Martinho Soares

This paper aims to reflect on how environmental hermeneutics and environmental humanities can contribute to increasing our ecological awareness and to the development of ethical environmental values. By interpreting nature and landscape in texts and as a text, environmental hermeneutics becomes a key to understanding and strengthening the connection of all living creatures to specific places and landscapes, and to reinforce and promote ethical-environmental values and advances in ecological sustainability, biodiversity and in the historical-geographic sense of place attachment and identification. Thus, the hermeneutic-philosophical reflection and its extension to environmental studies make it possible to overcome a closed and abstract vision of environmental ethics (if founded on the idea of the intrinsic value), by drawing attention to humans and other-than-humans' embodied and spatial condition, and to the historical, cultural and semiotic mediation extant in the all living creatures' encounter with nature.

Thucydides’ attention to natural phenomena, such as the plague, volcanoes,
earthquakes, eclipses and floods, is well known. These are uncontrollable events that
typically cause enormous environmental, political and military disturbance, further
heightening the unpredictability and destructiveness of a war that, from the outset, is
characterised by Thucydides as a great movement (kinesis megiste). But it is not only
catastrophic natural phenomena that pique the Athenian historian’s interest. Nature in
all its forms, as portrayed in History of the Peloponnesian War, serves as much more
than a setting or backdrop. As we aim to demonstrate in this study, nature and natural
phenomena impose themselves as active forces that are superior to man, interfering
in the Peloponnesian War with significant political consequences. On the other hand,
the bellicose actions of man impose themselves upon nature with grave environmental
consequences that we here seek to address. Ultimately, from the role played by nature in
Thucydides’ work, it is possible to draw several historical and philosophical considerations
regarding the connection and interaction between man and his environment in Greece
during the 5th century BC.

Na obra poética de Daniel Faria, humanos e não humanos, natureza e cultura entrelaçam-se de forma harmoniosa, sendo um excelente exemplo da influência do mundo natural nos sistemas humanos de produção de sentido. A “pulsação verdejante” que atravessa a sua poesia de forma tão evidente e intensa permite inscrevê-la, por um lado, na tradição religiosa e monástica do “liber naturae” e, por outro, na hermenêutica contemporânea das Humanidades Ambientais. A dimensão simbólica e alegórica do imaginário ecológico de Daniel Faria é fruto dessa forma primária e inconsciente de poesia que existe na natureza, cuja biossemiose cabe ao poeta avivar.

This work is divided into three parts. In the first one, a historical-philosophical study on the medieval concept of "book of nature" is presented, relating this topic to analogical and religious hermeneutics developed by key authors such as Saint Augustine, Saint Isidore of Seville and Hugh of Saint Victor. To find the root of this allegorical-symbolic view of the nat

What is environmental hermeneutics, what is its object of study and reason for being? How did it evolve from philological method to the interpretation of nature and to what extent is this extension legitimate and grounded? What brings together and what distinguishes the various forms of interpretation of nature? How do environmental hermeneutics and ethics approach and complement each other? These are the fundamental questions that we seek to answer in this study. Título: Leer la naturaleza como texto: fundamentos de una hermenéutica ambiental e implicaciones éticas Resumen: Qué es la hermenéutica ambiental, cuál es su objeto de estudio y razón de ser? Cómo evolucionó del método filológico a la interpretación de la naturaleza y en qué medida esta extensión es legítima y fundamentada? Qué une y qué distingue las diversas formas de interpretación de la naturaleza? Cómo se acercan y complementan la hermenéutica ambiental y la ética? Estas son las preguntas fundamentales que buscamos responder en este estudio. Palabras clave: hermenéutica, naturaleza, ética. Resumo: O que é a hermenêutica ambiental, qual o seu objeto de estudo e razão de ser? Como evoluiu de método filológico até à interpretação da natureza e a que ponto é legítima e fundamentada essa extensão? O que aproxima e o que distingue as várias formas de interpretação da natureza? De que modo hermenêutica ambiental e ética se aproximam e complementam? Estas são as questões fundamentais a que neste estudo procuramos responder. Palavras-chave: hermenêutica, natureza, ética.

Neste estudo, procuramos fazer uma análise histórico-literária da peça Helena de Eurípides e uma análise intertextual da peça Perdoar Helena, de José Tolentino Mendonça. Para o efeito, damos destaque a dois tópicos estruturantes comuns às duas obras: o seu carácter antibelicista e a influência do pensamento filosófico-sofístico. Sinalizamos a forma como o poeta português recebeu e reescreveu os motivos líricos e ideotemáticos da Helena de Eurípides, ajustando-os ao seu fazer poético e ao seu pensamento crítico. Mas o olhar de Tolentino Mendonça não se restringe a esta peça, estende-se a toda a produção dramática de Eurípides, assinalando distintas marcas de criatividade, de inovação e de subversão à luz da tragediografia clássica, mas também das mentalidades e dos valores morais da sociedade grega daquela época. Em última instância, é a própria herança cultural grega que se vê revisitada e questionada no nosso presente.

Thucydides' criticisms of the Athenian democratic system are particularly focused on denouncing the weaknesses of the oratory debate, a privileged instrument of democratic dialectics. The rhetorical nature of language, the hidden interests and poor formation of the speakers, the susceptibility of the audience, are some of the problems raised by Thucydides himself, which resonate in the voices of Pericles, Cleon, and Diodotus. Here we analyze the oppositions, convergences and specificities of the criticisms conveyed by each of these voices, aligned with the fundamental concern of the search for truth.

Cet article essaye d'analyser l'Histoire de la Guerre du Péloponnèse de Thucydide à la lumière des thèses ricoeuriennes sur l'épistémologie de la connaissance historique, en prenant notamment en considération les trois moments essentiels de l'opération historiographique: la preuve documentaire, l'explication/compréhension et l'écriture/représentation. Cela nous conduit à insérer le texte de Thucydide dans la séquence des trois phases de la mimésis impliquée dans toute mise en discours: préfiguration, configuration et refiguration. Le dialogue que nous établissons entre le philosophe français et l'historien grec nous permet aussi de trouver plusieurs dissimilitudes et similitudes entre les deux, soit en réfléchissant sur la question de la vérité, soit en réfléchissant sur la dialectique entre lire et voir, sous le signe du concept rhétorique de l'enargeia. Abstract: This article attempts to analyze the The Peloponnesian War of Thucydides in the light of the Ricoeur's theses on the epistemology of historical knowledge, in particular the three essential moments of the historiographic operation: documentary evidence, explanation / understanding and writing / representation. This leads us to insert the text of Thucydides in the sequence of the three phases of the mimesis involved in any narrative: prefiguration, configuration, refiguration. The dialogue that we establish between the French philosopher and the Greek historian also allows us to find several dissimilarities and similarities between them, either by reflecting on the question of truth or by reflecting on the dialectic between reading and seeing under the guidance of the rhetorical concept of enargeia.

Cette étude à pour but la confrontation de la théorie de l’identité narrative développée par Ricœur en Soi-même comme un autre avec le questionnement du sujet à l’œuvre dans la poésie Fernando Pessoa. Dans une première partie, cette confrontation se fera à propos d’un poème représentatif de l’hétéronymie et de la dépersonnalisation : Je ne sais pas combien d’âmes j’ai. Dans une deuxième partie, on se tiendra sur la question de la fragmentation et de la dissolution du sujet dans le Livre de l’intranquilité de Fernando Pessoa/Bernardo Soares. À la fin de cette étude, on espère avoir répondu à trois questions majeures qui découlent du dialogue entre l’herméneutique du Soi de P. Ricœur et la psychographie de Bernardo Soares : peut-on parler d’identité narrative dans le cadre du Livre de l’intranquillité ? Quel genre d’identité nous offre cette variation imaginative sur l’identité personnelle ? Est-ce que ce genre d’identité fragmentée et poétique peut être considérée comme une alternative tout à fait  acceptable par rapport à l’identité narrative ?

In the greek schools of the Roman Empire, the manuals of rhetoric (Progymnasmata) defined ekphrasis as a speech that brings the subject matter vividly before the eyes. These manuals also indicate Thucydides as one of the best specialists in this rhetorical technique which consisted, essentially, to give vividness (enargeia) imagery to the speech as a way to engage the imagination and feelings of the reader. In this article we present a set of examples, taken from the History of the Peloponnesian War, which prove that talent of the Athenian historian to make us “see” the events in the mind's eye. After that and using the reflections of Paul Ricœur around the history and the fiction (from the normal and healthy coexistence between readability and visibility along with the ethic power of the textual image in situations that cry out applause or disapproval), we will see how this rhetorical and fictional strategy that has been used until satiety by Thucydides and recovered now, by Ricoeur, for the studio of contemporary historiography, can be reconciled with a discipline that aims objectivity, impartiality and scientific rigor.

Neste texto, relembramos a proveitosa e proficiente leitura que Ricœur faz de Aristóteles e S. Agostinho a propósito de tempo e narrativa; evocamos os múltiplos aportes da filosofia aristotélica e platónica para a consolidação do estatuto imagético e supletivo da memória; evocamos o diálogo aberto por nós entre a epistemologia histórica de Paul Ricœur e a historiografia fundadora de Tucídides, donde destacamos o papel figurativo e ético da linguagem histórica; e concluímos apontando para futuros e possíveis cruzamentos de Ricœur com os Clássicos, a propósito das teses da identidade narrativa e do reconhecimento.

Palavras-chave: Ricoeur, Agostinho, Aristóteles, Platão, Tucídides, história, narrativa.
Key-words: Ricoeur, St. Augustine, Aristotle, Plato, Thucydides, history, narrative.

In this paper, we aim to underscore Ricoeur’s fertile reading of Aristotle and St. Augustine on time and narrative; in the context of Ricœur’s reflection we also mention the manifold contributions of Aristotle’s and Plato’s philosophies to the imagery of memory and its substitutive role; finally, we also draw upon our previous work, which connects the historical epistemology of Paul Ricoeur and the foundational historiography of Thucydides, and where we highlight the figurative and ethic role of the language of history. In our conclusion we point towards other possible connections between Ricœur and the Classic authors, on the topics of and recognition theories.

This essay aims at showing the way Paul Ricoeur uses the Aristotelian tripartite mythos‑mimesis‑catharsis and how he builds from it the core/nuclear concept of plot (récit) that lies underneath the two biggest branches into which narrative is divided today: historiography and fiction. Paul Ricoeur, in Time and Narrative, goes back to the model Aristotle develops for tragedy with the purpose of bringing it up to date, i.e., to build from it a modern narrative theory that may elevate the mythos, understood as a configurative activity, to the category of a meta‑genre that includes, besides drama, epic, history or, in other words, fictional narrative and historical narrative. In Ricoeur’s perspective, the activity of narrative composition implies three separate, but interwoven, mimetic moments; indispensable as fundament of the idea of creative imitation and of a caesura that establishes a new space of fiction. The three mimetic levels have as a link the time praxis and as deviant or caesura element the mythos. This hermeneutic concept of triple mimesis is indispensable for sustaining the mediation between time and narrative and for arming the criticism against the semiotic theories of the text, which focus exclusively on the so called mimesis of level II . Contrarily to what was theorized by French structuralists, Ricoeur defends a hermeneutics that beholds the literary text not only as a structure or an abstract object isolated and reduced to its internal laws, but also as a placed object, with the real or ethical field of praxis upstream (mimesis I) and the reception field downstream (mimesis III ), because only by building a relation between the three mimetic modes/ways there can be built a bridge between life, action, suffering and narrative. This essay aims at answering the question: why can’t we live without stories, inheritors of the myths? Because it is in them, «before the inability to know what the time is, that man tangles its invisible thread to catch it in vain». Because, in the end, they’re the ones that give us the deep meanings of life. And leave unanswered the question: could there be stories without a plot, i.e., without mythos?

In this paper we try to demonstrate how Ricœur establishes a hermeneutic of the historical discourse considering the fictional-historical text as paradigm and the hermeneutic as the theoretical-methodological basis for the human sciences. The historical text also needs the hermeneutic because it has an internal dimension as well as an external one. This internal dimension can be decomposed by the dialectical understanding/explanation, while the external dimension consists in the projection of the text out himself, from the referential stage of the praxis to the refigurational field of reading. Does this means that for Ricœur there is no difference between history and fiction or history and story? No. In this paper we want to show how Ricœur defines the specific place of history (either structural or political) in the social sciences territory and how he discloses and preserves the narratives links between history and fiction.

Este trabalho tem dois objetivos principais: primeiro, demonstrar o discurso anti-islâmico que percorre toda a obra do Padre António Vieira, enquadrando historicamente os acontecimentos narrados pelo autor e contextualizando a sua visão à luz da mentalidade da época; segundo, pretendemos justificar, desconstruir e desmistificar as representações fortemente negativas do Islão no pensamento e obra do pregador jesuíta e na cultura europeia da época e anterior. O primeiro objetivo leva-nos a fazer o levantamento dos passos textuais onde melhor se evidencia a animosidade de Vieira para com os Turcos, percorrendo a sua obra profética, parenética e epistolográfica, onde o Muçulmano surge invariavelmente como um rival do Cristianismo que é preciso eliminar para que o projeto profético-escatológico vaticinado por Vieira se possa concretizar. O segundo objetivo leva-nos a olhar para a história da expansão do Império Otomano em solo europeu e para a construção da imagem distorcida e nefasta deste povo.

Para fazer jus ao binómio que inspira este colóquio – Missão e Messianismo – e ao espírito intercultural que anima o evento, culturas ibéricas e eslavas em contacto e comparação, propomos a figura gigante e quase mítica do Padre António Vieira. Por um lado, encarna como ninguém na cultura portuguesa quer o espírito de missão, porquanto foi um incansável e zeloso missionário jesuíta, quer o pensamento profético-messiânico, que atravessa toda a sua obra escrita e oral, dos sermões aos ensaios filosófico-teológicos e à epistolografia 1. Por outro lado, foi um homem muito atento à política europeia, nomeadamente aos acontecimentos do leste da Europa, a braços com as invasões turcas, e esta preocupação reflete-se não só no seu pensamento profético-messiânico exposto na oratória sacra e nas obras proféticas, como nas constantes missivas que envia aos seus correspondentes, sobretudo no período da sua segunda estadia em Roma,

O objetivo deste ensaio é o de enquadrar a análise do Moby Dick de Melville feita pela filósofa, ensaísta, poetisa e pensadora Dalila Pereira da Costa à luz da grelha conceptual desenvolvida pela Fenomenologia e
Hermenêuticas da Religião. A evocação de categorias de análise como sagrado e mistério ou de conceitos como mito e símbolo, usados por autores como G. van der Leuuw, R. Otto, M. Eliade, P. Ricoeur, J. M. Velasco, ajudam a contextualizar e aclarar as linhas de interpretação
desenvolvidas pela autora portuense.

The purpose of this essay is to frame the analysis of Melville’s Moby Dick made by the philosopher, essayist, poet and thinker Dalila Pereira da Costa in the light of the conceptual framework developed by Phenomenology and Hermeneutics of Religion. The hint of analysis categories such as sacred and mystery or concepts such as myth and symbol, used by authors such as G. van der Leuuw, R. Otto, M. Eliade, P. Ricoeur, J. M. Velasco, help us to contextualize and clarify the lines of interpretation developed by this Oporto author.

Resumo: A palavra eutanásia provém etimologicamente do grego e a palavra suicídio é composta a partir do latim. No entanto, a euthanasia dos gregos e dos romanos tem um sentido bem diverso do conceito atual de morte medicamente assistida. Já a morte infligida a si próprio era enunciada verbalmente através de um leque bem variado de expressões, mas nunca pela palavra suicídio. Textos literários e filosóficos dão suporte a este estudo sobre a eutanásia e o suicídio na cultura clássica greco-romana. O tema da morte nestas culturas está diretamente relacionado com um quadro de valores morais, teológicos e culturais que aqui pretendemos gizar.

Abstract: The word euthanasia comes from the Greek etymologically and the word suicide is composed from Latin. However, the euthanasia of the Greeks and Romans has a very different meaning from the current concept of medically assisted death. Already self-inflicted death was uttered verbally through a wide range of expressions, but never by the word suicide. Literary and philosophical texts support this study on euthanasia and suicide in classical Greco-Roman culture. The theme of death in these cultures is

Soares, Martinho, “História e ilusão biográfica em Mário Cláudio: o romance histórico como representância”, in Maria Celeste Natário e José Vieira (org.), Trilogia do Belo. Encontros de Filosofia e Literatura nos 50 anos de vida literária de Mário Cláudio. D. Quixote: Alfragide, 2020, pp. 185-197.

Neste texto faz-se uma análise interpretativa da novela de Mário Cláudio O fotógrafo e a rapariga, partindo dos vários símbolos poéticos usados pelo escritor para exprimir o interdito. Demonstramos como a natureza dúplice e dissimuladora do símbolo poético atenua o choque e mitiga a obscenidade, ao mesmo tempo que obriga o leitor a uma desautomatização do juízo ético, forçando-o a alargar o seu campo de análise e de interpretação, abrindo o seu olhar a novas perspetivas. Salientamos também o modo como Mário Cláudio consegue questionar e transtornar os sagrados e estandardizados padrões éticos e culturais da sociedade em que se insere.

In this text an interpretative analysis is made of the novel of
Mário Cláudio The photographer and the girl, starting from the several
poetic symbols used by the writer to express the interdict. We demonstrate
how the dualistic and dissimulating nature of the poetic symbol attenuates
shock and mitigates obscenity, forcing the reader simultaneously to a
de-automation of the ethical judgment, forcing him to widen his field
of analysis and interpretation, opening his eyes to new perspectives. We
also emphasize how Mario Cláudio manages to question and upset the
sacred and standardized ethical and cultural standards of the society in
which he is inserted.

Quem foi realmente Manuel Tomás, insigne poeta madeirense, autor da epopeia Insulana? Que equívoco linguístico de língua latina contribui para a tese (aqui desmentida) de que era clérigo da diocese do Funchal? Qual era verdadeiramente a profissão deste cristão-novo (acusado de herege e falso convertido), que obras escreveu  e qual o seu legado na história da Literatura Portuguesa e Madeirense?

Pretende-se com esta comunicação dar conta das representações histórico-literárias da Diocese do Funchal na epopeia Insulana de Manuel Tomás e esclarecer a questão do estado clerical ou laical do próprio autor.

Nota:  a presente versão inclui importantes adendas e alterações relativamente ao publicado.

The antithesis, oscillations and contradictions produced in human being by the conflict love-hate were and always are vicissitudes that the lovers are subject. Probably, not even the deepest amorous relationship can avoid a certain ambivalence neither the happiest mariage can avoid a certain portion of hostiles feelings. The ontological dichotomy, the continual dialectics between being and not being, between good and evil, yes and no seems to make part of our fragile human condition. In Latin Literature, some texts of Catul, Ovid and Virgil express, in a eloquent way, with dramatic pungency, the violence of the interior conflict and testefy an epoch full of contradictions and restlessness, that these writers didn't ignored. An epoch full of madness, that lived and sang the passion and his paradoxes in excessive and exacerbated poetichal way.

"There are several reasons underlying the development of a study focused on a Greek historian from the 5th century B.C. and on one of the most eclectic and productive philosophers of our era. First of all, I noticed that the way that the French philosopher theorizes and the Athenian historian applies fiction in history are exceptionally similar: Ricoeur’s privileged rhetorical imagery, derived from literary representation, and Thucydides’s imagetic vividness, pathetika, achieved by means of ekphrasis and enargeia, aim to make the readers see or to lay before their eyes uniquely unique events that, according to Ricoeur, cry for justice and cannot be forgotten. Secondly, both fight a relativist mentality that threatens to turn history into a discipline as fanciful as literary fiction and search for ways to confer scientific credibility to the historian’s craft. Thus it may be said that both were, in each one’s own time and manner, bulwarks of truth against relativist trends to reduce historical discourse to fictional rhetoric; both nonetheless recognize some degree of reasonableness in those theories, retaining all that may enhance the ethical dimension of the historian’s craft. In the third place, Thucydides and Ricoeur share a link of problematisation, which is Aristotle. Ricœur frames his narrative theory within the Aristotelic Poetics, while Thucydides’s work parallels the triple mimesis of Aristotle’s and Ricoeur’s model; however, paradoxically, Aristotle refuses to place historians and poets on the same level, arguing that the former imitate the particular and the latter the universal. One of the main characteristics of Thucydides’s work is its generalist universal tendency and the verisimilar and tragic quality of his text. This matter evokes another one which is central in Ricoeur and may be reconstructed in Thucydides: the dialectic understanding/explanation. Yet another issue at the core of Ricoeur’s and Thucydides’s work is the critique of testimony and eye-witnesses, signs, proof, documents, in sum, of memory. Ricoeur’s reflections on memory, the role of witnesses and the limits of representation are framed within a historical reflection raised by a contemporary war. Thucydides also approaches the same topics influenced by a contemporary war, where the main sources of information are the memories of survivors. This subject brings to the fore the key concept of mimesis and Ricoeur’s theory of representance, which can be confronted with Thucydides’s History. Thucydides apparently wants to give text the configuration of war, as if one could be the mirror of the other, but the expression he uses to conjoin writing and war (to write just as it happened) is the one that will inspire Leopold Ranke and on which Ricoeur will build the concept of representance. Finally, Thucydides is a precursor, founding a subject that will mature into an erudite science only from the 15th century onwards with Lorenzo Valla’s translation and especially from the 19th century onwards within the Methodic School. Until then, the author of the History of the Pelopponesian War remained an unparalleled figure in historiography, one that his successors did not emulate, and that in many aspects surpassed his predecessor, Herodotus. It is no wonder, then, that he was adopted as a patron by the fathers of scientific history (more for his ambitious work programme than its execution). In fact, Thucydides’s perspective is original and groundbreaking, albeit incipient: the institution of an epistemology oriented by criteria of truth, objectivity, impartiality; the emphasis on human actions (political and military); the semiotic or indiciary quest of the past guided by written, oral and archaeological traces; the critical approach to proof/evidence and memory, the construction of an explanative historical narrative retrospectively aligned; the distinction between history and fiction. This originates the first contemporary political-military history, by the most proficient conciliator in Antiquity between rhetoric and history, science and art, objectivity and subjectivity.
Twenty-five centuries later the same issues at the root of historiography may be found in Ricoeur’s ample and deep meditations on the epistemology of history in Histoire et vérité (1955), Temps et récit I and III (1983 e 1985), Du texte à l’action: Essais d’herméneutique II (1986), La mémoire, l’histoire, l’oubli, (2000). However, Ricoeur’s reflections are set within modern historiography, not ancient historiography (even if the latter sporadically comes up). Modern historiography entails a different concept of history, different requisites where proof, explanations, concepts, query and even facts are concerned. Therefore the confrontation between Ricoeur’s epistemology of history and Thucydides’s History of the Peloponnesian War is also an opportunity to assess the Athenian historian’s performance, his strengths and weaknesses and his place in the history of history."

Mário Cláudio estreou-se como autor há 50 anos com a publicação de Ciclo de Cypris (1969). Este pequeno livro de poesia marcava o início de uma fecunda e multifacetada carreira literária, que aqui pretendemos revisitar e homenagear. Visa-se, fundamentalmente, a sua obra, identificando os principais eixos temáticos e particularidades estilísticas. Todavia, falar da obra de Mário Cláudio é falar também da sua vida, de alguns traços da sua personalidade e de alguns factos estruturantes do seu percurso biográfico. Ademais, trata-se de um autor no qual vida e obra amiúde se confundem, se interpenetram e mutuamente se fecundam.

The author of this volume covers a reflective itinerary of the experiences of time and human acting representing and represented in the mythos narrative. The hermeneutic dialogue between Paul Ricœur (Temps et récit) and Aristotle (Poetics) served as a base for this itinerary, taking advantage of Ricœur’s meditation about Augustinian reflection on time.
This study is divided into three chapters, the first being devoted to time, where is treated the specificity of the meditation of Augustine of Hippo and his close relationship or contrast with Plato, Aristotle and Plotinus. Special attention is given to the analysis of binomials time/eternity and distentio/intentio animi.
The second chapter focuses on mimesis-mythos-katharsis axis in Aristotle, where Aristotelian hermeneutics of the text leads to the heart of representative power of mythos, on one hand, as the horizon of this narrative representation of characters in action ethical thinking, and considering, on the other hand, cognitive ability and recognition of the spectator, from his own experience in time.
Chapter III contains the concluding points from the previous text, to reflect, with Paul Ricœur, about the three moments involved in the creation and representation of the mythos: the creator of mimesis, the mimesis in representation, mimesis appropriating, concluding with the meta-genre nature of the mythos-narrative.
It is manifest throughout the work, the confidence of the author in the interpretation and interrelation of texts, as well as sound knowledge of the authors concerned, Greek, Latin and modern, to which he had access in their original languages.  The research field of support required  is also clear. The high level of maturity and intellectual capacity corresponds to the  fluent, precise and agile speculative language.

This work, resulting in a Master's thesis on Poetics and Hermeneutics, prepared on a consistent ground of concatenating interdisciplinary Classical Studies and Philosophy, by their obvious degree of originality and the object of their research, much profit, surely the scholars Literary Theory, Philosophical Hermeneutics and Poetic.


O autor deste volume percorre um itinerário reflexivo sobre as experiências do tempo vivido e do agir humano, representáveis e representados no mythos narrativo. Serviu de suporte a esse itinerário o diálogo hermenêutico entre Paul Ricoeur (Temps et Récit) e Aristóteles (Poética), tendo Ricoeur partido das aporias da meditação agostiniana sobre o tempo.
O presente estudo divide-se em três capítulos, sendo o primeiro dedicado ao tempo, onde é tratada a especificidade da meditação de Agostinho de Hipona e a sua relação de proximidade ou de contraste com Platão, Aristóteles e Plotino. Registe-se a análise dos binómios tempo/eternidade, bem como distentio/intentio animi.
O segundo capítulo centra-se no eixo mimesis-mythos-katharsis em Aristóteles, onde a hermenêutica do texto aristotélico conduz ao cerne do poder representativo de mythos, tendo, por um lado, como horizonte dessa representação narrativa de caracteres em ação o pensamento ético, e considerando, por outro lado, a capacidade cognitiva e de reconhecimento do espetador, a partir da sua própria experiência temporal.
O capítulo III retoma os pontos de conclusão do texto anterior, para refletir, com Paul Ricoeur, sobre os três momentos implicados na criação e representação do mythos: o da mimese criadora, o da mimese em representação, o da mimese apropriadora, concluindo com a natureza de metagénero do mythos-narrativa.
É manifesta, ao longo da obra, a segurança do seu autor na interpretação e interrelação de textos, assim como o bom conhecimento dos autores em causa, gregos, latinos e modernos, a que teve acesso nas suas línguas originais. Manifesto é, também, o domínio dos suportes de investigação necessários. Ao elevado nível de maturidade intelectual e de capacidade especulativa corresponde uma linguagem fluente, precisa e desenvolta.
Assim, este trabalho, decorrente de uma dissertação de Mestrado em Poética e Hermenêutica, elaborado num chão consistente de concatenação interdisciplinar entre Estudos Clássicos e Filosofia, pelo seu óbvio grau de originalidade e pelo objeto da sua investigação, muito aproveitará, decerto, a estudiosos de Teoria Literária, Poética e Hermenêutica Filosófica.

ENARGEIA - Plett (H.F.) Enargeia in Classical Antiquity and the Early Modern Age. The Aesthetics of Evidence. (International Studies in the History of Rhetoric 4.) Pp. xii + 240, b/w & colour ills. Leiden and Boston: Brill, 2012. Cased, €99, US$136. ISBN: 978-90-04-22702-6. - Volume 64 Issue 1 - Martinho Soares