La poesía de Rodrigo Lira está marcada por el uso del humor negro y la polifonía, tanto para referirse a la voz poética como a su contexto literario, cultural, social y político. Estas estrategias para la configuración de su identidad y posicionamiento discursivo, de carácter fragmentario, se utilizan para conjurar su sentido de despertenencia, soledad y culpa de ser.

This work studies an artistic way of narrating an exile without having to resort to direct words such as violence or crime. Max Aub, a Spanish exile in Mexico, published his personal magazine Sala de Espera in Aztec lands. In the section called “Zarzuela,” he compiled a series of short stories entitled Crímenes, which later, for its edition in book format, he called Crímenes ejemplares. The short stories are a series of humorous confessions about various types of murders narrated by (...) the "murderers," so that they seem real testimonies. Throughout the three editions of this book, during Aub's lifetime, the author incorporated a series of "clues" in the paratexts with the aim of referring to the social phenomena of the time, especially those related to the situation with the Franco regime, the Cold War —historical context of the time of Aub's exile in Mexico— and the events that would take place in Mexico and Paris in 1968. For example, this last nod to the violent events of that summer of 68 is represented with a painting that evokes the French gang Bonnot, dedicated to bank robberies to destabilize the economy of the richest. This is an example of how the writer related the fiction of the crimes to real events, in such a way that a kind of dilution between the real and the imaginary arises. (shrink)

Some of Dave Chappelle’s uses of storytelling about seemingly mundane events, like his experiences with his “white friend Chip” and the police, are examples of what W.E.B. Du Bois calls “Positive Propaganda.” This is in contrast to “Demagoguery,” the sort of propaganda described by Jason Stanley that obstructs empathic recognition of others, and undermines reasonable debate among citizens regarding policies that matter: the justice system, welfare, inequality, and race, for example. Some of Chappelle’s humor, especially in his most recent (...) Netflix specials, but also in his earlier standup performances and his series The Chappelle Show, is akin to art that appeals to emotion in the ways suggested by Du Bois in “Criteria of Negro Art” (1926). Beauty is essential to art, but, “I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent” (p. 22). The “one side” is that which appears to extoll American ideals, but in reality undermines them, perpetuating the subordinate status of “the other”--black citizens. Replace “beauty” with “humor” or “funny”, and we see striking parallels between Chappelle’s socio-political performances and Du Bois’ call for positive propaganda, each of which constitute “civic rhetoric” broadly construed. We no longer live in Du Bois’ America of explicit denial of rights. In many ways our situation is worse, as the mechanisms of exclusion are implicit, difficult to dislodge, because they are invisible. Chappelles’ humor draws attention to subtle undermining-propaganda in our liberal democracy, transforming it through his counter-propaganda into the spectacle that it should be; ubiquitous democracy-denying propaganda should be as obvious to whites as it is to minorities. In his words, we should all see that “that shit is fucking incredible” (Killin’ Them Softly). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Faulkner's Novels Past and PresentAndrew J. McKenna (bio)This article contains instances of the N-word. The Editor, Michigan State University Press, and Michigan State University do not condone the use of this word and only after careful consideration have we reprinted it. In this case, the word appears in the context of works by Faulkner.When I first came East I kept thinking You've got to remember to think of some (...) of them as coloured people not niggers, … I learned that the best way to take all people, black or white, is to take them for what they think they are, and leave them alone. That was when I realized that a nigger is not a person so much as a form of behavior; a sort of obverse reflection of the white people he lives among.—Faulkner, The Sound and the Fury ([1929] 2019, 45)A black man is a person who must ride Jim Crow in Georgia.—W. E. B. Du Bois ([1940] 1992, 153)When William Faulkner memorably stated, "the past is not dead, it's not even past," he was not reaching out for a place in the world-historical pantheon of aphoristic wisdom; he wasn't thinking about culture and history in general. A person of his own time and place, he was thinking about his experience in his own homeland, the deep South of his native [End Page 39] Mississippi, with its cherished myth of a Lost Cause that ennobled the effort to tear our country apart over slavery, and that subsequently enabled Jim Crow legislation, spawned the KKK, and sanctioned a century of lynching and burning. There has been an uptick of attention to Faulkner owing to Carl Rollyson's recent two-volume biography (2020) and, especially for my purposes, Michael Gorra's The Saddest Words: William Faulkner's Civil War (2020), which focuses on the centrality of that cataclysm in his creative imagination and his historical vision.On more than one occasion Faulkner himself was emphatic in his own ambivalence toward "his native land," as in this self-description: "He was born of it and his bones will sleep in it; loving it even while hating some of it … the intolerance and injustice; the lynching of negroes not for the crimes they committed but because their skins were black" (in Blotner 2005, 354). Gorra (2020) argues that this very ambivalence is a generative resource for the author's greatest achievements, quoting Yeats's notorious dictum, "We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry" (346). This can remind us of the notorious "crucible of doubt" out of which Dostoevsky allegedly forged his fiction. The Russian novelist is named (Blotner 2005, 718) as among seven of Faulkner's "masters" in the literary education of this omnivorous autodidact, with the others being Melville, Conrad, Balzac, Flaubert, Dickens, and Cervantes. With Dostoevsky especially he shares an admixture of horror and benign good humor. On occasion Faulkner was classed as an author of Southern Gothic, a label also applied to Flannery O'Connor, who, with Toni Morrison and Cormac McCarthy, counts among his greatest literary progeny. A more capacious designation might rank him with masters of the grotesque, as Mikhail Bakhtin has explored this anomalous category in his writings on Rabelais and Dostoevsky.Light in August (Faulkner, 1932) begins and ends on a humorous note, as we follow the quest of the guileless Lena Grove for the father of her unborn child. She has concluded from her "endless care of other children" in her brother's household, "'I reckon that's why I got one so quick myself'" (3); the novel closes with her newborn infant in her arms in her now aimless trek, marveling, "My, my. A body does get around: here we aint been coming from Alabama but two months, and now it's already Tennessee" (480).Lena's peregrinations bookend the story of Joe Christmas, so named because he was born on that day and who, we find later in the narrative, was snatched away by his religiously fanatical grandfather to be placed in an orphanage, then snatched away again to be placed... (shrink)

Proposition 5.122 of Wittgenstein’s Tractatus has been the source of much puzzlement among interpreters, so much so that no fully satisfactory account is yet available. This is unfortunate, if only because the containment account of logical consequence has a venerable tradition behind it. Pasquale Frascolla’s interpretation of proposition 5.122 is based on a valid argument and one true premise. However, the argument explains sense containment only in an indirect way, leaving some crucial questions unanswered. Besides, Frascolla does not address the (...) issue of how to make sense containment notationally perspicuous, an essential theme in Wittgenstein’s reflections. In this paper, we elaborate on Frascolla’s account by looking at the issue through the Tractarian notion of logical space. Our analysis shows that, for containment to be fully appreciated, one should adopt a negative perspective on the notion of sense, in line with the exclusionary theory of conceptual content, as labelled by Ian Rumfitt. Besides this, we introduce and discuss two methods—one envisaged by Wittgenstein himself—for making sense containment notationally perspicuous. (shrink)

Assessing the scientific status of theories of consciousness is often a difficult task. In this paper, I explore the dialectic between the Integrated Information Theory, e1003588, 2014; Tononi et al. Nat Rev Neurosci, 17, 450-61, 2016) and a recently proposed criticism of that theory: the ‘unfolding argument’. I show that the phenomenology-first approach in consciousness research can lead to valid scientific theories of consciousness. I do this by highlighting the two reasons why the unfolding argument fails: first, phenomenology-first theories are (...) grounded, not circular. Second, falsificationism does not provide an adequate demarcation criterion in philosophy of science. I conclude that this specific debate has significance for how, in general, consciousness researchers test and criticize theories of consciousness, and how dismissing the phenomenology-first methodology in favour of a third person-based methodology means endorsing a position in philosophy of mind that has already been challenged. (shrink)

Os dois primeiros capítulos dos Evangelhos canônicos de Mateus e Lucas têm dois conceitos teológicos que precisam ser mais investigados. Trata-se de “justiça” e “virgindade”, que podem ser entendidos como “tópoi”, isto é, palavras ou conceitos muito especiais. A tentativa desde artigo é abrir o debate a respeito e propor uma nova leitura dos relatos de Anunciação, desta-cando as figuras fundamentais de José e Maria, referências específicas de Jesus: sua messiani-dade e sua humanidade.

Kenny’s book on Wittgenstein has been studied by hundreds of students. What happens when a student comes to the lecturer and says that Kenny’s formula for the number of truth-functions is wrong? You read the 2006 revised edition of the book and realise that the student is right and are ashamed at not having pointed this out to the class. Then you try to focus on which misunderstandings may lie behind the wrong formula. This is what we are trying to (...) do in these short remarks. (shrink)

La conception selon laquelle l'âme est la forme d'un sujet corporel semble rendre impossible pour Aristote d'admettre la survie de l'âme humaine. En fait, si la mort est aliénation de l'âme par rapport au corps, elle implique la perte de l'identité individuelle et l'âme qui survit devient une forme sans son sujet, ce qui est impossible dans le système d'Aristote. L'article rappelle qu'une distinction doit être faite entre le corps et la matière: la matière est le principe de multiplicité des (...) individus à l'intérieur de la même forme, et appartient à l'essence de l'homme; tandis que le terme de corps réfère aux propriétés et aux activités de l'homme liées à en vertu de l'accident ποσον, la quantité. De cette manière, l'aliénation entre corps âme ne touche pas l'essence de l'homme; elle ne nous laisse pas avec une impossible forme subsistant sans sujet. Cela permet une compréhension nouvelle du sens de la survie personnelle et explique pourquoi dans la génération humaine chose de survient en l'homme, d'en haut et en dehors de tout le cours de la nature. (shrink)

The integrated information theory (IIT) is an ambitious theory of consciousness that aims to provide both a neuroscientific and a metaphysical account of consciousness by identifying consciousness with integrated information. In the philosophical literature, IIT is often associated with a panpsychist worldview. In this paper, I show that IIT can be considered, instead, as a form of emergentism that is incompatible with panpsychism. First, I show that the panpsychist interpretation of IIT is based on two properties of integrated information: intrinsicality (...) and fundamentality. I show that the way IIT deals with these two properties, however, aligns better with emergentism than panpsychism. Then, after plugging some anti-panpsychist assumptions into IIT’s structure, I analyse different philosophical options for interpreting the formal result of causal emergence of integrated information in terms of dependence on and autonomy from its physical substrate. The upshot is that integrated information can be seen as dependent upon the fusion of the cause-effect powers of a physical substrate, and as autonomous in virtue of global-to-local determination. According to this interpretation, consciousness is the constraining power of the system as a whole upon itself, when this power emerges from the fusion on the cause-effect powers of the system’s components. (shrink)

O grupo de escritos chamados Cartas Católicas, junto à chamada Carta aos Hebreus apresenta-se como um testemunho extra-paulino do Cristianismo primitivo. De fato, é o conjunto dos textos narrativos (Evangelhos e Atos) e do Corpus Paulinum (conjunto dos escritos atribuídos a Paulo) que são mais marcantes na compreensão do Evento Jesus Cristo e sua vivência e compreensão no primeiro século. Com frequência, se esquece que o Cristianismo é um fenômeno histórico e social plural. Uma pequena introdução a este tempo histórico (...) e à sua temática é sempre oportuna para compreender as raízes da Igreja. (shrink)