In lieu of an abstract, here is a brief excerpt of the content:Creativity Belongs to the Person, not to DiseaseJuan J. López-Ibor Jr. (bio) and María-Inés López-Ibor (bio)Keywordscreativity, patho-biography, Saint Teresa, visionsIn the paper, “From the Visions of Saint Teresa of Jesus to the Voices of Schizophrenia,” Cangas, Sass, and Pérez-Álvarez (2008) take an original approach to patho-biography that is very welcome.The temptation to designate historical individuals or characters of fiction as suffering from mental disease has always produced disagreeable feelings (...) in me. This sort of abuse of psychiatry and of the people in question is parallel to the abuse by the media or lay citizens when they describe, say, an especially violent murderer as a schizophrenic—forgetting that the vast majority of people with schizophrenia are not in the least violent. Having read Santa Teresa’s writings during my adolescence, well before I even considered entering medicine, I reacted to comments about her alleged psychiatric illnesses with uneasiness, to put it mildly. The Santa Teresa of La Vida de la Santa Madre Teresa de Jesús (her autobiography), of the Camino de Perfección, and of the El Castillo Interior was surely not a mental patient, it seemed to me. The same would apply to San Juan de La Cruz, Jean D’Arc, Don Quijote, Sancho Panza, Edipus, and Clitemnestra, to mention a few. Even van Gogh’s paintings did not seem to me the productions of a patient with schizophrenia or epilepsy. Of course all of them may have suffered, at certain periods of life, symptoms attributable to a mental disorder, but their creativity rested elsewhere, and was often manifest during healthy periods of their lives. After years spent fighting the stigma of mental diseases, and after organizing several exhibitions of works of art of people with mental diseases, we came to the conclusion that creativity and singularity belong to the person, not to the illness. Some of the diseases of these individuals may have being accidents (van Gogh’s hallucinations and psychotic symptoms, for example, were most probably due to intoxications with absinthe, then rich in hallucinogenic alkaloids such as tujone), or, together with other life circumstances, may have had unspecific influences on the person’s condition. In contrast with many other psychiatric disorders that are represented in ancient Greek and Roman literature, there are no descriptions of individuals with schizophrenia in the Greek and Roman literature dating from the fifth century bc to the beginning of the second century Ad (Evans et al. 2003), and several authors have speculated that schizophrenia did not exist before the eighteenth century (Ellard 1987).Caution is important when dealing with mental health and religious issues in contrast with creativity. The creativity of people suffering from bipolar disorders is well recognized (Jamison 1993) and [End Page 277] the same applies to alcohol and drug intoxication. Tellenbach (1986) has also written on the creativity of depressed persons, although he refers more to the disposition of mood (Schwermut) than to clinical depression as such. The link between melancholia and genius put forward by Aristotle has often been misinterpreted. The philosopher was considering the melancholic temperament and not the melancholic illness as we would understand it today. Of the four temperaments, it is in his view only the melancholic that is gifted with creativity. The sanguine person seeks the immediate pleasures of life, the choleric one considers himself powerful and dedicates himself to manifesting this power, and the phlegmatic individual is disconnected from life and seeks to live without effort or pleasure. The melancholic temperament leads to creativity because of the predominance of doubt, reflection, and dissatisfaction with the miseries of life.Freud’s notion of religiosity as a collective obsessive neurosis is totally mistaken, in my view. The three main themes of obsessions are cleanliness, order, and guilt. In none of these cases is the theme the goal of the action; rather, it is a strategy to contain anxiety. As a consequence, patients with obsessions and compulsions about dirt and cleanliness tend to be dirty themselves, because the real purpose of their compulsions is not in fact to be clean but rather to satisfy a ritual. When order... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Anthropological Perspectives in Psychiatric NosologyJuan J. López-Ibor Jr. (bio) and María-Inés López-Ibor (bio)KeywordsDSM, etiology, Aristotelian causes, social dramasPsychiatry and clinical psychology, as we learn in this paper, are disciplines in need of an ontological perspective. Very few branches of contemporary learning share this characteristic. Probably only theoretical physic and theology—as the rest have long ago given up trying to define and understand the essence of their object, for example, (...) life in the case of biology or mind in psychology. Consequently, the paper by Pérez-Álvarez, Sass and García-Montes, “The Ontology of Mental Disorders in Constructivist Perspective,” (2008) should be welcomed and indeed included in the reading lists for trainees in psychiatry and clinical psychology.The authors propose an approach to the understanding of mental disorders that is extremely attractive and well articulated, and which also has practical implications for clinicians. It is not just another “philosophical divertimento” devoid of scientific and practical importance. Let us analyze the article in an orderly way.Less DsmThe authors of the target paper disapprove of the Diagnostic and Statistical Manual of Mental Disorders (DSM)-III/IV approach to defining illnesses by starting from the symptoms that are present—on the grounds that this may lead clinicians to assume that their sole role is to identify, fight, and suppress the symptoms by whichever procedure. They propose an alternative that is dear to myself because it follows the path of the so-called “anthropological” psychiatry of Binswanger, von Gebsattel, Erwin Strauss, Zutt, López-Ibor, Sr., and others. In essence, this is a phenomenological approach to the meaning of mental diseases, one that emphasizes how the illness is revealed to the patient him- or herself.The target article’s criticism of DSM should be considered in the context of the abuses committed on its behalf. The DSM is not a textbook of psychiatric disorders, nor does it contain a definition of the diseases. The DSM does not tell what a disease is (Klerman et al. 1984)—something that is impossible with a classification system based on the manifestations of the diseases, the signs and symptoms. The DSM, as its title states, is just a diagnostic and statistical manual, which does not contain anything about the origin of [End Page 259] any disease nor an explanation of why it exists or what it means. The DSM is, in fact, just a tool to determine whether a disease is present, and therefore to facilitate communication between professionals and with other individuals, without saying anything about the disease’s aitia—a key term (associated with notions of essence as well as cause) to be discussed below. In theory, most clinicians should understand these limitations; it may be, however, that this is not really the case for many who read or use the DSM. In the world there are around 200,000 psychiatrists; since 1980 the number of DSM copies sold is in the order of several hundred thousand.The misuse of a classification system is even more noticeable in the International Classification of Diseases (ICD)-10 Research Version. The instructions for the use of this version recommend that the first step is to make an inventory of all the symptoms present, and then to construct a diagnosis based on them. This how all computer-assisted systems work. This procedure can, however, only be valid if the clinician has already reached a diagnostic conclusion by other means—a diagnosis then to be confirmed for research purposes. It may be that this is one of the reasons why the ICD-10 Research Version has almost never actually been used for research.Furthermore, the concept of symptoms in psychiatry applies only to organic mental disorders (Schneider 1959), conditions in which the patient’s attitude and way of experiencing the symptoms do not play the kind of role that they play in schizophrenia and other mental disorders. The quotation from the important paper by Sass and Parnas in this context is most appropriate. It is indeed that case that “subjective experience can play an important causal role in the progressive experiential transformations of a developing schizophrenic illness... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

E. San Juan Jr. examines Peirce’s discourses on semiotics, ethics, and aesthetics and suggests their analogies with the radical critiques of Marx and other progressive trends.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

This book looks at facets in the history of capitalism from the Enlightenment period, through the emergence of the American Empire in the Pacific, and to the contemporary era of neoliberal globalization. This re-telling of history is done by drawing from the works of E. San Juan, Jr., considered arguably one of the great contemporary cultural and literary critics of our time. In this author's view, San Juan's lifetime of works offer a living documentation of, among others, the (...) history and thought of the modern world highlighted by the rise of capitalism through the contemporary era of neoliberal globalization, and shepherded to its hegemonic status by what stands today as the preeminent empire of the United States. The book underscores the symbiosis between contemporary capitalism as an economic system based on accumulation on the one hand, and the American imperial state on the other, just as it revisits the colonial project that was carried out in capitalism's wake, the violence and subjugation inflicted on its victims, and how this colonial project has morphed into a new form of colonialism maintained and enforced through the rules and institutional mechanisms of what is popularly known as neoliberal globalization that also provides the ideological and legal rationale for the commodification and the ultimate grab of the global commons reminiscent of the classical, albeit cruder, form of colonialism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Altars Where We Worship: The Religious Significance of Popular Culture eds. by Juan M. Floyd-Thomas, Stacey M. Floyd-Thomas, and Mark G. ToulouseMichael R. Fisher Jr.The Altars Where We Worship: The Religious Significance of Popular Culture Juan M. Floyd-Thomas, Stacey M. Floyd-Thomas, and Mark G. Toulouse LOUISVILLE: WESTMINSTER JOHN KNOX PRESS, 2016. 250 pp. $25.00The Altars Where We Worship: The Religious Significance of Popular Culture is (...) notable for interested readers of religion and contemporary popular culture. The authors expand scholarly understandings of religion and the sacred, but [End Page 194] more important, the spaces where they appear in society by providing analysis of the religious nature of six aspects of American culture. These "meaning-making" aspects of popular culture function as "altars of worship." They are the body and sex, big business, entertainment, politics, sports, and science and technology. How religious devotion and worship are manifest in everyday life of Americans is fully examined. This book offers an alternative entry to classical secularization debates that have garnered the attention of religious scholars across fields of study. Resisting polarized battle lines in which secularization debates have positioned the death of religion on one hand, and its resilience in industrialized societies on the other hand, this book considers the idiosyncratic nature of secularization by foregrounding historical, national, and local differences that exist in various contexts.The authors argue that "religion is important to Americans. But the religion we practice is often not the religion we confess" (1, emphasis in the original). According to them, Americans basically believe in a serviceable, friendly "God" who meets their every desire and need. In contemporary American culture, the objects that are deemed to fulfill Americans' desires and passions become their God(s) and thus their religion(s). They support their argument by citing studies by the Pew Research Center on "America's Changing Religious Landscape" and "'Nones' on the Rise," which indicate a decrease in religious affiliation among adults and a notable tension between Americans' professed religious beliefs and their actual religious practices. Given these trends, they contend that Americans discover and produce religious meaning in places outside traditional or conventional sacred spaces. Consequently, they confess, Americans have "laid our fair share, if not our all" (186) on the six altars of American popular culture. Thus, though studies indicate a trending decline in traditional religious affiliations, for the authors, this does not "sound the death knell of religion" (185). Religion, they insist, exists in different shapes and practices.In The Religious Experience of Mankind (1969), the religious historian Ninian Smart offers a seven-dimensional scheme for the interpretation of religion: doctrinal, mythological, ethical, ritual, experiential, institutional, and material. This scheme is adopted in the book as a framing device for interpreting the religious nature of popular culture. The sevenfold scheme is paralleled in each of the six chapters dedicated to a particular altar. Making their case, the authors draw on and weave thinkers from across disciplines and over time as critical interlocutors—from Friedrich Nietzsche, Rudolf Otto, Paul Tillich, and Robert Bella to Cornel West, Audre Lord, and bell hooks, among many others—in examining the religious significance of popular culture.Although a truly engaging and provocative book, The Altars Where We Worship is not without challenges. Some readers may find certain categories of analysis underdeveloped. For example, what makes big business or politics sites of popular culture? This line of inquiry may raise questions for readers about what constitutes popular culture in general. Such challenges, however, do not [End Page 195] detract from the overall accomplishments and contributions this book offers the study of religion in the United States.Michael R. Fisher Jr.Vanderbilt UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

¿Qué relaciones hay entre la intencionalidad -el contenido- de los conceptos y pensamientos y el significado -el contenido- de las palabras y oraciones? El presente artículo analiza esta cuestión distinguiendo en ella seis problemas diferentes que atienden a la naturaleza primitiva de la intencionalidad de lo mental, su expresión, el papel del lenguaje o de las instituciones lingüísticas en las condiciones de individuación del contenido mental. Una vez separados unos de otros esos seis problemas, el artículo llama la atención sobre (...) un aspecto del problema hacia el cual la reflexión de los últimos años parece haber dejado de ser sensible: la faceta conceptual del estudio de esas relaciones. Aunque Wittgenstein y Ryle nos previnieron de que el estudio de estas relaciones está lleno de callejones sin salida, muchos científicos y filósofos no parecen ser conscientes de ello. (shrink)

El artículo trata de dos argumentos, los de la Circularidad y la Polaridad, que llevaron a Wittgenstein a sostener que la gramática es autónoma: que no hay hechos del mundo que justifiquen la verdad de sus reglas. Se señala que el Argumento de la Polaridad es consustancial a doctrinas centrales de la filosofía pos-tractariana de Wittgenstein y cómo la aceptación de que la gramática es autónoma le obligó a desmantelar aspectos centrales de la metafísica y la filosofía del lenguaje y (...) de la lógica del Tractatus que hacían posible ofrecer una justificación modal de la sintaxis lógica.This paper deals with two arguments, the Circularity Argument and the Polarity Arguments, that led Wittgenstein to claim that grammar is autonomous, i.e., that no rule of grammar can be justified by providing a fact as a reason to believe in its truth. It is argued that the Polarity Argument is intimately linked to central doctrines of Wittgenstein’s post-tractarian philosophy and shown how the acceptance of the autonomy of grammar forced Wittgenstein to give up the project of providing a modal justification of the rules of logical syntax. (shrink)

This article summarily describes the arrival and establishment of Analytic Philosophy [= AP] in Spain. It first expounds the role played in that process by philosophers such José Ferrater Mora, exiled alter the Spanish Civil War, and by Manuel Garrido, Jesús Mosterín, Javier Muguerza, Josep Blasco y José Hierro, the proper introducers of AP in the Spanish university. Secondly, the article refers to the work developed by the introducers’ former students and disciples, and holds that this second wave of AP (...) in Spain largely helped to its consolidation. Finally, the current situation–a third wave of analytic philosophers in action–is reviewed. Its most actives centres are identified, the main changes in the national scientific policy, its profound effects on academic activities for the last twenty years, and the high degree of internationalization reached by Spanish AP from the 1990s, after the founding of the Sociedad Española de Filosofía Analítica (S.E.F.A.), are concisely pointed out. (shrink)

En “Computing Machinery and Intelligence”, de 1950, Turing acaba afirmando la posibilidad de procedimientos automáticos computacionales que sustituyan al pensamiento humano. Son reconocidas las críticas de Searle a este artículo, que se han retomado y ampliado a propósito de la actual discusión sobre el alcance y los límites de la inteligencia artificial. Especialmente relevantes al respecto resultan los últimos trabajos de Žižek y Larson, así como la defensa de las propuestas de Turing que ha realizado Daniel Dennett, especialmente en su (...) obra final. De toda esta discusión quiero valerme para esclarecer cuál es exactamente la posición de Turing a partir de 1950. La conclusión a la que llego es que Turing no defiende que los procedimientos automáticos computacionales, tal y como él mismo los define, sustituyen al pensamiento humano, sino que es posible que lo puedan sustituir, y que se trata de una cuestión que solo se puede resolver empíricamente. (shrink)

En su obra La fe que nos salva, Fernando Sebastián Aguilar lleva a cabo una introducción a la teolo- gía del acto de fe. La finalidad de este artículo es presentar los núcleos princi- pales de su reflexión. Para ello, atende- remos a los presupuestos y al itinerario de su preocupación por la fe, situando la cuestión del creer en el contexto de la nueva evangelización y mostrando cómo, según el autor, el análisis de la fe puede ayudar a su (...) fortalecimiento. Nos fijaremos en tres aspectos de este aná- lisis: la escucha del testimonio bíblico sobre el creer, el estudio de los rasgos comunes de la fe y su significatividad para la vida. (shrink)

In 1899, the first cases of plague were recognised in Paraguay and a few months later in Buenos Aires as part of the third plague pandemic. In the first decades of the twentieth century, plague slowly advanced towards the Argentinian hinterland. In this paper we focus on the production of scientific knowledge about plague in Argentina, where a core of bacteriologists emerged early on. We show how they not only played a central role in the complex process of plague recognition (...) and intervention, but also influenced the scientific development of bacteriology in Argentina and potentially in South America. We argue that bacteriology became a key tool in articulating the promises of modern science with political and economic interests, allowing the Argentinian government to extend its territorial control over Buenos Aires and the hinterland. This can be seen in two different configurations of the plague as an epistemic and political object in Argentina. In the first period, from 1899 to 1910, plague was a problem linked to the ports. In this section of the article, we show how plague became an important issue in the development of bacteriology in Argentina, how this research contributed to new intervention measures and, in some cases, developed innovative ideas about serotherapeutic treatments and the characteristics of the disease. In the second period, from the mid-1910s until the 1940s, research in Argentina provided new evidence of the ‘rural’ nature of plague, a process in deep dialogue with research on plague among peri-domestic and wild rodents carried out in other parts of the Americas, Europe and Africa. This article thus aims to contribute to a history of bacteriology that highlights the role of non-European centres, like Argentina, in the production and circulation of bacteriological knowledge. (shrink)

One of the major arenas for debate within generative grammar is the nature of paradigmatic relations among words. Intervening in key debates at the interface between syntax and semantics, this book examines the relation between structure and meaning, and analyses how it affects the internal properties of words and corresponding syntactic manifestations. Adapting notions from the Evo-Devo project in biology (the idea of 'co-linearity' between structural units and behavioural manifestations) Juan Uriagereka addresses a major puzzle: how words can be (...) both decomposable so as to be acquired by children, and atomic, so that they do not manifest themselves as modular to adults. (shrink)

In Sociedades americanas en 1828, Simón Rodríguez describes and supports a republican attempt as a new way of government. Aware of the problem his project meant and warned against the accusation of being an utopian, he claims that the social republic would not be an utopia, as Tomas Moro imagined about, but the opportunity for the republics in South America to be the good place for an authentic social life. On the grounds that are described above, this paper examines analytically (...) and critically the relationships between republic and utopia in Simon Rodriguez. (shrink)

Recent studies have shown that the brain functional connectome constitutes a unique fingerprint that allows the identification of individuals from a group. However, what information encoded in the brain that makes us unique remains elusive. Here, we addressed this issue by examining how individual identifiability changed along the language hierarchy. Subjects underwent fMRI scanning during rest and when listening to short stories played backward, scrambled at the sentence level, and played forward. Identification for individuals was performed between two scan sessions (...) for each task as well as between the rest and task sessions. We found that individual identifiability tends to increase along the language hierarchy: the more complex the task is, the better subjects can be distinguished from each other based on their whole-brain functional connectivity profiles. A similar principle is found at the functional network level: compared to the low-order network (the auditory network), the high-order network is more individualized (the frontoparietal network). Moreover, in both cases, the increase in individual identifiability is accompanied by the increase in inter-subject variability of functional connectivities. These findings advance the understanding of the source of brain individualization and have potential implications for developing robust connectivity-based biomarkers. (shrink)

Este artículo presenta las notas esenciales, a modo de contradistición comparativa distinción por comparación ––, del análisis realizado por Enriq ue Dussel en su « obra temprana » sobre el « humanismo semita » y sobre el «humanismo helénico». Primeramente, se analiza la perspectiva desde la que Dussel comprende el «humanismo helénico». En el segundo apartado se sistematiza el análisis de D ussel en referencia a la configuración antropológica del pueblo hebreo. En el tercer apartado se analiza de qué manera (...) el paradigma del Éxodo y el paradigma del «Siervo de Yahveh» se constituyen como marcos teórico categoriales fecundos para pensar práctic amente los procesos de servicio político económico liberadores (('avodáh עֲבוֹדָה En los tres apartados, el «tópico generativo» es el modo de configuración de la relación «singular comunidad» en términos de constitución antropológico política y la conce pción de trascendencia que presenta cadauna de las configuraci ones antropológicas analizadas. (shrink)

En este escrito se analiza un aspecto central de la significación filosófico-social de la teología cristiana de la liberación, a saber, el vínculo teórico que se propuso, en algunos de sus discursos, entre los grandes hallazgos de la Modernidad filosófica y la ideología de los proyectos de modernización implantados en América Latina, a partir del horizonte de sentido de una escatología-utopía liberacionista. En esta última, se condensa la cuestión del tipo de relación que establecieron algunos planteos, inscriptos en esta corriente (...) de pensamiento teológico, entre el ámbito trascendente de la “escatología-salvación” y el inmanente de la “praxis histórico-política”. El artículo consta de cuatro instancias de análisis específicas; en la primera, se realiza una presentación sucinta de la teología cristiana de la liberación; en la segunda, un análisis del vínculo entre su formulación teórica y el horizonte hermenéutico de la modernidad filosófica; en la tercera, se examina su postura crítica ante los proyectos de modernización capitalistas-desarrollistas; por último, se analiza su interpretación de las nociones: escatología y utopía, que se desarrollan en algunos textos clave de dos de sus autores más significativos: Gustavo Gutiérrez (2009) e Ignacio Ellacuría (2008a, 2008b), considerando como eje de análisis la conexión entre las esferas de la salvación y la praxis histórica. (shrink)

La antigüedad de la escritura china es bien conocida en Occidente, hasta el punto de constituir uno de los clichés con los que nos representamos al gran país asiático. Pero ¿qué significa para China el acto de escribir? ¿Cómo ha pensado el texto la civilización que desde más antiguo lo cultivó? Liu Xie, uno de los grandes tratadistas de la Antigüedad, monje budista y oficial del Gobierno durante la dinastía Liang, nos ofrece algunas claves fundamentales al respecto. En su célebre (...) obra Wen Xin Diao Long, y tras haber establecido en un primer momento el inestimable valor de las obras del canon confuciano, este autor parece chocar varias veces con el problema del «nuevo texto». Apresado entre el valor literario de la originalidad y la perversidad inaceptable de la desviación (respecto al canon), el letrado va formando un particular sentido de la producción textual, a cuyo procedimiento correspondiente denomino «variación». Esta misma lógica de la producción literaria se puede rastrear en las obras de otros letrados y aún en otras disciplinas distintas de la escritura, constituyendo así una noción trasversal del pensamiento chino. (shrink)

Some believe that evidence for the big bang is evidence for the existence of god. Who else, they ask, could have caused such a thing? In this paper, I evaluate the big bang argument, compare it with the traditional first-cause argument, and consider the relative plausibility of various natural explanations of the big bang.

Francesco Petrarca, translated by H. Nachod: Introduction. A self-portrait. The ascent of Mont Ventoux. On his own ignorance and that of many others. A disapproval of an unreasonable use of the discipline of dialectic. An Averroist visits Petrarca. Petraca's aversion to Arab science. A request to take up the fight against Averroes.--Lorenzo Valla, translated by C.E. Trinkaus, Jr.: Introduction by C.E. Trinkaus, Jr. Dialogue on free will.--Marsilio Ficino, translated by J.L. Burroughs: Introduction, by J.L. Burroughs. Five questions concerning the mind.-- (...) Giovanni Pico della Mirandola, translated by E.L. Forbes Introduction, by P.O. Kristeller. Oration on the dignity of man.--Pietro Pomponazzi, translated by W.H. Hay. Introduction, by J.H. Randall. On the immortality of the soul.--Juan Luis Vives, translated by N. Lenkeith: Introduction, by N. Lenkeith. A fable about man.--Selective bibliography (p. 397-400). (shrink)