João Lima

The philosophy of Walter Benjamin and the photography of Eugène Atget establish a significant relationship, precisely because they are at the intersection of art and history. Benjamin thematized the nature of the modern aesthetic experience; Atget captured urban scenes, which striking characteristic was the absence of the human figure. This approach inspired Benjamin, who recognized in Atget’s revolutionary potential. Thus, it is above all on this potential that this article will seek to dwell, since we assume that their convergent views on visual perception and the preservation of the past through photography enable a new perspective for understanding contemporaneity.

O presente artigo lida com o ensino de Lógica no Colégio de Coimbra e do Colégio Maranhão do século XVIII. O Colégio do Maranhão era administrado pelos jesuítas, e ofertava cursos superiores de Filosofia e Teologia. A educação oferecida pela Companhia de Jesus se pretendia universal, pois como ordem religiosa sua missão de evangelização também tinha um caráter global. Com efeito, os métodos pedagógicos e o currículo eram em tese uniformes. Por isso, na escassez de documentos que detalhem o contexto educacional do Colégio maranhense, se faz necessário conhecer o Colégio de Coimbra que foi modelo para os outros. A principal tarefa deste trabalho é, portanto, apresentar o ensino de Filosofia, e mais especificamente de Lógica, do Colégio do Maranhão. Para isso, será utilizada bibliografia especializada e fontes primárias que apresentem o conteúdo de Filosofia do Colégio do Maranhão. Espera-se que seja possível mostrar os elementos constituintes do ensino de Filosofia no Maranhão, como a estrutura curricular do curso, os conteúdos próprios da Lógica e o enfoque dado a ela.

To evaluate how study characteristics and methodological aspects compare based on presence or absence of industry funding, Hughes et al. conducted a systematic survey of randomized controlled trials (RCTs) published in three major medical journals. The authors found industry-funded RCTs were more likely to be blinded, post results on a clinical trials registration database (ClinicalTrials.gov), and accrue high citation counts.1 Conversely, industry-funded trials had smaller sample sizes and more frequently used placebo as the comparator, used a surrogate as their primary outcome, and had positive results.

This paper develops a progressive study of the concepts of “traditional experience” (Erfahrung) and “lived experience” (Erlebnis) in the work of German philosopher Walter Benjamin. It surveys his earlier texts from his youth up through those from the 1940’s in an effort to compare the author’s different usages of the concepts. This paper also approach the works of Wilhelm Dilthey, Immanuel Kant and Sigmund Freud, given that these philosophers inspired the concepts of “traditional experience” and “lived experience” in Benjamin’s work.

Jean-Jacques Rousseau was undoubtedly the first to investigate the ethical role of art in modern philosophical thought. However, his position was decidedly eccentric amidst the backdrop of the Enlightenment. According to Rousseau, Art was responsible for the destruction of virtue, but is responsible now for concocting a moral veneer. Art’s function is to construct this “moral veneer” that brings a stop to man’s turpitudes or, at least, reduces their occurrence. Art’s ethical benefit is not that it leads man to do good. Rather, the artistic simulacrum prevents the most hideous crimes from occurring. This paper investigates the ethical role of art in Rousseau's First Discourse and in the preface to his play Narcissus or the Self-Admirer.