O texto analisa Imagens da noite – ensaios sobre raça e racialização (2024), de Victor Galdino, destacando sua proposta filosófica de pensar a raça como uma forma imaginal, distinta dos processos de racialização e dos sujeitos racializados. A obra adota uma escrita ensaística e experimental, articulando perspectivas epistemológicas, estéticas, psicanalíticas, políticas e históricas para investigar como a raça opera como tecnologia de gestão que desumaniza e produz sentidos. Ao longo do texto, Galdino dialoga criticamente com Fanon, Hartman, Rancière, Mbembe e o afropessimismo, questionando concepções essencialistas, a centralidade da violência e a melancolia ligada aos arquivos da escravidão. O autor propõe deslocar o foco da identidade fixa para a multiplicidade e o devir dos seres racializados, defendendo uma ontologia crítica orientada à abertura, à imaginação e à abolição da raça enquanto forma. A leitura enfatiza a coerência entre forma e conteúdo, bem como as tensões e limites da proposta.
Resumo: O filósofo Ernst Bloch desenvolveu uma postura investigativa que pode ser chamada de hermenêutica da esperança. Consiste em uma hermenêutica que, no entanto, não se restringe a buscar significados ocultos por detrás de algum texto, mas que interpreta e analisa as tendências-latências contidas na própria realidade, tornando-se, assim, real-objetiva. Através dela é possível identificar, prospectar e estimular conteúdos utópicos subversivos contidos nos chamados excedentes culturais do presente os quais podem estar nas mais diversas manifestações culturais, sociais e técnicas da humanidade. Além disso, ela nos habilita a identificar conteúdos de esperança naqueles aspectos não contemporâneos da realidade, os quais também podem ser apropriados e herdados, de modo a subsidiarem a práxis. Bloch sugere, ainda, uma referência avaliativa para tais interpretações: “derrubar todas as condições em que o homem surge como um ser humilhado, escravizado, abandonado e desprezível”. A hermenêutica da esperança, portanto, é uma espécie de garantia para a vitalidade dialética na teoria de Ernst Bloch e, simultaneamente, um legado filosófico e crítico para a atualidade.
En este artículo se analizan varios pasajes del tratado Sobre los vicios y Sobre la franqueza de Filodemo de Gadara con vistas a determinar el lugar que ocupan en ellos ciertas disposiciones del carácter definidas por Aristóteles en sus Éticas y, particularmente, aquellas que tienen que ver con las interacciones sociales basadas en el intercambio de palabras y acciones. A pesar de la variación terminológica que se aprecia en los escritos de Filodemo, influidos, muy probablemente, por Teofrasto y Aristón, se argumenta a favor de la tesis de que existe un hilo conductor entre la problemática asociada a la franqueza como rasgo distintivo del sabio epicúreo, por una parte, y, por otra, la definición aristotélica de varias virtudes éticas.
Due to the proximity of certain strands of constructionism to postmodernism, the term has been associated with idealistic positions and absolute relativism in the conceptualization of social reality. As the objectives of this article are linked to the discussion of three main axes-the definition of reality, the analysis of ideology, and the rejection of absolute relativism-it is argued that critical constructionism distances itself from idealism and relativism by conceiving social reality as the result of human action, mediated by language and social practices. Rejecting idealism, reductionist physicalism, and fatalism as expressions of essentialism, critical constructionism formulates an ontology of social reality based on contingency and human agency, emphasizing the role of the symbolic and the ideological in the sedimentation of historical and cultural arrangements. Likewise, it rejects ontological and moral relativism, according to which understanding reality as a construct would imply the irrefutable legitimacy of any construction. On the contrary, it affirms the conventional and arbitrary nature of institutions and shows that social orders can incorporate forms of domination, oppression, and exclusion that must be criticized and overcome.
In a media environment saturated with images and marked by armed conflicts that produce mass population displacements, it is crucial to examine the role that war images play in shaping empathy. From the perspective of embodied cognition and through phenomenological analysis, this article argues that such images do not operate solely as informative representations, but as tools that affect the lived experience of the viewer and activate perceptual, affective, and practical schemas. The text articulates three levels of analysis: a phenomenology of the image, an overview of the phenomenology of empathy, and an examination of social interactions in contexts of extreme crisis. Based on this framework, it is argued that image-mediated empathy is grounded in shared bodily vulnerability and in processes of intersubjective synchronization that precede rational inference. This theoretical reflection is complemented by direct experiences of interaction and reception of refugees and people displaced by war, which allow us to observe how, in the face of the breakdown of the usual social scripts, practices of caring for others emerge based on embodied interactions and daily rituals.
The local anthologies, compiled in Jinhua, during the Ming dynasty were not only collections of literary works, but also institutional instruments for legitimizing Confucian orthodoxy. This article argues that these local anthologies were a concrete manifestation of Confucian orthodoxy in local society. They represented not just a collection of texts, but a carefully designed philosophical and institutional practice aimed at establishing Confucian orthodoxy. Confucius' and Mencius' thought symbolizes the core of Confucian culture, and Jinhua's local anthologies embody the textual institutionalization of Confucian orthodoxy. These anthologies are not simple literary collections, but institutional mechanisms that establish Confucian orthodoxy as legitimate at the local level. The compilation of anthologies in Ming Jinhua was a continuous process that constantly defined the boundaries of orthodoxy and reflected the contradiction among political ethics, orthodox authority and the transfer of values. It should be noted that the existence of these anthologies in Ming Jinhua shows that "writings are to convey the Way" is the philosophical basis of Confucian orthodoxy. Rejecting this conclusion is tantamount to denying that Confucian orthodoxy can take root in local society.
This paper questions the shallow assumption about the songshi's (litigators) derogation-based representation in writings of the Qing dynasty as a mere reflection of historical facts. It argues that available literature, which is likely to trace this phenomenon shallowly to the ruling elite's demands or rejection by the institution, does not go deep enough to unearth the philosophical logic behind it. This paper claims that the songshi's systematic characterization, as contentious, extortionate and morally perverse figures in literary works, in essence, embodies a discursive deflection tactic, which the Confucian doctrine used to face governance challenges in reality through narrative means. Drawing upon the schemata of ideological discourse mechanisms, the paper examines songshi's thirty-two individual accounts within twelve literary works spanning the Yongzheng to the Guangxu reigns, analyzing how the interaction of static components and dynamic processes has jointly been used to achieve the songshi's moral ostracism, and, consequently, helped Confucianism address its goals of redirecting social contradictions, establishing moral authority and strengthening social control.
This article examines the Classic of Mountains and Seas (Shanhai jing) and the zhiguai tradition as products of a shared mode of understanding that preceded the emergence of abstract philosophical systems. Rather than approaching these materials primarily as mythological or literary texts, it suggests that they embody stable ways of rendering the world intelligible in early China. The study proposes that this mode of understanding operates through practices of spatial placement, differentiation and relational linkage. In the Classic of Mountains and Seas, these practices shape cosmological order. In zhiguai narratives, they are redirected toward the interpretation of human experience. By tracing how space, anomaly, and correlation function across both corpora, the article argues that supernatural narrative served as a means of organizing experience rather than as mere imaginative expression. From this perspective, generative cognition offers a way to account for how philosophical reasoning could take form prior to systematic conceptualization.
Jin Yucheng's novel Blossoms Shanghai presents a distinctive narrative practice that offers a poetic-philosophical framework deeply rooted in the pre-Qin concept of "Qiwu" (Equality of Things), thereby reconfiguring the discourse on Shanghai's modernity. Through the deliberate deterritorialization of dialect and the superimposition of dual temporalities, the novel effectively dismantles the linear progression myth of modernity. The pervasive motifs of silence-expressed as "buxiang"-and the emblematic "lotus root" collectively evoke an urban cosmos, marked by ontological unity and the interplay of illusion and reality. This study contends that Blossoms Shanghai resists nostalgic historicism; instead, upholding the Zhuangzi's ideal of "Xiaoyao" (free wandering) and the "Bianyi" (constant transformation) of the I Ching, it transfigures quotidian civic life into a generative philosophical "event". In doing so, it transcends the established narrative traditions, epitomized by Eileen Chang and Wang Anyi's Shanghai literature. This "Qiwu"-inspired reconstruction of modernity not only expands the aesthetic horizons of urban writing, but also vividly exemplifies the potent intersection of classical Chinese philosophy with contemporary cultural critique.
This paper argues that the process of the spread of Zhang Shi's thought to Japan, by the Zhang Nanxuan's works, reveals a fundamental philosophical mechanism in cross-cultural communication. We do not describe a single case, but also advocate that the acceptance of the concepts of "Jujing qiongli" (abiding in reverence and exhaustive investigation of principles), "Rectifying the Sovereign's Mind", "ren" (benevolence) and "zhongyi" (loyalty and righteousness) by Japanese scholars (e.g., Hayashi Razan, Kaibara Ekiken, Yoshida Sh & omacr;in), in the Edo era, is by no means a simple transplantation. On the contrary, we believe that this clearly shows a universal process: driven by local thoughts and social and political context, foreign thoughts must undergo selective absorption, localization transformation and creative reconstruction. This paper clearly points out that Japan's reinterpretation of Zhang Shi's thought provides us with a key model to understand how Chinese philosophy must experience transformative adaptation rather than simple repetition in the global dialogue. This cognition has important implications for its contemporary transnational communication trajectory.
This paper argues that a voce-centered musical philosophy emerged in ancient China, according to which the human voice occupies a normative position vis-& agrave;-vis instruments because it is the medium that most directly externalizes life and Qi. It argues that Qi constitutes the theoretical foundation that links vocal sound to both natural vitality and moral and spiritual agency. Based on an analysis of sources ranging from the pre-Qin period to the Qing dynasty, the study shows a shift from material hierarchies ("silk-bamboo-flesh") to criteria based on degrees of vital participation in sound, culminating in a vocal aesthetic oriented towards the human subject. It also explains how the linguistic characteristics of Chinese and the link between literature and music consolidated the voice as the norm for timbre, form and musical pedagogy. Finally, it analyses the shift from attention to acoustic effects to the morphology of the oral cavity, which made it possible to articulate a systematic theory anchored in the practice of the primacy of the voice.
Due to the contemporary trend of "Humanistic Buddhism" in China, the spread of the Buddhist culture has exhibited peculiar propensities of modernization and secularization. Since the 1990s, Fujian and Taiwanese Buddhist animations have had a broad impact on Hong Kong, Macao, Taiwan, Southeast Asia and other Chinese diaspora communities. In the present context, the ideals of "Non-Duality of Principle and Phenomena" and "Integration of Doctrinal Teaching and Chan Practice", in Chinese Buddhist tradition, are vividly reflected in these effects. It has a transitional spectrum from "the sacred" to "the secular": not only is it subjected to traditional iconography and pattern plots, but also formal adjustments to the specifics of audiovisual media. It means the different traditions of audiovisual media have variations, especially those which prepare animation. Moreover, in the protracted mediation of, on the one hand, "Principal" as compared to "Phenomena", on the other hand, "speech" as compared to "Chan", there have gradually arisen three principal forms of Buddhist animations, including Scriptural Animation, Doctrinal Animation and Buddha-nature Animation.
Analisa-se a emergência do tema da imaginação, em O voluntário e o involuntário, de Paul Ricœur. O ponto de partida é o questionamento, por parte do filósofo, do primado da percepção na fenomenologia. No domínio alargado do que ele próprio denomina “percepção total”, a imaginação desponta como mediadora da ação no projeto e como sustentação do dinamismo do desejo. O projetado ou querido inverte a presença do real sobre o possível. Além disso, a configuração perceptível do mundo revela-se inseparável de signos afetivos e da orientação traçada de antemão pela imagem dos aspectos motivadores do mundo. A atenção desenvolve-se nesse campo de percepção, repleto de valores afetivos, e se mostra sujeita à força fascinadora do imaginário. Sobressai, neste estudo, a concepção de Ricœur acerca da função produtiva e prática da imaginação. Submissão: 10/10/2025 – Decisão: 13/12/2025 – Revisão: 27/12/2025 – Publicação: 27/1/2026
En un entorno mediático saturado de imágenes y marcado por conflictos armados que producen desplazamientos masivos de población, resulta fundamental examinar el papel que desempeñan las imágenes de guerra en la configuración de la empatía. Desde la perspectiva de la cognición encarnada y mediante un análisis fenomenológico, este artículo sostiene que dichas imágenes no operan únicamente como representaciones informativas, sino como herramientas que afectan al cuerpo vivido del espectador y activan esquemas perceptivos, afectivos y prácticos profundamente sedimentados. El texto articula tres niveles de análisis: una fenomenología de la imagen, un breve recorrido por la fenomenología de la empatía y un examen de las interacciones sociales en contextos de crisis extrema. A partir de este marco, se argumenta que la empatía mediada por imágenes se funda en la vulnerabilidad corporal compartida y en procesos de sincronización intersubjetiva previos a la inferencia racional. Esta reflexión teórica se complementa con experiencias directas de interacción y acogida de personas refugiadas y desplazadas por la guerra, que permiten observar cómo, ante la ruptura de los guiones sociales habituales, emergen prácticas de cuidado basadas en interacciones encarnadas y rituales cotidianos. Envío: 2/11/2025 – Decisión: 22/12/2025 - Revisión: 6/1/2026 – Publicación: 27/1/2026
In response to the dual predicament of "technological carnival" and "superficial experience" currently faced by immersive cultural-tourism spaces, this study proposes the following countermeasures and suggestions: it takes "Body-Environment Unity" as an important ontological viewpoint and centers on it to conduct a deep reconstruction. By constructing a four-dimensional analytical model of "embodiment-environmentality-interpenetrability- creativity", this serves both as a supplement to the neglect of embodiment in Western spatial critique theory and as a translation of this concept into practical application. This study consistently insists on theoretical reflection on "BodyEnvironment Unity", remaining vigilant against its risks of romanticization or assimilation by capital. Finally, this study argues that spatial design should be an "existential dwelling" that transcends technological spectacle-a deep fusion between humanity and nature.
The Ma Xian belief and custom originated in the southern Zhejiang region during the Tang dynasty. After undergoing multiple transformations and adaptations, it has achieved a cumulative historical evolution in aspects, such as role positioning, divine characterization, ritual practice and religious doctrine, and has been listed as China's National Intangible Cultural Heritage. Rooted in the Oriental philosophical traditions of Confucianism, Buddhism and Daoism, this paper reveals the living practice of Ma Xian belief and custom on the moral and religious-philosophical levels. By clarifying the philosophical question concerning how folk belief forms an ethical system, this paper further shows that, through the doctrinal formalization of Daoism, the integration of Buddhist compassion, the permeation of Confucian moral ethics and the influence of local folk culture, Ma Xian belief and custom constitute a community based religious practice rather than a systematic religious doctrine, responding to local cultural needs and embodying the cultural spirit of the fusion of "Dao" and "De" in oriental philosophy. The Ma Xian belief embodies the fusion of historical continuity and modern transformation, demonstrating more explicitly how its ethical concepts are manifested in contemporary social behavior and local governance, reflecting the enduring relevance of eastern ethical philosophy to regional morality, social governance and cultural inheritance.
Apresentamos o conceito de alavancagem gramatical como um modelo neopragmatista e anticolonial de transformação normativa, conceitual e afetiva em formas de vida marcadas por dominação e exploração. A partir de Wittgenstein (1953, 1969) e Brandom (1994, 2000), articulados a perspectivas periféricas e quilombolas (Nascimento 2021), defende-se que reverter jogos de linguagem injustos exige não só reconstrução conceitual, mas também reversão afetiva, como a conversão de vergonha em orgulho coletivo entre grupos oprimidos. Com base na hinge epistemology de Wittgenstein, entende-se a gramática como um sistema de dobradiças normativas, ou seja, fulcros de sentido e valor que sustentam as formas de vida. Alavancar a gramática é reorientar esses fulcros, deslocando certezas tácitas que naturalizam hierarquias raciais, patriarcais e coloniais. Reinterpretam-se criticamente o inferencialismo semântico e o expressivismo lógico de Brandom, para incluir dimensões afetivas e corporais da normatividade, compreendendo o significado como parte de uma paisagem inferencial compartilhada. Propõem-se cinco níveis de resistência normativa, da consciência semântica à soberania gramatical, e três modalidades de alavancagem: interfixa (redefinição conceitual), inter-resistente (criação comunitária) e interpotente (reversão afetiva). Assim, alavancar a gramática é mover o mundo: a linguagem deixa de ser cativeiro e se torna território de resistência, autoria e autodeterminação coletivas. Submissão: 16/10/2025 – Decisão: 26/11/2025 – Revisão: 12/7/2025 – Publicação: 15/01/2026
Em razão da aproximação de certas vertentes do construcionismo ao pós-modernismo, o termo tem sido associado a posições idealistas e a um relativismo absoluto na conceituação da realidade social. Estando os objetivos deste artigo vinculados à discussão de três eixos principais – a definição da realidade, a análise da ideologia e a rejeição do relativismo absoluto –, argumenta-se que o construcionismo crítico se distancia de idealismos e de relativismos, ao conceber a realidade social como resultado da ação humana, mediada pela linguagem e pelas práticas sociais. Rejeitando o idealismo, o fisicalismo reducionista e o fatalismo, como expressões do essencialismo, o construcionismo crítico formula uma ontologia da realidade social fundada na contingência e na agência humana, enfatizando o papel do simbólico e do ideológico na sedimentação de arranjos históricos e culturais. Igualmente, recusa o relativismo ontológico e moral, segundo o qual a compreensão da realidade como constructo implicaria a legitimidade irrefutável de qualquer construção. Pelo contrário, afirma o caráter convencional e arbitrário das instituições e evidencia que as ordens sociais podem incorporar formas de dominação, opressão e exclusão que devem ser criticadas e superadas. Submissão: 5/11/2025 – Decisão: 13/12/2025 – Revisão: 26/12/2025 – Publicação: 15/01/2026
Este artigo extrai uma concepção de informação, a partir da ontologia de processo e, com isso, explora a relação entre metafísica e informação. Adotando uma abordagem analítica, discutem-se as noções de informação matemática, algorítmica e semântica, como integradas na perspectiva da informação de processos de Losee. A partir de uma crítica a essa concepção, propõe-se uma metafísica tridimensional da informação, composta por semântica pragmática, onto-epistemologia e ontologia de processo. A contribuição deste artigo consiste em demonstrar que conceber informação de processos diretamente de uma ontologia de processo complementa o quadro conceitual geral da metafísica da informação. Submissão: 14/10/2025 – Decisão: 28/11/2025 – Revisão: 14/12/2025 – Publicação: 15/01/2026
