Este trabajo aborda el tema de la maternidad a través de algunos filmes y series de ficción que nos acercan a un mundo en el que dicha realidad se somete a juicio en sus aspectos más elementales. Nos situamos a principios del siglo xxi, en sociedades democráticas, en mayor o menor medida liberales y de raíz judeocristiana, en las que se están produciendo cambios y promoviendo debates que hacen tambalear las estructuras sociales y familiares tradicionales. En un contexto en el (...) que se han modificando los cauces a través de los cuales se ha ejercido siempre la maternidad, nos preguntamos si hablamos de algo inmutable, vinculado a la identidad femenina; o por el contrario, es una realidad mutable en su esencia, que debe adaptarse en sus formas a los cambios culturales y sociales de nuestro entorno. Para ver las respuestas que el cine nos ofrece acerca de estas cuestiones, hemos elegido una serie de películas rodadas desde 1999, que consideramos fundamentales para arrojar luz sobre el tema. Dichos filmes nos presentan modelos de mujer que se enfrentan a la maternidad desde distintas situaciones y diferentes enfoques, en entornos complejos y cambiantes, que invitan a una reflexión en torno a los fundamentos sobre los que se construye nuestra sociedad. (shrink)

Imagination has received a great deal of attention in different fields such as psychology, philosophy and the cognitive sciences, in which some works provide a detailed account of the mechanisms involved in the creation and elaboration of imaginary worlds. Although imagination has also been formalized using different logical systems, none of them captures those dynamic mechanisms. In this work, we take inspiration from the Common Frame for Imagination Acts, that identifies the different processes involved in the creation of imaginary worlds, (...) and we use it to define a dynamic formal system called the Logic of Imagination Acts. We build our logic by using a possible-worlds semantics, together with a new set of static and dynamic modal operators. The role of the new dynamic operators is to call different algorithms that encode how the formal model is expanded in order to capture the different mechanisms involved in the creation and development of imaginary worlds. We provide the definitions of the language, the semantics and the algorithms, together with an example that shows how the model is expanded. By the end, we discuss some interesting features of our system, and we point out to possible lines of future work. (shrink)

A pesar de la relevancia que ganó el pensamiento de Jean-François Lyotard con la publicación de La Condition postmoderne (1979), solo un pequeño número de publicaciones académicas han abordado sus primeras propuestas en el campo de la estética. Este artículo pretende contribuir a la tarea de enmendar semejante error. Para ello se propone una aproximación general y sistemática a sus primeros usos del concepto de figura, comenzando por sus precedentes e influencias y concluyendo con la afirmación de que la estética (...) de Lyotard no expone una mera filosofía de las artes o una filosofía de la percepción, sino una auténtica ontología. Para facilitar la comprensión de esta cuestión, se abordarán algunos de sus conceptos más complejos, como el de figura-matriz, y se harán pequeñas aproximaciones a la producción de artistas como Joan Fontcuberta y Peter Tscherkassky, cuya obra explicita el tema central de este artículo: la poética, la política y la ontología de la figura. (shrink)

«Palabra de Dios» no se dice sólo con referencia a las Sagradas Escrituras; Jesucristo es la Palabra de Dios por antonomasia frente a la cual las demás expresiones de Palabra de Dios, incluyendo la Biblia, lo serán en sentido análogo y dependiente. Esto significa que tras la hermenéutica bíblica cristiana subyace la fe cristológica, de tal modo que lo que se predica de la naturaleza de la Sagrada Escritura, Palabra de Dios puesta por escrito, sea consecuencia directa de lo que (...) se predica de Jesucristo, Palabra de Dios encarnada. Ello, además de incidir en la vida y la fe del creyente, tiene importantes implicaciones epistemológicas, metodológicas y práxicas para la hermenéutica bíblica hoy. «Word of God» doesn’t onlj refer to the Holj Scaptures; Jesús Christ is the Word of God par excellence against which all other expressions of God’s Word, including the Bible, are anahgous and dependent. This means that behind Christian biblical hermeneutics lies faith in Christ, so that what is preached on the nature of the Holj Scripture, the written Word of God, is directlj dependent on what is preached about Jesús Christ, the Word of God incarnate. This, besides influencing the ufe and faith of the beüever, has important epistemological, methodological and practical consequences for current biblical hermeneutics. (shrink)

El trabajo que se presenta constituye un análisis epistemológico del aprendizaje intuitivo como dimensión humana. Su objetivo es caracterizar el marco referencial para una epistemología de lo intuitivo, a partir de la revisión bibliográfica y con la utilización del método hermenéutico, el histórico- lógico, la inducción- deducción y el análisis - síntesis. Sus principales resultados son los fundamentos epistemológicos del aprendizaje intuitivo, la definición pedagógica del aprendizaje intuitivo y la caracterización de las experiencias intuitivas. This article constitutes an epistemological analysis (...) of the intuitive learning as a human dimension. Its objective is to characterize the referential sitting for an epistemology about the intuitive beginning myth the cheering of the bibliography and the Hermeneutical method, Historical- logical, Induction- deduction, and analysis and synthesis. Its main results are: the epistemological foundation of the intuitive learning, the pedagogical definition of the intuitive learning and the characterization of the intuitive experiences. (shrink)

Una de las cuestiones más llamativas de las obras de Platón y Aristóteles estriba en su silencio acerca de la historia. Leyeron y criticaron a físicos, filósofos, matemáticos, biólogos, poetas, retóricos, políticos, etc. Sin embargo, sus citas a propósito de los historiadores de su momento cabrían en una cuartilla. En este breve artículo tratamos de ofrecer una explicación a propósito de tal omisión. Así mismo, aprovechamos para ofrecer una razón del Menéxeno y aportar una confirmación de las razones que condujeron (...) a L. Edelstein a cuestionar la autenticidad de las cartas séptima y octava atribuidas a Platón. One of the most showy questions about the works of Plato and Aristotle rests on them silence brings over of the history. They read and criticized physicists, philosophers, mathematicians, biologists, poets, rhetorical, political, etc. Nevertheless, their appointments about the historians of that moment would fit in a sheet of paper. In this brief article we try to offer an explanation about such an omission. Likewise, we are useful to offer a reason of the Menexenus and to contribute a confirmation of the reasons that L. Edelstein led to questioning the genuineness of seventh and eighth letters attributed to Plato. (shrink)

The awareness of the last 20 years about embodied cognition is directing multidisciplinary attention to the musical domain and impacting psychological research approaches from the 4E cognition. Based on previous research regarding musical teaching and learning conceptions of 30 young guitar apprentices of advanced level in three learning cultures: Western classical, jazz, and flamenco of oral tradition, two participants of flamenco with polarised profiles of learning were selected as instrumental cases for a prospective ex post facto design. Discourse and practice (...) of the two flamenco guitarists were analysed in-depth to describe bodily issues and verbal discourse on the learning practice in their natural contexts. Qualitative analysis is performed on the posture, gestures, verbal discourse, and musical practice of the participants through the System for the Analysis of Music Teaching and Learning Practices. The results are organised attending: the Embodied mind through differential postures and gestures of flamenco participants that showed a fusion among verbal, body language, and musical discourse with respect to the musical literacy cultures; the Embedded mind and a detailed description of circumstances and relationships of the two flamenco participants, and how music is embedded in their way of life, family and social context, and therefore transcends musical activity itself; the Enactive mind, regarding the active processes that make differences between the reproductive and the transformative flamenco apprentices, then tentative relationship are observed in the discourse of each apprentice and the way in which they practice; finally, the Extended mind through the bodily, technical and symbolic tools they use during learning. Flamenco culture of oral tradition made use of listening, and temporary external representations instead of notational, but also the body played a central role in a holistic rhythm processing through multimodality, such as singing, playing, and dancing. Conclusions point out the embodied mind as a result of the culture of learning reflected through the body and the gesture in instrumental learning. (shrink)

In this paper, we review three influential theories of imagination in order to understand how the dynamics of imagination acts could be modeled using formal languages. While reviewing them, we notice that they are not detailed enough to account for all the mechanisms involved in creating and developing imaginary worlds. We claim those theories could be further refined into what we call the Common Frame for Imagination Acts, which defines a framework that can be used to study the dynamics of (...) imagination using formal languages, and we support our claim by showing how the framework allows to model certain imagination acts step by step. Then, we introduce the Rhombus of Imagination, which is a visual tool that can be used in conjunction with our framework to study the procedural structure of different kinds of imagination acts and identify their dynamic properties. (shrink)

Technology has become one of the main channels through which people engage in most of their everyday activities. When working, learning, or socializing, the affordances created by technological tools determine the way in which users interact with one another and their environment, thus favoring certain actions and behaviors, while discouraging others. The ethical dimension behind the use of technology has been already studied in recent works, but the question is often formulated in a protective way that focuses on shielding the (...) users from potential detrimental effects. Nevertheless, when considering collateral ethical benefits that the use of technology could bring about, virtue ethics and the notions of “practice” and “practical wisdom” present new opportunities to harness this potential. By understanding the combination of technology, its users and their interactions as a system, technology can be seen as the space where most of its users’ daily practice happens. Through this practice, users can get the chance to collaterally develop and enhance their ethical awareness, sensitivity and reasoning capabilities. This work is shaped as a manifesto that provides the background, motivations and directions needed to ask a complementary question about the ethics of technology that aims towards the potentiality behind the use of technology. Instead of focusing on shielding the users, the proposed _ethical idealist_ approach to the ethics of technology aims to empower them by understanding their use of technology as the space where the development of their practical wisdom, understood in the virtue ethics’ sense, takes place. (shrink)

This essay examines Arendt’s descriptions of “Hottentots” in The Origins of Totalitarianism, especially the comparisons and contrasts she frequently draws between Hottentots and other peoples. In particular, Arendt highlights dehumanization of presumptively “civilized” people in comparing them to African “savages.” Close reading of such analogies demands that we look beyond the racial explanations that other scholars have offered and focus instead on how Arendt’s conception of humanity is bound up with a specific sense of culture that is antiprimitivist—exclusive of peoples (...) without history, primitives. Analysis of her moral anthropology uncovers the Cape Colony discourses and postenlightenment German philosophical supports that inform her antiprimitivism. However, Arendt’s antiprimitivism may not remain confined to Origins. In later essays, Arendt analyzes the various aspects of culture in instructive ways.Yet she also synthesizes culture concepts into a schema that introduces problems for her. (shrink)

Respect for human life is central to medicine. In terminal patients, refractory symptoms are a niche of palliative sedation. This paper identi es, based on scienti c evidence, the survival in patients who received palliative sedation as compared to those who didn’t. We conducted a search for systematic reviews from 2000 to 2016, which were methodologically analyzed, and the results were then compared. For methodological reasons, meta-analysis could not be performed. It is concluded that terminal palliative sedation does not shorten (...) patients’ lives. The implementation of the principle of double effect related to the possible shortening of life was reformulated; the unwanted evil is the loss of consciousness. (shrink)

En el presente artículo nos hemos propuesto analizar las variantes textuales griegas relativas a los términos “vino” y “vinagre” dentro del contexto neotestamentario de la Pasión de Cristo, así como sus correlatos en la traducción de los Evangelios en antiguo eslavo. Como resultado de dicho análisis, hemos detectado una tendencia a introducir el término “vinagre” por parte de la tradición textológica del Nuevo Testamento griego, que es secundada además por otras tradiciones, como la siríaca o la eslava.

This article analyses the original core of the ‘Art’ of Ramon Llull, which, according to the author, was the result of a vision on Mount Randa. We start from the paradoxical fact that Llull describes his Art as a result of an immediate revelation, but throughout his life constantly reworked the artistic structure, in both formal and procedural aspects. We thus take a hermeneutical approach to the ontology, logic and symbolism of Llull’s Art to define as precisely as possible what (...) remained constant through the changes. We conclude that the so-called ‘illumination of Randa’ was actually a mystical vision of the cosmos and its internal relations, but not the argumentative process of the Art, which Llull clarified over the course of his life. (shrink)