This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the “music” found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language – the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the public interest, limited research (...) has been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say “it is music in my ears”? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful – ugly and funny – boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a “musical” sense. (shrink)

This study examines the changing role of art and artist during the turn-of-the-century period, offering a consideration of the multiple dichotomies of art and life, aesthetics and economics, production and consumption, and centre and periphery.

This is the first study that directly links Krausism to the Spanish avant-garde. To this end, the book is presented in chronological order in efforts to highlight how Krausism evolved and affected the culture of Spain. Those changes occurred in the fields of education, politics, philosophy, literature, and arts, to name a few.

In spite of its carefully planned - and fully justified - modesty, the title of this book might very well surprise more than one potential reader. It is not normal to see such controversial concepts as "Renaissance," "Renaissance Thought," "Spanish Renaissance," or even "Spanish Thought" freely linked together in the crowded intimacy of one single printed line. The author of these essays is painfully aware of the com plexity of the ground he has dared to cover. He is (...) also aware that all the assumptions and connotations associated with the title of this book have been the subject of great controversy among scholars of high repute who claimed (and probably had) revealing insight into human affairs and ideas. That these pages have been written at all therefore needs some justification. I am convinced that certain of the disputes among historians of ideas do not touch upon matters of substance, but rather reveal the taste and intellectual idiosyncracies of their authors. Much of the disagreement is, I think, a matter of aesthetics. Those who find special gratification in well-defined labels, clear-cut schemes, and compre hensive generalizations, can hardly bear the company of those who insist upon detail, complexity, and organic growth. The nightmarish dilemma, still unresolved, between Unity and Diversity, between the Universal and the Individual, haunts the History of Ideas. (shrink)

After centuries of symbolic and political oppression, Galicia has been recognized by the Spanish constitution as a historic nationality. However, despite a certain degree of political autonomy, Galician identity is threatened by increasing homogenization in the economic, social, cultural and linguistic fields. In the early 1990s the aesthetic movement Bravú constructed an aesthetic community, sustained by an ideological project, and with the aim to, on the one hand, prevent Galician culture from becoming folklore stuck in a time warp and, (...) on the other hand, to validate Galician identity. The Bravú artists refused the historically inherited outsider position and contributed to a reinvention of Galician identity and of a political ideal within a cosmopolitan, internationalist framework and by reversing social stigmas through their works and performances. (shrink)

On the basis of certain tensions between Jacques Rancière’s aesthetics and his political philosophy, the article tries to trace new modes of subjectivation in contemporary activism and art. It explores how the actors of the overlapping terrains of aesthetic and political practices organize ‘different forms, different spaces of expression and distribution of ideas’ in Rancière’s sense. Yet, analysing the practices of the Occupy movement, the Spanish M15 movement, and the dOCUMENTA (13) ‘agents’ AND AND AND as radically inclusive, polyvocal (...) and transversal, it proposes a position that differs from Rancière’s rejection of activist art, a non-totalizing political aesthetics as a component of molecular revolution. (shrink)

An introduction is presented in which the authors discuss various articles within the issue on topics including Baroque history in Europe and Latin America, aesthetic tradition of Latin America, and Spanish philosopher José Ortega y Gasset's aesthetic work.

The generalizing methods of philosophies achieve a popularity for a period of time, which may be extended or brief, during which their proponents and even their opponents may regard them as the cognitive presuppositions for the epoch. The same effect is achieved by the more exact scientific methodologies as they find fame outside the scientific circle and are treated by some as omnipotent discoveries with powers to heal all other disciplines which may be ailing. The limping disciplines, generally classified among (...) the humanities and discerned to be in trouble since the nineteenth century, are understandably envious of the seemingly invincible, favored scientific children of our time. For our era tends to worship quantifiable data and the principles and instruments for measuring and conceptualizing it. Thus semiotics and information theory, in hopes of acquiring the status of the sciences, have led aesthetic inquiry toward the currently popular scientism; but the limited cognitive scope of this methodology has not been recognized. Sociology of knowledge, however, forewarns us of the winds of fashion on cognitive paradigms. Where the inherent explanatory scope of a doctrine, system, or method is less than is believed according to the prevailing sociological patterns, a correction will eventually set in. And an important factor in overcoming the para-religious claims will be, precisely, the fundamental antinomical tendency of the human mind. Stefan Morawski, Research Professor at the Institute of Arts of the Polish Academy of Sciences, has lectured throughout the United States and is currently teaching at the Ludwig Maximilian University in Munich. His works have appeared in a variety of languages: Marxism and Aesthetics: History of Ideas has been published in Spanish and Italian; Absolute and Form, in Polish, Italian, and French; and, in English, Inquiries into the Fundamentals of Aesthetics. (shrink)

Although the reception of John Dewey's _Art as Experience_ has not been totally ignored by secondary literature, the few works that have dealt with the subject have been restricted to the English-speaking context, and more specifically to the United States. This essay sought to consider the reception of Dewey's book on aesthetics in the context of Spanish-speaking countries, with special attention to Mexico, Spain, Colombia, and Argentina. The hypothesis put forward and supported here is that _Art as Experience_ had (...) a late reception due to political and cultural factors in these countries and that it is at present that we really find a deeper reception of this work, with an increasing number of publications about the subject. (shrink)

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In lieu of an abstract, here is a brief excerpt of the content:When an Arab Laughs in Toledo: Cervantes’s Interpellation of Early Modern Spanish OrientalismE. C. Graf (bio)My purpose has been to place in the plaza of our republic a game table which everyone can approach to entertain themselves without fear of being harmed by the rods; by which I mean without harm to spirit or body, because honest and agreeable exercises are always more likely to do good than (...) harm.—Miguel de Cervantes Saavedra, Prologue to Novelas ejemplares [my translation]We are engaged in a technical enterprise at the species scale.—Jacques Lacan, “L’agressivité en psychanalyse” [my translation]While I was all intent on watching him, he looked at me, and with his hands he spread his chest and said: “See how I split myself!”!—Dante Alighieri, Inferno 28.28–30 Click for larger view View full resolutionFigure 1.Sandro Botticelli, The Virgin and Child (c. 1490). Courtesy of the Fogg Art Museum, Harvard University; ©1999 President and Fellows of Harvard College. Click for larger view View full resolutionFigure 2.Salvador Dalí, Dream Caused by the Flight of a Bee around a Pomegranate One Second Before Awakening (1941). Courtesy of Museo Thyssen-Bornemisza, Madrid; ©1999 Artists' Rights Society (ARS), New York.For much of this century, Hispanists have labored in an effort to elevate Miguel de Cervantes Saavedra’s El ingenioso hidalgo don Quijote de la Mancha (1605, 1615) to the coveted status of the “first modern novel.” Today this kind of criticism may strike our postmodern sensibilities as a rather traditional enterprise, the kind more interested in establishing an elite hierarchy of literary tastes than in saying anything new about an author or text. For many, the study of literature is still an aesthetic beauty pageant in which “great books” like Laurence Sterne’s Tristram Shandy (1767) or Marie de la Vergne de La Fayette’s La princesse de Clèves (1678) are paraded across the stage in a contest to seduce the Western intelligentsia. 1 The postmodern student of literature may not have much concern for this age-old territorial contest, but she might be interested to learn that the fallout from Hispanism’s quest for the “first modern novel” has involved so much attention to, indeed complication of, Don Quixote, that the book now resembles more a postmodern text than an early modern one. At the turn of the century, we have been left with what Jorge Luis Borges would recognize as an “aleph”: an infinite ideological labyrinth that reflects and/or cannibalizes all forms, thereby escaping all attempts [End Page 68] to describe it. 2 Whatever we currently mean by “Cervantes” (an author, a collection of texts, an ideological construction, and so forth) carries with it an impressive range of critical responses. Cervantes has been labeled converso (Castro, Canavaggio), Christian humanist (Castro, Bataillon, Forcione, Herrero, Vilanova), disillusioned secularist (Lukács, Cascardi), precapitalist (Johnson), anti-essentialist (Wilson), anti-Eusebian (Presberg), Menippean (Bakhtin), feminist (El Saffar, Rabin, Cruz), sadist (Nabokov), ethnocentric imperialist (Mariscal), medieval (Gorfkle), homophobic (Martín), non-organicist Aristotelian (Read), and either discursively or actually homosexual (Combet, Rossi, Smith, Arrabal). This list is nowhere near complete, but the reader will grasp the robust effects of the plurality of perspectives on Cervantes.Each of these interpretations is valid to varying degrees within various contexts, but at present I am interested in reading Cervantes as the author of a multicultural manifesto on behalf of the Moriscos of Southern Spain. 3 Within the contexts of French Marxist philosopher Louis Althusser and Palestinian postcolonial literary critic Edward Said, materialist, postcolonial, and multicultural critiques of various forms of power and their ideologies can be seen as the fundamental propositions of Cervantes’s Don Quixote. 4 Cervantes’s ultimate orientation may perhaps be inescapably Eurocentric, but his responses to the European experience of the rise and expansion of an ethnocentric militaristic nation state are relatively centrifugal when compared to the attitudes of many of his contemporaries.In surveying some of the antihegemonic details of Cervantes’s novel, I am also interested in dispelling the popular myth of Don Quixote. Especially in the English-speaking world, and particularly in the United States, Don Quixote remains captive to a... (shrink)

This book takes readers on a philosophical discovery of a forgotten treasure, one born in the 14th century but which appears to belong to the 21st. It presents a critical, up-to-date analysis of Santob de Carrión, also known as Sem Tob, a writer and thinker whose philosophy arose in the Spain of the three great cultures: Jews, Christians, and Muslims, who then coexisted in peace. The author first presents a historical and cultural introduction that provides biographical detail as well as (...) context for a greater understand of Santob's philosophy. Next, the book offers a dialogue with the work itself, which looks at politics, sociology, anthropology, psychology, ethics, aesthetics, metaphysics, and theodicy. The aim is not to provide an exhaustive analysis, or to comment on each and every verse, but rather to deal only with the most relevant for today’s world. Readers will discover how Santob believed knowledge must be dynamic, and tolerance fundamental, fleeing from dogma, since one cannot avoid a significant dose of moral and aesthetic relativism. Subjectivity, within its own codes, must seek a profound ethics, not puritanical but which serves to escape from general ill will. Santob offers a criticism of wealth and power that does not serve the people which appears to be totally relevant today. In spite of the fame he achieved in his own time, Santob has largely remained a vestige of the past. By the end of this book, readers will come to see why this important figure deserves to be more widely studied. Indeed, not only has this medieval Spanish philosopher searched for truth in an unstable, confused world of contradictions, but he has done so in a way that can still help us today. (shrink)

This e-book written in Hungarian seeks to reconstruct “the aesthetic” in the modern sense of the word, from the mid-17th century to the 1730s, through the texts of mainly British authors such as John Dennis, Lord Shaftesbury, Joseph Addison, Richard Steele, Francis Hutcheson, George Berkeley, sometimes using their Spanish and French predecessors for contextualization. It assumes that “the aesthetic” is an unprecedented type of experience that had to be discovered, or rather invented; it is therefore more than a discussion (...) of some old, always existing quality or sensibility in a new theoretical guise. If the words “(school) philosophy”, “art” and “criticism” can be associated with the mostly systematic theories of aesthetics that emerged in the wake of Alexander G. Baumgarten as a loose characterisation, then the words “(popular) theology”, “nature” and “exercise” are even more so with the earlier texts that are on the table here, which played a role in the formation of “the aesthetic”. It seems that in this period, “the aesthetic” is understood above all as a new and intimate link between the sensual and the supernatural or spiritual, in which the former is not just an apropos or disposable means to the latter, but an indispensable and ever-present component that provides a constitutive framework for experience. Its unprecedented modernity lies in its nisus to capture the divine in the sensual and to make it present as sensual. In this new experiential form, both the “nature” of the transcendence and the spiritual economics of the beholder are reconfigured. The new “aesthetic” is connected to and associated with the full experience of life, the joy of existence, the openness to the transcendent through the sensuality of the natural or everyday world, the interplay of external determination and internal spontaneity, the enchanted state of mind experienced in a waking dream, the reinterpretation of the relationship between reality and fiction, the intense existential experience of spiritual and emotional movement provided by walking, wandering, boating or cheerful imagination. (shrink)

In the past, Schiller has often been underestimated as a philosopher in his own right. Fortunately, this has been changing, beginning with the bicentennial commemoration of his death in 2005, which has since then produced a fair number of volumes, mostly in French, German, Italian, and Spanish. Unfortunately, Frederick Beiser's 2005 Schiller the Philosopher: A Re-Examination, one of the still rare book-length treatments by a single author, has failed to lead to a similar "new wave" in the English-speaking world. (...) Thus, it is heartening to have here a volume of essays focusing on his philosophical writings and bringing together titans of the fields of philosophical Schiller-studies, German early romantic... (shrink)

Normal 0 21 false false false ES X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} This paper discusses how the proposed musical Emir Kusturica & the no smoking orchestra , creates new forms of perception on situations of armed conflict (war in Bosnia-Herzegovina) and exclusion (relationship with the community Rom), which change (...) completely imaginary imposed by the media about such phenomena. This is seen from the view of aesthetic theory and policy Renciére Jacques, who believes that the purpose of politics is to make visible the failure of an universal order that can pick up all parts of society. (shrink)

An essay on Schiller's "Letters on the Aesthetic Education of Mankind", published here in a Spanish translation.

La insistencia de Ortega y Gasset en la dimensión lúdica de la vida, tan opuesta a la trágica de Unamuno, ha sido analizada desde diferentes puntos de vista. Sin embargo, apenas se ha tenido en consideración la influencia que pudo tener la reflexión filosófica de Friedrich Schiller, quien hizo del juego la clave de la educación ilustrada del hombre y del logro de una vida plena. Con este presupuesto, se someten a examen dos textos fundamentales de Ortega, El tema de (...) nuestro tiempo y Qué es filosofía, poniendo énfasis en las semejanzas de planeamiento con respecto a las tesis del famoso dramaturgo alemán. (shrink)

Spanish readers are fortunate in having a publishing house which is committed to reproduce in Spanish the complete works of Georg Lukács. The complete edition will consist of twenty-four, or more, volumes, of which ten are already in print, covering mainly Lukács works on esthetics and literary criticism. The Hegel volume was originally published in German in 1948. The main draft was written as early as the fall of 1938, but the outbreak of World War II delayed publication. (...) Lukács at that time was in the Soviet Union where, following Stalin's lead, Hegel was characterized as an apologist for the Prussian feudal opposition to the French revolution. Considering the winning of the war as more important than provoking a controversy over Hegel, Lukács put his manuscript aside for the duration. In The Young Hegel, Lukács settles his account with Hegel, much as Marx and Engels in The German Ideology--with one significant difference. The objective of Marx and Engels was the abolition of Hegelianism. Their polemic, therefore, was directed against Hegel and the neo-Hegelians. Lukács, on the other hand, sought the restoration of the Hegelian dimension of Marxism, and, while accepting the Marxian critique of Hegelianism, directed his attack against the detractors of Hegel--against the Stalin line within Marxism and against those like Dilthey and Kierkegaard outside of Marxism who transformed Hegel into an "irrationalist." Lukács is consequently much more positive in his treatment of Hegel than Marx and Engels. In History and Class Consciousness, Lukács emphasized the necessity of understanding Hegel in order to properly understand Marx. In The Young Hegel, the emphasis is on the dialectical opposite--Hegel is understood through the eyes of Marx, through the critique of Marx and through a Marxian interpretation by Lukács. Lukács' unique contribution in the present work is the detailed study of the close union of philosophy and economics in the genesis of Hegel's thought. Indeed, the original subtitle of the German edition reads: Über die Beziehungen von Dialektik und Ökonomie. The Spanish edition has a two-and-a-half page preface, written specially for it by Lukács in 1963, in which he states his conviction of the importance in the thought of Hegel and other great philosophers of concern with economic problems, both from the standpoint of economic theory and actual economic conditions. An English edition has been promised by Merlin Press in London, but no date of publication has yet been announced.--H. B. (shrink)

0. Premessa: superare razionalismo e relativismo secondo J. Ortega y Gasset. José Ortega y Gasset nel capitolo finale della sua opera El tema de nuestro tiempo (1923), intitolato La dottrina del punto di vista, produce una stimolante osservazione sulla storica antinomia filosofica circa l’obiettività della percezione. In sostanza, il filosofo spagnolo sostiene che la storia della filosofia ha sempre presentato due letture del mondo, a suo avviso gnoseologicamente inconciliabili. Da una parte...

Aproximación teórica al buen gusto y a los significados que este concepto adquiere en los tratados, más o menos teóricos, de autores españoles y de extranjeros traducidos al español a lo largo del siglo XVIII.

These essays examine the contribution of Ortega y Gasset, reflecting his own diversity of interests with topics on philosophy, history, literature, esthetics, language and art. The collection draws together scholars from a variety of disciplines in an effort to deepen appreciation for one of the leading writers of modern Spain. Originally delivered at Espectador Universal to mark the 100th anniversay of Ortega y Gasset's birth, these essays are sure to open new perspectives on the thought and work of one who (...) has long been regarded as the prototytpe to the twentieth century humanist. (shrink)

The first edition was published in 1948 under the title "The Dehumanization of Art, and Notes on the Novel", translated by Helene Weyl from the Spanish original, "La Deshumanizacion del arte e Ideas sobre la novela," published by Revista de Occidente, 1925. In addition to the two title essays, "The Dehumanization of Art" and "Notes on the Novel," this second expanded edition contains three other essays: "In Search of Goethe from Within" (Goethe desde dentro, 1932); "On Point of View (...) in the Arts" (Sobre el punto de vista en las artes, 1924); and "The Self and the Other" (Ensimismamiento y alteración, 1945). (shrink)

Autobiography and phenomenology: Preface for Germans (1934).--Phenomenology and theory of knowledge: Sensation, construction, and intuition (1913). On the concept of sensation (1913). Consciousness, the object, and its three distances (1916).--Phenomenology and esthetics: An essay in esthetics by way of a preface (1914). Esthetics on the streetcar (1916).--An esthetics of historical reason: The idea of theater: an abbreviated view (1946). Reviving the paintings (Velázquez, chapter I) (1946).

The Aesthetic Experience in Roman Ingarden’s thinking. In this article we study the ideas of the Polish philosopher, Roman Ingarden, as an essential key inthe discussion on literary reception. The notion of "aesthetic experience" is revised, especially in The Cognition of the Literary Work of Art. Ingarden begins aesthetic discussion, trying to answer two fundamental questions: How is the literary work structured? and Which procedure will lead to an understanding of the literary art work of art? These questions, besides serving (...) in his defense against psychologism and positivism of his time, also help him develop his two most popular works in Spanish: The Literary Work of Art and The Cognition of the Literary Work of Art, in which the Polish philosopher clarifies the principles that of the Reception Theory. Nevertheless, the importance of the aesthetic experience in the linguistic and phenomenology dimensions of the literary text is only understood when we study both works. Ingarden, as his translator to Spanish, Gerald Nyenhuis recognizes, presupposes in his second book the first one where he performs a constant trip from ontology to phenomenology in the literary work of art. It is precisely in this search where he nails his concept of aesthetic experience that we study today in relation with other concepts, such as the aesthetic attitude, the pre-aesthetic knowledge, the role of the aesthetic values and the aesthetic object. (shrink)

On the assumption that shame is a universal emotion, cross-cultural research on shame relies on translations assumed to be equivalent in meaning. Our studies here questioned that assumption. In three studies (Ns, 108, 120, 117),shamewas compared to its translations in Spanish (vergüenza) and in Malayalam (nanakedu). American English speakers usedshamefor the emotional reaction to moral failures and its use correlated positively withguilt, whereasvergüenzaandnanakeduwere used less for moral stories and their use correlated less with the guilt words. In comparison with (...) Spanish and Malayalam speakers’ ratings of their translations, American English speakers ratedshameandguiltto be more similar to each other. (shrink)

George Santayana (1863-1952), a Spanish-American philosopher, is an influential personage on the cultural stage in English- and Spanish-speaking countries. His numerous books and papers on topics as varied as epistemology, ontology, aesthetics, ethics, anthropology, value theory, and American studies, along with his best-selling novel, his sophisticated poetry, and his famous autobiography, make him a vivid and profound source of reflection on the history of American and European thought, as well as a stimulus for future work. Santayana's exceptionality was (...) appreciated by William James and Josiah Royce, his most eminent colleagues in Harvard University's Department of Philosophy, and has been discussed by such respected authors as John Dewey, Bertrand Russell, Charles Hartshorne, Eric Voegelin, Alfred Schutz, Richard Rorty, Hilary Putnam, Arthur Danto, and Ferdinand Savater, among others. This book aims to understand Santayana by considering his often provocative views on America. Other scholars have reconstructed his thought at various times and in a variety of ways, but no one has yet considered Santayana's approach toward America in a serious and profound way (at least not in the English language). This book attempts to convince the reader that the impartiality of Santayana's philosophy, its transcendence of cultural limits and mental borders, makes it a living philosophy, and that this is the strongest aspect of Santayana's thought. (shrink)

CON: CUADROS CRONOLÓGICOS / INTRODUCCIÓN / TEXTOS ÍNTEGROS / BIBLIOGRAFÍA / NOTAS / LLAMADAS DE ATENCIÓN / DOCUMENTOS / ORIENTACIONES PARA EL ESTUDIO En septiembre de 1925 Ortega y Gasset reunió en un volumen dos importantes y polémicos ensayos, LA DESHUMANIZACIÓN DEL ARTE e IDEAS SOBRE LA NOVELA, textos que se inscriben en la tarea que se había impuesto el filósofo de interpretar la nueva época cultural que había comenzado con el siglo XX, una época que vive una crisis, la (...) crisis de la razón ilustrada, que afecta a todos los aspectos de la vida europea, dado que se ha producido una ruptura de los valores sobre los que se había venido sustentado la civilización occidental. Ambos ensayos, en parte complementarios, tienen, sin embargo, una orientación distinta. LA DESHUMANIZACIÓN DEL ARTE aborda temas relacionados con todas las manifestaciones del arte nuevo y se refiere, sobre todo, a las artes plásticas, aunque también se aluda a la literatura o a la música; el segundo se centra en un único género literario, la novela. Pero ambos están enlazados por una idea común, el agotamiento de las formas artísticas del pasado, especialmente las del siglo XIX, con el abuso de lo sentimental y de lo narrativo, ha conducido a los artistas jóvenes a evitar la mimesis de la realidad y a convertir el objeto artístico (cuadro, composición musical, poema o novela) en una creación puramente estética que no ha de explicarse como copia de la realidad. (shrink)

This article argues that a recent wave of creative self-translations by Latinx poets marks a significant turn in Latinx literary history. In contrast to the conventional view of translation as a derivative, subsidiary craft, these self-translations serve as a creative practice (for composing innovative literature), a trope (for cultural and linguistic multiplicity and self-decolonization), and a theoretical framing (attuned to colonial relationships and power differentials between languages and cultures). What does this reconceptualization of self-translation mean for Latinx poetry and for (...) translation studies? What are its contexts and antecedents, its aesthetic forms and modes of inventiveness, its social and theoretical implications? I consider these questions in relation to the work of two Puerto Rican poets, Urayoán Noel and Raquel Salas Rivera, arguing that their practices are illuminated by the decolonial theory of “transcreation,” or creative translation, developed by Haroldo de Campos. Their poetry is related to but distinct from the tradition of Spanglish and code-switching in Latinx poetry, for English and Spanish coexist in their self-translations in novel ways that do not necessarily correspond to ordinary speech patterns. At the same time, traditional values in translation are supplanted by an emphasis on creativity, criticality, and the translator’s discernable presence. I contend that transcreative self-translation reflects, critiques, and queers the process of transculturation ongoing in the US and its colonies on linguistic, cultural, and social levels. (shrink)

El propósito de este trabajo es el de analizar semiótica, estructural, estética e históricamente las caricaturas divulgadas en una de las mayores publicaciones de la prensa afín al Partido Comunista de España en México, esto es, "España Popular" (fundada en 1940 con el nombre de "España Popular: semanario al servicio del pueblo español"). Para ello, se tomará como punto de partida metodológico las dos tareas principales que Piero Polidoro otorga a la semiótica visual: La primera es explicar qué es y (...) cómo funciona el lenguaje visual: ¿cómo hacemos para reconocer el significado de una imagen, cuán rico es este significado, cómo se combina con otros? La segunda tarea, directamente unida a la primera, es la de estructurar los textos visuales (un cuadro, una fotografía, un cómic, una marca corporativa) para comprender qué y cómo consiguen comunicar (2016: 11-12). En consecuencia, se van a examinar las caricaturas como textos visuales y como representaciones del mundo (o de un mundo basado, hasta cierto punto, en los principios ideológicos y propagandísticos del marxismo). Del mismo modo, este análisis prestará especial atención a las técnicas discursivas que subyacen en esas caricaturas para persuadir al lector-observador a inferir/hacer (o no) determinadas cosas bajo estructuras narrativas basadas en la seducción, la intimidación, la manipulación y la provocación. Y es que las caricaturas —frente a las fotos y a otro tipo de imágenes de ese periódico del exilio— despliegan una sutil labor propagandística (no siempre visible a primera vista por no contener consignas moscovitas y por usar un humor satírico catártico). En cualquier caso, las caricaturas son una buena representación de los instrumentos de poder (y de contrapoder) generados en momentos históricos clave como el franquismo, la Segunda Guerra Mundial y la Guerra Fría. (shrink)

This paper gives experimental evidence against the claim that speakers’ intuitions support semantic relativism about assertions of epistemic modal sentences and uses this evidence as part of a broader argument against assessment relativism. It follows other papers that reach similar conclusions, such as that of Knobe and Yalcin (Semant Pragmat 7:1–21, 2014). Its results were achieved simultaneously and independently of the more recent work of Kneer (Perspectives on taste. Aesthetics, language, metaphysics, and experimental philosophy. Routledge, 2022). The experimental data in (...) this paper supports two claims. The first is that, as Knobe and Yalcin (Semant Pragmat 7:1–21, 2014) also found, speakers diverge in their judgments about the truth-values and about the appropriate retraction of epistemic modal claims. The second is that speakers diverge in their judgments about when a retraction is appropriate and when it is required. This divergence was not tested by Knobe and Yalcin (Semant Pragmat 7:1–21, 2014) but aligns with the results independently reached by Kneer ((Kneer, Synthese 199(3–4): 6455–6471; Perspectives on taste. Aesthetics, language, metaphysics, and experimental philosophy. Routledge, 2022), and supports the arguments previously developed by Marques (Synthese 199(3–4): 6455–6471). The present studies tested the intuitions of both North American English speakers and of peninsular Spanish speakers, whose judgements on the topic had never been tested. The broader argument involves the relation between required retractions and falsity. (shrink)

Sin duda, Altazor o el viaje en paracaídas de Vicente Huidobro constituye una de las obras cumbre de la literatura hispanoamericana y, por extensión, de la literatura hispanoamericana. Indagar en su construcción literaria desde los códigos vanguardistas del erotismo como detonante, y de la estética de la sublimidad como marco de creación, constituye el mejor modo para comprender la poética del vacío y la sistematización de recursos literarios que articulan lo sublime. Así, el creacionismo singularmente y las Vanguardias, en general, (...) encuentran su demiurgo entrópico en la disolución de límites que dinamiza la sublimidad. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.3 (2005) 115-120 [Access article in PDF] Commentary Seeing Cultural Conflicts Some years ago the great intellectual historian Isaiah Berlin made an important statement about what has become known as multiculturalism: We are urged to look upon life as affording a plurality of values, equally genuine, equally ultimate, above all equally objective; incapable, therefore, of being ordered in a timeless hierarchy, or judged in (...) terms of some one absolute standard.1He distinguishes such pluralism from relativism, which holds that different cultures (or individuals) have tastes or attitudes that are not objectively valid. Multiculturalism is, he thinks, an important position; relativism is not. Berlin describes what has now become a very familiar cliché. There are many diverse social systems. And since each has real value, we try to understand every other culture on its own terms.A great deal has been written recently about cultural conflicts. What can visual art show us about this subject, about relationships between radically opposed societies? Pre-modern civilizations were not usually tolerant of exotic cultures. Islam and Europe were often at war. "The menace of Islam was seen as something which threatened the souls as well as the bodies of Christian Europe."2 But although the Italians often fought with their Muslim neighbors, they did also import carpets to decorate the interiors of palaces and, in Venice, to adorn the facades of their homes.3 And many Venetian paintings depict these Islamic rugs. In Giovanni Mansueti's Miracles of the Bridge at San Lio (1494), now in the Accademia, Venice, or in Vittore Carpaccio's Meeting and Departure of the Betrothed (1490) showing the Episodes from the Life of St. Ursula, carpets are represented. In such pictures, the historian Paul Hills observes:... rich colours in soft textiles overlay the hardness of marble; and the eye of the Venetian painters and their public became attuned to fine degrees of hardness and softness, of fixity and pliancy, as when silken textiles move in a current of air but marbles stand fast. 4The Venetians were famous for incorporating alien artifacts, making them "their own without losing a sense of the exotic and the unfamiliar."5 And so it is unsurprising that painters freely inserted objects from another culture into works of art. The exotic decorative fabrics must surely have inspired the [End Page 115] Venetians. But because Islamic culture was foreign, Renaissance Europeans did not say much about the aesthetic qualities of these carpets.Representations of carpets are also found elsewhere in Italian art. The Siena Cathedral contains frescoes by Pinturicchio (1502-9) showing the life of Pius II, the fifteenth-century Pope. In the sixth scene, he enters Mantua to preside over the assembly called to mount an expedition against the Turks.6 (The venerable Christian capital Constantinople had just fallen to the Muslims.) On the table in the porch sheltering the Pope and his attendants, under some books, is a magnificent carpet. Even as these Christians plot, the room is decorated by art made by their enemies. Perhaps the carpet placed underfoot in this picture is treated as a trophy, like the flags of the defeated foes displayed in military museums. But often in other European paintings, Islamic rugs are depicted set on tables or hung from windows in ways that acknowledge their visual appeal.7Renaissance Italians seem to have had no concern with understanding Islamic carpets. Modern historians, by contrast, interested in the elaborate symbolism of these carpets, note that the rugs serve sacred functions.8 The Quran gives elaborate directions about how and when to pray. But it does not mention carpets. "Apart from mosque lamps the only other furnishing commonly found in mosques was some kind of floor covering," a historian explains.9 "The custom no doubt evolved from the religious requirement that all must enter the mosque unshod." Because carpets are used for prayer, both believers and Christians naturally associate them with religious observances. Non-Muslims also have long made use of these beautiful artifacts, sometimes cautiously—a fourteenth-century Spanish rabbi did say that a carpet depicting the Kaaba... (shrink)

This article presented the concept of the sinister in the aesthetic work of the Spanish painter Francisco de Goya, who used his painting for a historical expressionism to capture the resistance and the Spanish impetus for independence from the French regime under the command of Napoleon Bonaparte. The analysis is based on a bibliographic and pictographic review on ductility of two categories: Goya and the representation of the sinister and the symbolic of painting in Iberian romanticism. It is (...) intended to demonstrate that, beyond a style, there exists in Goya art the hermeneutical supratextuality retained in the aesthetics of the sinister over the eternity of the canvas. From this reflection, it could be revealed that the aesthetic of the sinister mediated by the sublime becomes an expression that causes fascination, curiosity and at the same time rejection. Hence, when speaking of the sinister, we refer to that which is veiled and which needs to cast off its shadow, in order to be able to see itself clearly. In Goya, the tragic is connected: the faces full of drama reveal the disturbing reality of their surroundings and his work leaves encoded images of emotions, history and horror sealed in the murals of his room. It is at that moment that the sublime fulfills the fundamental role of being the bridge that allows access to knowledge in the face of the questions that are part of existence, since in the philosophical amazement it is sought to reveal the doubtful, hidden and disturbing that is part of our humanity. (shrink)

This article examines the reflection of the essay Los hijos del limo on the development of the Anglo-American, French and Latin American avant-garde. After exploring its aesthetic and ideological ties with Spanish-American narrative production, it is considered the way in which the latter forged a separate imagery in the context of the paradigm shift worked in occidental thought, following the fall of the Christian paradigm.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina Reza, "Sunday (...) in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)