Tiago de Jesus Sousa

According to Tolstoy's theory of art, personal expression plays a crucial role as an essential artistic element since it is associated with originality and emotional communication. Is personal expression also significant in philosophy? We often tend to believe that in a philosophical theory, this element is, or should be, absent in the pursuit of epistemic neutrality. However, Nietzsche raises the suspicion that philosophers may tend to rationalize their passions through their theories. In this regard, philosophy and art would not be so different. To explore this connection further, I first delve into personal expression in art. Second, I outline three ways in which personal factors can influence philosophical inquiry. Third, I compare personal expression in art with that in philosophy.

In his On the Musically Beautiful, Hanslick vigorously argued that musical beauty depends neither on the representation nor on the evocation of feelings. However, despite his formalism, Hanslick regards the performance of a musical work as a moment of emotional release. Given the tension between the formalist nature of Hanslick’s general theory and this expressionist drift in his conception of the performer, in this article I pursue two objectives: 1) to argue that there is, in fact, an important internal inconsistency in Hanslick’s theory regarding the nature of performance, and 2) to deepen and render intelligible this perspective of performance. Although internally inconsistent, this perspective, in its search for a synergistic conciliation of the composer’s creativity with the performer’s expressivity, is worthy of analysis.

The main objective of this study was to analyze the influence of tactical and situational variables on offensive sequences during elite European handball matches. A sample of 55 games and 5.857 offensive sequences from the European Handball Federation Champions League, the selected teams were classified as the top eight teams in the league, were analyzed using X2 and logistic regression analyses. Results indicated that positional attacks [odds ratio = 0.34; 95% CI: 0.28–0.42; p < 0.001] and fast attacks decreased the probability of success for an offensive sequence by 66% and 54% when compared with counterattacks. Offensive sequences that start in the attacking zone seem to be less effective than those that start from a situation of “ball in center.” Additionally, offensive sequences that finished in the defensive zone of the observed team were 3.19 times more effective than those that ended before the 9 m zone. We concluded that compared with offensive sequences where the shot is performed from the 9 m zone, the chances of an offensive sequence ending successfully are 3.65, 3.60, and 2.21 times higher, for offensive sequences where the shot is performed from 9 m, 6 m, and the defensive zone, respectively. On the other hand, many variables seem to impact the performance of handball teams. Nevertheless, a significant challenge remains, and more research needs to be conducted to analyze the obstacles that teams need to overcome while attacking in the most effective way possible.