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This article aims to analyze one of Mészáros' criticisms of Sartre, that is, the negative determination of totality. Starting from the distinction between real and unreal, we return to the discussion between the real and the imaginary and indicate a third element, the possible, as the texture of the real. The possible characterizes the real as a movement and denotes this as a totalization. Thus, always as process and possibility, the real and the total are understood according to the freedom of the subject.

Este artigo argumenta que a esperança tem uma história no sentido de que pessoas em diferentes épocas históricas têm esperança de coisas diferentes. Na verdade, ela tem uma história cultural, social e política, porque diferentes grupos sociais têm esperanças diferentes - de salvação, de liberdade, de segurança, de mobilidade social e assim por diante. ; This article argues that hope has a history in the sense that people in different historical epochs hope for different things. Indeed, it has a cultural, social and political history because different social groups have different hopes - for salvation, for liberty, for security, for social mobility and so on.

This article aims to show the pedagogical potential of the use of 'marginal poetry' in Sociology classes. The urban chronicler Miró da Muribeca was chosen to support this work. His poetry, considered by critics as 'marginal poetry', approaches sociological themes and concepts in addition to everyday experiences common to students' habitus. The use of this type of poetry in the classes of Sociology functioned as a didactic tool that enabled the students to hatch from a greater taste by the classes associated to a greater understanding of the contents approached through the partnership between the school and the Institutional Program of Initiation to Teaching Scholarships (PIBID) of CAPES/CNPq. It is possible to develop in this specific case, these activities and bring the teachers in formation from day to day of the school, allowing a connection between the University and school.

This article aims to approach the relationship between poetry and philosophical thought through the approximation between Kantian aesthetics and the work of Carlos Drummond de Andrade. It makes a presentation of the poet's work in the four phases of its development. It briefly exposes Kant's aesthetic conception, highlighting his classification of the arts, his concept of fine arts and the privileged place that the philosopher gives to poetic art. It undertakes an approximation of fine arts and poetry with Drummond's Poema de Sete Faces.

Pierre Hadot shows us, in his interpretations of Goethe and the tradition of spiritual exercises, that true love has a transforming potential, since it corresponds to an exercise of the spirit capable of revealing the ideal that surrounds and constitutes the reality of lovers. Differently, Foucault explains, by Baudelaire and the culture of the aesthetics of existence, that the transfiguring practice of love propitiates the creation of the present time 'as if through fiction' and not by the presence of the ideal in the real. Therefore, perhaps we can affirm that the spirituality of love, conceived by Hadot, would reside in the eternalization of the present moment and in the universalization of the soul, whose beauty articulates the lovers ideally to the Nature. On the other hand, in the case of the foucauldian aesthetics of existence, the spirituality of love would concern the fictional violation of the condition that binds the self, the others and the world to the nostalgia for the past or to the anxiety for the future. Thus, in this essay we envisage (a) to point out the differences between Hadot and Foucault regarding the experience of the present time and the spirituality of love in order to (b) indicate how both would understand the historical movement of the self and the others in the world.

This paper presents philosophical conditions for the foundation of a specifically Husserlian aesthetic. Therefore, will be at first considered philosophical equivalences of two modalities of conscious experience: phenomenological and aesthetic. Thereafter, we highlight some of the concepts that guide Husserlian phenomenology as perception, intuitive experience, imagination and image consciousness. We present a conceptual approach of phenomenological experience as an experience of immediate awareness that has in perception the privileged path to access data originating from intentional objects. Aesthetics experience as a specific type of perception and loss, becomes a modality of phenomenological experience, insofar as it integrates, in itself, the same subject and object in a relationship properly intentional experience, functioning as a perfect paradigm of phenomenological perception opposed to naturalized experience model. Both aesthetics and phenomenology make it possible to centralize conscious experience in relation to world-consciousness, much more than the objective characterization of the world or any purely psychological facts. In both philosophical fields, imagination has a prominent status.

The fiction corresponds to a style of writing that supports the construction of narratives capable of wrestling the writer from himself in a sense that, through the experiment of language itself, it constitutes aesthetically. When we observe the works of Nietzsche, we perceive that there are a plurality of literary styles, often composed by aphorisms that demand another performance: hyperbolic writing. Through artistic writing, Nietzsche creates a world understood as the will to power in which he gives himself as a character among other psychological types. Already in Foucault's philosophy the striking feature of his works is the historical tone with which he approaches his themes. However, as he himself affirms in some interviews, he writes nothing but fictions, selects and organizes historical statements by creating various scenarios, subjects and objects of his speech. This style present in both contacts the outside provoking a repositioning of the reader, which is affected by promoting, as an effect of subjectivation, a political repositioning of insubmissão of not wanting to be governed in this way.

The gothic is a poetics in constant mutation that, through imagination, thematizes fears, anxieties and the priorities of a historic time. These are the images that involve the female characters in Patrícia Melo's novel, Mulheres empilhadas. They inhabit the locus of a dystopian curse, as victims of crimes, sexual violence and the very erasure of their lives. Merging reality and fiction, Melo brings a dystopian narrative to the realm of the gothic poetics, in which imagination manifests itself by means of discrimination of politics, of religion, and of gender. Such power regimes generate fear and insecurity as means of control, thus, turning societies into dystopian models of aggression. ; A Revolta das Mulheres Sacrificadas O gótico é uma poética em constante mutação que, através da imaginação, explora como temas os medos, as ansiedades, as prioridades de um tempo histórico. São essas imagens que envolvem as personagens femininas do romance de Patrícia Melo, Mulheres empilhadas. E é o lugar da maldição distópica que elas habitam, vítimas dos crimes, das violências sexuais e do apagamento de suas vidas. Trata-se de uma narrativa distópica, que mescla realidade e ficção e se inscreve no âmbito da poética gótica, explorando questões como discriminações políticas, religiosas e de gênero.

This paper examines the symbolic character of the Brazilian new currency, the Real, whose name suggests its ambition to not only represent a value, but be a reality itself. Moreover, the utilization of natural pictures instead of historical scenes on the stamp of the new bills points out the wish of giving the character of reality to the currency launched in 1994, meanwhile it marks inflation as a product of disordered imagination. On that account, the new currency's symbolic representation matches very well with the political discourse that sustains the Real. (Rev Econ Polit/DÜI)

Este artigo relaciona o cinema, como meio de comunicação, à história oral e seus entrelaçamentos com a história do tempo presente, atentando para os testemunhos, utilizados como recurso estético e político nos filmes Que bom te ver viva, da cineasta brasileira Lúcia Murat, e Los rubios, da argentina Albertina Carri. Podendo ser categorizadas como documentários-ficção, ambas as realizações lidam com os traumas resultantes da violência ditatorial em seus países de origem, na segunda metade do século XX. Em que medida servem estes filmes como fontes para estudos que se apoiam na história oral é o que pretendemos discutir neste artigo.

Le regime autoritaire installe en 1964 au Bresil a toujour tenu a respecter les apparences de la legalite constitutionnelle. Il a ainsi ete amene a multiplier les interventions d'"ingenierie politique" destinees a maintenir et a consolider son pouvoir. De la reduction du nombre des partis politiques autorises a deux, en vue de domestiquer l'opposition legale, en passant par la sur-representation systematique des etats ruraux et arrieres du Nord et du Nord-Est et la manipulation des regles de propagande politique, le regime a montre une grande imagination. Il a invente toujours plus d'obstacles legaux a la croissance de la maree montante de l'opposition, mais souvent ces articles habilement concoctes ont fini par se retourner contre leurs inventeurs pour beneficier a leurs adversaires

In this work we review a set of readings of Encyclopedia of the Philosophical Sciences (1817) - late text of Hegel's work, in which he presents his philosophical system in a completed and finished manner -: La respiración del ser from Germán Prósperi, "Hegel's Linguistic Thought in the Philosophy of Subjective Spirit. Between Kant and the Metacritics" from J. Surber y Sign and Symbol in Hegel's Aesthetics from Paul de Man. We propose to emphasize in three aspects analyzed by Hegel in the section on the "Subjective Spirit": memory, imagination and remembrance. We will also make reference to Science of Logic (1812) in which Hegel develops the importance of dialects for philosophy. Our aim is to relate the three aspects mentioned above with Hegel's theorizations of language and nomination, in order to stress that these conceptualizations implies within his philosophical system.