O texto tem como propósito levantar algumas reflexões acerca do ser humano e de sua compreensão predominante de “atividade” em nossa época contemporânea sob o predomínio da ciência e da tecnologia. Também prepararemos modestamente, o ambiente a partir de onde esta questão possa adquirir sentido filosófico. Para isso nos perguntaremos pelas condições históricas e/ou metafísicas responsáveis por este predomínio. E, na base disso tudo, explicitaremos certa compreensão primária e exemplar de ser humano, a partir da qual algo como a ciência (...) se torne visível ontologicamente sem se confundir com esclarecimentos de ordem meramente técnica e metodológica próprios destas pesquisas. (shrink)

Sport, in modern times, finds its roots in the mythological sources of ancient Greece, where it was born as a sacred game to be performed in the honour of Zeus in Olympia or of other gods elsewhere during the Panhellenic games. Since the beginning of the twentieth century and until the 1970s sport was mythogenic (Barthes 1975). But is sport still mythogenic in the twenty-first century? Our analysis attempts to answer two questions: (i) what has been the influence of doping (...) and sponsorship on contemporary sport; and (ii) how (if at all) have both influenced the symbolic contemporary forms of the sportsman/woman myth. We argue that modern sport has become increasingly dependent upon the industrial and entertainment worlds, thus losing along the way the imprinting of symbolic innocence that the myth conferred in the recent past. Moreover, the contemporary perception of sportsmen/women by the general public has changed in so far as it concerns the symbolic aspect of the performer. If their function as social link appears to be intact, sportsmen seem to have lost the classical Olympic symbolism that was generally accepted among spectators until a few decades ago. It does not appear that the mythical aura of sport has been lost but rather the symbols that it has previously carried. Popular admiration is nowadays more concentrated on the sportsman's capacity to acquire fame and fortune by means that appear to be in everybody's reach, including doping. Consequently, the commoner identifies him/her self with the sportsman/woman but does not see him/her any longer as a hero carrying classical moral values. (shrink)

This article aims to cast a glance on some questions relevant for theatre, with an emphasis on the actor’s point of view, not in order to investigate the acting practice but to develop a reflection. Theatre is a marginal art; an actor’s action is a displacement action, out of the centre, searching, moving. Also, the actor is always a foreigner, a strange stranger. We follow these questions while going through the fieldpath, with direct reference to Martin Heidegger’s text “Der Feldweg”. (...) As an actress, I try to understand it by walking my own path. (shrink)