scholarly journals BRAÇOS DE PROMETEU

Sofia ◽  
2021 ◽  
Vol 9 (2) ◽  
pp. 272-290
Author(s):  
José Antônio Feitosa Apolinário
Keyword(s):  
Jose Ortega Y Gasset ◽  
Peter Sloterdijk

O presente artigo consiste em uma tentativa de compreensão de linhas divisórias, pontos de tensão, convergências e disjunções exequíveis entre a apreciação filosófica da técnica no pensamento de José Ortega y Gasset, e os conceitos de antropotécnica aduzidos nas meditações de Peter Sloterdijk e Fabián Ludueña Romandini, problematizando seus respectivos pressupostos e suas possíveis implicações. Conforme conjeturamos, embora tensa e abrasiva, haveria uma linha de continuidade entre a reflexão orteguiana acerca da técnica e a construção do discurso teórico em torno da antropotécnica na filosofia contemporânea, baseada na pressuposição do caráter autoplástico do humano.

La science politique face à la pensée de Peter Sloterdijk

Quaderni ◽  
2003 ◽  
Vol 53 (1) ◽  
pp. 5-12
Author(s):  
Laurent Godmer
Keyword(s):  
Peter Sloterdijk

Buster Keaton’s Climate Change

2018 ◽  
Author(s):  
Jennifer Fay
Keyword(s):  
Climate Change ◽  
World War I ◽  
Storm Surges ◽  
Weather Conditions ◽  
Detailed Knowledge ◽  
World War ◽  
Precise Control ◽  
Naturally Occurring ◽  
Peter Sloterdijk ◽  
Slapstick Comedy

Much of Buster Keaton’s slapstick comedy revolves around his elaborate outdoor sets and the crafty weather design that destroys them. In contrast to D. W. Griffith, who insisted on filming in naturally occurring weather, and the Hollywood norm of fabricating weather in the controlled space of the studio, Keaton opted to simulate weather on location. His elaborately choreographed gags with their storm surges and collapsing buildings required precise control of manufactured rain and wind, along with detailed knowledge of the weather conditions and climatological norms on site. Steamboat Bill, Jr. (1928) is one of many examples of Keaton’s weather design in which characters find themselves victims of elements that are clearly produced by the off-screen director. Keaton’s weather design finds parallels in World War I strategies of creating microclimates of death (using poison gas) as theorized by Peter Sloterdijk.

The revolt of the masses. José Ortega y Gasset

1933 ◽  
Vol 5 (1) ◽  
pp. 111-112
Author(s):  
Andrew C. McLaughlin
Keyword(s):  
Jose Ortega Y Gasset ◽  
The Masses

Concord and Liberty. José Ortega y Gasset

Ethics ◽  
1947 ◽  
Vol 57 (3) ◽  
pp. 222-224
Author(s):  
Homer H. Dubs
Keyword(s):  
Jose Ortega Y Gasset

Mock Mockers: Cynicism, Suffering, Irish Modernism

2021 ◽  
Vol 8 (2) ◽  
pp. 177-194
Author(s):  
Ronan McDonald
Keyword(s):  
Twentieth Century ◽  
The Self ◽  
Philosophical Tradition ◽  
Literary Works ◽  
Early Twentieth Century ◽  
Peter Sloterdijk ◽  
Irish Modernism

Cynicism styles itself as the answer to the mental suffering produced by disillusionment, disappointment, and despair. It seeks to avoid them by exposing to ridicule naive idealism or treacherous hope. Modern cynics avoid the vulnerability produced by high ideals, just as their ancient counterparts eschewed dependence on all but the most essential of material needs. The philosophical tradition of the Cynics begins with the Ancients, including Diogenes and Lucian, but has found contemporary valence in the work of cultural theorists such as Peter Sloterdijk. This article uses theories of cynicism to analyze postcolonial disappointment in Irish modernism. It argues that in the “ambi-colonial” conditions of early-twentieth-century Ireland, the metropolitan surety of and suaveness of a cynical attitude is available but precarious. We therefore find a recursive cynicism that often turns upon itself, finding the self-distancing and critical sure-footedness of modern, urbane cynicism a stance that itself should be treated with cynical scepticism. The essay detects this recursive cynicism in a number of literary works of post-independence Ireland, concluding with an extended consideration of W. B. Yeats’s great poem of civilizational precarity, “Nineteen Hundred and Nineteen.”

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