This article deals with the methodologies commonly used in the framework of the structural approach to social representations. It concerns free and hierarchical evocations, the characterization questionnaire, the similarity analysis, the basic cognitive schemes model, the attribute-challenge technique and the test of context independence. More than a simple review of these methodologies, it offers a critical approach concerning the problems encountered and related to: thresholds or “cutoff points” used to diagnose the structure and the accuracy of the structural diagnosis, grouping (...) methods employed to reduce the corpus of verbal associations, the dilemma between reliability and feasibility, especially in field research, the adequacy and number of modalities of response in the framework of the structural diagnosis. Following this evaluation, this article suggests potential solutions to overcome these methodological limitations. Moreover, as methodological issues are closely related to theoretical questions, the link between social representation theory and identity approaches is discussed. (shrink)

Research Ethics Committees have the responsibility to protect the participants involved in researches and to guarantee the ethical behavior of researchers. In some institutions, such committees also review scientific projects of non-pharmaceutical areas, Public Health and Health Economics. Within this framework, the article analyzes what it means to be part of a Research Ethics Committee in a hospital or university based on personal experience as a community representative. By means of the convenience sampling technique, implemented in four Colombian cities that (...) have GCP-certified committees by INVIMA –National Institute for the Control of Medications and Food–, and by means of content analysis, based on fixed and emergent categories; the experience, perception, participation, representation, and ethical aspects are described as well as the learning process and personal contributions. Findings prove that representatives interviewed have been benefited by learning clinic and epidemiological aspects without necessarily being “experts in the community”. However, they seem not to recognize clearly the population they represent, which might lead these communities to being affected by certain particular studies. The article suggests to work on the minimal common elements that a community representative should possess to appropriately protect participants. (shrink)

ABSTRACTIn the Timaeus, Plato explicitly defines time as “the moving image of eternity”. This proposition affirms actually that time reflects the eternal that embodies the rational and lawful principle – namely the logos of proportionality – in the motion and change of visible objects in the universe. In other words,time determines the principle that every mutable being must follow to participate in the rational and nomological order of existence; the absolute logos which is given by God is hence intrinsic to (...) time. This idea of time is echoed by the theories of Augustine and Husserl. Both philosophers inherited some of Plato’s metaphysical views, and each of them developed a distinctive theory of the relations between Being, time, and the absolute logos. This paper attempts to compare their theories and to defend the following claim: Augustine fo-cuses on the immutable representation of time which is regarded as the image or reflection of God’s absolute logos, and explains temporal phenome... (shrink)

Scholars have established that cultural codes and styles of expression in civil society must be recognized as informal mechanisms of exclusion, calling into question the possibility of the Habermasian normative ideal of the public sphere. This article joins theoretical discussions of how to remedy this problem. Going beyond Alexander's model of "multicultural incorporation" and borrowing from Sewell's theory of the duality of structure, we develop a theoretical framework of code hybridization to conceptualize how civil society participants achieve civil solidarity amid (...) multiple, potentially contradictory cultural legacies. Code hybridization is a process whereby social actors not only incorporate the cultural codes of subordinate groups into the public sphere, but in doing so also potentially transform dominant codes. We conceptualize code hybridization in terms of three analytic steps: enlargement of the terrains of signification; reinterpretation of codes; and mixing of schemas. The resulting hybridized schemas and frameworks are particularly useful cultural tools for developing visions of civil inclusiveness for young, unstable civil societies. Using a brief comparative study of the representation of women in political cartoons in Hong Kong and Taiwan, we offer a concrete example of code hybridization—a process linking the codes of liberty and caring while producing alternative and more inclusive narratives during moments of political agitation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theorizing Chinese Masculinity: Society and Gender in ChinaKwai-Cheung LoTheorizing Chinese Masculinity: Society and Gender in China. By Kam Louie. Cam-bridge: Cambridge University Press, 2002. Pp. 239. Hardcover U.S. $60.00.In Theorizing Chinese Masculinity: Society and Gender in China Kam Louie offers us a very clear and concise analysis of the cultural models of Chinese masculinity from ancient imperial times to the present age of transnational contact. Although academic works (...) on Chinese masculinity are not totally absent, systematic and thorough historical surveys of this topic are still rare. While gender studies of China are predominantly on femininity or other women-related issues, man as a gendered category has long escaped serious academic attention. Louie's book could be considered a pioneering effort to provide a rather comprehensive study of this subject. Besides describing in detail the historical development of the male image from premodern to contemporary times, Louie also focuses on the ways in which Chinese men have been represented under the Western gaze and how these representations have negotiated with the dominant Western culture.The fundamental structure of masculinity in China, according to Louie, operates according to the two poles of wen (literary attainment, cultural knowledge, the mental) and wu (martial valor, martial arts, the physical), which are far more complementary than antagonistic, although the wen polarity has always been prioritized over wu in the conventional Chinese mindset. wen maleness is exemplified by Confucius, the sage of the gentleman-scholar type, whereas Guan Yu, the God of War, represents the wu masculine ideal. These two archetypes of Chinese masculinity [End Page 497] converge in the stern observance of moral demands, self-restraint, and a resistance or even a misogynistic attitude to the faults associated with femininity (i.e., sexual pleasure, comfort, and loss of virility) in order to pursue lofty forms of justice and homosocial binding. The recent popularity of Hong Kong martial arts films in the West may help Western readers become accustomed to the traditional Chinese idea that the ideal balance of wen and wu places emphasis on strategy and learning as a means of avoiding the use of violence. Louie repeatedly asserts that, in the Chinese cultural context, all men by definition have some wen and/or some wu, thus negating a simplified dichotomy.The highest ideal of Chinese maleness is that of a single individual who can demonstrate at the highest level the cultural credentials and physical skills of wen and wu. That is to say, the great man who can hold a brush in his right hand and a sword or some other weapon in his left, demonstrating prowess in both kinds of effort. But in terms of their sex appeal, it is always the softer, cerebral, scholarly men of wen who are more attractive to Chinese women than their macho, brawny opposite. Other than analyzing the heterosexual relationships of Chinese manhood, Louie also provocatively suggests that brotherhood and passions between men are never simply homosocial but can have sexual implications. He supports this claim by making reference to many classical texts that depict men sleeping together, leading to strong emotional attachments and jealousy, as if they were in a romantic or erotic liaison. What distinguishes Louie's wen/wu duality from the conventional yin/yang binary opposition (which is also an artificial difference that defines the Chinese male in relation to Western men and reinforces the stereotype of a feminized Chinese masculinity) is that he believes his dyad of Chinese masculinity to be more resilient, flexible, and adaptable to historical change, hybridizing with Western culture while simultaneously exerting its own global influence on non-Chinese cultures.Covering a vast range of historical and contemporary materials and a variety of genres, from classical philosophy to traditional vernacular fiction (e.g., The Romance of the Three Kingdoms and The Water Margin), through Lao She's early twentieth-century novel The Two Mas, the subversive portrayals of men by modern Chinese women writers, to contemporary Hong Kong action cinema—all in a relatively slim volume—Louie is at his best, for example, when observing and depicting character, but he is not so good at analyzing his texts on a... (shrink)

This article proposes to think about the Universal Church of the Kingdom of God religious services offerings from the merger of imaginary features representations of it time and context. While many are in charge to found new paths, Edir Macedo envisioned in already crystallized pedagogy of mental images and people representations his great discursive / theological contribution. Therefore, it was with the demonization of Umbanda and the management of sympathies, rites, blessings and exorcisms converted into sacred liturgies and confrontation with (...) their wichcrafts, to the transformation of their temples and services in major therapeutic/ spiritual spaces. From the mystical and religious imagery to the psychoanalytic rationalizing imaginary, the UCKG remain prosperous and professional in provide feedback on the imagination of its customers from the representations present in their own time setting. In a flexible way, the religious services of the UCKG are always in line with the demands of certain social groups, more precisely to those who are more sensitive to the use of the popular imagination outline as a complementary substance in the plausibility of everyday life. (shrink)

ABSTRACT Metafictive utterances raise a kind of intuitions that pose a problem for a view that combines a referentialist approach to proper names with an antirealist stance on fictional characters. In this article I attempt to provide a solution to this problem within the framework of mental files. According to my position, metafictive utterances literally express an incomplete proposition while pragmatically conveying a complete one, which accounts for the intuitions of truthfulness. The proposition pragmatically conveyed is ‘metarepresentational', I'll argue, in (...) the sense that it is about a mental representation or mental file. RESUMO As emissões metafictivas despertam intuições de verdade, as quais representam um problema para uma teoria que combine uma posição referencialista quanto aos nomes próprios com um compromisso antirrealista quanto às personagens de ficção. O objetivo deste artigo é proporcionar uma solução para este problema no âmbito da teoria de arquivos mentais. De acordo com a posição desenvolvida, enquanto as emissões metafictivas expressam literalmente uma proposição incompleta, comunicam pragmaticamente uma proposição completa, a qual explica as intuições de verdade. A proposição pragmaticamente comunicada, argumentarei, é "metarrepresentacional", no sentido de que é sobre uma representação mental ou arquivo mental. (shrink)

Malraux's writing forcefully poses the problem of the relations between the real and the imaginary, between action and its representation, between poetry and truth. As this article will show, André Malraux found in his trip to China the inspiration for a new process of artistic creation that culminates in his work Antimémoires, where action and history build the guiding thread of a metaphysical and mythological travel story. Our analysis will show how his life and his work, deeply united, are the (...) two forms of an intense organization of himself, life constructed as work and work narrated as life. (shrink)

The present study analyses the typology and structure of Chinese Aid to Latin America and the Caribbean, considering the features of this kind of South-South Cooperation within the context of China’s aid policy and strategic aims in this region. The results of the study reveal the different patterns in the structure of Chinese aid to the LAC sub-regions. These patterns indicate that the most significant funds are focused on development and commercial projects in South America; that grants prevail in the (...) case of the Caribbean; and representational aid, which does not need major resources, is associated with Central America. As Wan states, this shows that China’s aid has a strategic role at a global level. (shrink)

As a theoretical extension of other previous studies, this work represents an improvement of the notions about the relationship between adolescence and Mafia. The research has been aiming at exploring teenagers’ universe within specific social contexts where the presence of criminal organizations is significant, focusing the attention on the modalities through which evolutionary tasks are coped with in contexts with high Mafia density and often characterized by a perception of social space that makes personal, financial, and political development problematic. The (...) research has involved 93 teenagers who live in southern regions where the presence of Mafia organizations is significant. Six focus groups have been carried out, recorded, and transcribed. Verbalizations were analyzed through appropriate qualitative templates, which allowed detecting of three thematic macro-areas: representations of Mafia, emotions connected to it, and planning skills. The qualitative analy.. (shrink)

Resumen: Este artículo pretende un acercamiento teórico-epistemológico y crítico-reflexivo a las bases que sustentan lo imaginario como una dimensión fundamental de lo social y, en consecuencia, de los estudios de lo social. En un primer momento trata de una definición socio-antropológica de lo imaginario a través de la experiencia simbólica y determinada por la conducta social. En segundo lugar, se identifica lo imaginario como un sistema arquetípico morfo-semántico, constituyendo un modelo transmutable culturalmente. Posteriormente, se establece una dimensión particular para una (...) nueva visualización del objeto antropológico, uno definido entre el hecho social y la experiencia simbólica, dándole énfasis a las significaciones y representaciones sociales. Finalmente, aborda al homo simbolicus como fundamento de la subjetividad y objetividad, donde sus interpretaciones y cognoscencia se erigen como fundamento de toda praxis social. Concluye con una reflexión sobre las posibilidades científicas de una antropología social de lo imaginario como necesidad investigativa en una sociedad meta-empírica.: This article is a theoretical and epistemological critical approach to the arguments supporting the imaginary as a fundamental dimension of social life and, consequently, of the studies of the social. The first part tries to establish a sociological and anthropological definition of the imaginary through the symbolic experience, determined by the social behaviour. Secondly, the imaginary is understood as an archetypal morpho-semantic system, constituting a model that changes culturally. Subsequently, it establishes a dimension for a new display of the anthropological object, defined between the social fact and the symbolic experience, giving emphasis to meanings and social representations. Finally, it addresses the homo simbolicus as the basis of subjectivity and objectivity, where their interpretations and cognoscence stands as the foundation of all social praxis. It concludes with a reflection on the scientific possibilities of a social anthropology of the imaginary as a necesity for research in a meta-empirical society. (shrink)

Resumen: Este estudio da cuenta del análisis crítico del discurso realizado en una investigación mayor aplicada a 151 docentes técnicos, que se desempeñan en los niveles diferenciados de liceos de Educación Media Técnico Profesional con alto nivel de vulnerabilidad. Esta fase buscó establecer representaciones discursivas acerca de los estudiantes, cuando los docentes relacionan los conceptos de EMTP, pobreza y familia. El corpus fue analizado desde el modelo Tridimensional de Fairclough. Los resultados reproducen dos discursos sociales, el del Estado y el (...) de la familia, ocultando una dominación al instalar una falsa autonomía social en las poblaciones de estudiantes más pobres, proyectadas en un determinismo, cuando no se ven posibilidades de superar la pobreza.: This study gives an account of the critical discourse analysis carried out in an investigation, more applied to 151 technical professors, who work in the differentiated levels of secondary vocational schools with high level of vulnerability. This phase sought to establish discursive representations towards students, when teachers relate the concepts of EMTP, poverty and family. The corpus was analyzed from the three-dimensional model Fairclough. The results reproduce two social discourses, that of the state and that of the family, concealing a domination by installing a false social autonomy in the poorest student populations, projected on a determinism, when there is no chance of overcoming poverty. (shrink)

Resumen: Este artículo tiene por finalidad indagar sobre las representaciones sociales que se tejen en torno de la educación religiosa escolar (ERE). Para ello, se empleó una investigación cualitativa amparada en una perspectiva hermenéutica y un método narrativo desarrollado a través de redes semánticas naturales y análisis de contenido. El trabajo de campo se realizó con una población de estudiantes de dos instituciones educativas de carácter privado, en la ciudad de Popayán. El análisis permitió identificar los aportes de la ERE (...) a los sujetos abordados, la descripción de sinónimos con los cuales se asocia la ERE y algunas temáticas que se deberían abordar en esta área. Estos tránsitos permitieron analizar las variaciones y tendencias que posibilitan la inferencia de su articulación con la dimensión espiritual. Abstract: The purpose of this article is to investigate the social representations that are woven around school religious education (SRE). To do this, the researchers developed a qualitative research based on a hermeneutical perspective and a narrative method developed through natural semantic networks and content analysis. The fieldwork was carried out with a population of students from two private educational institutions in the city of Popayán, Colombia. The analysis made it possible to identify the contributions of the SRE to the subjects approached, the description of synonyms with which the SRE is associated, and some issues that should be addressed in this area. These transits allowed us to analyze the variations and tendencies that make possible the inference of its articulation with the spiritual dimension. (shrink)

En base al estudio empírico de los discursos de desarrollo presentes en actores clave del Gran Concepción, Chile, este artículo plantea algunos lineamientos teóricos a partir del mismo. Se distinguen dos temas centrales a la hora de hablar del par desarrollo-sustentabilidad: el poder de las representaciones sociales y la interrogante acerca del nivel de representatividad de las decisiones que se toman en relación a estos asuntos. Esto conecta las temáticas ambientales con una demanda de ciudadanía y con la pregunta acerca (...) de las prioridades sociales que como país aceptamos. (shrink)

Se realizó una investigación cualitativa, entre octubre de 2015 y junio de 2016, en la Casa de Abuelos No. 2 de Santa Clara con el objetivo de caracterizar la representación social de la sexualidad de los adultos mayores. Se seleccionó una muestra de 24 adultos mayores. Se utilizaron técnicas como: observación, entrevista, debate grupal, asociación de palabras, de cuestionamiento del núcleo central y la triangulación de datos. Como resultados se determinó que en la representación de la sexualidad se observó un (...) campo estructurado y un contenido que se aleja de su significado. Se concluyó que la representación social de la sexualidad de los adultos mayores se identificó con las relaciones sexuales, con el acto sexual. Las informaciones que poseen carecen de calidad y denotan un carácter prejuiciado y estereotipado. Manifestaron actitudes de rechazo hacia la sexualidad lo que se explicó por: el desconocimiento, la inadecuada relación entre sexualidad y reproducción, la existencia de prejuicios sociales y asociar el envejecimiento con la enfermedad. With the aim of characterizing the social representation of sexuality in senior citizens, a qualitative research was carried out from October 2015 to June 2016 in Grandparents House No. 2 in Santa Clara City. A sample of 24 people was selected. Methods such as observation, interview, group debate, words association, central core questioning technique and data triangulation were used. It was determined that in the representation of sexuality there is a structured field and a content that goes away from its meaning. Social representation of sexuality in senior citizens was identified with sexual relationships and with sexual intercourse. They lack quality information and show a prejudiced and stereotyped character. They expressed rejection attitudes towards sexuality which were based on: ignorance, inadequate connection between sexuality and reproduction, existence of social prejudice and association of aging with disease. (shrink)

"La filosofí­a florentina en el jardí­n de Adán" La Modernidad ha tenido enormes dificultades para reconocer plenamente al Humanismo como parte de toda su incuestionable tradición filosófica y en particular de reconocer al Humanismo florentino a partir de sus propuestas filosóficas como lo que en esencia ellas son, representaciones concretas, históricas, del mundo. Tales dificultades radican en la imposibilidad de no poder o no querer superar sus propios parámetros y esquemas de explicación y reconstrucción histórica. Pues si algo es cierto, (...) es que filosofí­as como las de Pico della la Mirandola, Marsilio Ficino, Poliziano, Pomponazzi, Tommaso Campanella y Giordano Bruno, contienen todas ellas una constante común: la dificultad de ser explicadas y comprendidas a la luz de la razón y de la cientificidad modernas. "The Florentine philosophy in Adam's garden" The Modernity had had enormous difficulties to recognize fully the Humanism like apart of all its unquestionable philosophical tradition and in particular of recognizing the Florentine Humanism starting from its philosophical proposals as what in essence they are, concrete, historical representations, of the world. Such difficulties reside in the impossibility of not to be able, or not to want to overcome, their own parameters and explanation's outlines and historical reconstruction. Because if something is true, it is that philosophies like those of Pico della la Mirandola, Marsilio Ficino, Poliziano, Pomponazzi, Tommaso Campanella and Giordano Polish, all of them contain a common constant: the difficulty of being explained and understood by the light of the reason and in the modern scientific approach. (shrink)

RESUMO:No intercurso das relações sociais, o homem passa da representação dos objetos para a representação de si mesmo. Pelo relato do Segundo discurso, a ordem social fez dos acontecimentos um espetáculo enganoso porque, em vez de unir as pessoas, acabou por separá-las, interpondo o fenômeno, o parecer. Se o mundo se tornou, dessa forma, pura representação e a vida, uma encenação, a melhor máscara a ser colocada é a de um homem civil, e o papel a ser desenvolvido é o (...) de um homem virtuoso, que tudo faz pela coletividade. A saída parece ser educacional, visto que o Emílio traz um projeto de formação humana que usa da representação de forma bem intencionada, já que não gera o espetáculo, a pompa e nem a usurpação. Tal situação pode ser entendida como o emprego da arte em benefício da moral, emprego da ficção, da brincadeira, do jogo e da imaginação em favor de uma ação cuja arte seja a de operar a restauração da natureza no homem e prepará-lo para o melhor convívio com seus semelhantes. Emílio é exercitado contra o sortilégio do jogo representativo e colocado em relação direta com a realidade, isto é, com a natureza e com as condições mais aproximadas do estado natural. Daí a valorização da vida campesina com suas festividades como ponto de partida de sua educação, a qual termina no pleno turbilhão social, tirando proveito inclusive dos espetáculos. ABSTRACT:In the course of social relations, man passes from the representation of objects to the representation of himself. According to the Second Discourse, the social order makes a deceptive spectacle of occurrences; instead of uniting people, it ends up separating them, interposing phenomena or appearance. If in this way the world has become pure representation, and life a performance, the best mask to be put on is that of a civil man, and the best role to be developed is that of a virtuous man who does everything for the collective. The way out seems to be through education, given that in Émile Rousseau expounds a project of human formation that uses representation in a well-intentioned manner, as it does not generate spectacle, pomp, or usurpation. Such a situation can be understood as the employment of art for the benefit of morals, and the use of fiction, play, games, and the imagination, in favor of an action whose art is that of affecting the restoration of nature in man and preparing him for fellowship with those like him. Emile is taught to resist the spell of the representative game. He is also placed in direct relationship with reality, that is, with nature and with conditions approximate to those of the natural state. This explains Rousseau’s appreciation of peasant life with its festivities as the starting point of Emile’s education. Nevertheless, Emile will finish his education in the midst of social turmoil, and it will include taking advantage of spectacles. (shrink)

RESUMO:Na Carta a d’Alembert, Rousseau se coloca contra a ideia de um teatro enquanto instrumento de educação moral, porém, o posicionamento do filósofo não está em colocar essa atividade lúdica de ordem moral na categoria de atividade imoral, mas na de atividade artificial, e, talvez, isso gerasse efeitos imorais. Todavia, é preciso observar os verdadeiros efeitos do teatro, a partir de alguns argumentos que Rousseau resolve construir e analisá-los, contudo, apenas se trouxesse à tona a crítica de Rousseau ao romance, (...) na Carta a d’Alembert, que tem como contexto “a ideia negativa de privatização da cena”, pois o teatro destina uma excessiva importância à descrição do amor, obviamente, exagerando na representação, naquilo que é romanesco. Porém, se, na Carta a d’Alembert, o filósofo não expressa de forma direta que a teorização sobre o teatro também equivale ao romance, na Nova Heloísa, ou seja, no próprio romance, o autor faz essa ratificação, ao importar um longo comentário sobre o teatro que estava na Carta, afirmando que considera o mesmo da própria cena quanto à maioria dos novos escritos. O cidadão genebrino ataca os romances indiretamente e viceversa, porque é observado que tudo aquilo que diz sobre uma arte se aplica quase que integralmente a outra arte. E, como um povo galante deseja amor e polidez, Rousseau resolve fixar alguns termos, na tentativa de explicar suas críticas e argumentar a coerência de seu posicionamento, já que, se, em geral, a cena é um quadro das paixões humanas, cujo original está nos corações, se o pintor, porém, não tiver cuidado de acariciar suas paixões, os espectadores logo ficarão desgostosos e não desejarão mais se ver sob um aspecto que fizesse com que desprezassem a si mesmos. E pontua que essa linguagem não tem mais sentido, em seu século, pois é preciso falar as paixões, esforçando-nos para usar uma que melhor se compreenda, talvez o romance. ABSTRACT:In theLetter to d’Alembert, Rousseau argues against the idea of theater as a moral instrument of education. However, the position of the philosopher is not one of putting this playful activity in the category of immoral activity, but in the category of an artificial activity that perhaps generates immoral purposes. It is necessary to observe the true effect of the theater on the basis of some arguments that Rousseau decides to construct. These are analyzed here, bringing to the fore Rousseau’s critique of the novel in theLetter to d’Alembert. The letter has as its context “the negative idea of privatization of the scene”, as the theater gives an excessive importance to the description of love, obviously exaggerating the representation of romance. If, in theLetter to d’Alembert, the philosopher does not directly express that theorizing about the theater is equivalent to the novel, in theNouvelle Héloïse, that is, in the novel itself, the author does this. He adds to the novel a long commentary on the theater that was in theLetter, stating that he considers the theatrical scene itself to be the same as most new writing. He attacks novels indirectly, as well as the theatre, observing that everything said about one art applies almost entirely to another art. As a gallant people want love and politeness, Rousseau decides to fix certain terms in an attempt to explain his criticism and argue the consistency of his position. In general, the scene is a picture of human passions whose original is in the heart; if the painter is not careful in stroking these passions, spectators will soon become disgusted, not wanting to see themselves in such a way that they despise themselves. Rousseau points out that this language has no more meaning in his century, as it is necessary to speak the passions, striving to use language that best understands the passions, such as, perhaps, that of the novel. (shrink)

En este texto se desarrolla un acercamiento al problema de las formas de acción colectiva y de representación que se pueden presentar como alternativas con potencial de transformación de las condiciones sociales más allá de la estructura ideológica del sistema capitalista. A partir de una confrontación entre Cornelius Castoriadis y Slavoj Žižek con respecto a la posibilidad de autoinstitución de la sociedad y la necesidad de vincular la multitud a una representación unitaria, se analizan los dilemas concretos de lalucha revolucionaria (...) a través de las figuras de Lenin y Robespierre. Este análisis permite concluir que la irrupción de la libertad de los colectivos en los eventos revolucionarios implica un tipo de violencia que impide determinar con certeza su dirección. Sin embargo, tal violencia también es la condición que enmarca el acto revolucionario en una dimensión ética, como una decisión que posibilita la transformación del imaginario. (shrink)

Mi ensayo trata de mostrar que es insostenible la ficción de Rorty de una civilización avanzada científicamente cuyos habitantes no sintieran el dolor como una vivencia sufrida en primera persona y que únicamente lo captaran como una excitación objetiva de su sistema nervioso. Entre otras dudas relativas a que esa captación objetiva y exacta se hallaría en indefinida reconstrucción teórica y a que ella no puede ser la experiencia primera del dolor ni siquiera en esa otra galaxia, aduzco que tener (...) un estado fisiológico no equivale por principio a captarlo y que captar determinados rasgos objetivos no puede equivaler por principio a sufrir, a padecer. Concluyo señalando que Rorty, en su empeño por impugnar las representaciones mentales, pierde de vista cómo la experiencia del dolor manifiesta sobre todo la condición originaria del cuerpo vivido.My paper tries to show that Rorty’s fiction of a scientifically developed civilization whose inhabitants should not feel pain as a first-person experience, but would grasp it rather as an objective state of their nervous system, is unsustainable from a phenomenological point of view. I point out several doubts concerning the facts that such an objective apprehension would be in an indefinite process of theoretical reconstruction, and that even in that other galaxy it could not be valid as the original pain situation. But then I focus on the principles that to have a physiological state cannot be equiva-lent to grasping it, and second that to grasp several objective features cannot be equivalent to suffering or to undergoing pain. I conclude by suggesting that Rorty’s eagerness to discard mental representations made him neglect the lived body as implied in everyday experience: the body, not the mind, comes to the fore in the experience of pain. (shrink)

L’espace esthétiqueLe « renversement du cartésianisme » chez Deleuze et Merleau-PontyCet essai se propose de développer le rapport entre Deleuze et Merleau-Ponty à partir de la tentative des deux philosophes français d’aller au-delà du courantde pensée qu’on pourrait qualifi er, comme le fait Merleau-Ponty lui-même, de « cartésianisme ».Nous commençons notre itinéraire avec la critique que les deux philosophes adressent à la notion cartésienne de « ligne » – passage obligé pour penser, à travers Leibniz et sa notion de « (...) point », la ligne en tant qu’« ensemble de points ». On cherche ensuite à penser une ligne qui ne serait plus tracée dans un espace objectif présupposé, mais plutôt qui « se trace » dans un « espace expressif ».Un tel renversement de la « ligne cartésienne » produit, comme on le verra, des effets qui intéressent également la représentation de la ligne du temps. Émanciper cette dernière du modèle cartésien signifi e la penser par-delà toute référence chronologique, toute dépendance du temps de Kronos. On peut lire dans ce sens la tentative des deux philosophes pour penser le temps de l’événement, le temps de l’Aion. On verra enfin comment, d’un espace et d’un temps anticartésiens, doit naître, pour Merleau-Ponty et Deleuze, une nouvelle grammaire porteuse d’une nouvelle compréhension de la métaphore. Ni l’idée de métaphore proposée par Merleau-Ponty, ni le concept de devenir créé par Deleuze ne concernent une ressemblance fondée sur une identité donnée. Si la métaphore merleau-pontienne et le devenir deleuzien doivent être en mesure de restituer l’essence d’une chose, une telle essence se trouve, ou mieux se crée,à partir d’un mouvement vers « ce que la chose n’est pas ». C’est précisément dans ce sens que Merleau-Ponty lit la métaphore proustienne et que Deleuze cherche à rendre compte des ressemblances créées dans l’oeuvre de Gombrowicz.The Aesthetic SpaceThe “Reversal of Cartesianism” in Deleuze and Merleau-PontyThe present essay proposes to explore the relationship between Deleuze and Merleau-Ponty from the attempt they make to go beyond the current of thought thatwe may qualify, like Merleau-Ponty does it himself, as Cartesianism. We begin our itinerary with the critique that both philosophers direct at the Cartesian notion of the line. The passage through the Cartesian notion of the line is “obligated” in order to think – by means of Leibniz and his notion of point -- the line as a “set of points.” The Cartesian passage is obligated moreover in order to think a line which could no longer be drawn in a presupposed objective space but, rather, which would be “drawn” in an “expressive space.” Such a reversal of the Cartesian line, as we shall see, produces effects that concern also the representation of the line of time. To emancipate the line of time from the Cartesian model means we must think beyond all chronological references, beyond all dependence on the time of Chronos. We are able to read, in this way, both philosophers’ attempt to think the time of the event, the time of Aion. Finally we shall see how, for Merleau-Ponty and Deleuze, a new grammar carrying a new understanding of the metaphor must be born from an anti-Cartesian space and time. Neither the idea of metaphor proposed by Merleau-Ponty nor the concept of becoming created by Deleuze speaks of a resemblance founded upon an identity that is given ahead of time. If Merleau-Ponty’s idea of metaphor and Deleuze’s concept of becoming must be able to produce the essence of a thing, such an essence finds, or better, it iscreated on the basis of a movement toward “what the thing is not.” It is precisely in this sense that Merleau-Ponty reads Proust’s metaphors and that Deleuze will seek to give an account of created resemblances in the work of Gombrowicz. (shrink)

Proclus, successor of the School of Athens in the fifth century AD, is one of the last great voices of a pagan polytheistic world in crisis in the face of the gradual rise of Christianity. His writing bears witness not only to one of the most influential metaphysical representations for the constitution of the idea of a philosophical "system" based on a complex "language game" based on the conceptual sphere of "order" and "unity", but also of an attempt to reconcile (...) rhetorics with philosophy. In the three chapters in which the book is structured (style, system, unity), then, a conscious intention is evident in Proclus, to adapt the content of his systematic metaphysics to literary form. Hence there is a consistency traced in Proclus' stylistic choices, with the aesthetic norms of a rhetorical canon, probably established in the cycle of readings of the Neoplatonic school. His writing bears witness not only to one of the most influential metaphysical representations for the constitution of the idea of a philosophical "system" based on a complex "language game" based on the conceptual sphere of "order" and "unity", but also of an attempt to reconcile rhetorics with philosophy. In the three chapters in which the book is structured (style, system, unity), then, a conscious intention is evident in Proclus, to adapt the content of his systematic metaphysics to literary form. Hence there is a consistency traced in Proclus' stylistic choices, with the aesthetic norms of a rhetorical canon, probably established in the cycle of readings of the Neoplatonic school. The way in which expressive "art" is subordinated in Proclus to philosophy is one of the most emblematic examples of a development in late antiquity, that of the enkuklios paideia - the union of all the arts necessary for the formation of man - that would later constitute in the Latin world the cycle of liberal arts. (shrink)

Durante la Revolución Francesa, el trabajo político del "lado izquierdo", del cual Robespierre fue uno de los portavoces, consistió en implementar los principios de la Declaración de los Derechos del Hombre y del Ciudadano. Esto implica que el pueblo soberano puede controlar el ejercicio del poder de sus agentes. Su función es garantizar el derecho natural del hombre a la existencia, que es la condición principal de la libertad y la razón de ser de la república. During the French Revolution, (...) the political work of the "left side", of which Robespierre was one of the spokespersons, consisted in implementing the principles of the Declaration of the Rights of Man and of the Citizen. These imply that the sovereign people can control the exercise of the power of their agents. Their function is to guarantee the natural right of man to existence which is the main condition of freedom and the raison d'être of the republic. (shrink)

En este artículo se confronta la teoría clásica de la modernidad sobre el sujeto de la política con las experiencias y las interpretaciones de la Filosofía contemporánea, haciendo jugar un nuevo concepto de ciudadanía. La filosofía política contemporánea abandona las expresiones sustantivas que evocaban la representación de un macrosujeto unitario de lo político. En lugar de las categorías que representaban un sujeto colectivo homogéneo en gran formato, se presta atención ahora a otro tipo de categorías más abiertas, dinámicas, múltiples y (...) fluidas, que se despliegan en la sociedad civil, o mejor dicho, que despliegan los espacios públicos (en plural) constitutivos del mundo de la vida social. Se estudia finalmente la redefinición de las dicotomías modernas de lo público y lo privado, así como de la sociedad civil y del Estado. In this article the classical theory of modernity on the subject of politics is confronted with the experiences and interpretations of contemporary Philosophy, playing with a new concept of citizenship. Contemporary political Philosophy abandons substancial expressions suggestive of the representation of a unified macrosubject of the political. Instead of the categories which represented a homogenoeous, colective subject in huge format, attention is now paid to another type of opener, more dynamic, multiple and fluent categories, which open themselves up in civil society, or rather, which spread out the public spaces that constitute the social Lebesnswelt. Finally, a redefinition of the modern dichotomies of the public and the private is dealt with, as well as of civil society and of the State. (shrink)

El enfoque central de esta investigación es la configuración teórica de la violencia en La ciudad y los perros y la interacción representada entre los personajes principales (para aludir al Jaguar, el Poeta y el Esclavo; para ellos ha usado convencionalmente el término «tríada protagónica»; a la vez, asume que estos personajes podrían ser entidades dispuestas a los posteriores análisis). Desarrolla la metateoría de los triángulos jerárquicos — la cual será convencionalmente graficada de forma piramidal, para que con ello se (...) represente la idea de superioridad e inferioridad con respecto a algún rango asignado a los valores o los personajes —, estos facilitarán la demostración del carácter evolutivo de la violencia en la tríada protagónica (por lo que el Esclavo sería un primer portador mínimo de la violencia; luego, el Poeta, con un poco más de agresión; y, finalmente, el Jaguar, quien estaría configurado como violento, dandi, agresor y manipulador). La forma de demostrar esta metateoría compuesta se basa en una mecánica repetitiva y cíclica, en su mayoría, de apropiación o rechazo hacia un determinado carácter, como también referente al ascenso y el descenso por los cuales atraviesa la valoración del mismo. De alguna manera, se explica que la adquisición de la violencia, como objeto interno de los personajes, provocaría una falsa visión de evolución, seguridad y madurez en un primer momento, mientras que se demostraría que aquella conducta, ilusoriamente adquirida, conllevaría una vía autodestructiva de la interioridad de los sujetos. (shrink)

El gran zoo (1984), del poeta cubano Nicolás Guillén, ofrece distintas representaciones sobre el Caribe. El artículo argumenta que el texto de Nicolás Guillén se inscribe dentro del movimiento literario hispanoamericano de la neovanguardia. Luego, se examinan algunas características formales del texto, tomando como ejemplo los poemas “El sueño” y “Guitarra”. Otro poema que se estudia con más detenimiento es “El tenor”, el cual parodia la división entre la alta cultura y la cultura popular. Por último, se analizan varias alusiones (...) del poemario al contexto histórico de la Guerra Fría y la Carrera Espacial. (shrink)

En Fenicias resultan dignos de destacar los cambios substanciales que Eurípides introdujo al tratamiento del mito en sus versiones tradicionales. De modo particular, en el análisis filológico-literario de prólogo y párodos se pone de manifiesto una evidente integración de espacios y tiempos teatrales y el ensamble de los dos ámbitos trágicos estructurales significa una expresión clara de los límites entre "lo propio" y "lo ajeno". Nos proponemos demostrar que el diseño espacio-temporal de prólogo y párodos construye una suerte de agón (...) en el nivel espacial que se evidencia en el trazado de los personajes de Yocasta, Antígona y el Pedagogo en el prólogo y de las mujeres fenicias en la párodos. De modo que también resulte agonal la confrontación entre propio y ajeno, ya mencionada, como característica de la composición teatral euripidea, acorde con las realidades comunicativas de la época de representación de la tragedia y con la propuesta poética del autor. In 'Phoenician Women' it is interesting to point out the substantial changes that Euripides introduced to the treatment of the myth in his traditional versions. In a singular manner, in the literary-philological analysis of the prologue and párodos it does depict an evident integration of theatrical times and spaces and the assembly of the limits between ´the foreign´ and ´the self´. We will try to show that the temporal-space design of the prologues and párodos builds a chance of agón at the spatial level that gives evidence to the outline of the characters in Yocasta, Antigone and in the Pedagogue in the prologue and the Phoenician women in the párodos. Furthermore, the confrontation between the foreign and the self is also agonistic, already mentioned, is a characteristic of the theatrical Euripidean composition, according to communicative realities of the time of the representation of the tragedy and the poetic proposal of its author. (shrink)

This paper is about Michel Henry’s interpretation of the topic of the soul in Kant’s thought. Two aspects of this topic will be particularly examined: Kant’s criticism of the concept of the soul as a substance and the I think as the consciousness that every representation of mine is a representation for me. Henry thinks that the insertion of this consciousness in Kant’s thought is a necessary incoherence that shows the impossibility to reduce appearing to representation. At the end it (...) will be shown that, in the context of henrian thought, the abandonment of the concept of the soul as a substance is a condition to assert the radical difference between human beings and things. (shrink)

Resumen Este artículo analiza las posibilidades actuales de la propuesta de T. W. Adorno en torno a su visión de las relaciones entre el arte y la verdad; para esto se exploran algunos pasajes de Teoría estética, donde plantea dos ideas centrales en su reflexión: por un lado, los contenidos de verdad que se revelan en las obras de arte y, por otro, los alcances de una subjetividad individual que aún puede pensar en las posibilidades de una vida emancipada. Para (...) Adorno, las obras de arte son la expresión de una verdad concebida subjetivamente, pero que excede cualquier intención puramente individual y, como fuerza de resistencia, puede mostrar aquello que escapa a la representación objetiva. De acuerdo con esto, la hipótesis inicial es que, independientemente de la posición o intencionalidad del autor, el arte contribuye al esclarecimiento de diversos fenómenos éticos y políticos debido a la codificación histórica de la forma y, sobre todo, por la autonomía de la obra de arte.This article analyzes the current possibilities of T. W. Adorno’s proposal regarding his vision of the relationships between art and the truth; for this, some passages of Aesthetic Theory are explored, in which he raises two central ideas in his reflection: on the one hand, the truth contents that are revealed in the artworks and, on the other, the scopes of an individual subjectivity that can still think about the possibilities of an emancipated life. For Adorno, works of art are the expression of a truth that is subjectively conceived, but that exceed any purely individual intention and, as a force of resistance, can show what escapes objective representation. According to this, the initial hypothesis is that, regardless of the position or intentionality of the author, art contributes to the clarification of various ethical and political phenomena due to the historical codification of form and, above all, by the autonomy of the work of art. (shrink)

This article introduces the findings of a socioeducative investigation on media discourses of four argentine newspapers, in the 1993-2011 period. The objective was to analyze the characteristics of the discoursive practices of the risk- taking behaviors and juvenile suicide in the school space. The results increase our empirical knowledge to think the representations on school.

Resumen En este trabajo se desarrolla una aproximación epistemológica a las significaciones sociales, comprendidas como una entidad central que urde la composición simbólica de la realidad. Para ello, se despliega un trabajo teórico y reflexivo con el objetivo de esclarecer las tres significaciones sociales que aquí se establecen: imaginarios sociales, representaciones sociales y re-presentaciones discursivas. Al mismo tiempo, se procura presentar una taxonomía en planos de significación, correspondiente a las particularidades y ámbitos de acción de los imaginarios sociales (plano profundo), (...) representaciones sociales (plano medio de transición) y re-presentaciones discursivas (plano superficial). Este trabajo epistémico, que aporta en la clarificación conceptual de las tres nociones tratadas, ofrece un sustento teórico para futuras investigaciones y una nueva forma de abordar las significaciones sociales. Abstract In this work, an epistemological approach to social meanings is developed, understood as a central entity that weaves the symbolic composition of reality. To do this, a theoretical and reflective work is deployed with the aim of clarifying the three social meanings established here: social imaginaries, social representations, and discursive re-presentations. At the same time, it seeks to present a taxonomy in planes of meaning, corresponding to the particularities and fields of action of social imaginaries (deep plane), social representations (middle plane of transition) and discursive re-presentations (superficial plane). This epistemic work, which contributes to the conceptual clarification of the three notions discussed, offers theoretical support for future research and a new way of approaching social meanings. (shrink)

Resumen En el texto se expone un proceso de modelación basado en dos consideraciones (Sec. 2): que los modelos son autónomos y que sus metas directas son al menos tres: estar bien construidos, adecuarse al mundo empírico y ser capaces de realizar tareas subrogatorias. Para ello, se esbozan varios ingredientes fundamentales de la tarea modeladora en la lingüística basada en evidencias, así como los de un marco formal elegido para representar aquellos. La tercera sección está dedicada a aplicar el presente (...) análisis al caso de las redes complejas con el fin de que conceptos clave como la validez, la fiabilidad y la replicabilidad de la modelación, así como el concepto de diseño experimental en RC, se puedan observar desde un prisma representacional. La sección cuarta refleja las capacidades aplicativas de (RC), especialmente en el caso del aprendizaje del lenguaje en casos atípicos y a menudo socialmente marginados. A modo de cierre, la conclusión resume la puesta en práctica de la herramienta RC. Abstract A modeling process is initially outlined based on two considerations (Sec. 2), namely that models themselves are autonomous and that their direct goals are at least threefold: to be well constructed, to fit the empirical world, and to be able to perform subrogative tasks. This section outlines the fundamental elements of the modeling task in evidence-based linguistics, as well as those of a formal framework chosen to represent the former. The third section is devoted to applying the present theoretical analysis to the case of complex networks (CN), so that key concepts such as validity, reliability and replicability of modeling, as well as the concept of experimental design in complex networks, can be viewed from a representational perspective. The fourth section reflects the application capabilities of CN, especially in the case of language learning in atypical and often socially marginalized cases. Finally, the conclusion summarizes the implementation of the CN-tool. (shrink)

RESUMEN Un experimento mental en ciencias fácticas consiste en la representación de un escenario imaginario. A partir de la presentación de condiciones iniciales y la postulación de una situación hipotética o contrafáctica, se solicita al lector que realice mentalmente alguna operación, manipule ciertas variables o ponga en funcionamiento algún aparato o instrumento. En virtud de este ejercicio sería posible, en principio, obtener nuevo conocimiento acerca de algún aspecto del mundo natural. El debate acerca de las funciones de los experimentos mentales (...) en las ciencias fácticas está centrado en establecer la validez del conocimiento acerca del mundo empírico que estos dispositivos son capaces de proporcionar. La propuesta interpretativa de Brown da sustento a la idea de que, en casos excepcionales, los experimentos mentales pueden cumplir funciones probatorias. Los denominados “experimentos mentales platónicos” permiten intuir leyes de la naturaleza y justificar a priori las hipótesis propuestas. Sostenemos que la conexión trazada por Brown entre los experimentos mentales y leyes naturales exhibe un aspecto problemático de su filosofía: el compromiso injustificado con una metafísica inflacionaria. Mostramos que es posible explicar el mecanismo a través del cual estos dispositivos proporcionan conocimiento nuevo y dar cuenta tanto de su poder heurístico cómo de su valor evidencial a partir compromisos metafísicos más modestos. ABSTRACT Thought experiments in factual science consists on the representation of an imaginary scenario. Starting with the presentation of a hypothetical or counterfactual situation and the description of initial conditions, the reader is asked to mentally perform some operation, to manipulate certain variables or to put into operation some apparatus or instrument. In virtue of this exercise, it would be possible to obtain new knowledge about the natural world. The debate on the functions of thought experiments in physics is focused on determining the validity of the empirical knowledge that these devices are capable of providing. Brown supports the idea that, in exceptional cases, thought experiments can perform probative functions. The so-called “Platonic Thought Experiments” allow us to intuit laws of nature and provide an a priori justification of the proposed hypotheses. We hold that Brown's connection between thought experiments and laws of nature exhibits a problematic aspect of his philosophy: the unjustified commitment with an inflationary metaphysics. We show that it is possible to explain the mechanism through which these devices provide new knowledge and give an account of both their heuristic power and their evidential value from modest metaphysical commitments. (shrink)

El presente trabajo tiene como propósito fundamental analizar los fundamentos teórico epistemológicos de los imaginarios sociales. En primer lugar, se delimitó el término imaginario social con respecto a otros similares o derivados; imaginación, representación social y otros. Se establecieron sus di..

This article explores the intellectual relationship between Paul Ricœur and Karl Marx, focusing on the metaphor of the camera obscura used by Marx to describe ideology in The German Ideology. It provides an overview of Ricœur’s significant references to Marx, which began with a critical appropriation of Marxism in an attempt to reconcile it with a Christian worldview, continuing throughout the 1960s and beyond with the exploration of concepts such as “false consciousness” and ideology. After this overview, the article examines (...) three presuppositions inherent in this metaphor, which implies an inversion of reality. First, it analyzes the notion of “false consciousness” within Ricœur’s hermeneutics, situating Marx among the “masters of suspicion.” Second, the article examines the conditions that make this inversion of reality possible, framed within Ricœur’s broader examination of ideology and the symbolic constitution of the social bond. Third, it discusses the idea of an original state to which one can return by reversing the inversion, drawing parallels with Husserl’s method of retrospective questioning applied to Marx’s reduction in The German Ideology. The metaphor of the camera obscura illustrates the complex relationships between reality and its distorted representations. The discussion around the metaphor used by Marx leads Ricœur to underline the fundamental role of imagination to broaden understanding and overcome interpretative reductionisms. (shrink)

Resumen Este artículo ofrece una lectura de la pintura renacentista según los principios establecidos por Leon Battista Alberti, uno de los primeros teóricos de la perspectiva en cuyo Tratado de pintura se refiere al cuadro como “una ventana abierta a la historia”. El concepto de historia empleado por Alberti, que se presta a numerosas interpretaciones, es abordado a partir de las reflexiones de Erwin Panofsky en torno a la perspectiva como “forma simbólica”, avanzando hacia una hipótesis en torno al carácter (...) simbólico de la configuración y representación del tiempo en el cuadro-ventana albertiano.This paper offers a reading of the renaissance painting according to the principles established by Leon Battista Alberti, one of the first theorists of perspective in painting which Trattato della pittura define the frame of the painting as “an open window into history”. The concept of history employed by Alberti, which lends itself to many interpretations, is approached from the reflections of Erwin Panofsky about the prospect as “symbolic form”, moving towards a hypothesis about the symbolic nature of the configuration and representation of time in the alberti’s window. (shrink)

Nonostante l’immagine della visione sia ancora largamente dominata dal paradigma della finestra, per quanto il cinema stesso si sia concepito a partire da tale figura, evocata per altro dal nome del sistema operativo informatico più diffuso nel mondo – Windows –, la mia ipotesi è che, nell’epoca presente, è piuttosto lo schermo ad essere diventato il dispositivo ottico di riferimento, discostandosi in maniera significativa dal modello della finestra. Per questo ritengo che comprendere in che modo pensiamo la nostra esperienza degli (...) schermi oggi, può aiutarci a comprendere la nostra esperienza presente della visione. Credo inoltre che la nostra esperienza contemporanea degli schermi sia il risultato dell’esperienza percettiva dello schermo che è stata inaugurata dal cinema, nonostante le molteplici differenze che separano queste due strutture. A questo proposito, sappiamo che, fin dalla tenda dietro la quale Pitagora si nascondeva, la superficie opaca dello schermo è stata tradizionalmente considerata come qualcosa che impedisce la visione e dunque come ciò che nasconde la verità. Al contrario, l’avvento del cinema ha mostrato che l’opacità di tale superficie è anche ciò che ci permette di vedere, così che luce ed ombra, tradizionalmente opposti dalla nostra cultura, non possono esistere separatamente. Ma possiamo ancora aggiungere che una simile superficie ha da sempre suscitato e orientato il desiderio di chi la contempla. Se un tale desiderio aveva coinciso con la possibilità di vedere oltre lo schermo, al di là di questo, al contrario oggi la superficie dello schermo è ciò che ci avvolge in una visibilità reversibile, invitandoci a soffermarci sulla sua superficie. Possiamo allora pensare il secolo del cinema, che si è da poco concluso, come la progressiva affermazione di una maniera differente di concepire il darsi del nostro incontro con il mondo. Tale modo nuovo, discostandosi dal dispositivo teatrale, cui la finestra rimandava in quanto sistema per eccellenza rappresentativo – come spettacolo percepito al di là del sipario –, apre a un dispositivo cinematografico, di cui tenterò di delineare alcune caratteristiche essenziali. (shrink)

RESUMENEste artículo desea defender la plena legitimidad del proceso constituyente español que condujo a la Constitución de 1978. Para ello muestro cuáles son los requisitos suficientes de un proceso constituyente y subrayo cuáles parecen prescindibles. Cifro lo propio de un proceso constituyente en que el pueblo sea plenamente autoconsciente al iniciarlo y hable de manera inequívoca y libre al aprobarlo. El primero excluye procesos sobrevenidos. El segundo va contra una representación soberana. ambas condiciones constituyentes sólo se han dado en España (...) en relación con la Constitución de 1978. Mi interpretación es que incluso el PNV habló de manera inequívoca en este asunto. Por eso no considero legitimadas sus ambigüedades políticas.PALABRAS CLAVEPODER CONSTITUYENTE, LEGITIMIDAD, CONCIENCIA POLÍTICA, DECISIÓN, ESTATUTOS, AUTONOMÍA.ABSTRACTThis article is a defence of the full legitimacy of the Spanish constituent process which led to the Constitution of 1978. In it I show which are the necessary elements of a constituent process and which would seem to be unnecessary. I also propose that an appropriate constituent process is one in which the people are fully self-aware when they initiate the process and express themselves freely and unequivocally when they ratify it. The former excludes processes which were not initially foreseen. The latter does not permit of sovereign representation. These two constituent onditions have only been satisfied in Spain at the time of the 1978 Constitution. In my view, even the PNV expressed itself unequivocally in this matter. For this reason I do not consider its political ambiguities to be legitimate.KEYWORDS CONSTITUENT POWER, LEGITIMACY, POLITICAL CONSCIENCE, DECISION, AUTONOMOUS STATUES. (shrink)

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution of (...) the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

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

During the second half of the 20th century, despite the flourishing of Spinoza scholarship (particularly in the French-speaking world) references to Spinoza seem to be rather infrequent in the famous Catholic journal Revue philosophique de Louvain. On closer inspection, however, it is possible to trace a precise attitude of the editors of the Belgian journal, according to which the historiographic representation of the Dutch philosopher constitutes the test-bed of a more general cultural strategy. In contact with phenomenology, anti-Cartesianism, the biological (...) sciences, psychoanalysis and Marxism, the Spinoza of the Catholic journal becomes an entirely new and unusual figure, with respect to the image still prevalent in Spinoza studies today. (shrink)