Un vínculo necesario entre estética y socialización explica la profundidad sensible que debe construir todo cambio de paradigma y toda re-socialización. La democracia no funciona sin una apropiación individual y colectiva del sentir y de la producción de sentir. Es a partir entonces del trabajo artístico y de la instrospección y exteriorización de la dimensión sensible, que toda transformación puede ser aplicada. Se recorren parcialmente los pensamientos de Alain Badiou y Bernard Stiegler. A required link between aesthetic and socialization explains (...) the sensitive depth that all paradigm and re-socialization must build. Democracy does not work without an individual and collective ownership of feeling and feeling's production. It is from the artwork and the introspection and externalization of the sensitive dimension, that any transformation can be applied. The article covers partially the thoughts of Alain Badiou and Bernard Stiegler. (shrink)

El presente artículo piensa el ensayo fílmico en el doble contexto de la generación de conocimientos en la academia y en la situación actual global, donde la correspondencia entre la representación de las cosas y la subjetividad moderna parece romperse para siempre. Por lo tanto, desplazar la representación y bosquejar posibilidades subjetivas son tareas que deben ser fortalecidas y pensadas. En tal contexto, se piensa aquí la condición de la escritura y la posibilidad de dar un paso más allá. Este (...) paso implica prescindir de toda representación de la materia para pensar en esta última el desarrollo de un saber para estos tiempos. De ahí que la materia audiovisual sea una posibilidad real de saber. Cine y escritura son singularidades en el trabajo con los materiales. (shrink)

In the context of reproductive health, policies focused on decriminalising abortion that resulted in religious beliefs, attitudes and behaviours being affected. The main purpose of this article was to identify the religious beliefs of abortion in the emergency situations such as COVID-19. Although there is no general consensus regarding abortion, there is almost ‘general opposition to causing harm to life’ in most religions. In the current study, 28 indicators and four factors (seven for each factor) related to pregnancy termination were (...) explored through an exploratory factor structure. The study was therefore non-experimental, cross-sectional and exploratory, with 100 students selected in a non-probabilistic way. Contribution: The main contribution of this research is to find the variable effects on abortion in emergency conditions regarding religious beliefs. Given the results, behavioural intentions determine a structural model, but religious beliefs explain the solution. Furthermore, data generalisation is not possible due to the context, sample selection and type of analysis. In the local population, a confirmatory factor analysis should be performed with a probabilistic sample selection. (shrink)

Pindar's Celedones have raised much controversy over the years. Their identity still remains uncertain, although there have been many attempts from scholars to specify whether the term refers to mythical creatures comparable to the Sirens of Homer or to elaborate life-like statues adorning the gable of a long-lost Delphic temple. In this paper, I wish to argue for a metaphorical reading of the Celedones in Pindar's Paean 8 that resides in the poetic signification of proper names and how they are (...) put into narrative. Drawing intratextual evidence from Olympian 1 and intertextual evidence from early Greek epic, I contend that the Celedones, richly semanticized as they are, become the means by which Pindar deals with the rigours of the song-making process, as he strives to introduce an ambivalent take on the choral praise of Apollo at Delphi, one that rests on the paradox of song exquisiteness and its negative consequences. (shrink)

Este trabajo trata de las relaciones, inexistentes, probables o seguras, entre ambos escritores teniendo en cuenta cuatro aspectos: si se conocieron; la presencia de Tirso en Cervantes, la influencia de Cervantes en Tirso y la evocación cervantina en la obra del Mercedario. This article analyses the non-existent, probable or concrete relationships between both writers: Cervantes and Tirso de Molina. The analysis focuses on four aspects: the probability that both of them met and knew each other, the presence (...) of Tirso in the works by Cervantes, the influence of Cervantes in the plays of Tirso and Cervantes evocation in the works of the friar. (shrink)

There are numerous studies that, from different perspectives, have dealt with the debate held in the Spanish Empire during the 16th century on the slavery of the American Indians, starring –among others– by Francisco de Vitoria and his disciples from the School of Salamanca, and also –outside the academic sphere– by Fray Bartolomé de las Casas and Juan Ginés de Sepúlveda. The purpose of this work is to study whether this debate made its mark in Spanish society. For this, it (...) is analyzed three theatrical pieces from the Golden Age signed by playwrights of the stature of Tirso de Molina, Lope de Vega and Pedro Calderón de Barca, who –given their enormous popularity– had the capacity to reach the wide audience that congregated in the corrals of comedies. Were these three writers influenced by the controversy over the Indians carried out, among other authors, by Vitoria, Las Casas and Sepúlveda? Did they fully grasp in their works the subtle debate that Vitoria, Las Casas and Sepúlveda maintained when they interpreted Aristotelian arguments on slavery and the consequences that derived from them in terms of the possibility of enslaving or not the Indians? (shrink)

Reseña de ‘Filosofía y experimentación sonora’ de Gustavo Celedón Bórquez, realizada por Marcela Rivera Hutinel, Dra. en Filosofía, académica de la Universidad Metropolitana de Ciencias de la Educación. Gustavo Celedón Bórquez Filosofía y experimentación sonora Ediciones Metales Pesados 2023 Santiago 376 páginas ISBN: 9789566203100.

The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. (...) He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well. (shrink)

Sebastián Madrid, Teresa Valdés, Roberto Celedón. Universidad Academia de Humanismo Cristiano y Crea Equidad. 2020, 492 pp. Santiago, ISBN: 978-956-7382-50-7.

. There are many types of artistic representations of the legend of Don Juan, i.e. the universal archetype of the seducer who, through deception, conquers a woman and, once she succumbs to his charms, he boasts of his triumph, despises her, and shifts his interest towards another lady. In this work, I compare three of the most famous versions don Juan: The Trickster of Seville and the Stone Guest by Tirso de Molina, Don Giovanni by Wolfgang Amadeus Mozart and (...) Lorenzo Da Ponte, and Don Juan Tenorio by José Zorrilla. The first and third are theatrical pieces, while the second is an opera. The myth of Don Juan is essentially the same in all three, but the message and the moral vary according to the cultural movement the works belong to, namely the Baroque, the Enlightenment and the Romanticism, respectively. Key words: The Trickster of Seville and the Stone Guest, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, sin, redemption, sociopath. Resumen. Son muchos los tipos de representación artística —teatro, música, ópera, ballet, literatura, cine, televisión, pintura, escultura, etc.— de la leyenda de Don Juan, el arquetipo universal del seductor que, mediante engaños, conquista a una mujer y, una vez que ella sucumbe a sus encantos, se jacta de su triunfo, las desprecia y reenfoca su interés en otras damas. En este trabajo, comparo a tres de los don Juanes más famosos: El burlador de Sevilla y convidado de piedra de Tirso de Molina, Don Giovanni de Wolfgang Amadeus Mozart y Lorenzo Da Ponte, y Don Juan Tenorio de José Zorrilla. La primera y la tercera son piezas teatrales, en tanto que la segunda es una ópera. El mito de Don Juan es, esencialmente, el mismo en estas tres obras, aunque varían el mensaje y la moraleja según el movimiento cultural al que pertenecen: Barroco, Ilustración y Romanticismo, respectivamente. Palabras clave: Burlador de Sevilla, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, pecado, redención, sociópata. (shrink)

Wielkie poselstwo cara Piotra I Aleksiejewicza Romanowa, czyli podróż dyplomatyczna do Europy Zachodniej, miało miejsce między 9/10 marca 1697 r. a 25 sierpnia 1698 r. Towarzyszyła mu szeroko zakrojona aktywność innych moskiewskich dyplomatów, jak np. Borysa Szeremietiewa. Już w marcu 1698 r. odwiedził Wiedeń, gdzie otrzymał listy polecające do Fryderyka Kazimierza Wolffa SJ, cesarskiego dyplomaty, wywodzącego się z Rzeczypospolitej, a konkretnie z senatorskiego rodu z województwa inflanckiego. Ojciec Wolff zalecał przyjęcie w Rzymie Szeremietiewa, rzekomo skłonnego do unii, przez jakiegoś jezuitę (...) znającego język słowiański. W ten sposób skrzyżowały się drogi moskiewskiego dyplomaty z ojcem Tomaszem Duninem Szpotem. Ten zostawił relację opisującą wizytę i audiencje Szeremietiewa w Rzymie, w których generał zakonu Tirso González de Santalla podsuwał moskiewskiemu dyplomacie jako dary polskie manuskrypty przygotowane przez Szpota na temat misji w Japonii czy postanowień soborów powszechnych Kościoła katolickiego. Relacja ta przedstawia również pobyt Piotra I w Wiedniu, podczas którego – dzięki możliwości porozumiewania się w języku polskim – pomiędzy ojcem Wolffem a carem wytworzyły się więzy szczególnej zażyłości. (shrink)