Nous essayons de montrer, dans sa constitution généalogique, la formulation de l’expérience érotique en Leonardo Coimbra, laquelle, à partir de l’amour sexuel — et en profitant de sa vertu d’ouverture métaphysique des êtres au Principe même des relations universelles — , se prolonge dans la création des sciences, des arts et de la morale, culminant par se dévoiler comme manifestation — plus qu’analogique — de la transcendance immanente de l’Amour divin. On finit, surtout dans les notes, par suggérer des relations spontanées de cette pensée avec la tradition portugaise médiévale, renaissante et contemporaine et avec plusieures formes de tradition où l’opposition entre Éros et Agapè se dissipe dans l’évidence vécue de l’amour sexuel comme initiation simultanée à la Vérité et à sa dispensation compassionée pour tous les êtres.

This article devellops the following argument: although desire is in Freud's view regressive (nostalgic), it splits itself in two directions — the principle of constance associated with death instincts and the principle of pleasure, bound to the vital instincts of Eros. Constancy and pleasure that are at first linked together are afterwards separated by Freud.

Dans cet essai — «Prolégomènes à une ontologie de l'action» — on part de l'inventaire des différents horizonts de thématisation du problème de l'action depuis la pensée des Grecs jusqu'aux philosophies contemporaines de l'action et de la praxis, ayant pour but, dans un second moment, de tracer les possibles voies pour la constitution d'u ne ontologie de l'action comme actionalité inscrite au coeur même de l'être, en tant qu'expression, médiation et transformation des figures où se déploie son historicité.

This article seeks to analyse Hölderlin’s concept of Homeland Return, both on his fragments about greek tragedy and on his poems. The author sustains that the Greeks have a natural drive for chaos and absence of form, while in modern culture the opposite is true. That is the reason why each try to assume its contrary. In many of Hölderlin’s poems we can also find the urge to retum to a lost Homeland, even facing the «absence of God».

The fact that there is progress and agreement in sciences and not in arts is sometimes adduced as an argument against the cognitive character of art. In this paper this cognitive character is not supported. Its purpose is only to show that this difference, between arts and sciences, in what concems agreement and progress, is mainly due to the different syntactic and semantic characteristics of the respective Systems of Symbols and is not to be ascribed to their cognitive potentialities.

The first part of this article attempted to refute the interpretation of Phd. 102a-107a as being the canonic place of the ontological argument in Platonic thought. The second part of this article will attempt to outline three objectives: (1) to show that the ontological argument intervenes in Plato's thought not as a strict démonstration but as a central and permanent structure whereby the idea is necessarily deduced from the sensible; (2) to show that this structure is also present in Saint Anselm's ontological argument as its philosophical meaning; (3) to elucidate how Parmenides' ontology is the paradigm which inspired both Plato and Saint Anselm.

The analysis of the existence theme in Nova Dilucidatio from Kant constitutes the aim of the article. After a brief introduction to the possible way of making the theme clear in the kantian corpus, the analysis concentrates itself in the pre-critical text above mentioned, and tries to prove its argumentative structure already indicts a surpass, in particular in its methodological premisses, of the rationalistic ontology.