ABSTRACT This study observes oral poetry as an aesthetic manifestation and attention, especially to poems that recall childhood in which the inspiration is the oral collection. Coordinates favor following the poetic and creative properties of the aforementioned poetic genre, from which verses from the book Batata cozida, mingau de cará [Cooked Potato, Yam Porridge], written by Eloí Bocheco (2006), are analyzed. Thus, it can be said that the poetics for childhood understood by the writer’s proposal allows the little (...) reader to transit, in the same creation, through the known, that is, throughout the elements of oral poetry almost always recovered from the popular tradition; and for what he knows at the same opportunity: the poem of declared authorship, which presupposes a work woven basically in writing. In addition, such verses can be understood as a variation of the oral tradition, renewed on the threshold between orality and writing, in a playful game with both codes. (shrink)

La literatura de tradición folklórica cobra especial importancia dentro de la educación inicial. Por ese motivo se decidió desarrollar un proyecto de trabajo con las estudiantes del profesorado de nivel inicial para que comprendieran su importancia y que, posteriormente, pudieron aplicar una serie de conocimientos y estrategias en el aula. Se teorizó acerca de la importancia de la narración y/o lectura de diversos textos narrativos y poéticos de tradición oral de origen latinoamericano para que de esa forma pudieran ingresar (...) en las diversas culturas que hoy coexisten en muchos de los jardines de Buenos Aires como producto a la inmigración. (shrink)

El origen y significado de la “inspiración poética” ha sido siempre objeto de considerable controversia. Lo que los críticos no preguntan muy a menudo es: ¿cuáles son las palabras o frases que los textos poéticos tempranos, previos al Período Clásico, usaron para expresar el genio poético o mousikē que nosotros asociamos con la inspiración en la poesía griega temprana? En este ensayo examino, en primer lugar y principalmente, tanto la terminología empleada por Homero y Hesíodo para expresar la experiencia (...) poética, como el rol del aoidoso cantor/poeta en sus descripciones respectivas. Sostengo no solo que se confunden en Homero y Hesíodo las nociones físicas y figurativas de “inspiración”, es decir, que no son diferenciadas por los poetas de manera consciente, sino que la poesía misma debe haber sido vista por Homero y Hesíodo como un don divino –de acuerdo a la voluntad de los dioses–. También sostengo que diversas etimologías y contextos sugieren fuertemente que un tipo de mania o posesión extática fue una parte importante del proceso poético temprano. El trabajo aquí presentado es una versión abreviada de un proyecto de investigación más amplio que busca examinar el origen y desarrollo de las actitudes pre-platónicas, platónicas y post-platónicas hacia la inspiración y la alegoría. --- “Some Reflections on the Early Greek Notion of Poetic Inspiration”. The origin and meaning of “poetic inspiration” has always been the subject of considerable controversy. What critics rarely ask are: what words or phrases did the early poetic texts use to express the poetic genius or mousikē we associate with inspiration in the early Greek poetry, and thus prior to the Classical period? In this paper, I examine first and foremost both the terminology employed by Homer and Hesiod to express the poetic experience and the role of the aoidos or singer/poet in their respective accounts. I argue that not only are the physical and figurative notions of “inspiration” in Homer and Hesiod confused, that is, they are not consciously distinguished for the poets, but poetry itself for Homer and Hesiod must have been seen as a divine gift –as willed by the gods. I also argue that a number of etymologies and contexts strongly suggest that a type of mania or ecstatic possession was very much a part of the early poetic process. The work presented here is an abridged part of a larger research project that seeks to examine the origin and development of pre-Platonic, Platonic and postPlatonic attitudes toward inspiration and allegory. (shrink)

Partiendo de algunos estudios filológicos contemporáneos sobre el significado del nombre rapsoda, que recogen las interpretaciones más antiguas del mismo y llegan a vincularlo con el ardid, la trama y la artimaña, intentamos derivar la concepción de la poesía que Homero materializa en la Ilíada, lo que exige entonces decidir si el rapsoda es el aedo compositor o sólo el recitador de la obra consumada. Y el sentido de su acto de coser cantos o cantar con un cayado depende, (...) a su vez, de si la transmisión oral del poema equivale o no a la inexistencia de la composición escrita, y de si ésta es simple redacción y conservación o, antes bien, partitura esencial de la poesía. (shrink)

En este artículo se inquiere acerca de las razones que llevaron a Ḥ. Naṣṣār, en su edición del dīwān de Ŷamīl b. Ma‛mar al-‛Uḏrī, a unir en un solo poema lo que en las fuentes árabes se presentaba como dos poemas independientes, aunque con el mismo verso inicial. Sin embargo, esa coincidencia se explica fácilmente si se tienen en cuenta las técnicas de composición oral, con su uso de fórmulas y expresiones formulaicas, que se detectan en la poesía (...) árabe antigua, modo de composición que siguió vigente a lo largo de casi todo el período omeya, mientras no se generalizó el uso de la escritura. (shrink)

We are no longer in a position to attribute a positive essence to humanity and its presumed centrality. What it means to be human cannot be ascertained once and for all or in any a priori fashion....

An intriguing interresonance plays out between various forms of Mahayana Buddhist ontology and Žižek’s dialectical materialism. His disdainful critique of Buddhism is well-known. As a cultural critic, Žižek might be onto something in his contention that Western Buddhism functions as the perfect ideology for late capitalism. As an ontologist, however, he seems to be ambivalent regarding the parallels between the Buddhist Void, to which the Western Buddhists supposedly withdraw, and his elaboration of a new foundation of dialectical materialism. Žižek is (...) one of the few contemporary continental philosophers who do not hesitate to engage Buddhism. My claim is that, notwithstanding his criticism, Žižek is much closer to Mahayana than he thinks. My aim therefore is to demonstrate how this is so. To do this, I will mainly focus on the following forms of Mahayana thought: śūnyatā in the context of Nāgārjuna's the Two-Truth doctrine, Tiantai School of Chinese Buddhist concept of li, and Nishida Kitarō’s philosophy of basho, which was heavily influenced by the Japanese Zen/Pure Land Buddhism. After going through some of the preliminary affinities among Mahayana forms and Žižek in its absolute contradiction, and materialism as the contradictory/paradoxical field conceived as an atheistic religious field, and so on), I will analyse each school of Mahayana mentioned above and point out the parallels between these and Žižek’s own thought. (shrink)

In their defence of the school Jan Masschelein and Maarten Simons define it as a source of ‘free time.’ Drawing on Catherine Malabou's compelling reading of Heidegger in her The Heidegger Change, I aim to provide a strong ontological justification for the claims made on behalf of the school concerning free time, common goods, and renewing (changing) the world: the school provides free time; it transforms knowledge and skills into common goods; and it has the potential to give everyone the (...) time and space to renew the world. The paper enquires into what ‘free time as non-productive time,’ ‘common goods,’ and ‘changing the world’ mean on an ontological register, and why therefore the school is so precious and warrants our utmost care in the face of its conservative and progressive critics alike. I discern a single underlying notion, the notion of essence as mutability, constituting the link connecting free time, common goods, and renewal of the world. (shrink)

Many political and economic forces are driven by the desire to eliminate democratic plurality in today’s political juncture. Democratic republicanism itself in its contemporary forms has failed to address many of the daunting moral, political, economic, social, technological, and ecological challenges we face today. It is argued that to fulfill its essence of egalitarian freedom and social justice, democratic republicanism must first decouple from the global neoliberal capitalist regime and secondly embrace some form of postcapitalist and posthumanist orientation guided by (...) a new attractor, a teleological approach anchored in a new telos of superhumanity. Democracy without a telos of superhumanity is a democracy in name only. It is time to lay our teleophobia aside and propose a strong teleological account in the vein of a Buddhist no-self doctrine at the heart of the onto-politico-economy. (shrink)

This book presents an original exploration of philosophical questions pertaining to the ways we grasp the Absolute by bringing together the Buddhist notion of interpermeation of all phenomena into contemporary strains of thought in continental philosophy. This text introduces an ontological concept, granularity, deploying it to probe questions concerning the intersection of ontology, ethics, and education. A wide range of issues in metaphysics are covered—including being, nothingness, unity, plurality, truth, change, transformation, subjectivity, contradiction, coherence, potentiality—from the perspective of thinkers such (...) as Hegel, Heidegger, Badiou, Meillassoux, Malabou, Žižek, and Harman. The text deploys granularity in arguing for an ethics of unconditional hospitality within education. This volume is intended for students and researchers working in the areas of philosophy of education, philosophy of religion, and continental philosophy. (shrink)

In this paper, I argue that Dewey’s pragmatist aesthetics, and in particular, his concept of consummatory experience, should be engaged anew to rethink the merits of the Philosophy for Children programme, which arose in the 1970s in the US as an innovative educational programme that aims to use philosophy to help school children improve their ability to become more conscious of and make judgments about the aspects of their experience that have ethical, aesthetic, political, logical, or even metaphysical meaning. Although (...) an international success, the PFC programme has attracted many criticisms from a variety of directions. I claim that Deweyan concept of consummatory aesthetic experience is broad and flexible enough to provide a robust framework to make sense of the pedagogical horizon of PFC and therefore fruitfully engage the various critics of the movement coming from religious and social conservatives, educational psychologists, critical theorists, postmodernists/posthumanists, and professional philosophers themselves. The goal of this paper is to offer in a preliminary fashion the basic elements of Deweyan pragmatist aesthetics, which was principally elucidated in his Art as Experience, to defend PFC as a viable pedagogy. (shrink)

In this paper, I intend to discuss what I would like to call “the ideal of teaching as consummatory experience” in relation to John Dewey’s concept of “experience,” as the latter was elucidated in his later works, especially Art as Experience. What I have in mind with the phrase “the ideal of teaching as consummatory experience” basically points to what it means to be fully alive as a teacher and what happens when teaching is experienced in such a manner. In (...) other words, what is the relationship between teaching that is truly fulfilling for the teacher and experience that is truly educative for the student(s)? There is no doubt in my mind that the two are intimately connected. Truly fulfilling teaching and truly .. (shrink)

In this paper, an account of two novel ontologies is given to point to the need to revise the status of facts in school curriculum. It is argued that schooling is in dire need of re-enchantment. The way to re-enchant schooling is to re-enliven the world we inhabit. We need to fall head over heels in love with the world again. In order to do that, we need to shake up our conception of “the hard and cold facts of the (...) world” to make the latter come alive radiating vibrancy and luminosity out into the world. Facts have to be liberated from their “cold and hard” status and become things that captivate us with their uniqueness and dynamism. To the extent that facts enchant (instead of merely re/present the world), working with them leads to educative experience. To work out how to let the facts do that, two thinkers and two ways to reconceptualize ‘facts’ are discussed: Graham Harman and his objects, and Ken Wilber and his holons. (shrink)

In this article, it is argued that the inordinate amount of time and attention given to the use of textbooks in education inadvertently leads to deadening miseducative experiences and creates a learning environment where what Dewey calls ‘consummatory experience’ is thwarted. In order to unpack this thesis, Dewey’s pragmatist aesthetics is engaged, and in particular, his concept of consummatory experience is defined and its temporal nature is elucidated by referring to two modes of time: chronological and phenomenological. Subsequently, the relation (...) between teaching and consummatory experience is elucidated to uncover the reason why using textbooks is counterproductive. (shrink)

This article is about a pedagogical movement I discern in Quentin Meillassoux’s ontology. The goal of the essay is to introduce his approach to reality in outline form and offer it as a possible route to conceptualize education as the practice of keeping the bodymind attentive and agile against its unsound ossification by way of providing a unified heightened sense of meaning, that is, consummatory experience, in a radically open and contingent world. Meillassoux offers a new conception of necessity and (...) contingency based on the Badioun principle that ‘nothing is inaccessible to reason.’ This move helps Meillassoux to claim that reason can access the absolute for there is no inaccessible necessary transcendence by providing an intriguing critique of the principle of sufficient reason. As a result, Meillassoux’s argument leads to the conclusion that the only necessity is contingency itself. By excluding any necessary being, but also maintaining the absolute necessity of contingency itself, Meillassoux establishes what he calls the “factial.” Meillassoux’s factiality induce pedagogical interventions that lead to acquiring a new point of view whereby ossification of bodymind is staved off and a state of mind that is endlessly fascinated by the immanence, or the most radical becoming, of the world is achieved. (shrink)

This paper discusses the repercussions of a new metaphysics—speculative/weird realism—for education and pedagogy. A historic shift is taking place in present-day continental philosophy, which involves an explicit and renewed call for realism. One of the most salient features of this development is a revitalised interest in ontological questions. As part of this overall trend towards realist and materialist ontologies in current continental thinking, the paper particularly focuses on Graham Harman’s object-oriented ontology, which claims that aesthetics is first philosophy. Harman’s object-oriented (...) philosophy is an approach to metaphysics and ontology that is enamored by the experience of the vibrant yet inscrutable autonomous reality of objects. In order to come to terms with this new approach to reality, I suggest education be conceived as the cultivation of an aesthetic attitude understood as the ability to uphold the tension between relational and non-relational aspects of objects understood in the Harmanian idiom. (shrink)

Marianna PapastephanouUniversity of CyprusSince Plato’s allegory of the cave two educational-philosophical critical modes have stood out: the descriptive (reality as it is) and the normative (reali...

En la poesía de Ramón López Velarde es fundamental la presencia del corazón y del alma. Ambos conceptos no son simples y únicos, sino complejos y diversos. Hay un corazón confesional e íntimo, llamado “Corazón de San Agustín”; un corazón como órgano del cuerpo, conocido como “Corazón de Harvey”; y un corazón simbólico, el cual recibe el nombre de “Corazón de León”. En correspondencia con estos elementos, hay un alma individual, perteneciente al sujeto lírico; un Anima mundi, relativa a (...) la belleza del mundo; y un Alma Superior, la cual remite al mundo de las ideas platónicas o arquetípicas. Con base en un enfoque propio de la Mitocrítica, se demuestra la importancia de la presencia del símbolo, del mito y del arquetipo en la poesía de López Velarde. Palabras clave: corazón, alma, mitocrítica, poesía, López Velarde. (shrink)

Esta conferencia formó parte del encuentro “Archivos Sonoros y cultura popular” realizado el 17 de septiembre de 2019 en el marco del Coloquio sobre Memorias Populares organizado por Doctorado en Historia y la Maestría en Historia y Memoria de la FaHCE junto a la presencia del historiador italiano Alessandro Portelli. En dicha conferencia, las autoras presentaron el archivo oral “Memorias encontradas” de la Comisión por la Memoria (CPM). Por un lado, relataron la historia de la producción y recolección de (...) entrevistas surgidas a partir de los distintos trabajos de la CPM y, por el otro, reflexionaron sobre algunas particularidades de la serie “El archivo y el testigo”: el contexto de producción, el diálogo entre el relato oficial/policial y la voz de las y los testigos, los distintos modos de narrar, de contar. (shrink)

In the history of Tibetan Buddhism, the eleventh-century Indian mystic Nbropa occupies an unusual position, for his life and teachings mark both the end of a long tradition and the beginning of a new and rich era in Buddhist thought. Nbropa's biography, translated by the world-renowned Buddhist scholar Herbert V. Guenther from hitherto unknown sources, describes with great psychological insight the spiritual development of this scholar-saint. It is unique in that it also contains a detailed analysis of his teaching that (...) has been authoritative for the whole of Tantric Buddhism. This modern translation is accompanied by a commentary that relates Buddhist concepts to Western analytic philosophy, psychiatry, and depth psychology, thereby illuminating the significance of Tantra and Tantrism for our own time. Yet above all, it is the story of an individual whose years of endless toil and perseverance on the Buddhist path will serve as an inspiration to anyone who aspires to spiritual practice. (shrink)

Jazmín Cevasco y Paul van den Broek Universidad de Buenos Aires y Consejo Nacional de Investigaciones Científicas … Read More →.

This volume investigates how the phenomenology of religion was accepted and developed in different national contexts. It consists of interviews with senior scholars, who are experts on the development of the phenomenology of religion in their countries, along with commentary and analysis.

En este texto se realizará un análisis filosófico de la poesía de Humberto Díaz- Casanueva. Nuestro propósito general consiste en descubrir sus motivos esenciales, aquellos que la dotan de una forma única dentro del panorama de las letras chilenas. Siguiendo una indicación del propio autor, diremos que su poesía es “órfica”, y esto implica una relación directa con la muerte. Nuestra propuesta consiste en discernir dos momentos en este orfismo: danza y tartamudeo, y en desarrollar la idea de (...) cómo esta poesía alcanza su forma definitiva en el segundo de estos momentos. (shrink)

El presente trabajo propone un estudio de los dos poemarios de la poeta salvadoreña Tania Pleitez Vela, Nostalgia del presente (2014) y Preguerra (2017). Las dos colecciones comparten una poética de la memoria que adquiere rasgos diferentes que se van a analizar. Se aprecia que, de la imposibilidad de asumir el pasado y de nombrar el dolor, se llega al reconocimiento de una pertenencia. Así que en Nostalgia del presente (2014) se perfila el dolido proceso de la rememoración, a través (...) de un yo lirico desamparado e inquieto, mientras que en Preguerra (2017) una voz más ponderada y reflexiva transmite la narración de la memoria. (shrink)

One of the significant courses in Chinese universities is English. This course is usually taught by a foreign language instructor. There will, however, necessarily be some communication hurdles between “foreign language teachers” and “native students.” This research presents an emotion recognition method for foreign language teachers in order to eliminate communication barriers between teachers and students and improve student learning efficiency. We discovered four factors of emotion recognition through literature analysis: smile, eye contact, gesture, and tone. We believe that differences (...) in foreign language teachers’ performance in these four areas will have an impact on students’ emotion recognition and, as a result, on their learning efficiency. The influence of the foreign language teacher’s eye contact and gestures is larger in the decision whether can improve the students’ classroom learning efficiency, according to 43 of the questionnaire data analysis. The second is the tone and smile. Our research contributes to the body of knowledge on emotion recognition in university foreign language teachers by presenting a practical method for recognizing emotion in foreign language teachers. We recommend that college foreign language teachers pay attention to eye and gesture communication with students in English classrooms based on the findings. By enriching the style of emotional expression in class, college language teachers, particularly foreign language teachers, can improve communication, and connection with students. (shrink)

La poesía de Juan Ramón Jiménez pretende volver a unir palabra y cosa, separadas por la crisis fin-de-siècle del lenguaje. Para lograrlo adopta un realismo mágico trascendente. El sujeto poético desvela el sentido oculto de las cosas y consigue aumentar el mundo mediante la conversión de la palabra poética en símbolo. La poesía piensa la realidad con la intuición, la cual se expresa simbólicamente. Esta es la dimensión gnoseológica de lo simbólico. Pero el símbolo tiene valor ontológico porque (...) él mismo es la cosa simbolizada. De este modo, la hace ser y conecta palabra y cosa. (shrink)

Oral history of philosophy: written format.