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tomecicuta.bsky.social
Marcos Fanton
@tomecicuta.bsky.social
640 followers 1.5K following 260 posts
Professor de Filosofia na UFSM/Brasil. Me interesso por um pouco de tudo: modelos e mecanismos em filosofia da ciência, opressão e injustiça estrutural em filosofia social , análise estatística e programação em R em epidemiologia e +
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@93pedrobravo.bsky.social @naosouarutinha.bsky.social
October 24, 2025 at 1:00 AM
tomecicuta.bsky.social
kkkkk chopp Brahma não-pasteurizado em todo Brasil djá!
October 23, 2025 at 2:40 PM
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Manuela Dias contra consumable violence.
October 18, 2025 at 3:14 PM
Reposted by Marcos Fanton
schlawinerkreis.bsky.social
2/ Our central claim: Across his system, Hegel builds an account of colonialism as racial domination, linking world history, freedom, property, and statehood. It’s grounded in the four-stages theory and what he calls the absolute right of the Idea, vindicating colonialism in the name of liberty.
A colour lithograph published as a supplement to The Graphic for the Indian and Colonial Exhibition (24 July 1886), showing the British Empire in pink and centred on Greenwich. Britannia sits enthroned above the globe, framed by banners reading Freedom, Fraternity, and Federation. Around the border, allegorical figures represent the empire’s peoples: Indigenous hunters and labourers at the margins, traders, soldiers, and settlers nearer the imperial core. Insets list trade, population, and area statistics, fusing allegory with empirical data. Animals and crops – elephants and tigers for India, kangaroos and sheep for Australia – mark each region by its resources and stage of economic life (Driver 2010). Crane’s composition depicts a hierarchy of civilisation. Britannia embodies imperial authority, while her subjects appear as differentiated types of labour and culture. The blend of commercial data and moral imagery turns empire into a story of progress, where freedom, property, and self-government are equated with discipline and productivity. The bent “Asian porter” and Atlas labelled Human Labour expose the burden that sustains this freedom (Driver 2010). The map’s spatial order mirrors the stadial logic of Scottish four-stages anthropology that also shapes Hegel’s philosophy of world history. Hunters, pastoralists, agriculturalists, and commercial peoples occupy successive ranks in a teleology culminating in Europe as bearer of universal freedom. The banners of Freedom and Federation vindicate colonial domination, echoing Hegel’s historical theodicy in which the “absolute right of the Idea” is realised through European expansion (Driver 2010). Reference Felix Driver, “In Search of the Imperial Map: Walter Crane and the Image of Empire,” History Workshop Journal 69 (2010): 146–157. A black-and-white engraving depicting Hegel lecturing at the University of Berlin. He stands before rows of students, gesturing with one hand while holding a manuscript in the other. His face is animated, suggesting the intensity of oral exposition. The students below him sit closely packed, taking notes or gazing upward toward the lectern, where the philosopher appears framed by a dark wooden pulpit and a high window that lets in a diffuse light. The scene evokes, amongst others, Hegel’s lectures on the Philosophy of History in the winter term of 1822–1823, when he proclaimed that Europe represents the culmination of world history. In these lectures, Hegel argued that the principle of freedom had been fully realised in modern Christian Europe and that what lay outside it was “intrinsically overcome.” “For Europeans,” he declared, “the world is round” – the globe itself already encompassed by Europe’s spiritual and political dominion.
October 8, 2025 at 12:44 PM