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Im Licht der Wiederkehr des Religiösen und seiner weltweiten Konjunktur erfährt die Religion ihre philosophische Nobilitierung jenseits der tradierten Dichotomie von Mythos und Aufklärung. Die Beiträge von Jacques Derrida, Gianni Vattimo, Maurizio Ferraris, Hans-Georg Gadamer, Aldo Giorgio Gargani, Eugenio Trías und Vincenzo Vitiello dokumentieren eine kardinale Wende der zeitgenössischen Philosophie. Mit Beiträgen von Eugenio Trías, Aldo Giorgio Gargani, Vincenzo Vitielo, Maurizio Ferraris, Hans-Georg Gadamer.
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Wir hoffen. Rede zur Verleihung des Friedenspreises des deutschen Buchhandels 1976. Haben wir eine demokratische Öffentlichkeit?. Rede vor dem Parteitag der Sozialdemokratischen Partei der Schweiz 1976. Vorwort zu: Lew Kopelew, »Verbietet die Verbote!«. (1976). Rede vor den Delegierten des SPD-Parteitages. Hamburg 1977. >Zum Terrorrismus. Bei der Entführung Aldo Moros< (1978). Laudatio auf Alfred Andersch. (1979). Als Gulliver die Schweiz besuchte. (1979). Die politische Repression. Vortrag anläßlich des 35. Verbandstages des VPOD in Interlaken 1979. Laudatio auf Peter Bichsel. (1981). Rede zum Tod von Peter Noll. (1982). Mein Verleger. (1984). Rede an junge Ärztinnen und Ärzte. (1984). TRIPTYCHON. Drei szenische Bilder (1976/79). DER MENSCH ERSCHEINT IM HOLOZÄN. Eine Erzählung (1972/79). BLAUBART. Eine Erzählung (1981/82). Biographie: Ein Spiel. Neue Fassung 1984.
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Invasive arthropods cause significant damage in agricultural crops and natural environments across the globe. Potentially threatened regions need to be prepared to prevent new pests from becoming established. Therefore, information on pest identity, host range, geographical distribution, biology, tools for detection and identification are all essential to researchers and regulatory personnel. This book focuses on the most recent invasive pests of agricultural crops in temperate subtropical and tropical areas and on potential invaders, discussing their spread, biology and control.
Diary of a Forgetful Man shows us 1978, the year in which the Italian Red Brigades kidnapped the Christian Democrat leader Aldo Moro. Those were fateful days for the Italian nation: Pope Paul VI implored, the UN and countless other actors were on tenterhooks as letters from Aldo Moro and communiqués from the Brigades appeared. The country was discussing the end, the means. And there were other underlying questions: what is the intimacy of the debate? Are the actions premeditated, do they govern themselves? Can a movement be transformed, who transforms it? These are, precisely, the latent questions here. This novel, based on Moro's letters, creates a post-revolutionary (perhaps Mexican) reality to pose the transformation of a utopia. The moral crossroads of those who defend or attack it are probably the same.
This searching interpretation of past and present addresses fundamental questions about the fall of the Roman Empire. Why did ancient culture, once so strong and rich, come to an end? Was it destroyed by weaknesses inherent in its nature? Or were mistakes made that could have been avoided—was there a point at which Greco-Roman society took a wrong turn? And in what ways is modern society different? Western history is split into two discontinuous eras, Aldo Schiavone tells us: the ancient world was fundamentally different from the modern one. He locates the essential difference in a series of economic factors: a slave-based economy, relative lack of mechanization and technology, the dominance of agriculture over urban industry. Also crucial are aspects of the ancient mentality: disdain for manual work, a preference for transcending (rather than transforming) nature, a basic belief in the permanence of limits. Schiavone’s lively and provocative examination of the ancient world, “the eternal theater of history and power,” offers a stimulating opportunity to view modern society in light of the experience of antiquity.
The twentieth century saw a faster and more radical transformation of the material and cultural conditions of life than any previous century in the history of the human species. It was also the first century that saw huge masses of women and men in every part of the planet become protagonists of their own destiny. But it was also the century which, particularly in its last two decades – with an increasing tendency, transmitted with even greater force to the following century – saw the crumbling of the idea that human history had a meaning and a direction, and that it had a general tendency to improve from generation to generation. That is to say, it destroyed the idea of progress, hitherto a banner of modernity (the ancient world had never conceived of anything similar, being imprisoned in a closed and limited representation of time and historicity). And this at the very time when it should have been celebrating its triumph. How was it possible for this to happen? What lies behind this seeming paradox? And what does it tell us about the difficulty of the period through which we are passing? What future does it suggest? This book tries to answer these questions by standing at the crossroads between different disciplines, in a perspective of the social history of ideas: philosophy, science, politics, anthropology, material culture. But it is also intended as a modest suggestion that may help us rediscover a sense of our history – one that is not linearly optimistic or providentialistic, but still conscious of the extraordinary potential of the human species, at this point in its development.
This collection presents six of the most remarkable architectural projects by Lina Bo Bardi: Glass House, São Paulo Art Museum (MASP), Sesc Pompeia Factory, Oficina Theater (all in São Paulo), Unhão Manor (Bahia) and Espírito Santo do Cerrado Church (Minas Gerais). Besides texts by the editor Marcelo Carvalho Ferraz, this work features contributions by researchers and professionals who worked with Lina. The six volumes also contain writings by Bardi and a rich iconographic material composed of drawings, building plans and photographs. São Paulo Art Museum | with texts by Lina Bo Bardi and Aldo van Eyck | 64 pages Sesc Pompeia Factory | with texts by Lina Bo Bardi, Marcelo Carvalho Ferraz and Cecília Rodrigues dos Santos | 64 pages Oficina Theater | with texts by Lina Bo Bardi, Edson Elito and José Celso Martinez Corrêa | 48 pages Glass House | with texts by Lina Bo Bardi and Marcelo Carvalho Ferraz | 48 pages Espírito Santo do Cerrado Church | with texts by Lina Bo Bardi and Edmar de Almeida | 48 pages Solar do Unhão | with texts by Lina Bo Bardi and André Vainer | 48 pages
Gold Medal of the 11th International Manga Award. A neurobotany laboratory in the middle of the desert is the setting where a strange love triangle begins. The experiment carried out there will confront the identity of the characters in this story, launching them on a journey charged with nudism and betrayal. Pablo Guerra, an expert in comics and graphic novels, makes Dos Aldos an absurd and unconventional science fiction story. Guerra takes advantage of the possibilities offered by the creation of a futuristic world to reflect on the way humans relate to each other and what role science plays in these relationships. Added to the audacity of this story is cartoonist Henry Díaz's extraordinary interpretation of a world in which a plant can duplicate a human being.
