Henrique F. Cairus

Este artículo tiene por objetivo comprender el lugar de Michel Foucault en una posible historia de la escucha, a partir de su entendimiento del concepto de parrhesía (παρρησία). Para ello, se buscó primero situar este complejo concepto en la Antigüedad Clásica y, después, de manera más profunda, en los estudios foucaultianos. Se analizaron, sobre todo, las obras de la fase entendida como el “último Foucault”, en la primera mitad de la década de 1980, dando especial relevancia a sus estudios acerca de la confesión y a la parrhesía en el contexto del epiméleia heautoû (ἐπιμήλεια ἑαυτοῦ), el ‘cuidado de sí’. Este artículo pretende, por tanto, presentar lo que podría llamarse un prolegómeno al estudio de la ‘escucha’, a partir del concepto de parrhesía en su interpretación foucaultiana.

Hybris, the concept which is briefly discussed in this article, is frequently looked upon, in archaic and classical Greek culture, as an outrage against mortals or immortals. For a hybris to exist, an excess is required regarding a given thresholdand a retaliatory counterpart, from a themistosynē, a specific sense of justice, a little different from dikaiosynē. This article proposes to think of hybris against physis (a concept which is also briefly discussed here), as a way of understanding both the punitive counterpart that results in illness (individual or collective) and the means to avoid or circumvent the outcome or even the perpetration of hybris through the application of particular knowledge.

This article aims to make public part of the research on the concept of ‘light’ in the theological and, above all, liturgical tradition of the Greek Orthodox Church, based on its representation of the concept of ‘hypostasis’. Taking as a point of departure the interpretation of the expression ‘light of light’ [φῶς ἐκ φωτός (phôs ek phōtos)] of the text of the Niceno-Constantinopolitan Symbol, the article presents a proposal for the interpretation of the concept of ‘representation’ for this specific case, based on the idea of apomímesis, and applies this concept to a reading of the place of ‘light’ in the Holy Scripture, in the Patrology and in the Greek Eastern Liturgies.

The modern concept of ‘style’ – from which ‘stylistics’ is derived, a discipline that witnessed the quarrel between Linguistics and Literary studies in the 20th century – has inherited from Ancient Rhetoric its substance and was largely used as a direct translation from the Latin concept ‘_elocutio_’ and also as a translation for Greek concepts, such as ἑρμηνεία, λέξις and φράσις. There are still some other concepts that seem intimately connected to ‘style’, for instance ‘_ornatum_’ and ‘_decorum_’. Considering that classical references of ‘style’ present themselves essential to write the history of this modern concept, this paper seeks to present a catalog of ancient concepts that have found in ‘style’ their traditional translation, as well as attempting to build a short history of each of these translation paths.

A obra apresenta pela primeira vez e na íntegra, alguns dos mais importantes tratados recolhidos sob o nome de Hipócrates na coleção de textos gregos chamados Corpus Hippcraticum. Os tratados escolhidos apresentam importantes conceitos e preceitos desenvolvidos há mais de dois milênios e que, até hoje, estão presentes na prática médica ocidental. O leitor encontra textos sobre a importância da medicina hipocrática, tratados deontológicos, que estabeleceram os alicerces práticos da ética médica, e sobre o universo da prática médica antiga.

O conceito de phýsis no Corpus hippocraticum parece ter dois níveis: um mais e outro menos específico. Nas passagens em que o termo phýsis não apresenta qualquer determinante ou adendo, o conceito é menos específico. Ele é mais específico, no entanto, quando o termo leva consigo adjuntos como “do homem”, “da criança”, “da mulher”, etc. Apesar de parecer esta uma questão dicotômica, há razões para crer que ela possui maior complexidade. Isto nos motivou a apresentar algumas questões que expõem um espectro bem mais amplo do conceito de phýsis, em detrimento da mera abordagem binária. Para além da complexidade conceitual que ronda a ideia de phýsis, o artigo leva em conta ainda o nível discursivo (talvez mesmo retórico). Neste âmbito, o conceito de phýsis é problematizado a partir da fricção entre enunciação e enunciado. Abstract The concept of phýsis in the Hippocratic corpus seems to have two levels: one of them more and the other less specific. In the passages in which the term phýsis does not show any determiner or addition, the concept is less specific. It is more specific, however, when the term take complements as “of man”, “of child”, “of women” etc. Though it seems a dichotomic issue, there are reasons to believe that it bears more complexity. It has instigated us to present some issues that expose a much wider spectrum of the concept of phýsis rather than the binary account. Beyond the conceptual complexity which surrounds the idea of phýsis, this article considers the discursive (perhaps even rhetoric) level. In this account, the concept of phýsis is examined out of friction between enunciation and enunciated.

In this paper, we aim to bring to discussion the concept of locus amoenus, a common denomination of locus communis (topos, for the greeks), that makes reference to the ideal landscape according to the norms of the ancient idyllic poetry. We will describe and analyze the locus amoenus from an 18th century Italian poetry perspective, more specifically from the fables of Luigi Fiacchi, a poet and Catholic priest of that century. The analysis will focus on the references, either direct or not, that the author, known by the epithet ‘Il Casio’, does to the Classical Antiquity.

Canguilhem’s vitalism is not obvious, neither does is consist of a more known form of this type of thinking; it does not come from the old diatribes that, coming from the 19th century, are still relevant to the 20th century’s discussions. Canguilhem reclaims vitalism from a unique ontological approach, and does not hesitate to allude to the classics and, most of all, to a Hippocrates that, read mainly through the perspective of the history written by Charles Singer, brings to light other themes such as the critic to the concept of homeostasis revitalized and named by Walter Cannon. Canguilhem gives another perspective to Hippocrates’ homeostasis, that was “scientified” by Cannon, giving it mobility that is considered essential to its concept and redraws the vitalism project, rejecting the place of mechanism antithesis. This paper aimed to map Canguilhem’s longue durée contribution to the medical discourse, as well as his funding role of a new conception of normality formulated from his own interpretation of a vitalism that, in his point of view, comes from a “Hippocratic spirit”.

This article presents a study on the dialogue between the ideas and the aesthetics of Augusto dos Anjos. What is meant to be postulated is that the Paraiba’s poet puts his vigorous aesthetic to the service of ideas that were expurgated from the literary and academic scene under the label of vitalism, in favor of the hegemony of mechanism. Aesthetic images, the use of a nearly completely denotative scientific language, and morbidity, as paroxysms of this aesthetic project are not really an isolated initiative of the poet, but not even his contemporaries understood the greatness of his project and how it was neces-sary, to accomplish it, that he raises his poetics to an unusual aesthetic level. Augusto dos Anjos, even on the fringes of the elitist epicenter of Ouvidor Street (where his accent and his color would have no place), succeeded in constructing a true poetics of denotation that became one of the most radical bulwarks of a literature that, by yours hands, entered modernity. Keywords: Augusto dos Anjos. Vitalism and mechanism. Denotation. Scientific poetry.1 Introdução1.1 Do propósitoNeste artigo pretendemos dissertar sobre um aspecto da poética diversificada de Augusto dos Anjos. Motiva esta pesquisa a observação de que sua obra ensejou interpretações controversas entre os estudio-sos, sobretudo quanto à uma categorização de ordem taxonômica, que a dispusesse sob o rótulo de um estilo. De fato, o Eu (1912), essa obra única de Augusto dos Anjos, é rica em elementos característicos de várias escolas e de diferentes estilos literários, e tais elementos são, não raro, antagônicos. Transitam pela poética de Augusto dos Anjos o Simbolismo, o SEÇÃO: ENSAIOSA ciência da poesia da ciência em Augusto dos AnjosThe science of science’s poetry in Augusto dos Anjos.

In the 18th century, Guilielmus Piso arrives in Brazil as the archiater in the court of John Maurice of Nassau. Upon his return to Europe, he takes on the task of writing a descriptive treatise of these Western Indies. For this purpose, he makes use of the mental framework bequeathed by his education, setting up therefore the treatise On Airs, Waters and Places about Brazil. In the same manner and by the same means found in the homonymous treatise of the Corpus Hippocraticum, and fortified by the authority of Latin (and Galenic) tradition, Piso undertakes an analysis of the man from this Land and his customs, taking as the axis of the “anthropological” part of his treatise the relation between a conception of nature that is merely an interpretation of the Hippocratic φύσις and the indolent ἦθος, which, by its turn, gave birth to a long-term imaginary lasting until the 21st century.