Flávio Rocha de Deus

In his speech delivered in 1957 at Uppsala University in Sweden, where he was due to his Nobel Prize in Literature award that same year, Albert Camus, even if in a sporadic and punctual use of his main theme (the role of the artist in contemporary society), establishes in his speech a curious distinction between “artists” and “art manufacturer”. This distinction is not merely semantic, but carries ethical, aesthetic and philosophical implications within the intellectual scope of the writer himself. Although little addressed in the speech, this contrast deserves attention, as it helps us reflect on the tension between authenticity and the instrumentalization of art.

The text addresses the views of Thomas Hobbes and Friedrich Nietzsche on language and its peculiarities. Hobbes considers language essential for communication and social cohesion. However, he highlights four abuses of language: inconsistency in word meanings, the use of metaphors, a propensity for lying, and offensive language. On the other hand, Nietzsche regards words as metaphors that do not reflect the essential truth of objects but are conventions created by humans to represent them. Nietzsche sees language as a continuous series of metaphorical overlays, where each signifier is a symbolic representation of meaning. Both Nietzsche and Hobbes argue that language is inherently vague, allowing for various interpretations and misunderstandings, even when people think they communicate clearly. Both, through different paths, offer complementary perspectives on its imperfections and limitations in conveying absolute truth.

In 2017, the neologism “Aporophobia”, developed by the Spanish philosopher Adela Cortina, professor of Moral Philosophy at the University of Valencia, was elected as the word of the year. Such a concept was developed by Cortina in order to highlight what she calls a systemic rejection towards poverty and people without resources. Our goal in this paper is to explain the concept of aporophobia and the argumentative premises used by the philosopher to validate it, as well as to use contemporary authors to reflect on the ways in which we can visualize and think such condition in our societies and contemporaneity.

In this essay are discussed topics for formulation of a brief critique of two conceptions of Euro-Christian cosmology: the negation of the body and the transcendent deity inaccessible to pointout the relation of such points to a more central discourse of religion: the negation of this world infavor of a metaphysical reality unknown and inaccessible by the senses. Nietzsche and Antonio Bispo dos Santos (Nêgo Bispo) assist us in the reflection of such theme, the German philosopher provideshis considerations about the Despisers of the body, the fable of the true world and his criticism of pure Platonism and the people, already the Brazilian quilombola thinker provides us with his considerationson biointeractivity with territorialized gods, explaining why cultures of immanent gods usually have arelationship of greater respect with the environment.

Na peça Huis Clos (Entre quatro paredes), acompanhamos três personagens: Garcin, Inès e Estelle, que são trancados juntos em uma sala após suas mortes. À espera de enxofre, fogo e tortura física no além-vida, surpreendem-se ao notar que o suposto inferno é, na verdade, a simples convivência constante com o outro. Neste cenário, por meio de uma análise das características desse inferno criado por Sartre, buscamos entender questões caras para a filosofia do autor, em especial, o papel do olhar enquanto instrumento de reconhecimento e as dimensões conflituosas da existência do outro.

O presente trabalho se propõe a discorrer acerca da concepção de suicídio e suas motivações para Arthur Schopenhauer e utilizar o romance epistolar Os sofrimentos do jovem Werther como ilustração de tal percepção. Para tal seguimos o seguinte roteiro: encontrar as motivações metafísicas do suicídio para Schopenhauer; expor as considerações do filósofo supracitado sobre o sofrimento e o amor; demostrar como ambos os fenômenos se relacionam com a atitude suicida e a partir desta ótica analisar o romance epistolar de Goethe para expor no mesmo uma ilustração da filosofia schopenhauriana.

Despite the diversity of perceptions of what postmodernity is, there is a point of convergence between a significant part of the scholars of the theme, which is characterizing this period as a period of bankruptcy and disbelief in totalizing ideas. Through the eyes of Emil Cioran, we see the great ideologies and metanarratives as desired eschatologies, defined by the author as utopias, in which, not only is a possibility of a rationalized end composed, but also an adequate form of end. In this work, we intend to extract concepts for what modernity and post-modernity become, to present characteristics of the conception of this and how these same characteristics are present in the writings of Emil Cioran, specifically in his essays “Genealogy of fanaticism” and “Mechanism of utopia”.