In this article, we explore the relation between bodies and selves evident in the narratives surrounding aesthetic surgery. In much feminist work on aesthetic surgery, such narratives have been discussed in terms of the normalising consequences of the objectifying, homogenising, cosmetic gaze. These discussions stress the ways in which we model our bodies, under the gaze of others, in order to conform to social norms. Such an objectified body is contrasted with the subjective body; the body-for-the-self. In this article, however, (...) we wish to make sense of the narratives surrounding such surgery by invoking the expressive body, which fits on neither side of this binary. We wish to explore how the modification of the body’s anatomical features (physiology) is taken to be a modification of its expressive possibilities, and therefore a modification of possibilities for inter-subjective relations with others. It is such expressive possibilities that, we suggest, underlie decisions to undergo surgical procedures. The possibility of modification of the expressive possibilities of the body, by the modification of its anatomical features, rests on the social imaginaries attached to anatomical features. In the context of such imaginaries, individual decisions to undergo or promote surgery can be both intelligible and potentially empowering. However, the social consequences of such acts are an increasing normalisation of the ‘body under the knife’ and an intolerance of bodily difference. This, we suggest, can only be changed by a re-visioning of bodily imaginaries so that expressive possibilities can be experienced across bodies with a range of physiological features. (shrink)

In 1929, doubtless to the discomfort of his logical positivist host Moritz Schlick, Wittgenstein remarked, ‘To be sure, I can understand what Heidegger means by Being and Angst’. I return to what Heidegger meant and Wittgenstein could understand later. I begin with that remark because it has had an instructive career. When the passage which it prefaced was first published in 1965, the editors left it out—presumably to protect a hero of ‘analytic’ philosophy from being compromised by an expression of (...) sympathy for the arch-fiend of ‘continental’ philosophy. It was as if a diary of Churchill's had been discovered containing admiring references to Hitler. This was the period, after all, when Heidegger was, as Michael Dummett recalls, a ‘joke’ among Oxford philosophers, the paradigm of the sort of metaphysical nonsense Wittgenstein had dedicated himself to exposing. (shrink)

O presente manual tem como intenção constituir um guia para uma disciplina introdutória de filosofia da linguagem. Foi elaborado a partir da leccionação da disciplina de Filosofia da Linguagem I na Faculdade de Letras da Universidade do Porto desde 2001. A disciplina de Filosofia da Linguagem I ocupa um semestre lectivo e proporciona aos estudantes o primeiro contacto sistemático com a área da filosofia da linguagem. Pretende-se que este manual ofereça aos estudantes os instrumentos necessários não apenas para acompanhar uma (...) iniciação ao campo da filosofia da linguagem mas também para o estudo e a investigação autónomos posteriores. Para isso é percorrido um trajecto que conduz das intuições pré-teóricas acerca de linguagem, de que todos dispomos, até um conhecimento disciplinar específico, histórico e temático, da filosofia da linguagem. Em termos práticos, são considerados como precedentes da disciplina de Filosofia da Linguagem I – mesmo se, pelo existem actualmente precedências em sentido estrito – as disciplinas de Lógica I e II e de Filosofia do Conhecimento I e II. Os programas dessas disciplinas nos últimos anos estiveram presentes por trás da elaboração do manual. (shrink)

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of listening (...) by distinguishing between l’écoute and l’entente. L’écoute is an attending to and answering the demand of the other and l’entente is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of l’écoute, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (il s’écoute) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (se fait entendre) as he makes himself listened to (se fait écouter). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both l’entente and l’écoute when it listens as Chaplin listens. (shrink)