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The Antilogy in the Iuspositivism and the Iusnaturalism in Thomas Hobbes

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1. Title Title of document The Antilogy in the Iuspositivism and the Iusnaturalism in Thomas Hobbes
2. Creator Author's name, affiliation, country Patricia Nakayama; Federal University of Latin American Integration; Brazil
3. Subject Discipline(s) Philosophy of Law, Political Philosophy, Modern Philosophy, Rhetoric, Ancient Political Philosophy
3. Subject Keyword(s) iusnaturalism, iuspositivism, Hobbes, Thucydides, Antiphon; antilogy
3. Subject Subject classification 7207.04
4. Description Abstract This study aims to present a new interpretation about the controversy in the Hobbesian reception about its affiliation to the natural law or the positive law. According to Norberto Bobbio, these positions are mutually exclusive. In the first place, we will present the textual passages that enable Hobbes to be considered, on the one hand, as a supporter of iusnaturalism in accordance with the paradigmatic readings of Howard Warrender and Norberto Bobbio and, on the other, or of iuspositivism, according to the readings of Simone Goyard- Fabre and Jean Hampton. In the second, we will demonstrate our interpretation that accommodates both points of view, from a historical rescue of the antiphontean antilogy, considering the textual ambivalence as a Hobbesian philosophical character.
5. Publisher Organizing agency, location Universidad Complutense de Madrid
6. Contributor Sponsor(s) Universidade de Sao Paulo, Universidade da Integração Latino-Americana
7. Date (YYYY-MM-DD) 2016-12-20
8. Type Status & genre Peer-reviewed Article
8. Type Type
9. Format File format PDF (Español), HTML (Español)
10. Identifier Uniform Resource Identifier
11. Source Title; vol., no. (year) Las Torres de Lucca. International Journal of Political Philosophy; Vol 5, No 9 (2016): July-December
12. Language English=en es
13. Relation Supp. Files
14. Coverage Geo-spatial location, chronological period, research sample (gender, age, etc.)
15. Rights Copyright and permissions Copyright (c) 2016 Patricia Nakayama
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