Abstract: Chinese drama has its origins in primitive forms of singing and dancing, and has since evolved into a comprehensive art form with a rich history. It is considered one of the three ancient drama cultures, alongside ancient Greek drama and Indian Sanskrit drama. Different nations have different cultures with unique national characteristics, while personalized philosophical concepts play a leading role in the formation of culture. Science, literature, art, education, etc., that belong to the cultural category, are all guided and influenced by philosophical thoughts, and drama art is the same. This article discusses and analyzes the philosophical thoughts behind traditional Chinese drama culture. Abstract dancing history characteristics culture Science literature education etc etc. category same

Resumen: El teatro chino tiene sus orígenes en formas primitivas de canto y danza, y desde entonces ha evolucionado hasta convertirse en una forma artística integral con una rica historia. Se considera una de las tres culturas dramáticas más antiguas, junto con la griega y la sánscrita de la India. Las distintas naciones tienen culturas diferentes con características nacionales únicas, mientras que los conceptos filosóficos personalizados desempeñan un papel destacado en la formación de la cultura. La ciencia, la literatura, el arte, la educación, etc. que pertenecen a la categoría cultural están todos guiados e influenciados por pensamientos filosóficos, y el arte dramático es igual. Este artículo discute y analiza los pensamientos filosóficos que subyacen a la cultura dramática tradicional china. Resumen danza historia antiguas India únicas ciencia literatura educación etc igual china

Abstract: Starting from the identification and characterization of three literary forms that coexist throughout Parmenides’ Poem, all of them plainly different from each other, it is proposed and demonstrated that such a variety of forms mirrors the delimitation of the different ways of thought and language elaborated by Parmenidic philosophy, in which at least two types of nature of knowledge must be recognized: the logical and the cosmological. The first, marked by a formally logical-argumentative speech which is given the name of truth (aletheia) and whose way of thinking is exclusively noetic; the second, of a theoretical-descriptive nature, dedicated to the consideration of the movement proper to cosmic phenomena, whose devenir demands an equally mobile way of thinking (phronein). Abstract Parmenides Poem other philosophy recognized cosmological first logicalargumentative argumentative aletheia (aletheia noetic second theoreticaldescriptive theoretical descriptive phenomena phronein. phronein . (phronein) (phronein

This article explores the religious interpretation of play philosophy across different historical periods and contexts, from ancient Greek thought to contemporary digital media. Drawing on the works of prominent philosophers such as Heraclitus, Plato, Nietzsche, Heidegger, and Huizinga, as well as recent scholarship on digital media and religion, the article examines the role of play in shaping religious thought, practice and experience. It consists of three main sections, focusing on divine play in ancient Greek philosophy, the religious connotations of the 'playful order' in the works of Nietzsche, Heidegger, and Huizinga, and the transformative potential of video games as a medium for religious expression and exploration. CONTRIBUTION: By synthesising diverse perspectives and examining the religious implications of play philosophy in various contexts, this study offers new insights into the relationship between the divine and humanity, and the significance of play in religious life. It also highlights the potential of digital media to provide innovative avenues for religious exploration, fostering a deeper understanding of the role of play in both historical and contemporary religious contexts.

RESUMEN Este artículo, ubicado en el campo de la filosofía de la educación, discute la educación profesional y tecnológica como un espacio-tiempo de formación humana. Para defender la tesis de la precedencia de la formación humana y ciudadana, el argumento se estructura en tres partes: primero, se revisita a los antiguos griegos, fundadores de la idea educativa y raíz del dualismo entre formación profesional y formación general; en segundo lugar, analiza la concepción de educación omnilateral de Marx, que critica la herencia de la educación clásica y propone superar tal dualismo uniendo enseñanza y trabajo; tercero, a partir de la idea-fuerza griega de skholé, reinterpretado por Rancière y Masschelein, piensa la educación profesional y tecnológica como espacio-tiempo de formación humana, mientras posibilita el tiempo libre que pone en suspensión la lógica desigual del mundo del trabajo. artículo espaciotiempo espacio ciudadana partes primero griegos general lugar Marx trabajo tercero ideafuerza fuerza skholé Masschelein

ABSTRACT This philosophy of education article discusses professional and technological education as a space-time in human furtherance. The argument is structured in three parts: first, it revisits the ancient Greeks, founders of the educational idea of the dualism between professional education and general education. Second, it analyzes Marx’s conception of omnilateral education, which criticizes the legacy of classical education and proposes overcoming such dualism by uniting teaching and work. Third, based on the Greek strength-idea of skholé, revisited by Rancière and Masschelein, it presents professional and technological education as a space-time of human furtherance, while enabling free time that suspends the unequal logic of the world of work. spacetime space furtherance parts first Greeks Second Marxs Marx s work Third strengthidea strength skholé Masschelein

RESUMO O presente artigo, situado no campo da filosofia da educação, tematiza a educação profissional e tecnológica enquanto espaço-tempo de formação humana. Para defender a tese da precedência da formação humana e cidadã, estrutura o argumento em três partes: na primeira, revisita os gregos antigos, fundadores da ideia educativa e raiz do dualismo entre formação profissional e formação geral; na segunda, analisa a concepção de educação omnilateral em Marx, a qual critica a herança da educação clássica e propõe a superação de tal dualismo pela união entre ensino e trabalho; e na terceira, com base na ideia-força grega da skholé, reinterpretada por Rancière e Masschelein, pensa a educação profissional e tecnológica como espaço-tempo de formação humana, enquanto possibilita o tempo livre que coloca em suspensão a lógica desigual do mundo do trabalho. artigo espaçotempo espaço cidadã partes primeira antigos geral segunda Marx trabalho terceira ideiaforça força skholé Masschelein

Resumen Decir la verdad ha sido visto, a través de la historia de la humanidad, como un desafío, como un reto frente a lo que, estando establecido de una manera, podría venirse al piso por una verdad enunciada. Es por ello que el sujeto, la mayoría de veces, evita exponer lo que para él es real y verdadero, para disfrazarlo con mentiras que no incomoden a quienes están a su alrededor. En el presente texto se realizará un recorrido por tres momentos de la historia, en los que atreverse a decir la verdad se convirtió en fundamento de la filosofía y les dio a algunos personajes la importancia de la que gozan en la actualidad. En primer lugar, se hará un breve repaso por el término de la parrhesía en la Antigua Grecia, su relación con otros términos relevantes de la filosofía y la importancia que tuvo dentro de algunas escuelas de filosofía en la época. Después se verá cómo la verdad empieza a ser manipulada desde la mirada del cristianismo y la propuesta de relatividad desde la idea presentada por Friedrich Nietzsche. Finalmente, se hará una reflexión en torno a la propuesta de Michael Foucault en la que se relaciona a la parrhesía con el cuidado de sí. Ya, a modo de conclusión, se dejará abierta la discusión alrededor de la reciente problemática de la posverdad, que refleja en sus mecánicas gran parte de los retos que desde la Antigüedad se han planteado respecto al atreverse a decir la verdad.

Abstract Throughout humanities’ history, telling the truth has always been seen or for that matter understood, as a challenge, as a defiance of the status quo or what is established or known, and could very easily be torn down by an announced truth at any given moment. That is the main reason a speaker, in most cases, will avoid expressing their interpretation of what is real and true, and will prefer to intentionally alter it with convenient and accommodating lies that will not result in any type of discomfort for the people around them. This text presents a general overview of three very important and crucial moments in history, in which daring to tell the truth came to be the very philosophical foundation and gave some specific characters in history the importance and relevance they have been given today. First, it covers a brief review of the ancient Greek term Parrhesia, its relation to other relevant philosophical terms and its importance within the different philosophy schools of the era. Later, the process of how truth is started to be manipulated from a Christian stance and later the proposal of relativity from Friedrich Nietzsche. Finally, there will be a reflection about Michael Foucault’s proposal that relates parrhesia to the care of the self. As a conclusion, an open discussion focusing on the recent post-truth issues illustrating the mechanics involved since ancient times in regard to telling the truth.

Abstract: The ancient utopian tradition is very vast. It begins with Homer and the island of the Phaeacians and Hesiod and the golden age. Follow with archaic poets, like Pindar. It even passes by comic poets. But with Socrates it becomes a central problem of philosophy: finding a way to build a just and happy society. Fundamental in ancient utopism is Plato’s Republic. To Platonic utopism, Kazantzakis’ Odyssey pays tribute: it contemplates the abolition of the family and private property; set free love. It conceives the legislator as an educator of the people. With Plato, with the work of Moro, with those of Yevgeni Zamiatin, Aldous Huxley, Ray Bradbury George Orwell, Kazantzakis in the Odyssey he contracted undeniable debts; also with its time and place.

Resumen: La tradición utopista antigua es muy vasta. Comienza con Homero y la isla de los feacios y Hesíodo y la edad de oro. Sigue con poetas arcaicos, como Píndaro. Pasa incluso por poetas cómicos. Pero con Sócrates se vuelve un problema central de la filosofía: encontrar la forma de construir una sociedad justa y feliz. Fundamental en el utopismo antiguo es la República de Platón. Al utopismo platónico rinde tributo la Odisea de Kazantzakis: contempla la abolición de la familia y de la propiedad privada; establece el amor libre. Concibe al legislador como educador del pueblo. Con Platón, con la obra de Moro, con las de Yevgeni Zamiatin, Aldous Huxley, Ray Bradbury, George Orwell, Kazantzakis en la Odisea contrajo deudas innegables; también con su tiempo y su lugar.

Resumen El presente trabajo pretende ofrecer un panorama general de las circunstancias culturales en que se dio el nacimiento de la filosofía griega, con especial atención a la convivencia entre la tradición oral y la introducción de la escritura en Grecia. Así pues, el primer apartado está dedicado a explicar con detalle algunas de las consecuencias que la oralidad, como forma principal de transmisión y producción del conocimiento, tuvo en la configuración de la mente griega arcaica. El segundo apartado, en cambio, muestra las implicaciones que tuvo la introducción del alfabeto griego sobre los procesos cognitivos y, por ende, en la cosmovisión griega. Por último, se hará un balance acerca de las consecuencias que se siguieron de la convivencia de oralidad y escritura en la Grecia arcaica, con el fin de poner de relieve la importancia que tiene el lenguaje y sus diferentes formas de concreción dentro del desarrollo de los procesos cognitivos.

Abstract This contribution pretends to offer an outline of the general background in which Greek philosophy was born, considering especially the coexistence of the oral tradition with the alphabetic writing introduced in Greece. Accordingly, the first section of this paper is devoted to explain in detail some of the consequences entailed by the oral tradition, as it was the main form of transmission and production of knowledge, in the way it shaped the archaic Greek mind. The second section shows the effects that the introduction of alphabetic writing to Greece had on the cognitive processes and, as a result of it, on the ancient Greek world picture. On the basis of such premises, a final comment will be made about the coexistence in the Greece of the oral tradition with writing as it was used for transmitting specialized information, and order to underline the importance of language and of the way it is manifested for the development of the cognitive processes.

Resumo O propósito deste artigo é mostrar a contribuição de Nietzsche à revolução nas práticas da encenação que ocorreram no Século XX, bem como sua relevância como crítico apaixonado pelo potencial de uma forma de arte que ele sentia que era interpretada em sua época de forma diminuída. A partir de seu estudo do teatro grego na obraO nascimento da tragédia, sublinha a importância da encenação na tragédia antiga, a qual estava para além do texto escrito por seu autor. Oferece com isso uma análise da ideia de teatro como arte, a qual é consubstancial realizar-se em três dimensões: a do ator, a do poeta ou escritor do texto e a do espectador. Nietzsche defende a especificidade desses três papéis para toda realização teatral e o sentido filosófico que tem o teatro como autêntica forma artística. Conclui-se o artigo mostrando a recepção do pensamento teatral de Nietzsche em autores como August Strindberg, George Bernard Shaw e Eugene O'Neill, que buscarão novas formas e novos significados para sua arte.

Abstract The purpose of this article is to show the contribution of Nietzsche to the revolution in the practices of the scenario that takes place in the 20th century, as well as its relevance as a passionate critic for the potential of an art form that he felt was interpreted in his time in a diminished way. From his study of Greek theater in his workThe Birth of Tragedy,he underlines the importance that in the ancient tragedy had its staging, and that went beyond the text written by its author. It offers therefore an analysis of the idea of theater as art, which is consubstantial in three dimensions: the actor, the poet or writer of the text and the viewer. Nietzsche defends the specificity of these three roles for every theatrical enterprise and the philosophical sense that theater has as an authentic artistic form. The article concludes by showing the acceptance of Nietzsche's theatrical thought in authors such as August Strindberg, George Bernard Shaw or Eugene O'Neill, who sought new forms and new meanings for their art.

Resumen El tratado Acerca de la indestructibilidad del mundo es uno de los textos filosóficos clave de Filón de Alejandría. El modo en el que el alejandrino “hace filosofía” es idiosincrático en la medida en que una parte esencial de su método se basa en su opinión de que el Antiguo Testamento coincide con lo que argumentan los filósofos griegos. En este artículo argumento que, a pesar de eso, la relevancia de Filón como fuente para el estudio de la filosofía antigua difícilmente puede ser exagerada. El alcance de este ensayo es modesto: en primer lugar, explico la estructura del tratado; luego me centro en las secciones más “filosóficas”, de manera de aclarar cómo Filón incorpora algunos aspectos del platonismo a su proyecto de interpretar el Pentateuco a la luz de la filosofía griega, y cómo, aun cuando toma distancia de y critica a los estoicos, al mismo tiempo incorpora algunos detalles terminológicos y conceptuales de la Estoa, ya que los mismos son funcionales a su propio proyecto.

Abstract The treatise On the Indestructibility of the World is one of Philo of Alexandria’s key philosophical texts. The way the Alexandrian “does philosophy” is idiosyncratic as an essential part of his method is based on his view that the Old Testament matches with what the Greek philosophers argue. In this paper, I argue that, despite that, Philo’s relevance as a source for the study of ancient philosophy can hardly be overestimated. To show that, I briefly first explain the structure of the treatise; secondly, I focus on the more “philosophical” sections to clarify how Philo incorporates some aspects of Platonism into his project of interpreting the Pentateuch in the light of Greek philosophy, and how, even though he takes distance from and criticizes the Stoics, at the same time he assimilates some terminological and conceptual details of Stoa as they are functional to his own project.

Abstract: In this essay on ancient architectural technologies, I propose to challenge the largely conventional idea of the transcendent origins of philosophy, that philosophy dawned only when the mind turned inside, away from the world grasped by the body and senses. By focusing on one premier episode in the history of western thinking - the emergence of Greek philosophical thought in the cosmic architecture of Anaximander of Miletus - I am arguing that the abstract, speculative, rationalising thinking characteristic of philosophy, is indeed rooted in practical activities, and emerges by means of them rather than in repudiation of them. The spirit of rational inquiry emerged from several factors but the contributing role of monumental architecture and building technologies has been vastly under-appreciated. In the process of figuring out how to build on an enormous scale that the eastern Greeks had never before tried, the architects discovered and revealed nature’s order in their thaumata, the very experience with which Aristotle claims that philosophy begins. Ancient architecture and building technologies were on display for decades with monumental temple building. In front of Anaximander and his community, a new vision of nature spawned that, surprisingly, humans could grasp and command. The building of these thaumata, these objects of wonder, offered proof of the human capacity to control nature, and opened a new vision of our human rational capacity to understand the world and our place in it.

Abstract: The preparation of food and nutrition is a pervasive techne in the classical Greek world. Indeed, food technology may be a defining characteristic of humanity (Levi-Strauss, 1964). We begin with a glimpse of a tension in the use of the word techne in relation to the preparation of food in Plato’s Gorgias 462d-e. Turning to the Presocratics, we discern three distinct perspectives on food, those of Empedocles, Anaxagoras, and the treatise Regimen (Περὶ Διαίτης). In Regimen, we find an anticipation of the distinctions made by Plato in the Gorgias passage, and trace some of the implications in what we may call the “food technology” of this treatise that manages to be both philosophical and technically informative.

Abstract: Contemporary advanced technology seems to raise new and fundamental questions as it apparently provides a human subject with an infinite range of incoming possibilities. Accordingly, research on the implications of technology is massive and splits into hard critics and faithful supporters. Yet, technological activities cannot be defined in terms of their products alone. Indeed, every technological behaviour unfolds the very same tension against what would have been naturally impossible, in absence of that same behaviour. Thus, the debate on technology appears to be independent from any level of technological sophistication, and so its roots can be traced back in the dawn of Western thought. In this article, I argue that the faithful and sceptic views today at stake on hard-technology can be explained as a revival of the twofold attitude towards demons, developed in the history of Western thought. I show how demons have always embodied the human natural limits and the incomprehensible aspects of reality. Exactly as in the case of demons, hard-technology is now seen as a fearful destroyer of both nature understood as a complex system and human naturalness or as a trustful way to save humanity from decay, which complements what is naturally imperfect and, then, perfectible. Yet, none of these irreducible approaches opens a satisfactory path towards the solution of the contemporary issues on technology. On the contrary, by drawing upon ancient Greek neutral demonology the debate on technology may be definitively returned to its teleological and ethical dimension.

Abstract This article sketches, and works to motivate, a controversial approach to Posterior Analytics II.19. But its primary goal is to recommend a novel solution to one particular interpretive aporia that’s especially vexed recent scholars working on Post. An. II.19. The aporia concerns how to understand the enigmatic ē ek pantos... (≈ “or from all...”) in the genealogical account of foundational knowledge at II.19 100a3-9. Our proposed solution to the aporia is discussed in connection with a number of larger philosophical issues concerning Aristotle’s theory of epistē mē.

This article analyzes the role and the value that the intellectual Juan Egaña Risco (1769-1836) recognized to music in his educational essays and curricular proposals, in the context of the independence of Chile and the configuration of its republican system. Inspired by the theories of ancient Greek philosophers, such as Plato and Aristotle, and convinced that education should be oriented to the integral formation of virtuous citizens, Egaña considered that music was an essential discipline. Through it, it would be possible to prepare students to learn aesthetic and ethical distinctions, as well as to inspire learning in other areas of knowledge, which would contribute to citizen education.

El artículo analiza el rol y el valor que el intelectual Juan Egaña Risco (1769-1836) reconoció a la música en sus ensayos educacionales y propuestas curriculares, en el contexto de la independencia de Chile y de la configuración de su sistema republicano. Inspirado en las teorías de filósofos griegos antiguos, como Platón y Aristóteles, y convencido de que la educación debía orientarse a la formación integral de ciudadanos virtuosos, Egaña consideró que la música constituía una disciplina esencial. Por medio de ella, sería posible disponer a los estudiantes para aprender distinciones estéticas y éticas, así como para inspirar el aprendizaje en otras áreas del saber, que contribuyeran a una formación ciudadana.

Abstract The philosophy of Michel Henry carried out a proposal of radicalization of phenomenology, which appeals to a foregrounding of affectivity as an expression of Life. In order to account for this turn, he proposed the opposing categories of Greek gnosis and Christian gnosis. The first one is associated with the commitment of describing the world in its exteriority and the second one is linked to the experience of the flesh. However, among the philosophies of Greek antiquity, the Cyrenaics raised many issues similar to those of the henryan treatment of affectivity. This work studies this relationship by reviewing the main aspects of the henryan characterization of Greek gnosis and then connects it with the key points of the Cyrenaic philosophy about affection, internal tact and the design of a language that reflects affectivity. This exploration will allow us to evaluate the scope of the thesis about the homogeneity of the Greek gnosis and will show important factors of the ancient thought about immanence.

Resumen La filosofía de Michel Henry llevó adelante una propuesta de radicalización de la fenomenología que apela a una puesta en primer plano de la afectividad como expresión de la Vida. Para dar cuenta de la especificidad de este viraje adoptó las categorías opositivas de gnosis griega y gnosis cristiana, la primera asociada con el compromiso de la descripción del mundo en su exterioridad y la segunda vinculada con la experiencia de la carne. Sin embargo, entre las filosofías de la antigüedad griega se halla el caso de la posición de los cirenaicos, que preanuncia numerosos rasgos del tratamiento henryano de la afectividad. Este trabajo estudia esta relación repasando los puntos centrales de la caracterización henryana de gnosis griega para conectarla luego con los presupuestos centrales de la filosofía cirenaica y sus tesis acerca de las afecciones, el tacto interno y el diseño de un lenguaje que refleje la afectividad. Este recorrido permitirá sopesar los alcances de la tesis acerca de la homogeneidad de la gnosis griega y mostrará una deriva importante de antecedentes respecto del pensamiento de la inmanencia.