The opposition prose/verse can only be established in the heart of literal language. The only way of producing nonliteral language is in conversation. . . . Enrique Anderson Imbert published a book in 1958 titled ¿Qué es la prosa? , in which he says: 'No, we do not speak in prose. Prose is not a projection of everyday speech, but rather artistic elaboration."1 But my adherence to his intelligent point of view is not total because he situates prose in the (...) heart of written language, and I think that it should be ascribed to literal language. For Anderson Imbert such an idiomatic modality results in an artistic elaboration; but the intention of prose can be quite different. The reader, for instance, by virtue of his reading, can transform prose into literature; and unwritten prose does exist, as has been stated. In many cases it is impossible to compose the texts in verse; structurally, then, an opposition cannot be established, just as in the case of the student who takes notes following the explanations of the professor. These texts can only be what they are: a more or less truthful transcription, a "copy" of oral language, a mere change of substance, abbreviated in order to bring it closer, as a simple memento, to the elliptical articulations of inner language. · 1. "No, no hablamos en prosa. La prosa no es proyección del habla corriente, sino elaboración artística." Enrique Anderson Imbert, ¿Que es la prosa? 4th ed. , p. 31. Fernando Lázaro Carreter is the director of the department of Spanish at the Universidad Autónoma in Madrid and a member of the Real Academia Española. The author of books on both linguistics and criticism, his published works include: Las ideas lingüísticas en España durante el siglo XVIII; Diccionario de términos filológicos; Estilo barroco y personalidad creadora; Ensayos de Poética ; and Lazarillo de Tormes en la picaresca. This article is a preliminary statement of a problem he is currently investigating: literary language understood as "literal language.". (shrink)

No capítulo 9 do apêndice da parte IV da Ética Espinosa afirma que os homens conduzidos pela razão dão elevada demonstração de engenho e arte quando se esforçam por educar os demais para que vivam também sob o império da própria razão. O objetivo desse artigo é interpretar esse capítulo, apresentando as relações que ele estabelece com o conjunto das obras espinosanas.

O texto aborda a relação de poder na relação mulher-sociedade, contrapondo um personagem ficcional (Antígona) e um personagem real (Anita Garibaldi) e suas perspectivas históricas. A abordagem visa demonstrar que, apesar dos séculos, ainda há uma evidente relação de dominação na definição do papel da Mulher, que é hostilizada subliminarmente, para ser colocada como objeto social e não sujeito social.

Il s'agit, dans ce second volume, intitulé Terrains et idéologies.Théorie et pratique, de montrer par des recensions d'ouvrages sur des objets de recherche divers qu'une théorisation élaborée en sciences sociales à partir de théorisations déjà faites, exige un retour au terrain pour être validée. Une nouvelle théorisation invalidera ou confirmera les premières théorisations. Des approches comportementalistes de la pénibilité du travail, un chercheur montre l'insuffisance par une analyse approfondie qui tient compte de la subjectivité.De la pratique à la théorie, de (...) la théorie à la pratique, les sciences sociales suivent un chemin qui s'interrompt, se reprend sans cesse et qui ne s'achève jamais -- Editor. (shrink)

El confinamiento vivido durante la pandemia de Covid 19 nos obligó a afrontar la vida con un ritmo más tranquilo. En este contexto, desde el Grupo de Estudios Interdisciplinares de Literatura y Arte (LyA) (UCLM) se planteó desarrollar un proyecto donde abordar nuestra docencia desde una perspectiva más pausada siguiendo la filosofía del Slow Movement. El objetivo de este texto es dar a conocer el trabajo que se viene desarrollando en asignaturas de Historia del Arte en los Grados de Humanidades (...) y Estudios Sociales de la Facultad de Humanidades de Albacete y de Historia del Arte de la Facultad de Letras de Ciudad Real (UCLM). (shrink)

Desde el punto de vista no solo historiográfico sino también _topológico_, atendiendo a la hermenéutica textual que se desprende de las _Enéadas_, este trabajo pretende mostrar que el pensamiento de Plotino representa la primera respuesta racionalmente satisfactoria a la irrupción histórica sin precedentes del principio de la _diferencia absoluta_, establecido ya en el _Evangelio según San Juan_. La trascendencia del Uno-Bien evidencia otro ámbito histórico y filosófico que no pertenece ya al modo griego de comprender la naturaleza metafísica de la (...) verdad. En Plotino, la verdad cobra la forma de una _operatio_, pues ella infunde en el alma un amor que la mueve hacia la unión infinita. Esta noción de la verdad se aproxima más a las contribuciones posteriores a Plotino y constituye, por ende, un punto de partida solvente para la reflexión teológica ulterior sobre la trascendencia divina y la dependencia causal del ente en el orden del ser. Para el logro de los fines propuestos, se utiliza un registro descriptivo y analítico, junto con una lectura crítica tanto de las fuentes como de la bibliografía especializada. (shrink)

Design has usually been linked to art and applied in scenarios related to everyday life. Even when design has, on occasion, made its way into the world of academia, it has always been closely linked to art and scenarios related everyday life. At last, however, the idea of design has reached the field of epistemology: an area within the very heart of philosophy that has always focused, in theory, on the foundations of knowledge. Consequently, design is being studied from (...) different approaches interested in the foundation of knowledge, theoretical and practical. This is one of the reasons why abduction and pragmatism have been considered relevant from a design perspective. This paper first shows the main features of abduction and pragmatism, describes their evolution and considers their mutual implications. Second, the epistemology of design is analysed considering its most relevant characteristics. Third, the connection between abduction and, on the one hand, pragmatism and, on the other, design epistemology is addressed. Finally, the role of abductive inference in grounding a real epistemology for design theory from the naturalised cognitive perspective of abduction is outlined. The central proposition is that this approach is essential as a methodological innovation, as it allows us to analyse both the inquiry process and the design process as interdependent when dealing with practical problems of a social and cultural nature. This approach allows us to analyse how human actions determine changes in the theoretical framework from which we make our inquiry. In short, the world is an open-ended project that humans design through our daily inquiry. (shrink)

Pedro Rodríguez Campomanes, Count of Campomanes, was one of the most prominent figures of Spanish Enlightenment. One of his main intellectual interests was that of the Arabic erudition. We know many things about the great institutional projects in which Campomanes was involved, linked, for example, with his role as Director of the Real Academia de la Historia, but lesser is known about other aspects linked with his relationship with Arabic erudition: how did he learn Arabic, how much did (...) he know about the Orientalist tradition... This paper studies how Campomanes learnt Arabic, throught the analysis of documents from his own personal archive, and other manuscripts from the Biblioteca Nacional de España regarding one of Campomanes’ colleagues, José Carbonel y Fogasa. Campomanes and Carbonel studied Arabic with the maronite monk Miguel Casiri and their documents provide an unique material, not only for the study of Arabic and other foreign languages in the 18th century, but also for the history of European Orientalism. (shrink)

This article aims to address the widespread thesis according to which medieval scholastics would not handle the idea of fine art. Based on a suggestion by Anzulewicz, the author shows how Albert the Great did understand the peculiarity of fine arts and put them in close relationship with liberal arts. There are fine arts, such as music, which are sought after for their own sake and can, therefore, be considered as fully liberal. In contrast to them, there are other arts (...) called mechanical, whose purpose is utilitarian. In the third place, there are other arts which, although also possessing some utility, are chosen for their own sake and are therefore partly liberal; we should place fine arts such as architecture in that group. The more art participates in reason and the beauty of the soul, the more it will be fine and liberal. The product is called to be a metaphor for the honest good of virtue. The very contemplation of this beauty embodied by art evokes an aesthetic enjoyment. In this way, we can see that Albert, no less than Aquinas, speaks of the pleasure linked to the contemplation of beauty. (shrink)

Taking regular walks when living with Parkinson’s disease has beneficial effects on movement and quality of life. Yet, patients usually show reduced physical activity compared to healthy older adults. Using auditory stimulation such as music can facilitate walking but patients vary significantly in their response. An individualized approach adapting musical tempo to patients’ gait cadence, and capitalizing on these individual differences, is likely to provide a rewarding experience, increasing motivation for walk-in PD. We aim to evaluate the observance, safety, tolerance, (...) usability, and enjoyment of a new smartphone application. It was coupled with wearable sensors and delivered individualized musical stimulation for gait auto-rehabilitation at home. Forty-five patients with PD underwent a 1-month, outdoor, uncontrolled gait rehabilitation program, using the BeatWalk application. The music tempo was being aligned in real-time to patients’ gait cadence in a way that could foster an increase up to +10% of their spontaneous cadence. Open-label evaluation was based on BeatWalk use measures, questionnaires, and a six-minute walk test. Patients used the application 78.8% of the prescribed duration and enjoyed it throughout the program. The application was considered “easy to use” by 75% of the patients. Pain, fatigue, and falls did not increase. Fear of falling decreased and quality of life improved. After the program, patients improved their gait parameters in the six-minute walk test without musical stimulation. BeatWalk is an easy to use, safe, and enjoyable musical application for individualized gait rehabilitation in PD. It increases “walk for exercise” duration thanks to high observance.Clinical Trial Registration: ClinicalTrials.gov Identifier: NCT02647242. (shrink)

St Joachim and St Anne Meeting at the Golden Gate, painted by Eugenio Cajés between 1604 and 1605, is the sole remnant of a major commission for the Cercito chapel in the church of San Felipe el Real in Madrid. The painting has been praised by modern critics, who have drawn attention to the painter’s emulation of Italian artistic precedents. Illuminating as this appraisal may be, such an approach does not explain why the patrons chose an iconographic subject that (...) had become increasingly rare, especially since the traditional association of the Meeting with the Immaculate Conception of the Virgin had been questioned in the late sixteenth century. Above all, focussing on the painting’s style fails to take into account the specific context for which this painting was conceived. As it happens, the Cercito family chapel was dedicated to a very particular cult, that of the Holy Child of La Guardia, the purported victim of one of the most notorious blood libels in late medieval Spain. The purpose of the present study is to redress the previous art-historical oversight with regard to this painting, through an in-depth study of the artistic, devotional and socio-cultural significance of the Meeting at the Golden Gate in seventeenth-century Madrid. An analysis of the extensive and to date unpublished archival documentation for the commission makes it possible to reconstruct key elements of the lost chapel. These sources, when read together with devotional texts that circulated at the time, reveal the personal motives that underpinned the foundation and decoration of the Cercito chapel. The reconstruction of the Cercito chapel proposed in this article offers a new perspective on the way in which religious art engaged with the tensions prompted by the issue of the purity of blood, as well as with anxieties related to family and procreation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 34.2 (2006) 3-13 [Access article in PDF] Biographical Illusion and Methodological Reality Leland De La Durantaye Pierre Bourdieu. Esquisse Pour Une Auto-Analyse. Paris: Raisons d'Agir, 2004. 1 Like his student and friend Nietzsche, Jacob Burckhardt often stressed the necessity for a scholar to work in solitude. Like Nietzsche, he also possessed a gift for acidic analogy and likened the world of academia to a group of dogs (...) sniffing one another.Few observers of the academic interactions of his time had such sharp senses as Pierre Bourdieu, and few have been as torn between solitary reflection and communal exchange. Trained by France's most elite academic institutions (such as the celebrated Parisian lycée Louis-le-Grand and the even more celebrated École Normale Supérieure), Bourdieu was grateful for the opportunities that this training afforded him. And he felt that this gratitude could best be repaid by submitting those elite academic institutions and their insular world to an unsparing critique, to unveiling the distance that separated their stated ideals from their real effects.Like Bergson and Jaurès, like Sartre and Aron, like Foucault and Derrida, Bourdieu studied that which was most difficult and most prestigious where it was most difficult and prestigious: philosophy at the École Normale Supérieure. Like those famous fellow alumni, he was a brilliant student, and like them, he longed to distinguish his personal vision from those around him. This led him to do something surprising, something that, despite their separate and significant dissatisfactions with the philosophy of their day, neither Bergson nor Sartre, neither Foucault nor Derrida ever did: he abandoned philosophy. He left what he saw as the intellectual royal road for the most pedestrian of paths—that of sociology.As he often reminded his readers, sociology was in a sorry state when he entered it. Both in academic appraisal and the popular imagination, it was considered dry and provincial. It was thought to have no true intellectual adventure in it—nothing of the ethnologist tramping through the rain forests of the Amazon, nothing of the lone philosopher working through the night on an opus to end metaphysics. It was laborious and abstract; it dealt in statistical generalities. Bourdieu repeatedly described sociology as "the pariah of disciplines."1 He had, however, a special mission for it in mind. [End Page 3]In Bourdieu's posthumous memoir Esquisse pour une auto-analyse, published in February 2004—two years after his death—by the small publishing house he helped found, Raisons d'Agir, he notes how, "a bit as a joke," he had often defined himself as "the leader of a liberation movement aiming to free the social sciences from philosophy's imperialism" [94].2 From early on in his career, he had wished to revolt against the "empire of the total philosopher"—an empire reigned over by, more than any other, Jean-Paul Sartre [cf. 25].3 Looking back upon this decisive period of his development, Bourdieu goes so far as to state that the shaping of his identity was done "against everything which the Sartrian enterprise represented for me" [37]. In historical accounts, Sartre is often given as counterfigure his friend and fellow normalien Raymond Aron. In his Esquisse, Bourdieu proposes a different, and less conventional, counterfigure for the imperial philosopher: the brilliant Austrian satirist and cultural critic Karl Kraus. Bourdieu notes the particular affection he had always felt for Kraus and attributes it to the latter's singular capacity for "critical reflectivenesss" [37]. Subtly, and appropriately, Bourdieu follows this remark with something that occurs nowhere else in his memoir: an epigram (the composing of which Kraus excelled in). Bourdieu writes: "there are a great many intellectuals who question the world, but there are very few intellectuals who question the intellectual world" [37]. The remark could not more compactly and precisely reflect what Bourdieu had aspired all his life to do: to excel in the art and science of questioning the intellectual world. 2 Leo Spitzer liked to cite Friedrich Gundolf's dictum "Methode ist Erlebnis" (method is lived experience). Nearing the end of his career... (shrink)

O presente artigo conta investigar o processo de constituição da estética musical a partir da teoria da arte elaborada por F. W. J. von Schelling. Para tanto, espera-se mostrar a maneira pela qual o filósofo alemão procura redimensionar as bases que davam sustentação à chamada estética sistemática para, a partir de uma ponderação extremamente inovadora, caracterizar a música como um objeto original de saber.

In line with hypothetical views of nature and art, this article aims at showing the role of painting within Schelling’s philosophy. Submitting pictorial works to new theoretical and speculative conditions, his thought frequently impels us into a different treatment of visibility. Being like this, this paper equally aims at indicating that Schelling’s definition of painting echos and anticipates some questions raised by contemporary philosophy – specially by phenomenology – about image.

El arquitecto sevillano Fernando Rosales, cuya vida profesional se desarrolló a caballo entre los siglos xviii y xix, fue uno de los más activos maestros mayores de obras de la Iglesia de Sevilla. De carácter afable, tuvo sin embargo algunos sonoros desencuentros con el arquitecto José Echamorro, que aquí se exponen. Y al igual que ocurrió a sus compañeros en el cargo, la Real Academia de San Fernando rechazó sus proyectos enviados a dicha institución. Eclipsada por (...) la de Antonio de Figueroa y José Álvarez, el estudio monográfico de su obra está aún por abordar. Este trabajo pretende contribuir a su conocimiento, mediante la aportación de numerosas noticias inéditas, tanto biográficas como profesionales, algunas de las cuales subsanan persistentes errores historiográficos, contextualizándolas entre sus más conocidas realizaciones. (shrink)

O propósito geral deste artigo consiste em mostrar, a partir de hipóteses globais de interpretação da natureza e da arte, o lugar da pintura na filosofia de F. W. J. v. Schelling. Submetendo a obra pictórica a condições teórico-especulativas inovadoras, a ponderação schellinguiana impele-nos, não raro, a um tratamento diferenciado do visível. Por isso, a título de exercício de reflexão, espera-se igualmente indicar que tal caracterização da pintura ecoa e antecipa, ao longe, questões levantadas pela filosofia contemporânea – em especial, (...) pela fenomenologia – a respeito da imagem. (shrink)

Normal 0 21 false false false ES-CO X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} The analysis of Heidegger’s conception of language serves as a starting point and common thread to explain his aesthetics theory and the linkage and relationship between aesthetics and ontology, and between aesthetics and truth, understood as aletheia, (...) as an “out of oblivion”, as “un-concealment.” Second, we analyze the constitutive characteristics of Da-sein, as being-in-the-world, from the point of view of language. Third, considering the historical horizon as ontologically constitutive of Da-sein, we try to explain from real life what does this temporality mean and what does create mean, as well as why the creation of a work of art occupies an important place in relation to Heidegger’s proposal. We finally ask what is poetry to Heidegger and in what ways it is inseparable from the truth (aletheia). And we try to interpret the scope of Poetry (Dichtung) in relation to aesthetics and of language in relation to the truth. Lenguaje, olvido del ser, aletheia (verdad), desocultación, Dichtung (Poesía), poiesis, creación, estética, ontología fundamental, vida auténtica o autenticidad. (shrink)

A história do pensamento ocidental, desde seus primórdios na Grécia Antiga até os tempos atuais, é transpassada pela questão de Deus, que mantém a sua relevância mesmo no contexto pós-metafísico no qual estamos inseridos. A busca pelo significado derradeiro da existência humana justapõe a questão do homem à questão de Deus, que adquire, dessa forma, um status imperativo. Mas, como articular o discurso sobre Deus na atual conjuntura, caracterizada por uma visão materialista e imediatista da existência humana? Em nossa reflexão, (...) buscamos analisar as perspectivas da linguagem em relação à abordagem de Deus. Verificamos a impossibilidade da utilização de uma linguagem determinativa, com pretensões de definições últimas, no discurso sobre o Absoluto, visto que a experiência de Deus suscita múltiplas representações, sendo todas elas visões parciais de uma realidade inacessível ao cálculo racional. Diante disso, buscamos percorrer a via delineada por Emmanuel Levinas, que não se apressa em nomear o Infinito, mas aborda sua significação a partir da trama ética. Consideramos esperançosa tal abordagem, frente aos desafios que se apresentam nos tempos contemporâneos. Palavras-chave : Deus; cálculo racional; ética; Levinas.The history of western thought, since its beginning in ancient Greece up to now, is surrounded by God, who has kept his relevance even in the post - metaphysical context in which we are in. The ultimate search for the real meaning of human existence juxtaposes mankind and God, therefore it acquires an imperative status. However, how does one formulate the speech about God nowadays, when there is a materialistic view of human existence? In this reflection, we intend to analyze the perspectives of language in relation to God. It is identified the impossibility of use of certainty in language, claiming correct definitions in the speech about The Absolute, once that the experience of God raises multiple interpretations, and all of them are partial views of an inaccessible reality to the rationale. Therefore, we tend to follow Emmanuel Levinas’ line of thought which is not in a hurry to name the Infinity, but deals with its meaning through ethics. Such thought is considered to be hopeful regarding the challenges that appear in the contemporary times. Key words : God; rational calculation; ethics; Levinas. (shrink)

Nada hay más confortable para el hombre, ni más peligroso, que las certezas. Nuestra mejor defensa es la filosofía, que consiste engran medida en el arte de cuestionarlas, de atreverse a pensar, de interpelar las verdades establecidas y ver qué esconden. En estepaseo por la historia de la filosofía, Fernando Savater nos presenta a los grandes personajes que con sus preguntas, y en ocasiones con sus respuestas, han marcado el pensamiento occidental. Platón, Aristóteles, Hobbes, Tomás de Aquino, Nietzsche, Marx, (...) Ortega, Wittgenstein y hasta dieciocho filósofos más desfilan por estas páginas de la mano de Savater, que con su habitual estilo lúcido, ameno e inteligente explica sus ideas más importantes y resume sus trayectorias. Un canto al irrenunciable ejercicio de la libertad intelectual, este libro es en realidad una invitación a huir de los tópicos y a compartir con los grandes filósofos la maravillosa aventura de pensar. (shrink)

O presente texto constitui-se como resenha do livro Foucault: pensador transversátil, de Laerthe de Moraes Abreu Junior. A obra reúne ensaios sobre diversos temas e conceitos presentes no pensamento foucaultiano, desde os mais conhecidos, como humanismo, ética, violência, sujeição e poder, até aqueles sobre os quais os estudiosos costumam se debruçar com menor frequência, caso dos escritos do filósofo francês sobre as artes plásticas, o cinema, a literatura e a música. O tratamento dado a esses temas revela como por (...) trás de sua pulverização e da aparente desconexão entre eles há uma obra caracterizada pela versatilidade e transversalidade de um pensador dedicado a compreender como o homem se tornou aquilo que é. (shrink)

Desde un punto de vista semántico-literario abordaremos el modo en que Joaquín Antonio Peñalosa se ha basado en los Ejercicios espirituales de San Ignacio de Loyola para la elaboración de su obra poética Ejercicios para las bestezuelas de Dios, un libro cuyos protagonistas son animales, donde adapta a su lenguaje poético, especialmente al franciscanismo poético, el itinerario ignaciano a seguir para alcanzar la unión con Dios. Nuestro propósito es comparar ambos textos para hacer objetiva una relación que evoca el título (...) de la obra peñalosiana, pero que aún no se había realizado de modo explícito. De tal trabajo concluiremos que Peñalosa sigue la misma estructura argumental que los Ejercicios de san Ignacio para lograr los mismos fines ascéticos, evidenciando así que el libro del mexicano es poesía ascética de estilo franciscano, con raíces en San Ignacio. (shrink)

This article analyses St. Agustine’s "De utilitate credendi". It considers ideas and affirmations that are important aspects of the bishop of Hippo’s dialogic theory. After reflecting on the different contributions of the present text, we can see the importance of faith and authority on the path which leads human beings to the true religion, where it’s possible to encounter God and reach happiness, for which the human heart yearns.

Aunque el tema de este texto parece muy centrado en una lectura de la ¿estética de a existencia¿ de Foucault en paralelo a la estética de Oscar Wilde, que define la vida como la realización de una existencia bajo el signo de la belleza, la cuestión que se plantea tiene que ver con los modos en que es todavía hoy filosóficamente pensable la educación como un experiencia estética. La estética de la existencia de Foucault es, de algún modo, la puesta (...) en práctica de un filosofar que busca constituir no tanto una disciplina teórica cuanto un arte de vida. Este modo de filosofar es de una enorme ayuda para la filosofía de la educación, pues todo arte de vida crea nuevas posibilidades -nuevos comienzos- para la vida de los demás. Este planteamiento nos sitúa en un orden donde la dimensión estética se sitúa más allá de un planteamiento según el cual en el centro mismo de la aísthesis se concentra la posibilidad de conquistar un momento pacificador en el que dolor y lucha se vean momentáneamente suspendidos. Muchos discursos (filosóficos) sobre la educación comparten con este planteamiento conciliador la necesidad de anticipar el fin de un posible conflicto, volviendo difícil, cuando no imposible, pensar la diferencia de experiencias y la noción misma de acontecimiento. (shrink)

Este artículo estudia las prácticas visuales destructivas de la iconoclasia. La destrucción es un gesto de emancipación y un acto de inmunización frente a la idolatría religiosa, social y política. La evidencia de la influencia de las imágenes en la creación de falsedades permite considerar la acción iconoclasta como un ejercicio de liberación. Analizamos los fundamentos de la ofensiva contra el poder de las imágenes en el espacio público. La mutilación visual, la negación, la censura, la prohibición serán prácticas comunes (...) en un espacio intermedio (estético-político) en el que se enreda la libertad de pensamiento. (shrink)

Some creativity modes in art and mat he - matics are studied, both looking for specificities and possible transits. Peirce’s “pragmaticist” ar - chitectonics –and, in particular, its attention to reasonableness and creativity– help to weave a counter point between art and literature on a basis ..

No son muchos los textos en filosofía de las matemáticas que intentan dirigirse a la práctica matemática avanzada y, menos aún, aquellos que intentan acercarse a las matemáticas contemporáneas en acción. La lista de tales esfuerzos es bastante reducida—Pólya, Lakatos, Kline, Wilder, Kitcher acercándose a la matemática clásica; De Lorenzo, MacLane, Tymoczko haciéndolo a la matemática moderna; Badiou, Maddy, Patras a la matemática contemporánea—por lo que el trabajo de Corfield, ya sólo por situarse en esa línea minoritaria, merece una cierta (...) atención. El trabajo sin embargo cuenta con amplios méritos propios, más allá de apoyar una saludable línea alternativa, que se contrapone con las tendencias predominantes de la filosofía analítica o de la filosofía del lenguaje aplicadas al universo matemático. Desde el comienzo mismo, gracias a su polémico título, Towards a Philosophy of Real Mathematics, intenta romper con los prejuicios normativos al uso en la filosofía matemática, en particular con las “creencias entre filósofos de que el estudio de las mayores corrientes matemáticas recientes es innecesario”. Las matemáticas “reales” evocan la Apología de Hardy en donde el matemático inglés identifica matemáticas reales con matemáticas avanzadas, ya sea clásicas, del tipo Euler o Gauss, ya sea modernas, del tipo Galois o Riemann. Una amplia introducción presenta una argumentada defensa del valor de una perspectiva filosófica orientada hacia esas matemáticas no elementales, y exhibe algunos de los problemas mayores que emergen en esa aproximación, pero que, en cambio, el “filtro fundacionalista” no deja detectar: el estatuto de los bordes estructurales de las matemáticas, la conectividad de las diferentes teorías matemáticas, la evolución de los conceptos matemáticos, la contingencia del pensamiento matemático, la progresiva riqueza recursiva de las construcciones matemáticas. (shrink)

El artículo se ocupa de las circunstancias peculiares que identifican el arte colombiano después del arte moderno. Para esto resulta de gran importancia la discusión alrededor del problema del "fin del arte" y su relación con la modernidad, pues es necesario hacer una reflexión filosófica a propósito de la idea del fin del arte para comprender los lineamientos del arte moderno, cuyas concepciones del arte, del artista, del contenido y de la forma, son una de las consecuencias históricas de los (...) planteamientos hegelianos delineados en sus Lecciones de Estética. Así se sitúa la pregunta por las características que identifican el arte colombiano después de la modernidad dentro de una realidad históricamente configurada, cuyos rasgos internos son consecuencia de la discusión generada alrededor de los planteamientos sobre elfin del arte. (shrink)

El presente trabajo constituye una introducción al tema del tiempo el Polo, en relación con la posición que tal noción mantiene en la filosofía fenomenológica. Husserl propone el abandono de la suposición de la existencia real de los objetos, fundándolos en la presentificación. Con ello plantea la superación del tiempo en unos términos que no evitan la 'constitución' de los objetos de la conciencia. En Heidegger la temporalidad es la última condición a priori de la comprensión del ser. El (...) abandono de la presencia en Polo alcanza distinciones de realidad connotantes de diversidad de dimensiones metódicas y temáticas del tiempo. (shrink)

El autor analiza el significado de la idea jurídica de igualdad en el constitucionalismo democrático de nuestros días en su triple dimensión de valor superior del ordenamiento jurídico, principio jurídico y derecho fundamental. En este contexto, la idea de igualdad serviría para determinar, razonable y no arbitrariamente qué grado de desigualdad jurídica de trato entre dos o más personas es tolerable, es decir, la igualdad sería el criterio que mediría el grado de desigualdad jurídicamente admisible. A partir de ahí, el (...) autor disecciona esta idea de igualdad mediante las distinciones entre igualdad en el contenido y en la aplicación de la ley, igualdad real e igualdad formal, igualdad y prohibición de la discriminación. Finaliza el trabajo con un análisis del derecho fundamental a no ser discriminado que incluiría, por un lado, la igualdad de trato y las prohibiciones de discriminación tanto directas como indirectas y, por otro lado, la igualdad de oportunidades y la licitud y exigencia de medidas de acción positiva. (shrink)