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.

Intuitively, there is a difference between knowledge and mere belief. Contemporary philosophical work on the nature of this difference has focused on scenarios known as “Gettier cases.” Designed as counterexamples to the classical theory that knowledge is justified true belief, these cases feature agents who arrive at true beliefs in ways which seem reasonable or justified, while nevertheless seeming to lack knowledge. Prior empirical investigation of these cases has raised questions about whether lay people generally share philosophers’ intuitions about these (...) cases, or whether lay intuitions vary depending on individual factors (e.g. ethnicity) or factors related to specific types of Gettier cases (e.g. cases that include apparent evidence). We report an experiment on lay attributions of knowledge and justification for a wide range of Gettier Cases and for a related class of controversial cases known as Skeptical Pressure cases, which are also thought by philosophers to elicit intuitive denials of knowledge. Although participants rated true beliefs in Gettier and Skeptical Pressure cases as being justified, they were significantly less likely to attribute knowledge for these cases than for matched true belief cases. This pattern of response was consistent across different variations of Gettier cases and did not vary by ethnicity or gender, although attributions of justification were found to be positively related to measures of empathy. These findings therefore suggest that across demographic groups, laypeople share similar epistemic concepts with philosophers, recognizing a difference between knowledge and justified true belief. (shrink)

En este ensayo se hace una valoración de la situación actual de la estética y se estudia cuál es la aportación del pensamiento del filósofo español X. Zubiri a la misma. Para ello se reconstruye a grandes rasgos la historia del pensamiento estético hasta el momento actual de modo que sean claramente perceptibles las aportaciones a la estética de la propuesta del pensador español, a la vez que las posibilidades que abre para un desarrollo ulterior de esta disciplina. Para mostrar (...) las aportaciones a la estética de Zubiri se exponen las características fundamentales de su pensamiento en las que destaca su raigambre estrictamente metafísica. Esta raigambre metafísica permite evitar un reduccionismo hermenéutico de la estética tal y como ocurre según el autor en muchas propuestas actuales. Por otro lado, la propuesta zubiriana de incardinar lo estético en una facultad sustantiva como es el sentimiento afectante, permite evitar el intelectualismo y rescatar la autonomía de la dimensión estética de la realidad sin reducirla al bien ni el ser neutro. La propuesta es una alternativa a la teoría de Max Scheler que, no obstante, vuelve a hacerse cargo de la estructura transcendental de la realidad como ocurría en la gran tradición metafísica occidental. (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)

L'auteur reprend autour de Husserl, créateur de la phénoménologie, et de Xavier Zubiri le très ancien débat entre idéalisme et réalisme. Influencé par Husserl et Heidegger, Zubiri a élaboré un réalisme transcendantal qui corrige les erreurs du réalisme naïf et qui dépasse le réalisme critique. L'auteur illustre ce qu'il appelle un "combat de géants" et montre comment les deux hommes portent en avant la réflexion philosophique, tant dans sa méthodologie que dans ses positions métaphysiques les plus fondamentales.

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)

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L'Althusser antihumaniste, ou de la coupure: Le problème de la "philosophie de Marx" -- Du côté de Staline -- Les thèses de l'antihumanisme -- Spinoza l'antihumaniste -- Louis Althusser entre déterminisme et liberté -- Althusser de la lecture: Le détour par Spinoza -- Le Traité théologico-politique, une politique du discours -- Lire Le Capital avec Spinoza -- Althusser de la structure: Du "marxisme structuraliste" à l'immanentisme spinoziste : un parcours philosophique -- Déterminisme et coupures -- Coupure et lecture symptômale -- (...) Althusser, de la conjoncture au retour du sujet: Penser la conjoncture -- Le détour par Machiavel -- Spinoza Machiavellianus -- Interpellation et constitution du sujet -- Est-il simple d'être spinoziste en philosophie? -- Althusser et l'aléatoire: -- Entre la nécessité et l'aléatoire -- La crise du marxisme -- Les "manifestes" du matérialisme aléatoire -- À quoi s'oppose le matérialisme aléatoire? -- Une conjoncture sans politique. (shrink)

Si en las relaciones de fiestas virreinales la profusa descripción de todos los elementos que revisten el acontecimiento es una de sus marcas de estilo, el texto de 1621 titulado Verdadera relación de una máscara que los artífices del gremio de la platería de México y devotos del glorioso San Isidro hicieron en honra de su gloriosa beatificación resulta paradigmático sobre la relevancia de la cultura material para la construcción de la imagen de Carlos V y de todos los elementos (...) del desfile. Los vestidos, las alhajas, los objetos son centrales para la edificación iconográfica del mito del héroe y para propagar la imagen heroica de España. El presente trabajo analiza tanto esta cultura material que el texto retrata como su dimensión con respecto a la recepción en América de personajes literarios e históricos y la especial significación que el contexto les imprime. (shrink)

Resumen: Este artículo postula que el mejor modo de leer la Relectio de Indis de Francisco de Vitoria es considerar que no solo se trata de un texto que pertenece al género de análisis político. Para fundar esta hipótesis de lectura la investigación discurre en tres niveles: analiza el contexto de producción del texto; fija las características de los textos de análisis político y propone un autor y lector modelos de la Relectio. La conclusión de la investigación distingue entre interpretación (...) y uso del texto, y sostiene que la interpretación de la Relectio exige que el lector empírico conozca los tres niveles de análisis, mientras que el uso del texto exige considerar que él trata un conjunto de soluciones a problemas perennes en las sociedades: los dilemas interculturales.: This article postulates that the best way of reading Francisco Victoria’s Relectio of Indis is having in mind that it not only is about a text which belongs to the political analysis genre. To support this reading hypothesis, the investigation proceeds in three levels: First, it analyzes the context of production of the text; second, it sets the features of the texts of political analysis and; third, it proposes an author and model reader of the Relectio. The conclusion of the investigation distinguishes between interpretation and the use of text as well as it holds that the interpretation of the Relectio demands the empiric reader to know the three levels of analysis, whereas the use of the text demands him to deal with a set of solutions to perennial problems in societies: intercultural dilemmas. (shrink)

Este breve ensayo analiza la estructura de la vida estética, tanto en su faceta ontológica, como en su faceta antropológica vivencial, para mostrar que precisamente en ella, en tanto que discurre en esencial comercio con el mundo en los procesos de objetivación y encarna-ción del espíritu en la obra, se manifiesta y pone en juego la misteriosa realidad humana, espiritual y corpórea a la vez, lo que sirve para un mayor conocimiento de ella.

Do laypeople and philosophers differ in their attributions of knowledge? Starmans and Friedman maintain that laypeople differ from philosophers in taking ‘authentic evidence’ Gettier cases to be cases of knowledge. Their reply helpfully clarifies the distinction between ‘authentic evidence’ and ‘apparent evidence’. Using their sharpened presentation of this distinction, we contend that the argument of our original paper still stands.

«(...) Curiosamente, ha sido Amor y Pedagogia uno de los textos menos estudiados y citados de Miguel de Unamuno. (...)La novela que hoy nos ocupa se elaboró justamente en un momento de la vida de su autor en que habían hecho crisis muchas de las ideas que sobre el progreso indefinido, y en realidad sobre el progresismo y aun sobre el progreso (...). Este es el tema central de sus meditaciones de esos años: la dicotomia entre una tendencia abiertamente metafisica (...) y una dirección radicalmente experimental. A esa ambivalencia mistico-positivista responden muchos de sus escritos de entonces. Y singularmente esta novela, a la que Unamuno lleva la experiencia de su crisis de 1897, la que se refleja en el Diario íntimo, que no es otra cosa que su lucha entre la ciencia positiva y la creencia religiosa, entre la pedagogia humanista y liberadora y la fe del carbonero, que terminan en él con el triunfo precario del espiritualismo, su cristalización como ideología.(...)». (shrink)

El presente artículo es producto de una investigación multidisciplinaria e interinstitucional, fruto de la alianza entre la Universidad de San Buenaventura Medellín y el Centro de Familia VID-Obra de la Congregación Mariana de Medellín. Surge de una inquietud respecto a la manera en que se aborda la realidad institucional de las madres cabeza de familia, tanto en el ámbito político como empresarial. Para estudiar esta realidad, se partió de un modelo de investigación cualitativo, en donde se hizo una aproximación a (...) la población a partir de un cuestionario que permitiera identificar los roles y percepciones frente al ejercicio de la maternidad y la jefatura femenina, específicamente, cuando se trata de madres trabajadoras. Los resultados arrojados por la investigación permiten obtener una mirada psicosocial de la forma en que se ejerce el rol de madre y de figura de articulación familiar. (shrink)

In the present article we propose to approach and think about the event, the difference and the abyss. This is extremely important because it allows us to think about the individuation of the new. For this, we expose the positions of Heidegger and Deleuze. In the conclusions, we try to make dialogues both philosophies so that they are pushing each other trying to avoid justifying one position over the other.

The essay intends to demonstrate the need to postulate an spiritual reality in the human being as a condition of possibility of the world’s visibility. For that purpose, it employs the phenomenological method. It describes the structure of human sensitive perception. This description firstly presents the world’s structure. Secondly, it manifests the importance of the body as a border element between the soul and the world and as an organ by means of which the soul structures the world. It is (...) the second distance the distance between the body and the world. But, thirdly, the description states that, no matter how intimately the soul interpenetrates the body and requires it to know the world, the soul is not the body. It is the third distance or the primordial distance between the soul and everything else. (shrink)

Extending the relation between semi-Heyting algebras and semi-Nelson algebras to dually hemimorphic semi-Heyting algebras, we introduce and study the variety of dually hemimorphic semi-Nelson algebras and some of its subvarieties. In particular, we prove that the category of dually hemimorphic semi-Heyting algebras is equivalent to the category of dually hemimorphic centered semi-Nelson algebras. We also study the lattice of congruences of a dually hemimorphic semi-Nelson algebra through some of its deductive systems.

na parte importante de la literatura sobre la ontología de las normas jurídicas se ha decantado por entenderlas como algún tipo de objeto o entidad abstracta. Sin embargo, más allá de los matices propios de cada concepción, aún no se presenta una discusión en torno a qué implica que las normas jurídicas sean entendidas de esta manera. Esta omisión se podría explicar porque en el propio debate filosófico todavía no hay una articulación teórica respecto de qué subyace a la dicotomía (...) concreto/abstracto, sino más bien distintas maneras de explicar la distinción. De ahí que, en el intersticio entre dos problemáticas no suficientemente abordadas, este trabajo se propone enmendar uno de dichos vacíos explicativos a través de contribuir a determinar si corresponde (o no) entender las normas jurídicas como objetos abstractos. (shrink)