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This article aims at comparing the similarities contained in criticism of liberal democracy present in some selected works of Carl Schmitt (1888-1985) and Robert Kurz (1943-2012). In spite of the close association of the first author with the Nazi regime after 1933 and of the second being normally characterized as a Marxist thinker (although very critical to "orthodox" Marxism), numerous similarities between the two are verified when they attempt to analyze the characteristics of parliamentarian liberalism in twentieth-century democracies. One hypothesis that might explain such similarities would be the influence exercised by Schmitt on Frankfurt School theoreticians, from whom Kurz often draws inspiration in his writings - in particular, Walter Benjamin, Theodor Adorno and Max Horkheimer, although Schmitt also influenced Franz Neumann, Otto Kirchheimer, Karl Korsch and Herbert Marcuse. Another interpretation addressed here refers to the possibility that Schmitt found, in his theories about the State and about law, the epistemological limits of modern liberalism, which constitutes Kurz's main research subject and was a recurring theme in the writings of the Frankfurt theorists.

This article aims to present the relevance of the narrative resource in the representation and in the constitution of the selfness. To achieve this goal, a comparative strategy was chosen between an anti-narrative and narrative positions with regard to the powers of narration in apprehending and composing the domain of identifications. In a first moment, a reconstruction of Jean-Paul Sartre's positions on narration will be carried out, based on the phenomenological ontology of Being and nothingness, as well as the considerations about narrative and identity found in the novel Nausea and in the text of War diaries: notebooks from a phony war. The next moment will explore narrative arguments in Alasdair MacIntyre's After virtue, Charles Taylor's The sources of the self, and especially Paul Ricoeur's in Time and narrative and Self as another. Finally, in the most strictly comparative moment, it is intended to show certain difficulties of the anti-narrative position, as well as the fruitfulness of the narrative position, with regard to the different way of managing the demand for meaning in the anti-narrative rejection of identity and the acceptance of the challenge of permanent elaboration of the meaning of the narrative position.

The article presents the book The fire and the tale (2018), by the Italian philosopher Giorgio Agamben, discussing some of the poetic thresholds of his political thought. Is departs from Agamben's implicit debates with Jacques Derrida on language and literature, passing by the poetic act as an act of resistance, defining the inoperative potency present in gestures of discursive interruption, and finally arrives at the discussion of life and work in a biopolitical context. Following the order of the chapters, but without intending to accomplish them, the assumption of the article is that the Italian - who has poetry and literature generally linked to a kind of "first phase" of his work - also in the biopolitical series named Homo Sacer used poetry and literature as a strong strategy of resistance and opening of thresholds before the organized logic of the sovereign power. If by one side the book can be read as forming a hermeneutic circle, the chapters, on the other hand, open the main lines in which philosophy, literature, poetry, and politics intersect for the Italian thinker. Therefore, some of the arguments set forth in The fire and the tale report in direct relation to notions and arguments present in other Agamben's books and in certain interlocutors are also included in the article.

This is a comparative study between the ideas of the philosopher Paul Ricoeur (1913-2005) and the novelist Milan Kundera (1929-) about the experiences of time and memory. It starts with an comparison of the ideas of both thinkers on selfness, history and the experience of time. In a second moment, the thoughts of both are placed in a critical confrontation, especially with regard to their respective understandings of the nature of the human experience of time and the limits of memory. Next, Kundera's ideas and hypotheses are examined in the light of Ricoeur's hermeneutics, with the intention of showing that this is where this hermeneutics is most intensely challenged, which best shows its philosophical valences. Finally, it is intended to show that this confrontation results in interesting convergences through which both thinkers offer similar and complementary perspectives for the purpose of cultivating a happy memory and a living experience of time.

The paper carries out a comparative analysis of the notions of personal identity and political engagement in the thought of Charles Taylor and Jean-Jacques Rousseau. From a bibliographical study of primary and secondary sources, it is concluded that both philosophers postulate an ontologically dialogical nature of personal identity, thus, essentially dependent on lasting relationship with others. On the other hand, Taylor and Rousseau equate the problem of political alienation in modernity based on distinct principles that serve as the justification for the political engagement of citizens.

The current study investigates the consistency between the claims of the Dialectic and those of the Canon concerning the problem of freedom, and does so through a comparative analysis of three interpretations, showing why two of them (Carnois and Allison) would be mistaken, and a third (Esteves), defensible. Carnois points out that there would be an incompatibility between Dialectic and Canon in considering that the freedom of the Canon would be a limited and empirical freedom, whereas in the Dialectic it would have an absolute spontaneity. Allison believes that the texts would be compatible, although both present relative and ambiguous practical freedom (dependent on a sensitive incentive), and therefore there would be a pre-critical morality in KrV. Esteves's interpretation seems to us to be more sustainable and allows us to understand the coherence and contemporaneity of texts (both present freedom with absolute spontaneity), showing that, although practical freedom is a relational freedom (applied to human beings and therefore in contact with the empirical), it is not an empirical but hybrid concept.

The topic of this article is εἱμαρμένη theory. It analyzes focusly the relationship of εἱμαρμένη theory of the Corp. Herm. 12.5-9 and Middle Platonic sources. The results of analysis limits to answer to εἱμαρμένη theory of Hermetism and Middle Platonism. Nevertheless, there are different points of view about εἱμαρμένη theory in Middle-Platonism. Therefore, the study is limited in scope, involving mainly the Corp. Herm. 12.5-9, De Fato by Plutarch of Chaeronea, De Doctrina Platonis by Alcinous and De Platone by Apuleius of Madaura. This article points out, through the historical-comparative philosophical method, that εἱμαρμένη theory of the Corp. Herm. 12.5-9 is predominantly Middle Platonic despite of occurrences of the (neo)Stoic propositions. So, in particular, this paper assumes that the Corp. Herm. 12.5-9 has a combination of heimarmenology with the Platonic theory of the νοῦς. First, one will point out the meanings of εἱμαρμένη and its correlates in the Corp. Herm. as a whole in comparison with Platonism. Afterwards, one will discuss the choice of prudent and passionate actions by the soul in Corp. Herm. 12.-5-9. Then, one will seek to explain what are the implications of εἱμαρμένη in the ἐλλόγιμοι (wise) in the Corp. Herm. 12.-5-9. Finally, it will be shown that this text is influenced by the theory of conditional or hypothetical fate unlike a purely Stoic doctrine.

This article discusses a philosophical perspective the relationship between fine arts Division proposed by Kant and Hegel. Aims to clarify the approaches and distances between the Division of fine arts presented by philosophers, pointing out their similarities and differences. Basing your analysis on 'The Critic of Judgement of 1790 and Aesthetics Courses' (1820-21), respectively prepared by Immanuel Kant and Friedrich Hegel. Performs a comparative analysis between the Division of Kantian and Hegelian fine arts. Features initially the Division of fine arts on Kantian perspective, addressing the concept of beautiful art, your classification and your hierarchy, according to the philosopher of Königsberg. Then, the Division of the arts according to Hegel, introducing the concept of your beautiful, artistic forms of symbolic art, classical and romantic, exposing and analyzing also the private Arts according to the philosopher of Stuttgart. Concludes that, despite the differences between the two analyses on the Division of fine arts, such as the defense of Hegel in beautiful artistic relationship and of Kant to the beautiful natural, the Hegelian claim that there is a science of the beautiful while the Kantian conception is that there is no science of the be it, for example, featured philosophers agree, among other things, that poetry occupies the highest place in the hierarchy of the fine arts, being the more spiritual and free them.

This article presents a comparative analysis of two concepts proposed and developed in two very different areas: the concept of themata, proposed by Gerald Holton in the area of ​​the history of science and related to the processes of production and diffusion of scientific knowledge, and the concept of Pathosformeln, proposed by Aby Warburg in the area of history of art and related to some important historical and epochal continuities of artistic production. Despite the very different disciplinary contexts in which they were proposed, and despite the specificities that naturally ensure the identity of each of the concepts, it is shown in this article how themata and Pathosformeln have undeniable and important affinities. In fact, both correspond to entities that have a long historical persistence, a cyclical nature, and a great disciplinary, cultural and epochal transversality, in conjunction with a great capacity to assume specific forms at a given time and in a given context. Despite the roots in very different areas, the affinities are strong enough to recognize that themata and Pathosformeln belong to a conceptual network with great potential for understanding, not only the science and art, but also the historical and transdisciplinary dynamics of culture in general.

Os romances de Manuel Lopes e Mia Couto foram escritos em momentos históricos e políticos diferentes. Enquanto Chuva braba foi publicado em 1956, antes das guerras de libertação das antigas colónias portuguesas, Terra sonâmbula veio à estampa em 1992, depois da independência de Moçambique. No primeiro caso, os problemas da seca que assolaram Cabo Verde e a consequente pobreza extrema, que levou ao êxodo massivo dos cabo-verdianos para a Europa e a América e, no segundo, a guerra dos 16 anos, que devastou Moçambique e provocou deslocação das pessoas para regiões seguras e para os países vizinhos, fazem com que as duas obras partilhem traços de instabilidade, insegurança e desassossego das personagens, permitindo a liricização das vivências em contextos da guerra e da miséria que concorrem para o aluimento do ser humano. Deste modo, os dois romances configuram espaços férteis para uma análise comparística dos eventos romanescos, intuindo que a cultura, Literatura, Sociologia e Filosofia (re)criam formas críticas sobre a construção de estados e nações, os quais se caracterizam por compreensão da realidade a partir de história e memórias. ; The novels by Manuel Lopes and Mia Couto were written in different historical and political times. Whilst Chuva braba was published in 1956, before the struggles for the liberation of the Portuguese colonies, Terra sonâmbula came to press in 1992, after the independence of Mozambique. The fact that, in the first novel, the drought problems that hit Cape Verde, followed by extreme poverty, urging a massive emigration of Cape Verdeans to Europe and America and that, in the second novel, the 16-year war that devastated Mozambique, flushing people out to find secure places, allowed the two pieces to share traces of unrest, insecurity, and disquiet of their characters, lyricizing life in war and poverty contexts that lead the human being to his ruin. Therefore, both novels offer a fertile soil for a comparative analysis of the fictional events. To that end, it is assumed that culture, Literature, Sociology, and Philosophy re(create) review patterns about the creation of states and nations characterized by the comprehension of reality through history and memory.