Marcia Sá Cavalcante Schuback

Abstract: The present article presents a discussion about the relation between the right of the universal and the universality of rights departing from Hegel’s Philosophy of Right. It tries to find in Hegel’s thought a path to think the crisis of universality that pervades our contemporaneity. It outlines some lines of thought that may contribute to further reflections on Hegel’s view on the tragic dialectic between the particular and the universal and to possible attempts to overcome it.

O presente artigo discute os desafios da estética contemporânea em tempos de profunda mutação nos modos de sentir, pensar e existir. Assumindo que a presente mutação se dá no próprio sentido de forma e em todas as formas de sentido, o artigo considera que o grande desafio da “estética” é dar sentido ao em aberto dos sentidos, propor formas em aberto de convivência e ação, de pensamento e sensibilidade e não propor novos ou outros sentidos e formas fechadas e determinadas.  Buscar formas formadas e sentidos fechados é o que caracteriza o fascismo em todos os seus modos de expressão e mobilização. A reflexão propõe uma poética do sendo, isto é, do gerúndio, que encontra nas experiências de esboço e ritmo algumas de suas palavras indicadoras. Considera que para resistir ao fascismo das formas contemporâneas de controle é preciso seguir as indicações dos restos resistentes aos processos de totalização de sentido e inventar uma linguagem que sente e pensa no gerúndio. Esse seria um modo ...

"The repressed return" presents in Swedish a discussion about the repressed wanting of wanting, something that may bring more clarity to the rise of right wings' desire of a return. in the article Freud's expression "return of the repressed" is turned against itself and is developed in terms of the disappearance not properly of resistance but rather of desire itself.

his article discusses Alejandro Vallega’s book, Latin American
Philosophy: From Identity to Radical Exteriority, proposing a series
of questions in which the problem of situating Latin American
thought in the topos of Western philosophy is addressed. Further
questions considered here include how to rethink identity and
difference from the perspective of Latin American experience,
and, last but not least, what do “situated thinking” and “engaged
thought” mean?

A lot has been discussed in philosophy about the relation between sacrifice and gift 1. These thoughts are deeply indebted to a search to give being and existence back to a meaning beyond the overarching reification of being and existence in the present world. Before the impossibility to give being back to its innocence, to experience directly the splendor of its simplicity, the pure gift of being while being, discussions on the relation between sacrifice and gift aim to ground the difficult or rather tragic view that the sacrifice of being and existence is the gift of being and existence. At stake is a longing for difference within an epochal situation of in-differentiation and indifference, the situation of no way out from a world in which the gift in the sense of poison of the given seems to close all possibilities to experience the gift of being. In these discussions, the meaning of sacrifice is double. Sacrifice means on the one hand a destruction – the sacrificed, the animal, a human being, a god, is killed – and a restitution, thus the destruction is for the sake of salvation or redemption, aiming to give being and existence back to nature and life, back to the sacred and the divine. Among the sacrificial practices there is one very hard and difficult to account for in the realm of these discussions: I mean the practice of anthropophagy, the sacrificial practice of man eating man. To the current discussions on sacrifice and the gift, I would like to bring some anthropophagic thoughts on the sacrifice of difference accomplished in western modern culture, aiming both to bring some different aspects to 1 For a recent account on the huge philosophical litterature on sacrifice and gift, see Jason W. Alvis. Marion and Derrida on the Gift and desire: Debating the Generosity of Things (Springer).

the article discusses hermeneutic not as an art or technique of understanding and interpretation but as movement of understanding, and hence the attention to a coming to form, a coming to word, a coming to thought. This attention is described as the work of imagination through which hermeneutics introduces a "tiny trace" or a "comma" in consolidated meanings, opening a path for a transformative understanding.

In this article, a discussion about memory in exile is presented that takes up the thesis that exile is a condition of post-existence and afterness. The main claim is that exile is not only existence after a cut and separation but is an existing as afterness, in a " present tension " of being with the without and without a with. It reveals a sense of the present and of presence as multi-directed movements, as clusters of echoes and delayings. In exile, memories are not the continuous simultaneity of double images but are rather " photisms, " shimmering between images, the coming and going between languages, experiences, a longing back and forth. Exilic memory is the experience that bears witness to the present as the movement of presencing, of appearing while sliding away. Keywords afterness – memory – forgetfulness – exile – between – photism – presencing – present tension " Where do we come from? Where are we? Where are we going? " —These questions title a famous painting by Paul Gauguin, a painting that he himself regarded as the painting of all of his work of painting, a work that can be described as the painting of the exile from nature. To Gauguin, painting is indeed an exile from nature, an exile that searches for asylum back in nature. " Where do we come from? Where are we? Where are we going? " —These questions are repeated today by millions of tired and hungry mouths without recourse. They are questions shared by more and more people, but they are also questions that more and more divide the world into several forms and registers of " we " and " they. " A discursive wall is being built around these questions that divide not only " the own " and the " foreign, " but also the ownness of

Denna essä diskuterar de hybrida rum som kan uppstå i mötet mellan olika konstnärliga praktiker. Utgångspunkten är den italienska arkitekten Lina Bo Bardis och den brasilianska konstnären Hélio Oiticicas arbeten. En diskussion om Hélio Oticica och Lina Bo Bardi tvingar inte bara till en reflektion över utan också en presentation av deras konstnärliga praktiker. Utmaningen här blir därför att reflektera under presentationen och att presentera under reflektionen. Men hur går detta till? Hur uppfattar man någonting för första gången samtidigt som man reflekterar över vad man tar del av? Det är som att gå genom ett glashus där skilda rum uppfattas som ett enda men ständigt avbrutna rum, ett rum i vilket det inre är det yttre och omvänt. Just så uppfattade den brasilianska konstnären Laercio Redondo Lina Bo Bardis privata hus i São Paulo som är huvudtemat i hans videoinstallationen The Glass House (2008). Vad innebär att reflektera över i form av en presentation? Denna frågeställning inbegriper fler hybrida rum: å ena sidan har vi att göra med mötet mellan en italiensk arkitekt i Brasilien, Lina Bo Bardi och en brasiliansk konstnär som levde och verkade utanför Brasilien, Hélio Oiticica. Det är fråga om en sammanflätning av betraktandet av ett okänt territorium utifrån och betraktandet inifrån av hybrida rum i Brasilien och i omvärlden. Å andra sidan möter vi här också en blandning av det arkitektoniska och sensoriska, av museet och museets utsida, av ordning och oordning, av minnets sökande och minnets bevarande, av seendets oskuldsfullhet och skuld samt av europeiska estetiska idéers möte med brasiliansk folkkonst. Men viktigast av allt är kanske frågan om den hybrida tiden, samman-blandningen mellan ett före och ett efter, mellan olika dimensioner av förflutenhet och framtid och den ömtåliga oberörbarhet som är vad som definierar ett här och ett nu. Hybrid är också denna texts belägenhet: i denna stund sysselsätter sig denna text – och alltså också läsaren som befinner sig i ett alter-modernistiskt och globaliserat, neoliberalt Sverige – med ett postkonkretistiskt Brasilien på 1960-talet, förtryckt av diktaturen. Denna situation blir än mer hybridartad om vi betänker hur lätt lokala och temporala geografier kan projiceras på nuets och här:ets virtuella skärmar som virtuella hybrider av tid och rum. De mer originella sidorna av Linas och Hélios arbete var att de introducerade praktiker bortom representationen som på en och samma gång både reflekterade och presenterade. De utmanar oss att återuppföra just denna praktik då vi nu ger oss in på att diskutera dessa hybrida rum. Att presentera en praktik och samtidigt reflektera över den, att för första gången återse den, att blanda visandet med teorin, pekar på vikten av ett tänkande som är

... 27 This non-conceptual thinking, able to make visible the 'multidimensional simultaneity' of the appearing, is a thinking that draws the thinking eyes toward the in-between of form and non-form, of figure and ... When Heidegger says at the end of his lecture Was ist Metaphysik? ...

... An exemplary such moment is the rhythmic transformation of Stefan George 's verse "Kein ding sei wo das wort gebricht" into "Kein ding, sei wo das wort gebricht" and further "Ein "ist" ergibt sich, wo das Wort zerbricht" (Heidegger 1997, 216). ... 210 THE POETICS OF LANGUAGE ...

The present article proposes a reflection on the relation between music and language setting out from the experience of listening to words and listening to music. It relies to a certain extent upon an existential-phenomenological approach and develops the distinction between the sounding of sounds (sounding words) and the sound of sounding (musical sounds). From this distinction, a redefinition of rhythm is suggested based on the experience of listening and on the close listening of some pieces of music. Keywords rhythm – listening – music – sounding