y su rareza, ya que apenas han sobrevivido 5 placas. El presente artículo trata de dar un sentido a estas piezas, junto con algunos fragmentos hallados luego de su destrucción, en el marco de la arqueología urbana. Análisis que no es solamente funcional, sino también social, tratando de incluir estos relictos en un sistema mayor en proceso de cambio: la ciudad de Rosario en el siglo XIX.

The Qur’an which brings many messages of religion, moral and humanity sometimes gives the representation of messages that will be delivered. In many chapters of the Qur’an, Allah has given beautifully messages through the stories. The messages that will be delivered through the stories are the representation of religion purposed as the one of mankind servitude parts that called by ulu al-albab and ulu al-absar. In this context, the content of the message in the story of ashab al-kahf has an important message for human (ummah). The approach from language and semiotics aspects proposed by Roland Barthes has adequate mode of analysis for examining the ideological meaning within the text. It is all after the long process and mind mapping of reading theory that formulated by Roland Barthes, this paper argues that the concept of Roland Barthes will give the effects of ideological understanding and be able to represent the implicit meanings of ashab al-kahf story completely, at least close to intact, although the human not be able to interpret the meaning appropriately like the interpretation of the Glory (sahib al-nass). Through the mapping concept of Roland Barthes semiotics’ theory, the systemic interpretation and understanding of the religion purpose in proving the unity story in a chapter (surah) will be compiled.

This paper describes and identifies the biological elements depicted in Virgin with Child, Young St. John the Baptist and an Angel by Piero di Cosimo (1462-1522) from the permanent collection of the Museu de Arte de São Paulo Assis Chateaubriand, which include a bird, an insect, a mushroom and 10 vegetables, seven of which in flowering. Starting with an analysis of the probable symbolic roles of each biological element based on individual natural and biological properties then proceeding to interpret the presence of each vis-à-vis its relation to the others, this article shows the undeniable convergence of each object’s meaning: birth, death and regeneration (or reproduction) likened to the birth, death and resurrection of Christ.

The aim of this paper is to analyze Neo-Thomism in the Circulo de Estudos Bandeirantes between 1930 and 1950. The CEB was a center of studies and meeting of the Catholic intellectuality in Curitiba. Dissatisfied with the modernity of those years and its effects in the field of culture, thought and religion, the cebistas express their critique based on Thomist philosophy. They were realizing that modern liberal dynamic was not in keeping with the Catholic Christian ethos. Liberalism, supported by secularization and secularism, implanted a new order and a new ethos, produced a mediocre, anarchic and meaningless modernity. It is against this modernity that undermined the religion and the Catholic tradition as references and guides of the society that the cebistas raise their voice in the meetings at the CEB. It is in Thomism that they seek elements to dialogue with modernity and restore Christian values. The text is structured in four sections: 1. The Circulo de Estudos Bandeirantes and Neo-Thomism; 2. Mediocre and anarchic modernity; 3. Secularization, laicite and secularism; 4. Order, ethos, modern culture and loss of meaning.

La manière de concevoir ce qu’est un texte relève d’une conception des sources du sens; cette conception découle d’une prise de position philosophique non seulement sur le langage, mais sur les pratiques discursives, celle de l’interprétation, comme celle de la traduction. À partir d’un exemple, emprunté à la Bible, et de la conception que Ricœur développe de ce qu’il entend par “texte,” on montrera à quelles impasses peuvent conduire des interprétations et, donc, des traductions qui refusent de situer les sources du sens dans les textes.

En qué consisten las llamadas poéticas del silencio y de qué modo están presentes en “Va Verdad”, uno de los últimos poemarios de Antonio Méndez Rubio, es el doble propósito de este artículo. La metodología que lo orienta es inductiva: hallar en los poemas esas marcas o señas que permitan sostener la pertinencia del poemario a tales poéticas y, desde el texto, contribuir a la no siempre diáfana delimitación de las mismas. Iluminar, pues, el poemario de Méndez Rubio desde la perspectiva de las poéticas del silencio para aproximarse, a su vez y a través de “Va Verdad”, a la definición de tales poéticas., Both the exact meaning of the poetics of silence and how they appear in “Va Verdad” –one of Antonio Méndez Rubio’s last book of poems– are the dual purpose of this article. The methodology that leads this work is inductive: to find in these poems the marks that make it possible to sustain their belonging to such poetics and, from the very text, contribute to their not always apparent definition. In other words, shed light on Mendez Rubio’s poems from the perspective of the poetics of silence to identify, in turn and through “Va Verdad”, what such poetics are.

Starting with the author's own experience of ghostliness in the archive, the article explores the political meaning of the postwar Volkswagen in West Germany as embodiment of the country's “economic miracle.” The investigation follows the uncanny in texts and images about the Volkswagen between 1945 and 1960 and argues that the car carried with it a “public secret” as a “debris” from the Nazi empire that silently transcended the 1945 divide. This reading of the Volkswagen as well as the methodological path toward it highlight a phenomenon that postcolonial scholars have described as “haunting”: a confusion about the relationship between past and present that also bears on those who study the past. Taking this analysis as an encouragement to revisit the powerful myths and “miracles” of postwar consumer cultures in the West from a new angle, the article calls for historical genealogies of these myths that conceive of the postwar West as a—not yet—postcolonial space and that cross the 1945 threshold.

The Manunggaling Kawula lan Gusti concept was found in Serat Nawa Ruci in the Middle Ages of Java in the 16th Century AD and was re-transformed into the New Javanese era in Dewa Ruci Fiber, Cabolek Fiber, Malaya Syeh Fiber until the 20th century AD in Fiber Sastra Jendra (Literature Aji Endra) which is still used today. Over five centuries, the concept experienced distortion of meaning far from the purpose and purpose of its writing. This study was analyzed using the theoretical basis of the R. G. Collingwood Historical Philosophy aimed to find out the development of Sufism in Java, the transformation of the spread of the concept in several Islamic Javanese texts derived from the Nawa Ruci Fiber, and its interpretation in the Fiber of Jendra's Literature. using historical research methods with heuristic steps, criticism, interpretation, and historiography. The manuscripts used obtained from utilizing manuscripts as a result of philological research or translation that have never been studied by others. This research found that in Indonesia, Sufi propagators of Islam in Java preached by combining local traditions with Islam, which led to the birth of Javanese Sufism.

This paper attempts to illuminate and interpret the contradictory portrait of God as both seen and unseen in the Torah. Thus Moses is commanded not to look on the face of God yet also praised for having spoken to God “face to face". We seek ways to reconcile the contradictory portraits of God through the use of the term “doubled-mindedness” in the theology of Jerome Gellman, in the logic of “thirdness” in C.S. Peirce’s semiotics, and in the use of both particle and wave models in Einstein’s physics of light. The paper concludes by disusing the practical consequences of theological double-mindedness for the religious life and the philosophical meaning of redemption as the time when the contradiction of the unseen and seen God is resolved.