From a gender perspective, female immigrant domestic caregivers have been particularly impacted during the COVID-19 pandemic: first, as female immigrants, and second, due to their work within the domestic care sector, which has been so badly affected in this pandemic. This study investigates the emotions and experiences of 15 female Latin American immigrant domestic workers, caregivers in five Andalusian cities who were cohabiting with their employees/patients during the COVID-19 pandemic lockdown, using qualitative research through in-depth interviews and life stories. The (...) results show the moral debt accrued by the caregivers with the family who employ them, while worsening the physical and psychological health of many of the caregivers, due to both work overload and fear of the global pandemic. (shrink)

El presente estudio pretende determinar el esquema básico del método de investigación de Arquímedes de Siracusa, así como las implicaciones históricas y científicas del mismo. Se evaluarán para ello los dos procedimientos fundamentales de dicho método: la aplicación de un novedoso método heurístico de naturaleza mecánica y la posterior confirmación de sus resultados mediante el método de exhaución.

The purpose of this article is to explore the concept of Philosophy within the works written by Wittgenstein if we take into account the ambivalent sense of the term phármakon. Thus, it will be outlined a contest of paradoxes between, on the one hand, healthiness, sanity, and the adaptable confidence produced by western rationality materialized into objective science, and, on the other hand, sickness, insanity, the world of perplexities, and the realm of desire and death, essential to philosophical thought. Bearing (...) in mind last Wittgenstein’s approaches, we will understand the Tractatus both critical to the deficiencies of western Reason and imprisoned within them. But the “enchanting” power of western Reason, conducting to identify rationality and scientificity in that work, will be conjured in the last Wittgenstein through the opening of plural realms of rationality and of discourses. In this way, philosophical questions will be rescued from silence and absurdity. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

En el presente ensayo se propone una lectura de la obra Taberna y otros lugares (1969) de Roque Dalton. Se considera que es oportuno pensar la figura del poeta salvadoreño a la luz, no simplemente de los exilios políticos, sino también de la privación (en términos genéricos) de la figura del poeta de sus antiguas funciones en –lo que Ángel Rama denominó– la ciudad letrada. La ciudad modernizada (Rama, 1984) expulsó al poeta de su lugar privilegiado, lo que provoca un (...) trauma y una búsqueda novedosa. En ese contexto, el poeta redefine su voz y la literatura sufre una reterritorialización, es decir, redefine sus márgenes. En América Latina, el problema fue abordado por José Martí que incluso propuso nuevos desafíos a la disciplina (como el problema de la identidad latinoamericana). Se cree que Taberna y otros lugares (1969) retoma estas búsquedas y se arriesga la hipótesis ue, al redefinir su campo, la obra de Dalton puede ser leída no solo en clave literaria, sino también historiográfica desde una mirada benjaminiana. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

Este artículo analiza en dos escritos en primera persona, de Ángel Cuervo y Tomás Cuenca, la idea de paz en la Guerra por las Soberanías, que enfrentó a las fuerzas oficialistas del gobierno conservador presidido por Mariano Ospina con las de los liberales lideradas por Tomás Cipriano de Mosquera. A partir del análisis de ambos textos vistos en correlación con el contexto y con documentación de época de diversa índole, se estudian algunos avenimientos y de qué modo se incorpora (...) el derecho de gentes y los mecanismos de contención de la guerra que desembocó en la promulgación del artículo 91 de la Constitución de 1863. (shrink)

Sometimes two expressions in a discourse can be about the same thing in a way that makes that very fact evident to the participants. Consider, for example, 'he' and 'John' in 'John went to the store and he bought some milk'. Let us call this 'de jure' coreference. Other times, coreference is 'de facto' as with 'Mark Twain' and 'Samuel Clemens' in a sincere use of 'Mark Twain is not Samuel Clemens'. Here, agents can understand the speech without knowing that (...) the names refer to the same person. After surveying many available linguistic and pragmatic tools (intentions to corefer, presuppositions, meanings, indexing, discourse referents, binding etc.) I conclude that we must posit a new semantic primitive to account for de jure coreference. (shrink)

The paper explores the status of the proposition "God exists" in late scholastic debates of the sixteenth and seventeenth centuries in some key authors of the era. A proposition is said to be self-evident if its truth is known solely from the meaning of the terms and is not inferred from other propositions. It does not appear to be immediately evident from the terms that God exists, for the concept expressed by "God" is based on the relation to creatures and (...) negation of imperfection and does not reach to the divine essence. Thomas Aquinas maintains that there are two types of self-evident propositions: those self-evident in themselves but not to us and those self-evident in themselves as well as to us. "God exists" is of the fi rst type. For Scotus a self-evident proposition is such that if its terms are conceived by any intellect, the truth of the proposition becomes known from the terms, non-inferentially. In his view there is no distinction between a self-evident proposition in itself and that in relation to us, because any proposition self-evident in itself is known to be such to any intellect, even though it might not be actually known; it would be known, provided that the terms are conceived. So for Scotus the sentence "God exists" expresses diff erent propositions for the blessed in heaven, the angels and God on the one hand and humans on the other. The former is self-evident, the latter is not. While later scholastics accept either the solution of Thomas or that of Scotus, according to which "God exists" is not self-evident for humans, Thomas de Argentina diff ers in that for him "God exists" is self-evident for humans too. The position of Thomas Aquinas was defended by Domingo Ban¯ez, Francisco Zumel and Gregorio de Valentia. In contrast, Johannes Poncius was a famous adherent of Scotus. There is a fair number of scholastics harmonizing the doctrine of Thomas and Scotus: Bernard Sannig, Luis de Molina, Gabriel Vázquez, Rodrigo de Arriaga and Jean Lalemandet. According to these authors, when Thomas says that "God exists" is self-evident in itself, he speaks about the extensional proposition, i.e. the state of affairs being conceptualized, which does not contradict Scotus’s teaching. © FILOSOFIA, 2013. (shrink)

In this essay, I argue that pronatalism—a social bias in favor of gestational motherhood—and geneticism—a social bias in favor of genetic motherhood—are conceptually and operationally distinct social forces that influence some women's reproductive decision making. Each of these social forces shapes the reproductive landscape, relates differently to women's identities, and causes different social stigmatization and harm. Pronatalism and geneticism warrant feminist concern because they can compromise some women's reproductive autonomy and well-being. I suggest that combating pronatalism and geneticism will require (...) different sets of media, policy, education, and health care practice strategies. (shrink)

The production of good sound generation in the violin is a complex task that requires coordination and spatiotemporal control of bowing gestures. The use of motion-capture technologies to improve performance or reduce injury risks in the area of kinesiology is becoming widespread. The combination of motion accuracy and sound quality feedback has the potential of becoming an important aid in violin learning. In this study, we evaluate motion-capture and sound-quality analysis technologies developed inside the context of the TELMI, a technology-enhanced (...) music learning project. We analyzed the sound and bow motion of 50 participants with no prior violin experience while learning to produce a stable sound in the violin. Participants were divided into two groups: the experimental group received real-time visual feedback both on kinematics and sound quality, while participants in the control group practiced without any type of external help. An additional third group of violin experts performed the same task for comparative purposes. After the practice session, all groups were evaluated in a transfer phase without feedback. At the practice phase, the experimental group improved their bowing kinematics in comparison to the control group, but this was at the expense of impairing the sound quality of their performance. At the retention phase, the experimental group showed better results in sound quality, especially concerning control of sound dynamics. Besides, we found that the expert group improved the stability of their sound while using the technology. All in all, these results emphasize the importance of feedback technologies in learning complex tasks, such as musical instrument learning. (shrink)

I argue that truth is relative (in the sense recently defended by some prominent analytical philosophers) by focusing on some semantic issues raised by Einstein's theory of relativity together with our ordinary attributions of truth.

Ampliamente conocidos son los señalamientos realizados en Ser y tiempo por Martin Heidegger en torno al contraste entre la corporalidad pensada modernamente con base en una mezcla de cuerpo-alma, de raigambre cartesiana, y la corporalidad existenciaria a partir del Ser-en-el-mundo del Dasein. Después de ello y con pocas alusiones en algunas de sus lecciones, la tematización mayor en torno al cuerpo se remonta a los Seminarios de Zollikon. El presente artículo busca nuevas vías de tematización a partir de lo que (...) Heidegger piensa como ambigüedad de la verdad en las diversas versiones de la conferencia “De la esencia de la verdad. La verdad del cuerpo dejaría ver al cuerpo en su errar como Körper y, por otro lado, en tanto misterio como Leib. Tal perspectiva permite una comprensión no unilateral del cuerpo y a la vez abre las posibilidades para pensarlo desde el Ser-en-el-mundo, tal como Heidegger había anunciado en diversos momentos de su obra. (shrink)

In this paper we show that, in Gentzen systems, there is a close relation between two of the main characters in algebraic logic and proof theory respectively: protoalgebraicity and the cut rule. We give certain conditions under which a Gentzen system is protoalgebraic if and only if it possesses the cut rule. To obtain this equivalence, we limit our discussion to what we call regular sequent calculi, which are those comprising some of the structural rules and some logical rules, in (...) a sense we make precise. We note that this restricted set of rules includes all the usual rules in the literature. We also stress the difference between the case of two-sided sequents and the case of many-sided sequents, in which more conditions are needed. (shrink)

can prevent non-contact interactions in Newtonian collision mechanics. The proposal is weakened by the apparent arbitrariness of what will be shown as the requirement of only an odd number of sets of some ex nihilo-created self-exciting particles. There is, however, an initial condition such that, without the ex nihilo self-exciting particles, either there is a contradictory outcome, or there is a non-contact configuration law, or there are odds versus evens indeterminacies. With the various odds versus evens arbitrarinesses and other such (...) difficulties, there seems to be an ontological unsatisfactoriness in the speed-unbounded Newtonian collision system. Introduction Taking self-excitations very seriously A problematic initial condition Another alternative. (shrink)

In his recent work, "The Collapse of the Fact-Value Dichotomy," Hilary Putnam traces the history of the fact-value dichotomy from Hume to Stevenson and Logical Positivism. The aim of this historical reconstruction is to undermine the foundations of the dichotomy, showing that it is of a piece with the dichotomy - untenable, as we know now - of "analytic" and "synthetic" judgments. Putnam's own thesis is that facts and values are "entangled" in a way that precludes any attempt to draw (...) a sharp distinction between "value judgments" and "matters of fact." The idea of an "entanglement of facts and values" Putnam rightly attributes to John Dewey, who - we should add - made of it the main issue in his controversy with Logical Positivism. Nevertheless, a closer inspection of the problem whose history Putnam summarizes could bring into light important aspects of it that have been neglected. It is worth reading in this connection the intercourse between Dewey and Stevenson. Secondly, it is striking that Putnam's version of the history of the fact-value dichotomy hardly mentions the problem that caused this very dichotomy to arise in the first place: i. e., the problem of insoluble moral disagreements. By contrast, Dewey's attack on the dualism of fact and value can be read as an attempt to redescribe this kind of disagreements in a way that makes room for intelligent inquiry, and consequently for rational expectations of agreement. The "entanglement thesis" surely is a part of this re-description. But then it must have implications - particularly for the analysis of value-justification - which are overlooked, or by-passed, by Putnam. This leaves the question open whether Putnam and Dewey subscribe to different versions of pragmatism with regard to norms and values. (shrink)

In a mixed-methods study of the barriers and facilitators to homeownership for African American women with physical disabilities, self-concept emerged among the primary themes. This article discusses how participants in the study perceived themselves and negotiated how they were perceived by others as multiply marginalized women. Using what I call a feminist intersectional disability framework, I suggest that participants’ relationships to care strongly contributed to their self-concept. The “Strong Black Woman” trope and associated expectations had cultural and material relevance for (...) how they interpreted themselves and were interpreted by others as receivers, managers, and providers of care. The material reality of owning or not owning a home did not reveal significant differences in the self-concepts of homeowners versus nonhomeowners. Rather, it was through conversations about homeownership that this data around self-concept in relationship to care was revealed. (shrink)

La idea central del texto se contiene en la pregunta: ¿Qué entiende Hegel por formación del sujeto? Para desarrollarla se adelantará una breve introducción al pensamiento de Hegel y a su Fenomenología del espíritu prosiguiéndose con una indagación sobre el concepto de formación.

This paper suggests that an ontologically reductionist view of nature which also accepts the completeness of causality at the level of physics can support (1) the blissful transfiguration of the moral, (2) mystical release from standard ego-identification, and (3) psycho-physical transformation cultivated through meditative practice. This mystical naturalism provides the basis for a thicker, more vigorous institutional religious life, including religious life centred around meditation practices, personalist meanings, and the theology of incarnation, than current proposals for strongly naturalist religions allow.

ABSTRACT In this paper we study consequence relations on the set of many sided sequents over a propositional language. We deal with the consequence relations axiomatized by the sequent calculi defined in [2] and associated with arbitrary finite algebras. These consequence relations are examples of what we call Gentzen systems. We define a semantics for these systems and prove a Strong Completeness Theorem, which is an extension of the Completeness Theorem for provable sequents stated in [2]. For the special case (...) of the finite linear MV-algebras, the Strong Completeness Theorem was proved in [10], as a consequence of McNaughton's Theorem. The main tool to prove this result for arbitrary algebras is the deduction-detachment theorem for Gentzen systems. (shrink)

The history of Spain in the 20th and 21st century provides us with many examples of mimetic rivalry: the permanent conflict between peoples who inhabit a common territory, seeking their identity through the affirmation of differences. In the never-ending reciprocities that occur throughout the decades, with ferocious feuding between the left and right wings, and disputes between nationalities, we appreciate how the Girardian theses shine some light on conflictive and at times bloody relationships that would be difficult to understand without (...) the illuminating mimetic theory and the scapegoat mechanism.Mimetic theory and the scapegoat mechanism, together with some of Girard's most innovative intuitions (passion for... (shrink)

The controversy over short selling has continued unabated from the introduction of modern equity trading in Amsterdam in 1610 to the present day. Nevertheless, the business ethics literature has not really addressed short selling. Short sellers not only profit from the misery of others, they also create it through their selling activities. However, they also provide a socially useful service by making prices better reflect true values, protecting other investors from purchasing overpriced securities. Short sellers can also help to provide (...) liquidity in the markets. Recently, there has been a hue and cry against so called "naked" short selling, which involves not delivering the shares that have been sold. This gives manipulators a tool for depressing stock prices and deprives purchasers of voting rights and potential stock lending revenue. Naked short selling creates ethical issues for short sellers, buyers, brokers, market makers, and regulators. Is it ethical to exploit a legal loophole that permits sellers to sell stock and delay delivering shares indefinitely? (shrink)

Extension of the system that includes the key substrates for sensation, perception, emotion, volition, and cognition, and all representational sources for cognition, supports the view that there is an extended mind and an extended body. These intellectual views can be made practical in a humanist system based on extensions and in religious systems based on extensions. Independently, there is also an institutional extension of secularism. Hence, I maintain, there are five principal forms of extension.

A finales del siglo veinte la historiografía acuñó el concepto de republicanismo para definir la ideología que había sustentado la revolución americana. Posteriormente el concepto fue apropiado normativamente por la filosofía política y se presentó como una alternativa a la hegemonía del liberalismo. En el primer caso se señaló una continuidad entre la tradición republicana de pensamiento político y la ideología revolucionaria. En el segundo caso, lo que se intentó fue una exhumación de temas republicanos para formar una nueva ideología. (...) Denominaré a este proyecto ideológico neo-republicanismo y señalaré algunas de las dificultades a las que se enfrenta. (shrink)

Una de las observaciones más agudas de la Lógica se encuentra escondida en una breve nota a pie de página, cuando Dewey señala el efecto pernicioso de “la literatura y los hábitos literarios” para una correcta comprensión de la relación entre las ideas o el lenguaje y la actividad práctica (LW.12: 55, nota 2). Pocas líneas antes, ha recordado el hecho obvio – pero olvidado con frecuencia por tantos filósofos del lenguaje – de que la comunicación lingüística fue durante milenios (...) únicamente ora... (shrink)

El objetivo fue determinar la relación entre el uso de las TIC y la neuroeducación en el aprendizaje de los alumnos. La investigación fue de tipo cuantitativo con diseño correlacional descriptivo de corte transversal mediante un cuestionario virtual. La población de estudio fueron 367 estudiantes de la Universidad Central del Ecuador. Para la obtención de los resultados se utilizó el programa estadístico SPSS v.25. El coeficiente de correlación de Spearman dio un valor de 0.754, revelando que existe una correlación moderada (...) positiva entre ambas variables TIC y neuroeducación. Conclusión: El 50% de docentes aplican gamificación para estimular la memoria visual. (shrink)

¿Cómo hacer un resumen de un escrito que problematiza el propio concepto de «sumilla»? En primer lugar, señalamos el carácter problemático de la sumilla, entendida como la pretensión de traer a presencia la ponencia y al mismo tiempo de postergarla. En segundo lugar, mostramos cómo en el proceder dialógico platónico acontece dicho carácter problemático de la presencia (eîdos) en términos del continuado fracaso respecto de todo intento de fijación del ser del ente, es decir, de su constante postergación. Más aún, (...) afirmamos que la pretensión meta-dialógica del diálogo platónico, es decir, de dar cuenta de aquello que en el diálogo mismo acontece, tiene lugar en términos de una toma de distancia respecto de su propio carácter escrito. En tercer lugar, escenificamos dicho carácter meta-dialógico mediante un tramo del Parménides, en el cual dicha toma de distancia asume la forma de la historia del robo del escrito de Zenón, lo cual quiere expresar que el eîdos no tiene lugar sino en su propio ausentarse. Y es que, en efecto, esto no habrá sido sino un resumen si remitimos al resumere latino, es decir, al re-asumir, a su vez reasunción del analambánein griego. Es precisamente dicho analambánein el que Platón liga con la anámnesis, es decir, con la reminiscencia, la cual a su vez remite a una ausencia constituyente. (shrink)