El trasfondo romántico del concepto de religión de Max Scheler

En la modernidad, la reflexión moral ha estado influida por orientaciones fundamentadas en la razón y en el sentimiento. Dos ejemplares de estas orientaciones son la Ilustración y el Romanticismo, respectivamente. El desarrollo de estos movimientos culturales e intelectuales está asociado a las demandas por los derechos políticos y sociales, junto a la insistencia en la importancia de la solidaridad y la hermandad en el desarrollo de las comunidades. Este artículo de reflexión presenta una perspectiva interpretativa del concepto de religión de Max Scheler La reflexión está enfocada en las raíces románticas de la propuesta Scheleriana, derivadas de la discusión moderna entre el Racionalismo y el Romanticismo. Adicionalmente, se presenta el contexto político y social al que responde la conceptualización de Scheler: Como resultado de esta reflexión, se concluye que el concepto de religión de Scheler reivindica la importancia de los valores y el compromiso moral frente a las crisis políticas que sufrió Europa a inicios del siglo XX.

In modernity moral reflection has been influenced by orientations grounded in reason and in feeling. Two exemplars of these orientations are the Enlightenment and Romanticism, respectively The development of these cultural and intellectual movements is associated with demands for social and political rights, together with the insistence in the importance of solidarity and brotherhood in the development of communities. This reflection paper presents an interpretative perspective of Max Scheler's concept of religion. The reflection is focused on the romantic roots of the Schelerian proposal, derived from the modern discussion between Rationalism and Romanticism. Additionally the political and social context to which Scheler's conceptualization responds is presented. As a result of this reflection, it is concluded that Scheler's concept of religion claims the importance of values and moral commitment against Europe's political crises at the beginning of the 20th century.

Na modernidade, a reflexão moral foi influenciada por orientações baseadas na razão e no sentimento. Dois exemplos dessas orientações são o Iluminismo e o Romantismo, respectivamente. O desenvolvimento desses movimentos culturais e intelectuais está associado a demandas por direitos políticos e sociais, juntamente com a insistência na importância da solidariedade e da fraternidade no desenvolvimento das comunidades. Este artigo de reflexão apresenta uma perspectiva interpretativa sobre o conceito de religião de Max Scheler O foco da reflexão são as raízes românticas da abordagem scheleriana, derivadas da discussão moderna entre racionalismo e romantismo. Além disso, é apresentado o contexto político e social ao qual a conceitualização de Scheler responde. Como resultado dessa reflexão, conclui-se que o conceito de religião de Scheler reivindica a importância dos valores e do compromisso moral diante das crises políticas sofridas pela Europa no início do século XX.

Conspiracy thinking and the long historical shadow of Romanticism on authoritarian politics.

Background: Similar effect sizes have been reported for the effects of conspiracy, pseudoscientific, and paranormal beliefs on authoritarian attitudes, which points to a conceptual problem at the heart of the conspiracy literature, namely lack of clarity as to what uniquely defines conspiracy beliefs and whether those unique elements contribute distinctly to authoritarian ideologies. To our knowledge, this is the first study to test empirically the predictive power of variance unique to each construct against covariance shared among these constructs when predicting authoritarian and anti-democratic attitudes. Methods: Online survey was administered to 314 participants in 2021 that included a battery of demographic and psychological measures. Hierarchical factor models were used to isolate unique variance from shared covariance among responses to items representing conspiracy, paranormal and pseudoscientific beliefs. Structural equation models were used to test their unique and shared effects on authoritarian and anti-democratic attitudes. Results: We found that our combined measurement model of paranormal thinking, conspiracism, and pseudoscience exhibited exceptional model fit, and that each construct was strongly predictive of both SDO and RWA (r = 0.73-0.86). Once the shared covariance was partitioned into a higher order factor, the residual uniqueness in each first order factors was either negatively related or unrelated to authoritarian and anti-democratic attitudes. Moreover, the higher order factor explained the gross majority of variance in conspiracy (R2 = 0.81) paranormal (R2 = 0.81) and pseudoscientific (R2 = 0.95) beliefs and was a far stronger predictor (ß = 0.85, p < 0.01) of anti-democratic attitudes than political partisanship (ß = 0.17, p < 0.01). Strong partisan identifiers of both parties showed much higher romanticism scores than party moderates. Conclusion and limitations: When predicting authoritarian and anti-democratic attitudes, we found no empirically unique contributions of conspiracy beliefs. Instead, we found that a shared factor, representing a 'romantic' mindset was the main predictor of authoritarian and anti-democratic attitudes. This finding potentially explains failures of interventions in stopping the spread of misinformation and conspiracy theories. Conspiracy theory researchers should refocus on the shared features that conspiracy thinking has with other unwarranted epistemic beliefs to better understand how to halt the spread of misinformation, conspiracy thinking, anti-science attitudes, and even global authoritarianism.

Empathy and the art of Leonardo da Vinci.

Knowledge about empathy is part of the study of artistic expressions, among which stand out works of personalities such as the Renaissance polymath Leonardo da Vinci, who was concerned with the connection between science and art during his creative research full of imagination and sensitivity to nature and human anatomy. The word empathy emerged among critics of German art as the term einfühlung, which was used within the aesthetic bias by philosophers and art historians. It emphasized the idea that a viewer perceiving an object could establish a link between it and themselves, projecting the object 'into themselves'. That is, the artwork could be experienced by the observer as if the viewer belonged predominantly to the object, in such a way that its characteristics could be actually felt through the expression of emotions, feelings and thoughts. This analysis of art appreciation required a great deal of knowledge and contemplation of nature, as understood by the German Romanticists, who had enormous admiration for da Vinci and his universal and systematic mind-a mind which reacted against formalisms, building his intellectual and sensory systems based on both his observation of nature and his own criteria. In particular, the art of painting for Leonardo was a way to demonstrate a mental discourse, just as the most important aspect of human portraits is to represent-in gestures and facial expressions-the states of mind and emotions. These are facts that German Romanticists tried to explain as the relationship between empathy and a work of art. The present manuscript aims to describe empathy from an artistic view, considering the roots of this word in German Romanticism; to comment about Leonardo da Vinci and the expression of art in the Renaissance; and, finally, to discuss the expression of his art in relation to empathy.

Goethe and Candolle: National forms of scientific writing?

What role does nationality-or the image of a nation-play in how one thinks and receives scientific ideas? This paper investigates the commonly held ideas about "German science" and "French science" in early nineteenth-century France. During the politically turbulent time, the seemingly independent scientific community found itself in a difficult position: first, between the cosmopolitan ideals of scientific community and the invasive political reality, and second, between the popularized image of national differences and the actual comparisons of international scientific ideas. The tension between multiple sets of fictions and realities underscores the fragility of the concept of nationality as a scientific measure. A case study comparing morphological ideas, receptions in France, and the actual scientific texts of J. W. von Goethe and A. P. de Candolle further illustrates this fragility. Goethe and Candolle make an ideal comparative case because they were received in very different lights despite their similar concept of the plant type. Our sentence-classification and visualization methods are applied to their scientific texts, to compare the actual compositions and forms of the texts that purportedly represented German and French sciences. This paper concludes that there was a gap between what French readers assumed they read and what they really read, when it came to foreign scientific texts. The differences between Goethe's and Candolle's texts transcended the perceived national differences between German Romanticism and French Classicism.

Horace Wells as a classic tragic hero.

Horace Wells is discussed in a literary manner as a classic tragic hero. Wells' apparent failed end is not the ultimate truth concerning him. His story helps us see and confront life. Many of the scientific, personal, and social issues he grappled with are relevant to us today such as human experimentation and drug addiction. His idealism and romantic pursuit are to be admired. We benefit today from the achievements of his daring and fateful quest.

'Pruning a genius': marginalia by Richard Dadd.

After falling into mental illness as a young man, the British artist Richard Dadd (1817-86) spent some 20 years as a patient at Bethlem Hospital in London. A rare example of his writings from these years survives in the form of marginalia in a copy of Lectures on Painting and Design by Benjamin Robert Haydon, held in the Morgan Library & Museum in New York. This article presents a transcription of the notes, along with an introduction setting them in the contexts of Dadd's career and his relationship with the senior staff at Bethlem.

Tower of Babel: transcendental linguistics in Friedrich von Hardenberg's (Novalis) Fichte Studies.

This article provides a new interpretation of the linguistic aspects of Friedrich von Hardenberg's Fichte Studies. It argues that Hardenberg was searching, among other things, for a transcendental language for philosophy. The possibility of such a language was discussed intensely among his contemporaries, such as Maimon, Niethammer, Reinhold, Weißhuhn, and Fichte. Its necessity, however, had become apparent with Kant's Critique of Pure Reason. Readers had noticed a disturbing discrepancy between the objective knowledge of transcendental philosophy-which, according to Kant, was supposed to be generally communicable-and Kant's actual failure to communicate it. Hardenberg's original insight into the inseparable unity of sign and signified, anticipating modern linguistic theories, led him to the assumption of a lawful relationship between both. From his unsuccessful attempt to disclose these laws, he went on to discover language as an independent realm fundamentally opposed to nature. Precisely because language is a necessary illusion, only the 'presenting I' ( das darstellende Ich) achieves its end, namely absolute freedom. Philosophy, therefore, is pure as long as it remains within the boundaries of language alone, that is a language which does not refer to anything outside itself.

Ressonâncias do romantismo e da literatura fantástica na psicanálise / Les échos du Romantisme et de la Littérature fantastique en psychanalyse / Resonancias del romanticismo y la literatura fantástica en el psicoanálisis / Echoes of romanticism and fantastic literature in psychoanalysis

Resumo Mapeiam-se os processos históricos, estéticos e epistêmicos dos séculos XVIII e XIX que associam romantismo, literatura fantástica e psicanálise. Defende-se que o fantástico constitui um importante vetor por meio do qual elementos do romantismo foram incorporados ao modelo psicanalítico de aparelho psíquico. Parte-se da perspectiva de que a assimilação da influência romântica realizou-se de forma seletiva e criativa. Destacam-se alguns pontos de tensões e compromissos entre romantismo e o iluminismo, que foram retomados e transformados pelo fantástico e a psicanálise: as temáticas do amor, da loucura, da sexualidade, das superstições e dos mitos; o questionamento da relação entre o real e suas representações e entre pensamento e consciência; e a valorização do uso retórico da ironia. Aponta-se a abordagem psicanalítica do infamiliar (Unheimliche) como o momento mais sensível dessa interlocução.

Résumé Cet article cartographie les processus historiques, esthétiques et épistémiques des XVIIIe et XIXe siècles qui associent le romantisme, la littérature fantastique et la psychanalyse. On soutient que le fantastique constitue un vecteur important par lequel des éléments du romantisme ont été incorporés dans le modèle psychanalytique de l'appareil psychique. Cette perspective repose sur le fait que l'assimilation de l'influence romantique s'est déroulée de manière sélective et créative. On mit en évidence certains points de tension et de compromis entre le romantisme et les Lumières, repris et transformés par le fantastique et la psychanalyse : les thèmes de l'amour, de la folie, de la sexualité, des superstitions et des mythes ; la remise en cause du rapport entre le réel et ses représentations et entre la pensée et la conscience ; et l'usage rhétorique de l'ironie. On signale l'approche psychanalytique de l'Unheimliche comme le moment le plus sensible de cette interlocution.

Resumen Se cartografían los procesos históricos, estéticos y epistémicos del siglo XVIII y XIX que asocian el romanticismo, la literatura fantástica y el psicoanálisis. Se argumenta que lo fantástico es un importante vector a través del cual los elementos del romanticismo se han incorporado al modelo psicoanalítico del aparato psíquico. Se entiende que la asimilación de la influencia romántica se produjo de forma selectiva y creativa. Se destacan algunos puntos de tensión y compromiso entre el romanticismo y la ilustración que han sido asumidos y transformados por lo fantástico y el psicoanálisis: los temas del amor, la locura, la sexualidad, las supersticiones y los mitos; el cuestionamiento de la relación entre lo real y sus representaciones y entre pensamiento y conciencia; y la apreciación del uso retórico de la ironía. El enfoque psicoanalítico de lo ominoso (Unheimliche) se señala como el momento más sensible de esta interlocución.

Abstract This paper maps the historical, aesthetic, and epistemic processes of the 18th and 19th centuries that associate romanticism, fantastic literature and psychoanalysis. We argue that fantastic is an important vector through which elements of Romanticism were incorporated into the psychoanalytic model of the psyche. Assuming that such Romantic influences were assimilated selectively and creatively, we highlight some points of contention and compromise between romanticism and the Enlightenment that were later resumed and transformed by fantastic literature and psychoanalysis: the themes of love, madness, sexuality, superstitions and myths; the relationship between reality and its representations and between thought and consciousness; and the rhetorical use of irony. Finally, the text points to the psychoanalytic approach of the uncanny (Unheimliche) as the most sensitive moment of such exchange.

Wounds and Wonder: Emotion, Imagination and War in the Cultures of Romantic Surgery.

This article uses the writings of the surgical siblings John and Charles Bell to explore the relationships between surgery, war and emotion in the Romantic era. Drawing on the argument that it was in this period that war came to be constructed as the 'ultimate' emotional experience, rich in pathos and distinct from anything in civil life, it argues that surgeons such as the Bells might capitalise on the cultural cachet of war to bridge the professional and experiential divide between the civil and military spheres, but that this process was fraught with complexity and ambiguity, both politically and emotionally.

Introduction: Rethinking Joseph Banks.

Following a series of workshops funded by AHRC (Arts and Humanities Research Council), the papers in this special issue provide new perspectives on the naturalist Sir Joseph Banks (1743-1820). Moving beyond a focus on Banks's work with Captain Cook's first voyage of exploration to the Pacific, the papers expand on, while challenging, views of Banks as a 'centre of calculation' and all-powerful agent of science and imperialism in Georgian Britain. Banks is shown to have relied on a variety of expert men and women as actors and audiences for botany, operating with more diversified agendas and practices than previous pictures of him have suggested.

Iluminismo e romantismo na formação psicanalítica / Enlightenment and romanticism in psychoanalytical training / Iluminismo y romanticismo en la formación psicoanalítica

Este artigo versa sobre a adoção por parte da International Psychoanalytical Association (IPA) dos modelos de formação disponíveis quando surgiu a necessidade nesta instituição de formar um grande número de psicanalistas. Sustenta-se que seus modos de formação inspiradores foram a escola moderna iluminista e a concepção romântica de formação. Pretende-se demonstrar os efeitos e os problemas destes legados no modelo adotado pela IPA. Para tanto, examinar-se-á a constituição da escola moderna e as alternativas a ela idealizadas pelo Iluminismo; também se estudará de que modo o pensamento estético de Burke e Goethe orientou as bases para se esboçar uma formação romântica. Finalmente, se demonstrará como o tripé da formação psicanalítica evidencia essa herança híbrida: cursos teóricos (como continuação da escola moderna), análise pessoal (e sua herança da formação "de dentro para fora" romântica) e atendimentos supervisionados (onde os dois legados aparecem, indicando qual deles prevalece em determinada instituição de formação).

This paper deals with the adoption by the International Psychoanalytical Association (IPA) of the models of training available when the need to qualify a large number of psychoanalists arose in this institution. One proposes that its inspiring modes of training were the modern school from Enlightenment and the Romantic conception of formation. One intends to show the effects and problems of these legacies in the model adopted by IPA by focusing on the constitution of the modern school and on the alternatives to it idealized by the Enlightenment, and also on how Burke's and Goethe's aesthetic theories guided the foundation for a Romantic formation. Finally, it will be shown how the psychoanalitical training tripod carries this hybrid legacy: theoretical courses (as an extension of the modern school), personal analysis (and its legacy of the Romantic "inside-out" formation) and supervised treatment (where both are present, indicating which legacy is stronger in a given training institution).

Este trabajo versa sobre la adopción por parte de la International Psychoanalytical Association (IPA) de los modelos de formación disponibles cuando surgió la necesidad en esta institución de formar un gran número de psicoanalistas. Se sostiene que los modos de formación que la inspiraron fueron la escuela moderna iluminista y la concepción romántica de formación. Se pretende demostrar los efectos y los problemas de estos legados en el modelo adoptado por la IPA. Para ello, se centrará em la constitución de la escuela moderna y en las alternativas a ella ideadas por la Ilustración; também se estudiará de qué modo el pensamento estético de Burke y Goethe orientó las bases de uma formación romántica. Finalmente, se demostrará cómo el trípode de la formación psicoanalítica evidencia esta herencia híbrida: cursos teóricos (como continuación de la escuela moderna), análisis personal (y su herencia de la formación "de dentro hacia fuera" romántica) y atendimientos supervisados (donde las dos herencias aparecen, pero donde se indica la predominante).

Audacious Psyche: Visualizing Evolution in John Pringle Nichol's Romantic Universe.

John Pringle Nichol (1804-1859), a Scottish Romantic astronomer, educator, and social reformer, used visual representations to develop and communicate key elements of his theory of evolution as a universal principle. Examining four of the diverse representations that appeared in Nichol's popular science books between 1846 and 1850 reveals the rich possibilities of evolutionary imagery prior to the emergence of more dominant forms of representation in the wake of Charles Darwin's On the Origin of Species (1859). The abstract and schematic nature of many of Nichol's visual representations-which included line diagrams and imaginative, mythic imagery (the latter developed in collaboration with the Scottish Romantic artist David Scott)-made them apt vessels for his Romantic evolutionary concepts, because a single image could simultaneously represent features of evolution across multiple domains, reflecting the Romantic concept of the unity of nature and the myriad analogies between its constituent parts. All of the images embodied narrative in one form or another and required use of the imagination in the act of interpretation. Many of the images facilitated the viewer's ability to conceptualize unobservable or only partially observable features of evolutionary change. Even as these visual representations acted as tools of perspective, insight, and clarity, they also helped to generate new ambiguities, such as a fundamental tension between teleology and contingency.

A psique ao encontro da matéria: corpo e pessoa no projeto médico-científico de Nise da Silveira / Psyche meets matter: body and personhood in the medical-scientific project of Nise da Silveira

Resumo No início do século XX, a psiquiatria brasileira foi caracterizada por controversos métodos de tratamento, como a eletroconvulsoterapia, as psicocirurgias e o coma insulínico. Em 1946, a médica alagoana Nise da Silveira ocupou a linha de frente na crítica a esse modelo terapêutico por meio da criação de um ateliê criativo no antigo Centro Psiquiátrico Nacional, na zona norte carioca. O artigo examina os fundamentos do projeto médicocientífico de Nise da Silveira a partir de fontes documentais e de pesquisa de campo no grupo de estudos do Museu de Imagens do Inconsciente, mantido por seus discípulos. Sustenta-se que seu pensamento constitui uma recusa aos pressupostos do fisicalismo e do mecanicismo, aproximando-se das ontologias vitalistas e românticas.

Abstract In the early 1900s, Brazilian psychiatry was marked by the use of controversial treatments, like electroconvulsive therapy, psychosurgery, and insulin coma therapy. In 1946, the Brazilian physician Nise da Silveira took the front line in criticizing these treatments by setting up a creative activities studio in the National Psychiatric Center (Centro Psiquiátrico Nacional), in Rio de Janeiro. The article examines the theoretical basis for Silveira's medical-scientific project, drawing on documental sources and fieldwork with the study group at the Museum of Images from the Unconscious (Museu de Imagens do Inconsciente), maintained by her disciples. It is argued that her thinking constituted a rejection of the assumptions of physicalism and mechanism and was closer to the ontology of vitalism and romanticism.

Hybrids of the Romantic: Frankenstein, Olimpia, and Artificial Life.

Hybride der Romantik: Frankenstein, Olimpia und das künstliche Leben. Dieser Beitrag untersucht Vorstellungen über die Möglichkeit der Erzeugung künstlicher Lebewesen in der Zeit der Romantik und die damit verbundenen Ängste am Beispiel zweier fiktionaler Texte: Mary Shelleys Frankenstein und Ernst Theodor Amadeus Hoffmanns Sandmann. Dr. Franksteins Monster und Dr. Spalanzanis Automat verkörpern - auf unterschiedliche Weise - die Möglichkeit einer Wendung wissenschaftlicher Produkte und insbesondere künstlicher Hybride ins Monströse. Ihre Geschichten thematisieren das Grauen, das vom drohenden Kontrollverlust ausgeht und als der modernen Wissenschaft innewohnende Gefahr selbst nach der Zerstörung der monströsen Kreaturen bestehen bleibt. Der Begriff des Unheimlichen, von Ernst Jentsch und Sigmund Freud mit Bezug auf Hoffmanns Sandmann formuliert und 1970 von dem japanischen Robotiker Masahiro Mori als Phänomen "des unheimlichen Tals" (Uncanny Valley) weiterentwickelt, erlaubt weitere Einblicke in die Frage nach künstlichen Lebewesen und ihre Interaktion mit Menschen. Summary: Hybrids of the Romantic: Frankenstein, Olimpia, and Artificial Life. This essay analyzes fantasies and fears related to the possible creation of artificial humans in two influential pieces of Romantic literature, namely E.T.A. Hoffmann's Der Sandmann and Mary Shelley's Frankenstein. Both the automaton Olimpia and Dr. Frankenstein's monster are hybrid creatures. These dystopian figures represent the Romantic fear of the loss of control over the outcome of human endeavour, they symbolize the dangers immanent in modern science and technology. As hybrids, Olimpia and Frankenstein's monster are capable of breaking apparently unpenetrable boundaries, such as those between human and non-human, and between life and death. As such, these creatures become "unheimlich" (uncanny), a critical term developed by Ernst Jentsch and Sigmund Freud, who directly referred to Hoffmann's Sandman. The term "uncanny" was further developed by the Japanese roboticist Masahiro Mori in the 1970s. Mori's investigation of human responses to androids ("Uncanny Valley"), shows the persistence of doubts and fears surrounding artificial humans far beyond the Romantic times, and opens new questions related to the issues of creation, reproduction, hybrids, hubris and gender.

Epigenesis by experience: Romantic empiricism and non-Kantian biology.

Reconstructions of Romantic-era life science in general, and epigenesis in particular, frequently take the Kantian logic of autotelic "self-organization" as their primary reference point. I argue in this essay that the Kantian conceptual rubric hinders our historical and theoretical understanding of epigenesis, Romantic and otherwise. Neither a neutral gloss on epigenesis, nor separable from the epistemological deflation of biological knowledge that has received intensive scrutiny in the history and philosophy of science, Kant's heuristics of autonomous "self-organization" in the third Critique amount to the strategic capture of epigenesis from nature, for thought, in thought's critical transcendence of nature. This essay looks to Jean-Baptiste Lamarck and his English contemporary Erasmus Darwin to begin to reconstruct the rigorously materialist, naturalist, and empiricist theories of epigenesis (still) marginalized by Kantian argumentation. As theorists of environmental and social collaboration in the ontogeny of viable forms, Lamarck and Darwin illuminate features of our own epigenetic turn obscured by the rhetoric of "self-organization," allowing us to glimpse an alternative Romantic genealogy of the biological present.

Nostalgia e morte: a estratégia romântica para viver / Nostalgia and death: the romantic strategy to live / Nostalgia y muerte: la estrategia romántica para vivir / La nostalgie et la mort: une strategie romantique de vie

Este artigo apresenta uma introdução às principais relações entre o Romantismo e os conceitos de nostalgia e morte, bem como seus desdobramentos e heranças nas concepções de arte e artista. O autor procura evidenciar que as singulares relações que os românticos elaboraram entre esses conceitos sobrevivem em sua influência, devido à permanência de determinadas condições sociais, cuja origem se encontra justamente na aurora desse movimento artístico e filosófico, transcendendo o território da arte para habitar o da cultura ocidental.

This paper is a result of a lecture which was given at the Journey of Culture of Death/Culture of Life Journey, in Florianópolis, sc, in 2017, as a preparatory activity for the XXVI Brazilian Congress of Psychoanalysis. The author presents an introduction to the main relations between romanticism and the concepts of nostalgia and death. He also studies their outcomes and contributions to the way art and artist have been conceived up until today. The author's purpose is to show that these unique relations, which the romantic idea elaborates on these concepts, survive in their influence because of the permanence of certain social conditions. These conditions precisely are originated in the dawn of this artistic and philosophical movement; they transcend the field of art and take place in the western culture.

El presente artículo, resultado de una conferencia en 2017 en la Jornada Cultura de muerte/Cultura de vida, organizada en Florianópolis, sc, como una actividad preparatoria para el XXVI Congreso Brasileño de Psicoanálisis, presenta una introducción a las principales relaciones entre el romanticismo y los conceptos de nostalgia y de muerte, así como sus desdoblamientos y herencias en las concepciones de arte y artista hasta nuestros días. El autor procura evidenciar en estas singulares relaciones que la concepción romántica elaborada sobre estos conceptos sobrevive en su influencia debido a la permanencia de determinadas condiciones sociales cuyo origen se encuentra justamente en la aurora de este movimiento artístico y filosófico trascendiendo el territorio del arte para habitar en el interior de la cultura occidental.

Cet article, résultat d'une conférence en 2017 lors de la Journée de la Culture de mort/Culture de vie, organisée par Florianópolis, sc, comme une activité préparatoire pour le XXVI Congrès Brésilien de Psychanalyse, présente une introduction aux principales relations entre le romantisme et les concepts de la nostalgie et de la mort, ainsi que ses conséquences et héritages dans les conceptions d'art et d'artiste jusqu'à nos jours. L'auteur cherche à montrer que ces relations singulières que la conception romantique développe sur ces concepts survivent à son influence en raison de la permanence de certaines conditions sociales dont les origines se situent, précisément, à l'aube de ce mouvement artistique et philosophique, au-delà du territoire de l'art pour habiter dans celle de la culture occidentale.

Aspectos da marginália de Mário de Andrade na poesia do romantismo brasileiro / The "Poemas da Negra", a reading against the grain of the "poetry of the lord of the mill"

RESUMO A marginália de Mário de Andrade nos títulos de poesia do romantismo brasileiro traça a encruzilhada de projetos: o Dicionário musical, Zoofonia, Na pancada do ganzá, Gramatiquinha da fala brasileira, O sequestro da dona ausente. O propósito aqui é articular a notícia que a marginália traz daqueles projetos à concepção psicológica de poesia que autoriza o autor de Macunaíma a assumir o lirismo romântico como expressão autêntica, mesmo que problemática, da matéria brasileira.

ABSTRACT Mário de Andrade's marginalia on Brazilian Romantic poetry represent some of his key projects: Dicionário musical, Zoofonia, Na pancada do ganzá, Gramatiquinha da fala brasileira, O sequestro da dona ausente. The purpose here is to articulate his marginal notes, informative as they are about such projects, with his psychological conception of poetry, which allows him to embrace Romantic lyricism as an authentic expression, even if problematic, of the Brazilian matter.

A circulação dos saberes e práticas psicanalíticas nas ciências sociais / The circulation of psychoanalytical knowledge and practice in the social sciences

Resumo Trata-se de apresentar um quadro ao mesmo tempo abrangente e sintético da circulação dos saberes e práticas da psicanálise nas ciências sociais, com ênfase na antropologia. Exploram-se os diferentes contextos em que os conceitos e concepções da psicanálise foram lidos, recusados ou apropriados pelas escolas de pensamento e tradições intelectuais nacionais, assim como as formas pelas quais a própria psicanálise dialogou com o conhecimento antropológico e com suas incorporações do conhecimento psicanalítico. Faz-se referência às interpretações desses dois grandes grupos de saber como partícipes de um comum horizonte cultural e comum orientação epistemológica, tanto quanto às fontes dos frequentes equívocos ocorrentes em seus diálogos.

Abstract A concise but broad-based review is presented of the circulation of knowledge and practices from psychoanalysis in the social sciences, especially anthropology. The different contexts in which the concepts and conceptions of psychoanalysis have been read, refuted, or appropriated by different national schools of thought and intellectual traditions and the ways psychoanalysis itself has interacted with anthropological knowledge and its incorporations of psychoanalytical knowledge are explored. The interpretations of these two major groups of knowledge are referred to as participating in a common cultural horizon with a common epistemological orientation, and the sources of the frequent mistaken beliefs occurring in this interplay are also addressed.

Posible origen de las dinamizaciones. La influencia de la edad antigua, la edad media y el romanticismo alemán en Hahnemann / Possible origin of potencies. The influence of ancient age, the age media and german romanticism in Hahnemann

La historia de las ultradiluciones es un aspecto fascinante de la Homeopatía que merece atención. En este trabajo se hace un repaso a los antecedentes de la ideade potenciación y dinamización, aspectos que probablemente fueron influenciados por la herencia cultural de Oriente y Medio Oriente. (AU)

The history of ultradilutions is a fascinating aspect of homeopathy that deserves attention. This paper presents a review of the history of the potenciation anddynamization, aspects that were probably influenced by the heritage of the Orient and Middle East cultures. (AU)

A metapsicologia como palco de diálogo teórico acerca da técnica, clínica, vida psíquica e cultura¹ / Metapsychology as a place for theoretical dialogue about technique, practice, psychic life and culture / Metapsicología como palco de diálogo teórico sobre la técnica, la clínica, la vida psíquica y la cultura

A autora saúda a iniciativa do congresso em iluminar os textos metapsicológicos como palco de diálogo com a clínica, a técnica e a cultura. Examinando o contexto histórico brasileiro, formula hipóteses para avaliar a predominância de alguns conceitos no ensino da metapsicologia. Refere pesquisa que vincula a "virada de 1920" à influência do romantismo germânico no pensamento de Freud, como possibilidade de acesso ao misterioso e irracional dos últimos textos freudianos. Sugere que os conceitos de pulsão de morte, identificação primária, desamparo, masoquismo primário, construções e feminilidade podem escapar ao impasse da racionalidade iluminista quando se convoca a "feiticeira metapsicológica".

The author praises the congress initiative of highlighting the metapsychological writings as a place for dialogues with practice, technique and culture. By examining the Brazilian historical context, the author proposes hypotheses in order to evaluate the predominance of some concepts in the metapsychological teaching. The author refers to a research that relates the "turning point of 1920" to the influence of the German Romanticism in Freud's thinking, as a possible access to the mysterious and irrational ideas in the last Freudian writings. The author also suggests that the concepts of death drive, primary identification, abandonment, primary masochism, constructions and femininity may escape from the impasse of Enlightenment Rationality, when the "metapsychological witch" is called.

La autora acoge con beneplácito la iniciativa del congreso de iluminar los textos metapsicológicos como palco de diálogo con la clínica, la técnica y la cultura. Examinando el contexto histórico brasileño, formula hipótesis para evaluar el predominio de algunos conceptos en la enseñanza de la metapsicología. Hace referencia a una investigación que vincula el "cambio de 1920" con la influencia del romanticismo alemán en el pensamiento de Freud, como posibilidad de acceso a lo misterioso e irracional de los últimos textos freudianos. Sugiere que los conceptos de pulsión de muerte, identificación primaria, desamparo, masoquismo primario, construcciones y feminidad pueden escapar del estancamiento de la racionalidad iluminista cuando se convoca la "hechicera metapsicológica".