Las primeras imágenes cinematográficas rodadas por los estadounidenses en Cuba se remontan a la Guerra Hispano cubana norteamericana, anterior al surgimiento de Hollywood y su consolidación como industria del espectáculo. Los filmes producidos en esta etapa constituyen el preámbulo del denominado cine de propaganda política que, según el historiador Román Gubern, ha llegado hasta la actualidad y, sobre todo, develan el carácter manipulador que desde sus inicios ha tenido el lenguaje cinematográfico. Entre las décadas del `30 y `40 los filmes (...) realizados por Hollywood en la isla han proyectado una imagen exótica y estereotipada sobre la identidad cubana. No solo se ha desvirtuado nuestra memoria histórica, sino también nuestros valores identitarios, imagen que se ha extendido hasta el contexto actual.En la extensa historia del cine hollywoodense no son pocas las cintas que han abordado aspectos de nuestra historia. Independientemente de la calidad de la gran mayoría de estos filmes, no se puede minimizar su importancia en el obsesivo intento por construir una imagen creíble y veraz sobre Cuba. Aunque la gran mayoría de las cintas realizadas por cineastas estadounidenses sobre la isla se encuentran limitadas por el hecho de haberse rodado en espacios y locaciones de otras naciones con semejanzas geográficas y culturales con Cuba, dicha limitación no es sinónimo de pobreza artística. El objetivo fundamental de este ensayo radica en el análisis de la representación de la imagen e identidad de Cuba en la industria de Hollywood, a partir del estallido de la Guerra Hispano-cubana-norteamericana el 15 de febrero de 1898 hasta la administración del presidente Barack Obama, período histórico conocido como el Deshielo, porque ambas naciones decidieron restablecer relaciones diplomáticas interrumpidas en plena Guerra Fría, específicamente en 1961. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:.. MERELY A MAN OF LETTERS" an interview with Jorge Luis Borges* Philosophy and Literature: Why don't you tell us about some of the philosophers who have influenced your work and in whom you have been the most interested? Jorge Luis Borges: Well, I think that's an easy one. You might talk in terms of two: Berkeley and Schopenhauer. But I suppose Hume might be (...) worked in also, because, after all, Hume refutes Berkeley. Really, he comes from Berkeley—even if Berkeley comes from Locke. You might think of Locke, of Berkeley, and of Hume as being three links in an argument..... But I suppose that when someone refutes someone else in philosophy, he is carrying on the argument. P&L: And Schopenhauer? Borges: Schopenhauer is very different from Hume. Of course, Schopenhauer had his idea of the Will. That is not to be found in Hume.... The case of Berkeley was different. I suppose he thought of God as being aware of all things all the time, if I don't get him wrong. If we go away, does this room disappear? No, because God is thinking about it. Now, in the case of Schopenhauer, I was rereading Die Welt als Wille und Vorstellung, The World as Will and Idea, and I was rather taken aback, or baffled I should say, puzzled by something that keeps on recurring in Schopenhauer. Of course it may have been a slip of the pen, but as he goes back to it, and as he was a very careful writer, I wonder if it is a slip of the pen. For example, Schopenhauer begins by saying that the universe, the stars, the spaces in between, the planets, *On April 14, 1976, two editors of Philosophy and Literature, along with an interested colleague, interviewed Jorge Luis Borges at Michigan State University, where he held a position as visiting professor for the winter term. These remarks are edited from the transcript of that conversation. 337 338Philosophy and Literature this planet, those things, have no existence—except in the mind which perceives them. But then, to my surprise—and I suppose you can explain this to me, since you are philosophers and I am not—what Schopenhauer says is that all those things have no existence except in the brain. And that the universe—I remember these words, I don't think I'm inventing them now—"ist ein Gehirnphänomen," that the world is a cerebral phenomenon. Now, I was baffled. Because, of course, if you think of the universe, I suppose the brain is as much a part of the external world as the stars or the moon. The brain after all is a system of visual, of tactile, perceptions. He keeps on insisting on the brain. I don't think, for example, that Bishop Berkeley insists on the brain, or Hume, who would have insisted on the mind, consciousness. P&L: People sometimes say that they see Berkeley in stories like "Orbis Tertius." Borges: Yes, I suppose they do. Well, of course. But in that story I was led by literary means also. P&L: How do you distinguish the literary from the philosophical means in that story? Could you explain that? Borges: Very easily.... Encyclopedias have been my chief reading. I have always been interested in encyclopedias. I used to go to the Biblioteca National in Buenos Aires—and since I was so shy, I felt I could not cope with asking for a book, so I looked on the shelves for the Encyclopaedia Britannica. I would pick up any chance volume and I would read it. One night I was richly rewarded, because I read all about the Druses, Dryden and the Druids—a treasure trove, no?—all in the same volume, "Dr-." Then I came to the idea of how fine it would be to think of an encyclopedia... a very rigorous one of course, of an imaginary world, where everything should be linked. For example, you would have a language and then a literature, and then a history and so on. Then I thought I would write a story of a fancy encyclopedia. Of course that would require many different people to write it... (shrink)

This vision of universal solidarity, Nobo demonstrates, is the fundamental metaphysical thesis whose truth the categories and principles of Whitehead's philosophy were expressly designed to elucidate.

Este artículo busca demostrar que, a partir de los lineamientos presentes en el capítulo II del reciente _Reprise du donné_ es posible proponer cuatro niveles de hermenéutica que nos permiten resolver algunos de los problemas de la fenomenología marioniana lúcidamente planteados por Christina Gschwandtner.

Resumen Me propongo aclarar la noción de “fenómeno” de Jean-Luc Marion y su relación con la categoría de “fenómeno saturado”. Para ello discutiré las interpretaciones de algunos comentaristas que advierten tensiones entre la primera y la segunda tópica del fenómeno.I aim to clarify Jean-Luc Marion’s notion of “phenomenon” and its relationship with the category of “saturated phenomenon”. To this end I discuss the interpretations of some commentators who point out tensions between the first and the second topic of the phenomenon (...) presented. (shrink)

La llamada _nouvelle phénoménologie_ ¿practica efectivamente una fenomenología? Este artículo se propone demostrar, a partir de un análisis de las propuestas de sus dos autores más representativos: Jean-Luc Marion y Claude Romano, que las obras de estos filósofos constituyen una auténtica fenomenología si se tiene en cuenta el particular estatuto que le otorgan a la instancia antepredicativa.

¿Cuál es el estatuto de la reducción en la obra de Marion? Este artículo se propone aclarar esta operación fundamental en la fenomenología de la donación estableciendo su relación con la epoché entendida heideggerianamente como tonalidad afectiva fundamental.

You see, I'm not really a thinker. I am a literary man and I have done my best to use the literary possibilities of philosophy, although I'm not a philosopher myself, except in the sense of being very puzzled with the world and with my own life. But when people ask me, for example, if I really believe that the cosmic process will go on and will repeat itself, I say I have nothing at all to do with that. I (...) merely tried to apply the aesthetic possibilities, let's say, of the transmigration of souls or of the fourth dimension to literature and see what could result from them. But really, I would not think of myself as a thinker or a philosopher. And I follow no particular school. (shrink)

In the year 1855, American Literature made two experiments. The first, quite a minor one, the blending of finished music with sing-song and Red Indian folklore, was undertaken by a considerable poet and a fine scholar, Longfellow. The name of it, Hiawatha. I suppose it succeeded, as far as the expectations of the writer and of his readers went. Nowadays, I suppose it lingers on in the memory of childhood and survives him. Now the other is, of course, Leaves of (...) Grass. Leaves of Grass is a major experiment. In fact, I think I can safely venture to say that Leaves of Grass is one of the most important events in the history of literature. If I speak of it as an experiment, perhaps you will think that I am implying a profanation, a desecration, and a blasphemy, since, when we speak of experiments in literature, we generally think of unsuccessful ones. For example, when we speak of experimental literature, well, we think of works that we do our best to admire and that somehow defeat us because, after all, the word "experiment" is a polite word. Well, in the case of Leaves of Grass the experiment succeeded so splendidly that we think it could never have failed. Somehow when something goes right - and that hardly ever happens in literature - we think it somehow inevitable. We think that Leaves of Grass lay there, lay unsuspected there, ready for anybody to discover and write it down. (shrink)

Este artículo se propone indagar en la función del arte en la fenomenología de la donación de Jean-Luc Marion y su relación con la hermenéutica. La pintura desempeña un papel fundamental pues constituye el “modelo” que permite entender el carácter radicalmente pasivo de la administración hermenéutica de la distancia entre lo que se da y lo que se muestra.This article aims to investigate the role of art in Jean-Luc Marion’s phenomenology of givenness and its relationship with hermeneutics. Painting plays a (...) fundamental role because it constitutes the “model” that facilitates understanding the radically passive character of the hermeneutic management of the gap between what gives itself and what shows itself. (shrink)

From Jean-Luc Marion’s examination of Gustave Courbet and his painting, it is shown how grief can operate as a model for the hermeneutics of love. This hermeneutics of grief, in turn, makes possible a consideration of all phenomena, and not only the human, as saturated phenomena.

1919 es un año clave en la trayectoria filosófica de Martin Heidegger. Recién designado como docente asistente de Husserl en la Universidad de Friburgo, Heidegger comienza a trabajar en dos proyectos que se dan en paralelo: la "transformación hermenéutica de la fenomenología" y el desarrollo de una fenomenología de la religión, que, en un principio, está centrada en el estudio de la mística medieval. El diálogo de ida y vuelta entre ambos proyectos produce las más importantes ideas de la filosofía (...) heideggeriana temprana. Este artículo se propone sostener que la lectura de ciertos autores místicos fue determinante para su reinterpretación de la fenomenología. Heidegger se apropia de la Hingabe mística dándole un sentido técnico de extrema importancia en su metodología fenomenológica. 1919 is a key year in Martin Heidegger's philosophical path. Recently appointed as Husserl's assistant professor at the University of Freiburg, Heidegger begins to work on two projects that occur in parallel: the "hermeneutical transformation of phenomenology" and the development of a phenomenology of religion, which initially focuses on the study of medieval mysticism. The back and forth dialogue between the two projects produces the most important ideas of Heidegger's early philosophy. This article aims to argue that the reading of certain mystical authors was determinant for his reinterpretation of phenomenology. Heidegger appropriates the mystical Hingabe by giving it a technical sense of extreme importance in his phenomenological methodology. (shrink)