The relationship between an author's and an audience's intentions is complex but need not preclude mutual engagement. This philosophical investigation challenges existing literary and rhetorical perspectives on intention and offers a new framework for understanding the negotiation of meaning. It describes how an audience's intentions affect their interpretations, shows how audiences negotiate meaning when faced with a writer's undecipherable intentions, and defines the scope of understanding within rhetorical situations. Introducing a concept of intention into literary analysis that supersedes existing rhetorical (...) theory, Arabella Lyon shows how the rhetorics of I. A. Richards, Wayne Booth, and Stanley Fish, as well as the hermeneutics of Hans-Georg Gadamer, fail to account for the complex interactions of author and audience. Using Kenneth Burke's concepts of form, motive, and purpose, she builds a more complex notion of intention than those usually found in literary studies, then employs her theory to describe how philosophers read Wittgenstein's narratives, metaphors, and reversals in argument. Lyon argues that our differences in intention prevent consistency in interpretations but do not stop our discussions, deliberations, and actions. She seeks to acknowledge difference and the communicative problems it creates while demonstrating that difference is normal and does not end our engagement with each other. _Intentions_ combines recent work in philosophy, literary criticism, hermeneutics, and rhetoric in a highly imaginative way to construct a theory of intention for a postmodern rhetoric. It recovers and renovates central concepts in rhetorical theory—not only intention but also deliberation, politics, and judgment. (shrink)

A study of the international pharmaceutical industry discusses the uses and abuses of prescription drugs and details the dangers and adverse impact of disease treatment with drugs.

Série de l’ère #MeToo, I May Destroy You de Michaela Coel montre que la violence est une potentialité inhérente à la relation sexuelle. Le viol n’est pas le problème spécifique de la série, mais plutôt le cas extrême et paradigmatique qui donne lieu à une problématisation plus générale de la sexualité ordinaire, en une famille de cas hétérogènes. Le point culminant de la série est la manière dont elle transmue le genre du « Rape and Revenge », en substituant à (...) la vengeance des formes politiques d’action, par la puissance du récit et de la parole publique. (shrink)

El presente trabajo analiza la construcción del espacio caribeño en la novela Rastro de sal de la escritora costarricense Arabella Salaverry. Este espacio se aborda desde dos perspectivas específicas: una, vinculada con la representación general del espacio caribeño. Este análisis se centra en tres relaciones concretas: conectividad/aislamiento, naturaleza/cultura, centro/periferia. La segunda perspectiva se interesa más bien en los espacios domésticos y su interacción con los personajes femeninos, a partir de las relaciones libertad/prisión e interior/exterior. Se concluye que, en Rastro (...) de sal, el Caribe se presenta como un espacio contradictorio, dinámico y desigual. (shrink)

More Than a quarter of a century has elapsed since the publication of the Oxyrhynchus papyrus which Lobel identified as a fragment of Sophocles’ Inachus, and though it has revolutionised our knowledge of the play, it has proved an excellent example of the papyrological commonplace that each new discovery creates more problems than it solves. What could with reasonable confidence be inferred about the Inachus from the comparatively numerous ancient quotations and allusions is well summarised in Pearson's introduction: Inachus, Hermes, (...) Argus, and Iris took part in the action, but beyond the fact that the play told of Io's transformation and of blessings bestowed on Argos as a result of Zeus' visitation the development of the plot could only be conjectured. A majority of those who have discussed the play have shared Hemsterhuys' view that it was satyric, and the publication in 1933 of a Tebtunis papyrus preserving part of a dramatic composition dealing with Zeus’ love for Io and strongly suggesting a satyr-play was welcomed by many as confirmation of this conjecture. But the ascription of the Tebtunis fragment to Sophocles is far from certain, and its testimony will not allay the doubts of those who are troubled by the lack of direct evidence for satyrs in the Inachus and by the feeling that the importance of the moral and theological issues raised makes its theme unusually serious for satyric drama. (shrink)

Organizations often release and receive medical data with all explicit identifiers, such as name, address, telephone number, and Social Security number, removed on the assumption that patient confidentiality is maintained because the resulting data look anonymous. However, in most of these cases, the remaining data can be used to reidenafy individuals by linking or matching the data to other data bases or by looking at unique characteristics found in the fields and records of the data base itself. When these less (...) apparent aspects are taken into account, each released record can map to many possible people, providing a level of anonymity that the recordholder determines. The greater the number of candidates per record, the more anonymous the data.I examine three general-purpose computer programs for maintaining patient confidentiality when disclosing electronic medical records: the Scrub System, which locates and suppresses or replaces personally identifying information in letters between doctors and in notes written by clinicians; the Datafly System, which generalizes values based on a profile of the data recipient at the time of disclosure; and the μ-Argus System, a somewhat similar system which is becoming a European standard for disclosing public use data. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Ovidian Tails PAUL BAROLSKY Kneeling at the edge of a pond in push-up position, a beautiful nude boy crowned with flowers gazes down at the water in which he beholds his reflection. In love, he is enthralled. Thus, the image of Narcissus rendered by the Florentine painter Alessandro Allori in a work that has been largely overlooked until recently. Datable to the second half of the sixteenth century, (...) it now hangs in the Turkish Embassy in Washington, DC. In the distant background of the picture we behold Echo, who extends an arm upward seemingly in a gesture of despair, since she is rejected by Narcissus. She stands before a mass of rock, her left leg beginning to turn to stone, the very stone into which she vanishes as only her voice remains when she echoes her beloved. The painting abounds in Alessandro Allori, Narcissus. Photograph © Patricia Rubin. arion 26.3 winter 2019 closely observed passages such as the little fish in the pond, one of which has captured a worm. There are other notable details such as the crab on a rock in the foreground, or the clusters of pendulous, ripe grapes, fruit of Bacchus, to whom androgynous Narcissus is likened in Ovid’s Metamorphoses. Allori also employs poetic simile in his picture, since the fingers of the youth’s left hand rhyme with the finger-like roots that emerge from the water. These roots are magnified in turn by their reflected image on the water’s surface. 136 three ovidian tails Abraham Janssens, Nymph and Pan Among the Reeds. AKG / Museen Böttcherstra ße. The apex of the picture, we might say, is baby Cupid who, hovering above, aims his dart at Narcissus and thus arouses the boy’s desire. The shape of Cupid’s bow echoes that of Narcissus ’s prominent buttocks which are framed by the attractive, bright golden drapery fluttering prominently around the youth’s posterior. One might well say that Allori features the buttocks of Narcissus’s body most provocatively in a kind of butt which recalls that of Cupid in the famous Venus, Cupid, Folly, and Time painted by the artist’s teacher, Bronzino. What Allori pictures is not exactly what Ovid writes. It is, however, how Allori imagines the Narcissus of Ovid’s tale. Allori is not alone among Ovidian artists in focusing on the backside of the human body. The posterior is especially prominent in another mythological picture, this one from the early seventeenth century, executed by a disciple of Rubens, Abraham Janssens. This work has found its way to Bremen, where it is now housed in the Ludwig Roselius Museum. It illustrates Pan’s pursuit of Syrinx, who is metamorphosed into reeds in a story told by Mercury in order to put Argus asleep. Ovid is Janssens’s point of departure. The artist depicts the moment when a muscular Pan with a ruddy, almost leathery face embraces Syrinx in her new form as a bunch of reeds. Janssens departs from Ovid with a most novel invention. He depicts a woman, seen from behind, who dominates the composition. With sharp contrasts of lights and darks, vestiges of Caravaggio, the painter emphasizes the female’s imposingly broad backside, which is framed by a billowing, bright, attention-grabbing red drapery that she seems to hold across the front of her body. Could it be that Janssens here alludes to the backside of Syrinx as Pan would have seen it when he chased her? It would seem that we are given not only a view of Pan embracing reeds, we are simultaneously given a Pan’s-eye view of Syrinx’s prominent and provocative backside before her metamorphosis. I wish to consider one final example of the derrière in Ovidian art, this one prominent in a picture painted well Paul Barolsky 137 over a hundred years after Janssens worked: Louis-JeanFran çois Lagrenée’s Abduction of Deianira by the Centaur Nessus, a work which is now in the Louvre. In Ovid’s story, Hercules arrives with his bride Deianira at the shore of the river Evenus where she is abducted by Nessus, who flees only to have Hercules shoot him with... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:russell: the Journal of Bertrand Russell Studies n.s. 34 (winter 2014–15): 131–4 The Bertrand Russell Research Centre, McMaster U. issn 0036–01631; online 1913–8032 c:\users\ken\documents\type3402\rj 3402 050 red.docx 2015-02-04 9:19 PM _ibliography NEW PERIODICAL ARTICLES BY RUSSELL Kenneth Blackwell here are 35 new C entries since 1993 for A Bibliography of Bertrand Russell, and more for all Parts of Vol. 2. With many thanks to several readers. C15.18a [RECONSTRUCTION OF (...) INTELLECTUAL INTERNATIONALISM AFTER THE WAR]. Svenska Dagbladet, Stockholm, 18 July 1915, sec. b, p. 5. Published under the general title “Det kulturella samarbetets återupptagande efter kriget” [The re-establishment of cultural cooperation after the war]. There is a subtitle : “Tre nya svar på Svenska Dagbladets världsenquête” [Three new responses to Svenska Dagbladet’s world enquiry].—Ms. (ra3 rec. acq. 1,325).—In English in Russell, n.s. 18 (1998): 141–3 (ed. K. Blackwell). C16.07a THE CASE OF MR. E. CHAPPELOW. The Manchester Guardian, 19 April 1916, p. 6. Six sentences, introduced thus: “The Hon. Bertrand Russell writes”.—Russell makes reference to the Everett case. C16.10a THE CASE OF THE CONSCIENTIOUS OBJECTOR. The Freethinker, 36 (14 May 1916): 310. “… the country is drifting into the infliction of serious persecution upon a large number of young men.…”—Reprinted, with two-thirds omitted, in Jim Herrick, Vision and Realism: a Hundred years of The Freethinker (London: Foote, 1982), pp. 51–2. C22.39 INSTINCT, HABIT, AND INTELLIGENCE. Hull Weekly Recorder, no. 1 (16 Dec. 1922): 6–9. Reprinted in Collected Papers 16 (in preparation). C23.10a BERTRAND RUSSELL PREDICTS U.S. WILL EVENTUALLY CONTROL THE ENTIRE WORLD. The Daily Argus, Mt. Vernon, ny, 7 March 1923, p. 3. Subtitled “Famous British Philosopher Declares America Will Conquer through Economic Causes What Others Have Tried to Win by Force”.—A note states: “Written exclusively for I.N.S.” (International News Service).—Reprinted in Collected Papers 16 (in preparation). C28.02a WHAT I THINK OF COMPANIONATE MARRIAGE. Children, the Magazine for Parents, Chicago, 3 (Feb. 1928): 17. Russell’s contribution—one of four under the title, the others being by Ernest R. Groves, Stephen S. Wise, and Anna Garlin Spencer, pp. 17, 47—is five sentences long.—Reprinted in Collected Papers 18 (in preparation). C28.02b [ADVICE ON WRITING]. The Daily Illini (U. of Illinois), Champaign, il, 12 Feb. 1928, p. 15. Letter to the author on developing a writing style, quoted fully in Newton York, q= 132 kenneth blackwell c:\users\ken\documents\type3402\rj 3402 050 red.docx 2015-02-04 9:19 PM “What Authors Advise”, ibid.—Part of Russell’s advice is to “read Gibbon all through, at least twice.” —Reprinted in Collected Papers 18 (in preparation). C32.39a MR. BERTRAND RUSSELL’S QUESTIONS. The Manchester Guardian, 27 June 1932, p. 10. Letter to a Coventry correspondent, under the title, “The Dismissed Teacher”. C34.36a ROMAN-CELTIC FARM SITE. The Times, 18 Sept. 1934, p. 7. Letter in “Points from Letters”, signed by John Russell, Telegraph House, Harting, Petersfield, referring to S. E. Winbolt’s “A Roman-Celtic Farm Site; Discovery near Harting, Sussex”, ibid., 10 Sept. 1934, p. 7. The writer states that his part was “not so great” as it appears in the account.—The composition of the letter is ascribed here to Bertrand Russell because a draft, with the exception of a phrase added later, is entirely in his fluent hand. That of his 13-year-old son is not present.—The draft was crossed out, and the verso became folio 1 of the ms. of “On Ceremony” (C34.48). C34.55a [THE AMERICAN LIBRARY OF NAZI BANNED BOOKS]. Jewish Daily Bulletin, New York, 11, no. 3,030 (23 Dec. 1934): 1. A telegram congratulating the Brooklyn Jewish Center for “inaugurating an American Library for Nazi burnt books”.—The allusion is to the Nazi bonfire of banned books on 10 May 1933.—The dinner celebrating the Library and mentioned in Russell’s telegram is the subject of Joseph Goldberg, “ ‘A Splendid and Historic Gathering’: Brooklyn Jewish Center Inaugurates Library of Nazi Banned books”, Brooklyn Jewish Center Review... (shrink)

"Par dizaines, des expressions issues de la mythologie grecque se sont inscrites dans le langage courant : une "pomme de discorde", un "dédale de rues", prendre le "taureau par les cornes", toucher le "pactole", "tomber de Charybde en Scylla", suivre un "fil d'Ariane", "jouer les Cassandre", etc. Mille références endormies aux Sirènes, à Typhon, Océan, Triton, Python, Sibylle, Stentor, Mentor, Laïus, Argus, OEdipe et à tant d'autres personnages mythiques habitent encore incognito nos conversations de tous les jours. Je vous (...) propose de les réveiller en racontant les histoires magnifiques qui en sont l'origine. Mais il y a plus. Les grands mythes ne se limitent pas à des "contes et légendes". Ils proposent des leçons de vie et de sagesse d'une profondeur abyssale. La mythologie représente ainsi une tentative grandiose pour apporter des réponses à l'antique question métaphysique de "la vie bonne pour les mortels". Son étude, passionnante en elle-même, constitue pour cette raison une excellente introduction à la philosophie." Luc Ferry. (shrink)

In 1939, just before graduating from high school in the small town of Ridgeway in northeast Iowa, Everett Kuntz spent his entire savings of $12.50 on a 35mm Argus AF camera. He made a camera case from a worn-out boot, scraps from a tin can, and a clasp from his mother’s purse. For the next several years, especially during the summers when he worked on his parents’ dairy farm, he clicked the shutter of his trusty Argus all around (...) the quiet town. Everett bought movie reel film in bulk from a mail-order house, rolled his own film, and developed it in a closet at home, but he never had the money to print his photographs. More than two thousand negatives stayed in a box while he married, raised a family, and worked as an electrical engineer in the Twin Cities. When he became ill with cancer in the fall of 2002—sixty years after he had developed the last of his bulk film—Everett opened his time capsule and printed the images from his youth. He died in 2003, having brought his childhood town back to life just as he was leaving it. A sense of peace radiates from these images. Whether skinny-dipping in the Turkey River, wheelbarrow-racing, threshing oats, milking cows, visiting with relatives after church, or hanging out at the drugstore or the movies, Ridgeway’s hardworking citizens are modest and trusting and luminous in their graceful harmony and their unguarded affection for each other. Visiting the town in 2006 as he was writing the text to accompany these photographs, Jim Heynen crafted vignettes that perfectly complement these rediscovered images by blending fact and fiction to give context and voice to Ridgeway’s citizens. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Five Poems AMIT MAJMUDAR Observing Orpheus I hear the meaning turn back in his throat like Eurydice on the way up from the darkness. Music’s meaning is its making. As for me, I am one more animal in his entourage, learning a new thirst, finding a new south. None of us knew we had this instinct in us. If deserts hide wildflowers until first rain, bright ears are blossoming (...) out of our skulls. He doesn’t have much longer. I know this myth. A God douses the fire with a beehive. The Maenads smear their faces with a warpaint made of stoneground fireflies and pine sap. Hands—hands like his, that drew music through lyre strings into our forest like pieces of bread through a prison fence— are reaching for his body now, his lyre. Their weapons are hands, nothing but hands. They are infinite. They are enough. arion 27.1 spring/summer 2019 Her Metamorphoses First a beetle, body armor forged of chitin, exoskeleton he’ll never bruise, Undiscovered, unapologetically hermetic on her own Galapagos. Next a fruit bat, echolocating tangerines like a blind woman singing up at stars. Then a patio lizard, sunning herself for as long as she needs, A better place for keeping warm than bed with him. Next a sleek water moccasin, quick to make out another woman’s heat signature on his neck, Even quicker to strike. A caterpillar to poke holes in his lying roses And from that destruction to fashion two beautiful wings for herself. A buzzard, to clean up the roadside pile he left of her. A woman in full with no more soft blind pupa stages of her life cycle left, No more forms to force herself to fit for the sake of his pleasure, No more shapeshifts, no more slimming stripes, no more abdominal crunches: Just this body, just this last name, just this apartment, just this bowl of midnight cereal. Just her. 106 five poems Sisyphus Shove hard, shove, shove hard, eyes bloodshot, knees bent Till your boulder goes weightless and races ahead in descent. Force its dark door open inch by grim inch, Shove hard, shove, shove hard, eyes bloodshot, knees bent, Heels dug deep in hell’s steep hillside, teeth clenched. What gravity strips from you, gravity grants you again. Shove hard, shove, shove hard, eyes bloodshot, knees bent Till your body goes weightless and races ahead in ascent. Amit Majmudar 107 A Trinket for Persephone A deathwatch beetle burrows in the pale hall of your marrow, your underground, your tube of bone on which you’re riding home alone. This blackwinged locket with your soul emerges rattling from a hole, a rattle in your emptied throat, the diva’s final, graceless notes, a clicking echoed in the rafters, this bugbear insect coming after to scuttle across the marshy chest, sinkhole navel, and pubic nest out to the yard, below the porch untrackable by any torch until this bug with you inside has burrowed to the other side. It drops into the underworld, as if from some cocoon unfurled, to scale a queenly wrist and rest your brooch of black upon her breast. 108 five poems Four Ways of Looking at Argus 1. His Vigil These hundred eyes, these hundred balloons Tied to the boy-small wrist of my mind Are down to ninety-nine. I lost one to a bee sting late last June— I never thought of them as fragile Until that pinprick broke my vigil. I’m slowing down. I didn’t blink in time. I have no inkling why I keep This vigil—surely not to watch, Panoptic from this mountaintop, A heifer drifting off to sleep? I’m here, I must be here, to see A signal fire from the east That warns of Olympus under siege And Ares gory from a rout, Athena’s owl’s eyes gouged out, The naiads naked in a pen, The whole world given up to men. The Gods will need a monster then. 2. After Martial Hermes was in a fix: He needed lullabies To shutter Argus’s one hundred eyes And get the tethered heifer—coal-eyed Io—free Of Hera’s... (shrink)

This paper deals with a textual problem in the Io story of Bacchylides 19. My aim is to provide a supplement for line 19.29 that introduces a preliminary state to the way in which Argus has been overpowered by Hermes. The supplement I propose assumes a hapax attested, expanded form of ἐριούνιος for Hermes, εἰριούνιος, and puts forward an etymological explication of the epithet as ‘efficient in words’, ergo a ‘smooth talker’.

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of this book is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, (...) and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. (shrink)

Since the 19 th c. it has been taken for granted that Apollodorus’ version of the story about the love of Zeus and Io and the killing of Argus, in which Zeus is said to have denied his love by swearing a false oath, must be traced back to Hesiod. This paper tries to show (1) that the reasons given for this assumption are not valid. They are based on a clear misunderstanding of Apollodorus’ words. In addition, the evidence (...) adduced for it from literature and early vase painting does not stand close examination. It will be argued instead (2) that Apollodorus’ version is based rather on a hellenistic model and that in it Zeus actually does not commit a perjury, but tries to save Io from Hera’s revenge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Elegia i.3 PROPERTIUS Translated by Steven J.Willett Just as she lay when Theseus’ keel was sliding seaward, the Cnossian maid languid on the desolate shore; just as Cepheus’ daughter reclined in her first slumber, Andromeda, now freed from jagged rocks; just as the Thracian bacchant, weary from incessant dancing, slumps on the grassy bank of the Apidanus; even so Cynthia seemed to breathe a soft repose, her head pillowed (...) on open unruly hands, when I came dragging footsteps wobbly with too much wine, the boys waving burnt-out torches in the late night. Against her I tried, not all my senses utterly derelict, to advance gently on the compliant couch; and, though seized by a double ardor—each was commanding me, love here and wine there, both implacable gods— to assault her by slipping my arm lightly beneath her body and with a hand advanced take kisses and arms, yet I lacked the courage to shatter my mistress’ repose, fearing the brawls whose savagery I’d tasted; so I remained standing there motionless with rapt eyes, like Argus at the strange sight of Io’s horns. And now I was untying the garlands from my forehead and placing them, Cynthia, around your temples; and now I was finding it pleasant to smooth your fallen tresses; then I was giving you stolen apples in hollow palms; but I was lavishing all these gifts on ungrateful sleep, gifts that often tumbled from your sloping lap; and every time you heaved a sigh stirring fitfully, arion 28.2 fall 2020 98 elegia 1.3 I froze, foolishly credulous of an empty sign, fearful that some dream was bringing you strange terrors, or some man was forcing you reluctantly to be his: until the moon drifting across the opposite windows, the meddling moon whose eyes incline to linger, drew her closely-lidded eyes open under its delicate beams. Then, her elbow propped on the soft couch, she asked: “Has another’s rejection finally brought you back to my bed, chucked out with the doors slammed in your face? Where have you squandered the long hours of my night, languid, alas for me, as the stars are waning? Oh, I pray that you may endure, you beast, such nights as you are always making poor me to suffer! Just now I was cheating sleep with purple yarn at the loom, and then, exhausted, with song on Orpheus’ lyre; and sometimes, quite desolate, I softly complained to myself of the long waits your outside loves often cost me. Till sleep with gentle wings brushed me down to oblivion. That was the last concern of all my tears.”... (shrink)

Esta entrevista se realizó a la comunicadora española Marta Ramos Matas. En ella, expone las experiencias gratificantes que ha tenido al desempeñarse a nivel profesional, ya sea a través de la radio o el periódico a nivel. Para conseguir ese resultado, ella revela que le sirvió mucho tener como referentes a Àngels Barceló, Iker Jiménez, Carmen Porter y Alberto Matas. Por otro lado, ejercer esta función en su país es para ella ha generado percibir un alto nivel de competitividad, ya (...) que hay un gran número de personas que recurre a las mismas estrategias de difundir información, y que incluso no hacen un buen trabajo, debidoa que optan por denigrar la labor periodística al utilizar las fakenews. Esa sería una forma de transgredir los límites de la libertad de expresión, pues al no haber filtros en las redes sociales los usuarios comparten aquello que puede provenir de una fuente inverosímil. (shrink)

César Ernesto Arenas Ulloa nació el 15 de septiembre de 1988 en Chiclayo (Lambayeque, Perú). Realizó estudios literarios en la Universidad Nacional Mayor de San Marcos, hasta obtener el grado de licenciado. En el 2012, obtuvo un reconocimiento académico por ocupar el primer puesto a nivel de toda la escuela de Literatura. En el 2018, presentó su tesis titulada Autonomía y especificidad de la obra dramática: una lectura semiológica de El sistema Solar de Mariana de Althaus. Asimismo, tiene intereses en (...) el teatro peruano, el psicoanálisis y la escritura. Ha sido docente de Lenguaje en diversas universidades privadas de Lima. Ha publicado en revistas indexadas, así como ha participado en congresos y proyectos financiados. Actualmente, vive y estudia en Italia. (shrink)

Esta entrevista fue realizada a Ricardo Pallares, miembro de la Academia Nacional de Letras de Uruguay. Uno de los objetivos medulares de este encuentro fue que el académico brindara un panorama de cómo se percibe la Literatura en sus manifestaciones heterogéneas, ya sea a nivel local o internacional. Para ello, el referente de esta entrevista hizo una apreciación en torno a algunas áreas donde se desenvuelve esta disciplina, tales como en el ámbito educativo, la sociedad, los concursos literarios y las (...) producciones que pretenden alcanzar un espacio en la canonización de la Literatura. Con todas estas propuestas, Ricardo Pallares explica con entusiasmo y pormenores aquellas experiencias que le permitieron asegurar que lo literario es un componente fundamental para la vida de los ciudadanos y que no deja de ser neurálgico en las actividades culturales y académicas. (shrink)

Este manuscrito es una fiel transcripción de la entrevista que se realizó al doctor Gilberto Sánchez Cabezas, miembro de la Academia Chilena de la Lengua. La información que brindó el académico en este intercambio de preguntas fue esencial para tener un panorama de cómo fluctúa una investigación medular de las lenguas originarias o aborígenes de su país. Asimismo, hizo algunas precisiones en función de las traducciones de escritores canónicos que existen en lenguas proteiformes y cómo estas son plasmadas con modificaciones (...) que podrían alterar en demasía el contenido. Para ello, el académico usa con frecuencia algunos ejemplos de palabras quechuas, aimaras o castellanas con sus respectivos significados, además de citar fragmentos de autores como Paul Verlaine, Attila József, García Lorca, Goethe y Homero, con la volición de que se corrobore la traslación semántica y fonológica. (shrink)

En esta entrevista, el preservador Olaff Durand narra su experiencia como miembro de una organización ecológica, la cual se ha caracterizado por los cuidados que se han realizado al medioambiente. Estas actividades las han venido haciendo siempre de manera presencial, aunque en tiempo de pandemia se ha recurrido a virtualidad. Sin embargo, la labor y los proyectos ecológicos que él relata demuestran que ha habido un trabajo constante de concientización y de educación ambiental para los ciudadanos. En fin, esta conversación (...) será de utilidad para futuros investigadores e interesados en la materia, ya que podrán conocer cuáles son y serán las medidas sociales que adoptan los integrantes de esta organización ecológica para contrarrestar cualquier forma de contaminación en este siglo XXI. (shrink)

Este trabajo parte de la entrevista realizada a Rafael Courtoisie, tesorero de la Academia Nacional de Letras de Uruguay. El propósito de este manuscrito consistió en que el intelectual brindara un panorama de la producción literaria de su país a lo largo de la historia. Asimismo, su trayectoria que tiene como investigador y crítico de la Literatura permitió que pudiera ahondar en valoraciones que atañen a temas un tanto controversiales, como los pueden ser las entregas del Premio Nobel de Literatura, (...) la consolidación y la permanencia de un canon representativo en cada país o la realización de propuestas novedosas en torno a autores clásicos, como Dante Alighieri. (shrink)