Caroline Pires Ting

This paper undertakes a comparative ethical analysis of Immanuel Kant’s concept of moral autonomy and Rabindranath Tagore’s vision of human dignity. Kant grounds autonomy in the rational capacity of the will to legislate universal moral law, establishing dignity as intrinsic and unconditional. Tagore, by contrast, articulates an ethical humanism rooted in spiritual freedom, creative self-realization, and relational harmony. By placing these perspectives in dialogue, the study highlights convergences and divergences concerning autonomy, moral motivation, and the nature of ethical life, proposing a richer framework for contemporary intercultural ethics.

Mozi (墨子, c. 470 BCE – c. 391 BCE) is a prominent figure in Chinese civilization and an influential ancient thinker of his time. Universal love (兼愛, jian'ai) is an integral part of his thought, with the belief that all actions should be rooted in the idea of care without distinction. It serves as a cornerstone for his ethical and political principles, emphasizing a focus on the betterment of society as a whole. Mozi's views on the structural problem in human predispositions towards partiality inclinations are also discussed. This paper also presents the role of analogy in the development of philosophy in China and how Mohism played a key role in establishing rigorous standards of evidence, logical reasoning, and argumentation that had a lasting impact on Chinese thought.

L’article explore les liens entre l’impermanence, la pensée bouddhique et taoïste, et l’esthétique Wabi-Sabi, en soulignant le concept unificateur du mouvement et son rôle dans l’illustration de la fluidité et de la transformation de la vie. L’analyse porte sur la manière dont le mouvement fonctionne comme un principe unificateur, mettant en évidence la fluidité, la transformation et la croissance qui caractérisent l’existence. Cette perspective s’appuie sur les principes taoïstes et bouddhistes, qui insistent sur l’acceptation de la réalité dans sa forme la plus authentique et le détachement des attaches matérielles—révélant ainsi la beauté de l’imperfection et de la simplicité. En adoptant ce point de vue, nous sommes incités à nous engager pleinement dans notre environnement, à valoriser le caractère transitoire de chaque instant et à accueillir le changement comme une s o u r c e d e transformation.

he study revisits "civilization" in the context of globalization, analyzing its applicability and potential to mask cultural differences. It specifically contrasts the Western n o t i o n , a n c h o r e d i n c i t i z e n s h i p a n d environmental mastery, with the ancient Chinese "wenming" that signifies enlightenment and social harmony. "Civilization" stresses progress of science and technology, along with the process of globalization. "Wenming" draws from the Book of Chamges' principles, stressing the importance of ritual propriety and family over individualism, and "hé ér bù tóng" or "harmony without uniformity." This perspective promotes unity while respecting individuality. The research suggests that integrating ancient Chinese philosophy could enhance global cooperation by acknowledging the depth of cultural heritage and the importance of diverse societal values.

This study investigates the intricate process of visualizing the concept of paradise through the lens of Artificial Intelligence (AI), employing neural networks to craft intricate visual depictions of utopian realms. The project scrutinizes the prevalent themes associated with paradisiacal imagery, dissecting the intricate weave of religious doctrines, mythologies, and the intrinsic nature of paradise – be it a tangible realm or a metaphysical state. This inquiry critically assesses the role of AI-generated art, derived from complex algebraic formulations, in mirroring conventional iconography and exposing inherent biases. Such revelations underscore the cultural resonance of diverse traditions and the potential presence of subconscious prejudices. Employing AI algorithms capable of transforming textual prompts into vivid illustrations, this research unveils insights into the nexus of AI and cultural portrayals of utopia, thereby provoking profound philosophical deliberations. Central to these contemplations is the extent of human dominion over conceptualized ideals and the prospect of AI-crafted art inadvertently molding our paradisiacal perceptions, with implications ranging from reinforcement of stereotypes to shaping intrinsic cognitive schemas.

This study explores the connections between time, travel, and creative acts such as painting and poetry, highlighting the similarities that unite these themes. It also focuses on the relationships between the East and the West in regards to these subjects, and posits that travel can be understood as an active form of meditation. The study argues that the meaning of wanderings can be found by learning to make them conscious, and that there has been a deep reflection on time, consciousness, and mobility since ancient times.

Edvard Munch (Løten, 1863 — Ekely, 1944), Antonin Artaud (Marseille 1896–Paris 1948): deux artistes bouleversés par des conditions de santé fragile et par des crises nerveuses. Une relation s’instaure entre eux. Chacun, de manière particulière, invite le spectateur à réviser son rapport avec la mort, la mélancolie et les forces de la nature. Tantôt cette relation s’exprime dans les écrits personnels d’Artaud ; tantôt elle apparaît dans le rapprochement que nous pouvons faire entre les oeuvres graphiques d’Artaud, qui mettent en exergue l’influence qui a exercé le peintre norvégien dans sa démarche artistique. Plus tard, l’approximation d’Artaud à la peinture devient plus évidente. Lui-même, non seulement poète et homme de théâtre, est aussi dessinateur et, comme témoigne nombre de ses documents écrits, porte une grande appréciation par l’art d’El Greco, Bosch, Lucas de Leyde, Bruegel et Goya. Cette étude comparative vise analyser le processus d’intertextualité qui accompagne Artaud tout au long de sa vie et qui commence précocement, quand il observe et traduit les références recueillies d’après d’autres artistes. Avec ceux-ci, il est possible de tracer une correspondance, non seulement artistique, mais aussi biographique avec Artaud. Ce projet présente des contributions pour la critique littéraire d'Antonin Artaud. Même si d'autres études ont fait le rapport entre son œuvre et la peinture, et celle d’Edward Munch, il y n’existe aucune étude plus détaillé autour du sujet.

Um exemplar do livro intitulado Notas sobre a arte chinesa, publicado pelo colecionador José Vicente Jorge em 1940 e reeditado em 1995 pelo Instituto Cultural de Macau, encontra-se no acervo do Real Gabinete Português de Leitura, o qual pretendemos explorar. Apontamos a obra de um colecionador como ponto de partida para a observação de seu papel como mediador linguístico e cultural. A escolha das obras que compõem seu catálogo de objetos artísticos fornece uma descrição cronológica da arte chinesa e das suas principais produções em cada dinastia. Ademais, analisaremos as obras de um pintor atuante em Macau na época em que Jorge escrevera suas Notas. Assim, veremos de que maneira a obra pictórica de Fausto Sampaio insere-se na tradição naturalista de pintura que, desde meados do século XIX, procura fixar em telas a diversidade dos costumes nacionais. Sampaio vem a ser testemunha ocular do Império ultramarino português. Estudaremos como suas imagens foram instrumentalizadas com fins políticos, desempenhando um papel na construção de uma identidade nacional continuamente evocada pela propaganda do Estado Novo.

Beyond the eras a dialogue seems to have been established between Bruegel the Elder (1525-1569) and Antonin Artaud (1896-1948). The poet’s wonder at the « painting of the North », both realistic and emblematic, reveals his deepest ideal as an artist : painting, a « magical » operation, deploys a power of expression based on signs and no longer on words, which the theatre is also called upon to seize. The juxtaposition of Bruegel’s Triumph of Death and a famous drawing by Artaud, Le Théâtre de la cruauté [The Theatre of Cruelty], highlights the striking convergences between the two artists. Through their pictorial works, both of them renew over the centuries the funerary and mythical symbolism of death, inherited from the macabre scenes of medieval paintings, but also from ancient times. Studying the references to theatrical iconography in Bruegel’s painting, where carnival and crudity of death reinforce each other, allows us to deepen the meaning of these resonances. For the two artists, form and poetic momentum meet so that representation, as a structure common to painting and theatre, fixes a moment of the world, while animating that moment to infinity, thanks to signs conceived as « true hieroglyphs » (Artaud), a problem that Michel Foucault associated with the strongest truth that the experience of madness carries.