The awareness of the last 20 years about embodied cognition is directing multidisciplinary attention to the musical domain and impacting psychological research approaches from the 4E cognition. Based on previous research regarding musical teaching and learning conceptions of 30 young guitar apprentices of advanced level in three learning cultures: Western classical, jazz, and flamenco of oral tradition, two participants of flamenco with polarised profiles of learning were selected as instrumental cases for a prospective ex post facto design. Discourse and practice (...) of the two flamenco guitarists were analysed in-depth to describe bodily issues and verbal discourse on the learning practice in their natural contexts. Qualitative analysis is performed on the posture, gestures, verbal discourse, and musical practice of the participants through the System for the Analysis of Music Teaching and Learning Practices. The results are organised attending: the Embodied mind through differential postures and gestures of flamenco participants that showed a fusion among verbal, body language, and musical discourse with respect to the musical literacy cultures; the Embedded mind and a detailed description of circumstances and relationships of the two flamenco participants, and how music is embedded in their way of life, family and social context, and therefore transcends musical activity itself; the Enactive mind, regarding the active processes that make differences between the reproductive and the transformative flamenco apprentices, then tentative relationship are observed in the discourse of each apprentice and the way in which they practice; finally, the Extended mind through the bodily, technical and symbolic tools they use during learning. Flamenco culture of oral tradition made use of listening, and temporary external representations instead of notational, but also the body played a central role in a holistic rhythm processing through multimodality, such as singing, playing, and dancing. Conclusions point out the embodied mind as a result of the culture of learning reflected through the body and the gesture in instrumental learning. (shrink)

En la atención médica y en la investigación en salud resulta indispensable favorecer la toma de decisiones de los pacientes y/o participantes bajo el principio de autonomía. En particular, esta capacidad, consignada en la Convención de los Derechos de las Personas con Discapacidad, se concreta mediante la detección de necesidades de asistencia, ajustes y apoyos que dan paso a una plena y efectiva capacidad de ejercicio. Las reflexiones bioéticas hechas desde la perspectiva principialista, personalista y de los Derechos Humanos ofrecen (...) elementos para potenciar la autonomía de las personas con discapacidad, promoviendo la figura de asistencia personal y enfatizando el interés superior, la gradualidad y la revisión judicial permanente como principios de figuras sustitutivas. (shrink)

In this essay, the articles which are published in the «Revista de Indias»,fiom 1995 to 1999, are analyzed under a scientometric perspective. The main purpose has been to obtain un intercontinental vision fkom the use of scient$c production in the subject of American History through a periodical publication which is rankedjirst among citations and the impact of its works. Firstly, citing works are studied: the numbers of published articles in the analyzed period, authors of fhese articles, and the institution of (...) the cited authors. Consecutively, citations are analyzed. Finally, we analyze the citation network that has been established between the American and European continents under the study of cited authors and the citing authors. (shrink)

Este artículo analiza el perfil sociodemográfico de la población de 12 años y más ocupada en el empleo doméstico, considerando las variables edad, sexo, migración, condición de hablante de lengua indígena, escolaridad, seguridad social e ingresos, en un contexto de crisis económica. La fuente de información usada corresponde a los microdatos de los Censos de Población y Vivienda del Instituto Nacional de Geografía e Informática (INEGI, 1970-2020). Los resultados sugieren que el empleo doméstico es un fenómeno decreciente, se constata como (...) nicho feminizado, de baja escolaridad, con reducción significativa de las indígenas, de su condición migratoria y del aumento en el envejecimiento. La elección del periodo de estudio sugiere que las crisis económicas impactan disminuyendo las tasas la participación laboral del sector de estudio. (shrink)

Prendendo spunto da alcuni aspetti del dibattito contemporaneo sulla metafora, l’articolo propone un percorso attraverso varie figure di artefice per interrogarsi sulla portata filosofica, conoscitiva ed euristica dell’analogia in diverse epoche e difenderne la retoricità. Il tema dell’artefice e del suo processo creativo-produttivo compare sovente nella forma di analogia ed è oggetto di significative variazioni nel corso della storia, prima tra tutte il dislocamento del dominio e delle finalità dell’analogia dal trascendente all’immanente. Si propone un itinerario che inizia con Bonaventura (...) da Bagnoregio, il quale condivide i principali tratti della metafisica della relazione agostiniana e monastica in cui l’analogia di proporzionalità ha un ruolo centrale non solo nel determinare la struttura dell’essere, ma anche nel progredire della conoscenza. La questione in età moderna è affrontata con brevi riferimenti ad alcune figure di artefice in età rinascimentale (Leon Battista Alberti, Leonardo da Vinci) e moderna (Baudelaire, Kandinskij) in cui l’interesse si sposta nell’immanenza. Si approfondisce infine il ruolo dell’analogia nei processi creativi delineati da Paul Valéry, là dove essa diviene la funzione principale del potere universale della mente. In conclusione, si presentano osservazioni dapprima teoriche, sulla dimensione filosofica, conoscitiva ed euristica dell’analogia in differenti epoche storiche; e in seguito metodiche, sull’uso dell’analogia in storia della filosofia. Starting from some aspects of the contemporary debate on metaphor, the article proposes a path through various figures of artifex to question the philosophical, cognitive and heuristic aim of analogy and defend its rhetorical dimension. The theme of the artifex and his creative-productive process often appears in the form of analogy. It has undergone significant variations throughout history, most notably the displacement of the domain and purpose of analogy from the transcendent to the immanent. An itinerary is proposed that begins with the Franciscan Bonaventure of Bagnoregio, who shares the main features of the Augustinian and monastic metaphysics of relationship in which the analogy of proportionality plays a central role not only in the structure of being, but also in the progress of knowledge. The question in the modern age is addressed with brief references to some figures of the Renaissance (Leon Battista Alberti, Leonardo da Vinci) and modern age (Baudelaire, Kandinsky) in which the interest shifts to immanence. Finally, the role of analogy in the creative processes outlined by Paul Valéry is explored, where it becomes the main function of the universal power of the mind. Concluding remarks are proposed, firstly theoretical, on the philosophical, cognitive and heuristic dimension of analogy in different historical periods; and then methodical on the use of analogy in the history of philosophy. (shrink)

Il saggio affronta la questione se nel pensiero di Giovanni di Salisbury sia presente un pensiero mistico e quella di quali siano le relazioni con la sua teoria della conoscenza. Il pulchrum rappresenta uno dei temi tramite cui è possibile riflettere su tale questione, poiché problematizza il rapporto tra umano e divino, tra immanente e trascendente, su più livelli del discorso salisburiano. All’interno del generale atteggiamento scettico dell’autore, il pulchrum si articola nelle dimensioni dell’armonia musicale cosmica e umana, come proportio (...) o venustas; dei criteri di misura, numero e peso con cui Dio crea e che sono indici della sua ineffabilità in senso dionisiano; dell’armonia tra forma e contenuto proprie della retorica e della poesia; infine dell’ordine proporzionale che regola non solo il cosmo, ma anche la res publica. Il saggio conclude individuando un atteggiamento mistico, che non è propriamente pensiero mistico, nei momenti in cui maggiormente emergono gli aspetti di ispirazione dionisiana. The essay concerns the question of the possibility of mystical thought in the reflection of John of Salisbury and that of what is the relationship with his theory of knowledge. The pulchrum represents one of the themes through which one can approach this issue, because proves problematic the relationship between human being and God, immanent and transcendent, on multiple levels of John’s thought. Into his general sceptical attitude, the pulchrum is articulated in some dimensions of the musical harmony, both cosmic and human, such as proportio or venustas. In addition, it is understood as measure, number and weight with which God creates and that are signs of his ineffability in a Dionysian meaning. The concept of beauty is also related to the relationship between form and content concerning both rhetoric and poetry. Finally, it concerns the proportional order that regulates not only the cosmos, but also the res publica, in the moments in which the aspects of Dionysian derivation mainly emerge. (shrink)

Negli studi sul pensiero medievale la questione delle filosofie francescane si presenta come controversa a proposito della definizione di una essenza del pensiero francescano – in relazione alla figura di Francesco d’Assisi –, di temi di riflessione specifici e del rapporto con le tradizioni filosofiche precedenti.Si tratta di un francescanesimo controverso pure all’interno di una stessa tradizione storiografica, come quella Neoscolastica, in cui studiosi come Gilson, Vignaux e Boehner ne hanno sottolineato il carattere prevalentemente agostiniano o aristotelico.Partendo dalla consapevolezza della (...) problematicità della questione, il saggio si sofferma sui possibili caratteri comuni delle teorie della conoscenza in alcuni pensatori francescani tra XIII e XIV secolo, come Pietro Giovanni Olivi e Pietro Aureolo, a partire dai concetti di conversio, intentio e reflexio e dal loro rapporto con la tradizione agostiniana.Si delineano così teorie della conoscenza che privilegiano l’attività e l’immediatezza del conoscere, sia per la conoscenza diretta sia per quella riflessa.Infine, tali caratteri si possono cogliere pure in un autore non francescano ma secolare come Nicola di Autrecourt, la cui teoria della conoscenza ha fatto parlare di un internalismo vicino a quello delle correnti francescane del XIV secolo. In conclusione, se da una parte non si può ipostatizzare l’idea di caratteri comuni del pensiero francescano, dall’altra si può forse parlare di un comune universo discorsivo in cui la figura di Francesco d’Assisi mostra la propria portata filosofica nella storia. In the History of Medieval Philosophy’s studies, the question of Franciscan philosophies has been the subject of controversy concerning the definition of an essence of Franciscan thought, about the relationship with Francesco d’Assisi, of specific topics of reflection and relationship with the previous philosophical traditions.It is a controversial Franciscanism even within the same historiographical tradition, such as the Neo-Scholastic one, in which scholars such as Gilson, Vignaux and Boehner have emphasised its predominantly Augustinian or Aristotelian character.Starting from the awareness of the problematic nature of the issue, the essay focuses on the possible common peculiarities of the theories of knowledge in some Franciscan thinkers between the 13th and 14th centuries, such as Pietro Giovanni Olivi and Pietro Aureolo, starting from the concepts of conversio, intentio, reflexio and their relationship with the Augustinian tradition.Thus the theories of knowledge are delineated which privilege the activity and the immediacy of knowing, both for direct and reflected knowledge.Finally, these features can also be grasped in a non-Franciscan but secular author like Nicola di Autrecourt, whose theory of knowledge has made mention of a type of internalism close to that of the 14th century Franciscan movement. Therefore, in conclusion, while on the one hand the idea of common particularities of Franciscan thought can not be hypostatised, on the other hand we can perhaps speak of a common discursive universe in which the figure of Francesco d’Assisi shows his philosophical significance in history. (shrink)

Una de las cuestiones más llamativas de las obras de Platón y Aristóteles estriba en su silencio acerca de la historia. Leyeron y criticaron a físicos, filósofos, matemáticos, biólogos, poetas, retóricos, políticos, etc. Sin embargo, sus citas a propósito de los historiadores de su momento cabrían en una cuartilla. En este breve artículo tratamos de ofrecer una explicación a propósito de tal omisión. Así mismo, aprovechamos para ofrecer una razón del Menéxeno y aportar una confirmación de las razones que condujeron (...) a L. Edelstein a cuestionar la autenticidad de las cartas séptima y octava atribuidas a Platón. One of the most showy questions about the works of Plato and Aristotle rests on them silence brings over of the history. They read and criticized physicists, philosophers, mathematicians, biologists, poets, rhetorical, political, etc. Nevertheless, their appointments about the historians of that moment would fit in a sheet of paper. In this brief article we try to offer an explanation about such an omission. Likewise, we are useful to offer a reason of the Menexenus and to contribute a confirmation of the reasons that L. Edelstein led to questioning the genuineness of seventh and eighth letters attributed to Plato. (shrink)

A pesar de la relevancia que ganó el pensamiento de Jean-François Lyotard con la publicación de La Condition postmoderne (1979), solo un pequeño número de publicaciones académicas han abordado sus primeras propuestas en el campo de la estética. Este artículo pretende contribuir a la tarea de enmendar semejante error. Para ello se propone una aproximación general y sistemática a sus primeros usos del concepto de figura, comenzando por sus precedentes e influencias y concluyendo con la afirmación de que la estética (...) de Lyotard no expone una mera filosofía de las artes o una filosofía de la percepción, sino una auténtica ontología. Para facilitar la comprensión de esta cuestión, se abordarán algunos de sus conceptos más complejos, como el de figura-matriz, y se harán pequeñas aproximaciones a la producción de artistas como Joan Fontcuberta y Peter Tscherkassky, cuya obra explicita el tema central de este artículo: la poética, la política y la ontología de la figura. (shrink)

Este trabajo aborda el tema de la maternidad a través de algunos filmes y series de ficción que nos acercan a un mundo en el que dicha realidad se somete a juicio en sus aspectos más elementales. Nos situamos a principios del siglo xxi, en sociedades democráticas, en mayor o menor medida liberales y de raíz judeocristiana, en las que se están produciendo cambios y promoviendo debates que hacen tambalear las estructuras sociales y familiares tradicionales. En un contexto en el (...) que se han modificando los cauces a través de los cuales se ha ejercido siempre la maternidad, nos preguntamos si hablamos de algo inmutable, vinculado a la identidad femenina; o por el contrario, es una realidad mutable en su esencia, que debe adaptarse en sus formas a los cambios culturales y sociales de nuestro entorno. Para ver las respuestas que el cine nos ofrece acerca de estas cuestiones, hemos elegido una serie de películas rodadas desde 1999, que consideramos fundamentales para arrojar luz sobre el tema. Dichos filmes nos presentan modelos de mujer que se enfrentan a la maternidad desde distintas situaciones y diferentes enfoques, en entornos complejos y cambiantes, que invitan a una reflexión en torno a los fundamentos sobre los que se construye nuestra sociedad. (shrink)

El día 27 de febrero de 2013 se llevó a cabo en la Pontificia Universidad Javeriana el homenaje académico en honor de la vida y trayectoria intelectual del profesor Guillermo Hoyos Vásquez. Su reciente deceso, el 5 de enero de 2013, y sus contribuciones a la academia colombiana fueron las razones para que amigos, alumnos y compañeros de trabajo dedicaran toda una jornada a recordar las anécdotas y enseñanzas del profesor Hoyos. Como resultado de ese evento, la Vicerrectoría Académica y (...) la Vicerrectoría de Investigación de la Universidad Javeriana se han unido en este proyecto editorial que recoge las intervenciones que se realizaron en este homenaje, con el fin de llevar a un público más amplio una de las vidas y obras intelectuales que han marcado a una generación de científicos sociales y filósofos colombianos. (shrink)

La medicina del mejoramiento, un paso cercano al transhumanismo, se ha posicionado en nuestra sociedad. El transhumanismo pretende utilizar la ciencia y la tecnología para llevar al ser humano más allá de las limitaciones de su forma natural, con la intención de posteriormente pasar al posthumanismo, la creación de una nueva especie. Los últimos avances científicos, especialmente en el campo genético, pueden posibilitar estas opciones. Las innovaciones electromecánicas, como la miniaturización de los componentes y la mejora de los materiales biocompatibles, (...) han propiciado avances en las interfaces cerebro-máquina que potencian una dimensión cibernética, en la que los dispositivos mecánicos estarían bajo el control directo de la mente. El campo de las Ciencias de la Salud, es especialmente fructífero para la aplicación de estas tecnologías, propiciando en el ser humano mejoras, que pueden ser aplicadas a la medicina del mejoramiento y al transhumanismo. Esta reflexión ofrece una visión de los más importantes de estos avances recientes, con especial énfasis en la edición del genoma. No se considerarán en esta reflexión específicamente temas de posthumanismo. (shrink)

Gracias a unas intervenciones de recuperación que se presentaban casi imposibles, dentro del amplio plan de restauración, precedido de investigaciones y estudios, de todo el conjunto de las edificaciones que bajo Augusto fueron realizadas en la colina del Palatino, se han abierto al público en Roma las puertas de la casa que Octaviano mandó edificar en el año 36 a.C., antes de convertirse en Augusto (27 a.C.-14d.C.).

El antiguo convento del Carmen calzado de Sevilla fue uno de los edificios religioso más paradigmáticos de su ciudad. No ya sólo por sus dimensiones o por el enorme patrimonio artístico que llegó a albergar (del que hoy nos queda in situ sólo buena parte de su arquitectura), sino también por su amplio significado devocional. En él llegaron a establecerse en el s. XVI y hasta el s. XIX numerosas hermandades y cofradías. En este artículo no se pretende simplemente resumir (...) la historia de dichas corporaciones durante ese periodo carmelitano, sino ahondar en sus relaciones con respecto a los frailes que los acogían, y reflexionar sobre el estrecho paralelismo que hubo entre la evolución y posterior decadencia de esta comunidad religiosa con respecto a esas hermandades. (shrink)

La personalidad es un aspecto de la experiencia humana que es complejo y está lleno de matices. En este artículo, Nyary explora el tema de la personalidad en relación con la novela _Piranesi_ de Susanna Clarke, cuyo personaje principal, el londinense Piranesi, está atrapado en la Casa, un laberinto con cientos de habitaciones, sin ningún recuerdo de su vida pasada. Tras una estancia prolongada en este lugar, Piranesi se transforma en una persona diferente. Lo anterior refleja que, como consecuencia de (...) la naturaleza humana, las personas tienden a crear una imagen pública para parecer más agradables, mientras ocultan sus verdaderas personalidades. Nyary afirma que la Casa representa nuestra verdadera personalidad y Londres, la versión que mostramos al mundo. Al ampliar el alcance de esta metáfora, Nyary hace énfasis en la importancia de comprender y nutrir nuestra verdadera personalidad y las implicaciones que esto tiene para la sociedad. (shrink)

El largometraje La llorona (Jayro Bustamante, 2019) persigue contribuir a la restitución de una deuda histórica con el pueblo indígena guatemalteco; una deuda no satisfecha plenamente con los acuerdos de paz de 1996. El pasado espectral viene encarnado en Alma, la sirvienta maya kaqchikel que entra a trabajar en la casa del general Monteverde, responsable del genocidio de las comunidades indígenas cuando era presidente del país centroamericano. Al invertir la idea del haunting, o tormento, son el torturador y su familia (...) lxs que se ven acosados por sus acciones pasadas, que hasta ahora habían quedado impunes, no solo a nivel jurídico, sino también a nivel moral. La figura metafórica de “La Llorona”, que llora desconsolada más allá de la muerte porque sus hijos han sido asesinados frente a ella, desencadena el terror que vivirá la familia protagonista, obligada a enfrentarse al pasado en el contexto del juicio popular contra Monteverde. La lujosa mansión del expresidente, una casa tomada, rodeada de manifestantes clamando por sus desaparecidxs, se volverá un espacio asfixiante capaz de atentar contra sus habitantes como respuesta a las demandas de justicia. Este artículo se interroga sobre tres aspectos fundamentales de la película. En primer lugar, cómo se elabora audiovisualmente el contra-archivo del juicio de Ríos Montt en 2013, de quien Monteverde es trasunto en la ficción. En segundo lugar, de qué manera se movilizan las politics of haunting negociando un discurso que transciende el género de terror y entronca con el de denuncia social. Y finalmente, cuáles son los procedimientos que utiliza el filme para presentar la resistencia indígena y la decolonialidad como opciones para construir el presente democrático en Guatemala. (shrink)

Este trabajo repasa los distintos métodos de cálculo que los astrónomos y matemáticos árabes medievales desarrollaron para ser aplicados a la práctica astrológica de la división de casas. Partiendo de una clasificación de estos métodos establecida por J.D. North (1986) y ampliada por E.S. Kennedy (1996), se recoge la información que se halla en estudios anteriores y se presentan nuevos datos como resultado del análisis de fuentes exploradas más recientemente, destacando ciertos elementos pertenecientes a una tradición astrológica occcidental.

Gilberto Freyre, autor de Casa-Grande & Senzala, pensador polêmico, mas singular no que se propõe - tradução da realidade brasileira à luz da miscigenação. Pode se dizer que nos textos desse recifense existem mais do que contradições, são, no sentido de determinados conceitos, debates dialéticos. Desse modo, o artigo aqui proposto intenta pensar o termo democracia racial por meio de um procedimento filosófico, a saber, dialética conceitual. Assim, não se pretende fazer uma defesa do autor em questão, mas para além (...) disso, observar o debate e contribuir para novos entendimentos em torno desse polissêmico conceito. Sendo assim, o texto encontra-se dividido em dois momentos, no primeiro momento, busca-se um diálogo com os estudiosos do pensamento de Gilberto Freyre para localização e compreensão histórica de seu expediente teórico e, no segundo momento, atina-se para uma observação filosófica do conceito de dialética. Palavras-chave: Mestiçagem. Democracia. Dialética. (shrink)

El propósito de este trabajo es ofrecer un análisis de la discusión sobre el canibalismo y los sacrificios humanos de los indígenas en el contexto de la controversia entre Las Casas y Sepúlveda. Dicho análisis es muy relevante, en tanto que permite observar las raíces más remotas del actual derecho de intervención y de la doctrina de los derechos humanos. Para tal fin, el autor empieza con una rápida descripción de los motivos que condujeron a la disputa de Valladolid, (...) al tiempo que enuncia los cuatro puntos en discusión. En segundo lugar, realiza una descripción más o menos detallada del cuarto argumento de la controversia, que trata en concreto sobre los sacrificios humanos y el canibalismo indígena. Y concluye mostrando que, al justificar estas prácticas, Las Casas busca ante todo la integración de las culturas indígenas en el marco general del conocimiento histórico universal. (shrink)

Optando por la retórica, Las Casas busca un modelo antropológico nuevo, distinto tanto del humanismo elitista, como del erasmismo voluntarista. En esta búsqueda quisiéramos poner énfasis, argumentando a favor de un resultado revolucionario a la luz de sus objetivos prácticos: cesar el homicidio y garantizar la libertad a los indios en cada aspecto de su vida. Desde aquí, nos referiremos a esta postura revolucionaria que bebe de Aristóteles y de santo Tomás, pero que es capaz de superarlos, a favor (...) de una defensa de lo propiamente humano, que estriba precisamente en reconocer que todas las comunidades tienen la posibilidad de realizarse autónomamente. Por esto, creemos que se puede hallar, en Bartolomé de las Casas, una importante contribución a la cuestión del reconocimiento, pero aún más, un importante punto de partida para los desafíos de una filosofía intercultural. (shrink)

En la actualidad, el festival literario Centroamérica Cuenta tiene en su haber seis ediciones realizadas desde 2013. Esta iniciativa internacional, coordinada por el escritor nicaragüense Sergio Ramírez, año con año ha forjado un espacio de intercambio y reflexión para la narrativa centroamericana, proyectando las identidades, literaturas y realidades de la región a diversas zonas del orbe. Desde su inicio, el festival ha contado con la participación de más de 500 escritores del istmo, entre los cuales se encuentran la salvadoreña Vanessa (...) Núñez y el nicaragüense Alberto Sánchez Argüello, representantes de una nueva generación centroamericana de narradores. En el caso de la escritora Vanesa Núñez (1973, San Salvador), también abogada, docente y editora, incluimos un cuento inédito; “La familia”, de carácter amargo y afilado en su desenlace, como las vidas de muchas personas centroamericanas. Núñez ha publicado los libros: Los locos mueren de viejos (FyG Editores, 2008 y La Pereza, 2015), Dios tenía miedo (FyG Editores, 2011 y Editorial Piedrasanta, 2016), La caja de cuentos (libro objeto) (Alas de Barrilete, 2015), Espejos (Uruk Editores, 2015), Animales Interiores (en coautoría con Frida Larios, 2015), así como varios relatos en diversas antologías y revistas de España, Francia, Alemania, Suiza, Estados Unidos, Colombia, Nicaragua, Costa Rica, El Salvador, Guatemala y México. Su obra ha sido igualmente traducida al francés, alemán e inglés. En cuanto al narrador Alberto Sánchez Argüello (1976, Managua), también psicólogo, ilustrador y reconocido tuitero (de la aplicación Twitter), quien ha creado varios libros de micro-relatos a partir de tuits entrelazados (Parafernalia Ediciones Digitales), publicamos el micro-cuento “La estatua”. El relato se encuentra en diálogo con el cuento de Núñez, a partir de una visión cruda de los mandatos patriarcales imperantes en nuestras sociedades. Sánchez se ha enfocado en literatura juvenil e infantil, con la publicación de las siguientes obras: La casa del agua (Fondo Editorial Libros para niños, 2003), Mi amigo el dragón (Fondo Editorial Libros para niños, 2014), Los Monstruos bajo la cama (Loqueleo Santillana, 2016), Chico Largo y Charco Verde (Loqueleo Santillana, 2017) e Ítaca (Fondo Editorial Libros para niños, 2017). Su obra se ha publicado en antologías en Nicaragua, México, España, El Salvador, Bolivia, Chile y Perú. Algunos de sus cuentos están traducidos al inglés, portugués, italiano, alemán y vietnamita. (shrink)

La primera mitad del siglo XVI es un momento trascendental en la historia de España. En efecto, no sólo es una época de transición del Medioevo a la Modernidad, sino que con ella asistimos a un “renacimiento” en todos los órdenes de la vida cultural, política, ideológica... En este tiempo –finales del siglo XV y mediados del XVI– los problemas del “descubrimiento”, “conquista” y “gobierno de las Indias” únicamente podían ser afrontados con pautas ideológicas heredadas de la Edad Media. El (...) problema que ahora se plantea –desde una dimensión jurídica, filosófica y teológica– es el del ‘justo título’ que tienen los Reyes cristianos de Castilla y León para ‘el sometimiento de las poblaciones indígenas’, produciéndose así uno de los acontecimientos más curiosos en la historia del mundo occidental cuando dos notables españoles, Bartolomé de Las Casas y Juan Ginés de Sepúlveda, se reunieron en Valladolid en 1550 para discutir un gran problema nacional que concernía tanto a los indios americanos como a Aristóteles. Entonces, por primera vez y quizá por última, un imperio organizó oficialmente una encuesta sobre la justicia de los métodos empleados para extender su dominio. La disputa de Valladolid ha de interpretarse claramente como el testimonio apasionado de un hecho decisivo en la historia de la humanidad: por no haber triunfado las ideas de Juan Ginés de Sepúlveda se dio un paso más, penoso e inseguro todavía, en el camino de la justicia para “todas las razas en un mundo de múltiples razas”; por hablar con tanta vehemencia Fray Bartolomé de las Casas en Valladolid en favor de los indios americanos, su larga y complicada argumentación tuvo también otra utilidad: fortaleció a todos aquellos que en su tiempo, y en los siglos que siguieron, trabajaron con la creencia de que “todas las gentes del mundo son hombres”. No bestias, ni esclavos por naturaleza, no como niños con un entendimiento limitado o estático, sino hombres que son capaces de llegar a ser cristianos, que tienen pleno derecho a gozar de sus bienes, su libertad política y su dignidad humana, y que en su creencia deberían ser incorporados a la civilización española y cristiana en vez de ser esclavizados o destruidos. (shrink)

En el presente artículo se aborda una revisión del llamado patio de la casa de Contratación de Sevilla a la luz de los nuevos conocimientos que de la arquitectura andalusí nos han aportado las más recientes investigaciones. Frente a la interpretación tradicional de considerar su origen en el siglo XI y haber sufrido dos reformas de época almohade, proponemos considerar un primer momento de época almohade y sucesivas reformas cristianas, la primera de ellas posiblemente de tiempos de Pedro I, a (...) mediados del siglo XIV, dentro de un gran programa constructivo desarrollado por el monarca castellano en el Alcázar de Sevilla. (shrink)

Análisis del poema, Últimos días de una casa, de la escritora Dulce María Loynaz. Desde una perspectiva de lo descriptivo y lingüístico que permita al lector acercarse a una de las más sobresalientes poetisas del siglo XX, ganadora del Premio Nobel de Literatura.

En este artículo nos proponemos destacar la originalidad de las inscripciones árabes que adornan el arco de la llamada Casa del Conde de Toledo, fechadas en el siglo XV. La principal inscripción del arco es una oración a Santa María escrita en aljamiado, lengua romance con grafía árabe muy elaborada, y las secundarias, más legibles, repiten ora en aljamiado, ora en árabe los nombres de Jesús y de Santa María. Además, en el segmento en árabe, Jesús está nombrado en su (...) versión musulmana, ʿĪsā, y se insiste en su filiación con María como una reminiscencia de uno de los principales desacuerdos entre islam y cristianismo en torno a la figura de Jesús. A partir de una lectura paralela a la de Rodrigo Amador de los Ríos, proponemos un análisis epigráfico y lingüístico, antes de estudiar el contenido y el sentido de los textos. Analizando el contexto, la relación entre artesano y comitente, y comparando con otras inscripciones mudéjares que plantean problemáticas similares, acabamos por considerar estas inscripciones como un reflejo de la voluntad por parte de los comitentes cristianos de sintetizar varias tradiciones religiosas y culturales. No pensamos sin embargo que haya que entender esta conciliación entre islam y cristianismo como la expresión de una apertura hacia creencias ajenas sino más bien como un intento hegemónico de abarcar a todos debajo del poder cristiano. (shrink)

El presente artículo aborda los temas de la misericordia, el amor a los pobres y la colaboración en la construcción del mundo que nos rodea, o “casa común”, a la luz de las enseñanzas del Papa Francisco, concretamente en su Carta encíclica Laudato si’ y otros documentos como Lumen fidei. Dos imágenes suyas sirven de punto de partida: plantar un árbol y abrir una puerta. La opción preferencial por los pobres es el denominador común, en este caso en relación con (...) la ecología y la protección del medio ambiente. La contaminación, el cambio climático y la “cultura del descarte” afectan en primer lugar a los más necesitados. El Papa profundiza en las raíces del problema y propone algunos principios pedagógicos, a la luz del “Evangelio de la creación”, que se discuten en detalle en este artículo. Se concluye con la llamada a la “conversión ecológica”. (shrink)

En el Perú, el 2021 se ha caracterizado por una presencia significativa de inestabilidad política; principalmente, por la lucha mediática y pretenciosa que emprendió la candidata de ultraderecha, Keiko Fujimori, por asumir el poder y negar cualquier medio legítimo que optara el actual presidente de la República, Pedro Castillo. A ello, se le añadió el impacto negativo que dejó la pandemia del COVID-19 en los distintos ámbitos; en especial, en el económico. En ese contexto, la entrevista hecha al inversionista Julio (...) César Galarreta Koicheoski busca dilucidar aquellos medios alternativos, legales y eficaces que existen para que los ciudadanos no resulten afectados. Una de sus alternativas consiste en el negocio que él está desarrollando con respecto a los préstamos que se realizan en las casas de empeño, sin que para ello se asuman riesgos mayores. Esta modalidad es muy diferente de la que emplean los bancos, las financieras, las cajas o las cooperativas de ahorro y crédito, puesto que sus clientes no requieren un historial crediticio favorable, como el de figurar en Infocorp con una calificación indeseable o el de tener préstamos impagados. Más bien, necesitan contar con un artículo que posea un valor dentro del mercado contemporáneo. La valuación, la cotización y los intereses del mismo se producirán a partir de esa lógica, con la finalidad de que exista un beneficio mutuo entre el cliente y la casa de empeño. La dinámica económica que oscila en esta conversación resulta neurálgica, merced a que brinda al lector una información que le permitirá conocer los medios a los que puede acceder para obtener un préstamo en caso de que tenga dificultades al solicitarlo en las formas tradicionales. (shrink)

El propósito de este texto es mostrar que dos de los más conocidos paradigmasdel mal en la historia de la filosofía moral no son excluyentes. A partir deljuicio que Bartolomé de Las Casas emite sobre la institución delrequerimiento, en la primera parte del trabajo se intenta explicar el origendel mal a partir del paradigma platónico de la ignorancia. En la segundaparte, y teniendo en cuenta la descripción que hace Las Casas de la formacomo es aplicado el requerimiento, se (...) aclara aquella otra fuente del mal que,según Aristóteles, tiene lugar en la disposición incontinente de un agente. (shrink)

Breve biografía y comentarios de algunas de las obras más significativas del grabador costarricense Rudy Espinoza (1953-2018), quien durante los últimos diez años de vida, amplió su legado como docente y formador a través del “Taller Nacional de Grabado” de la Escuela Casa del Artista, un espacio alternativo para la enseñanza y aprendizaje de las diferentes técnicas del grabado en todos sus aspectos.

A partir de cuatro artículos publicados en la Revista de la Universidad de Antioquia entre los años 1945-1946 por Clarence Finlayson,1 se indagará el carácter y sentido de la conquista de América en su intención modernizadora. La disputa entre Las Casas y Sepúlveda en Valladolid permite establecer que las diferencias de método que uno y otro defienden no constituyen una deriva hacia formas de reconocimiento de la alteridad, sino que ambas se inscriben en el mismo espíritu colonizador, eje de (...) una modernidad totalizadora. Finlayson, casi quinientos años más tarde, contempla nuevamente a los indígenas americanos bajo patrones semejantes. (shrink)

Nel 2012 la Casa editrice Tilgher ha cessato la sua attività. E’ un evento grave, che dà a pensare - di là da quel che comporta per il Giornale di Metafisica, la sua storia e la sua tradizione - perché non dovuto a una scelta ma, in gran parte, alla difficoltà di far fronte alla condizione di estremo disaggio in cui versano attualmente l’editoria scientifica e, più in generale, la cultura e la ricerca. Anche questo disagio è specchio della più (...) ampia crisi, non solo economica ma anche istituzionale ed etica, che ha investito il nostro paese, l’Europa, e il mondo; abbastanza pervasiva e profonda. Abbastanza significativa del nostro tempo da interpellare per proprio conto la comunità di ricerca di quanti, fra coloro che hanno interesse alla metafisica e ai suoi temi, frequentano a vario livello l’attività della Rivista. ... (shrink)

Don't tell terrible stories—everyone here has enough of their own. Everyone here has a whole bloody sack of terrible stories, and at the bottom of the sack is a hammer the narrator uses to pound you on the skull the instant you dare not believe your ears. Or to pound you when you do believe. Not long ago I saw a tomboyish girl on Khreshchatyk Street demand money of an elderly woman, threatening to bite her and infect her with syphilis. (...) Don't stroll through Volodymyr Hill Park, don't stroll around the botanical garden, and especially don't stroll on Kontraktova Square. Don't stroll anywhere. Don't go to the pavilion with the Golgotha panorama near St. Alexander's Church. Not even the twelve-meter-tall crucified Christ will save you. Don't go outside when it's dark and people turn into shadows a shade darker than dark. Also don't go where you can be seen from far away. Not to imply that people used to be like a bunch of lilies, but now they stink like a cellar of cabbage.The city, which earlier might have had some fun, is now going crazy. It's like a fish in warm water: it doesn't react to anything, swims slowly like it doesn't care if it swallows a hook or not. The excitement and exaltation pass into oppression, just as our necks have sunk into our shoulders, our shoulders into our lumbars, our lumbars into our nether regions. The holiday turns into a funeral, the parades into explosions, depression into mania. Winter passes into summer, people turn into beasts, the hours into ages, and the ages into hours. It's worth simply walking around the city to see a soldier from an unknown army taking a piss near the opera. Farther on is a row of identical old widows selling ball gowns and candelabra. Then there are the aristocrats and manufacturers who throw so much at the prostitutes that they'll soon be richer than their wives.I returned late through the Kyryliv Wood, not heeding all the warnings that I myself have given here. It really is dangerous—the place is famous for it. There's a madhouse nearby, caves where criminals and the sick can hide out. Also, once upon a time, as they say in fairy tales, the great dragon Zmei Gorynich lived here beside the Puchai River. The stench in these places drives away the most committed misanthropes and even one type of philanthrope—that is, perverts. It sounds dumb, but the stench is cleansing. I don't know where it comes from. After the operating theaters and the rooms with amputees, the stench no longer repelled or attracted me; it just was. And this was a great place to think. As I walked, I considered an incident with our patient.The patient, a respectable individual whose name carries too much weight for me to state it directly, one day began to assault people. He nearly strangled a merchant who he believed asked too much for a beaver coat. He likewise wanted to kill his business partner when he didn't say hello loudly enough. But the worst was, he lost all shame of his own nakedness. At first it was the police who took care of it. When our future patient slipped off his pants and undergarments, he was taken to Kyrylivska, which has had means for dealing with such cases dating back to the day when unhinged Cossacks and composers from Kyiv Mohyla Academy were taken there.During the examination we determined that the patient was experiencing a severe breakdown. His wife added that lately, more than once, he had allowed himself strong words in front of the children and often suffered from ennui. Furthermore, she said, the patient had been undergoing treatment for “the French disease” for some years—which was, obviously, where we needed to start.“Syphilis!” Skorsky spat out the matchstick he was chewing on. He was a specialist on the psychological aspects of diseases related to the venereal. “Tertiary syphilis! When poorly treated, over time ‘the French disease’ can destroy the central nervous system. Hence the patient's chicanery. Such theater!”Skorsky and I had not spoken since the incident at Bilinsky's. Meanwhile, something significant had happened to him. The most boring person on earth, Skorsky had simply caught fire. He said hello and kibitzed. I even heard the doctor got drunk alone in his office, then wandered through the forest. Could he be using narcotic substances?“Cocaine!” was the doctor's second proclamation. It was his favorite treatment for the psychological complications of syphilis. Skorsky himself never took what he called “the universal drug”—good for alcoholism and toothaches, neuroses and morphine dependency—though he had read in an article by a respectable Viennese physician, who used cocaine as a panacea, that it was not addictive. That doctor subsequently recanted, but Skorsky paid no attention. He believed the retraction was made under pressure from pharmacologists who had no incentive to cease production of the medications that cocaine might supplant. Their representatives either paid or threatened the Viennese to repent.As the patient was escorted to his room, he assaulted the orderly, Alevtyna. They tried pulling him off her, but, though he released his fingers from her neck, he buried his teeth in her leg. The poor orderly, who had not until then been attacked by a psychotic, nearly died of fear. Later, panic set in over Skorsky's diagnosis. He told her about the consequences of syphilis: grotesque patterns on one's face due to infection of the skin, mucous membranes, cartilage, and bones. He went on about the devastation to the central nervous system, which they had just observed in real life: “The face starts to look like lace some mangy dogs fought over before rolling in the mud.”Alevtyna, who had not yet regained her faculty of speech, straightened up. Ignoring the slavering male orderlies, she bared her leg to get a better look at the wound. She then ran down the hall and out into the garden, where she fell on the ground to rip up grass and small bunches of daisies. Alevtyna ate them along with the soil in their roots.“Minor hysteria. She needs fifteen milligrams of cocaine.”Skorsky took a snuff box out of his pocket and scooped up some white powder with a toothpick made from a goose feather. He gave the order to close Alevtyna's mouth and one of her nostrils, forcing her to snort the medication.We fretted over her so long that evening fell. I decided to walk down, along the ravine, behind the church.It was unlikely there were any large beasts there, but something was rustling. The pits and mounds, ravines, paths, graves of witches whose living sisters flew in the treetops from time to time, the whispers of the forest spirits, the spirits of the nutcases who died in the hospital, the spirits of the monks from the St. Cyril Monastery, Zmei Gorynich and the bogatyrs who wanted to defeat him. The city would be calmer without this forest. I saw the gaps between the trees and went off in the direction of the tram tracks.As I was coming out of the forest, there was a patch of Amanita muscaria that had been trampled into porridge. A bit farther on, the body of Professor Bilinsky lay killed in the blackberry bushes. The way he was lying it looked as though he had not struggled before death. I quickly examined his body but saw nothing out of the ordinary. There were no wounds, no dirt under the fingernails. Animals had not yet smelled the carrion, but swarms of various insects covered him. Oh, why did I have to find the putrid body?The best thing would be to take the tram to his house to inform his relatives. The doors closed, and I noticed my own calm. This death had not evoked any emotions in me other than a feeling of responsibility, the need to tell the family. But also—some alarm at the thought of who the murderer could be. I knew that it was murder.“Your nose is bleeding.” A woman as round as an onion, carrying two baskets full of strawberries, offered me an ironed and starched handkerchief.“Have I dirtied my shirt?”“No, it's as neat as a pin. It's just your nose that's dirty. Wipe it now before you spray blood on my strawberries.”“No one will see the red on red.”“Ah, but it's salty!”“You know why it's not sweet? We'd drink it like syrup.”“Those with Christ in their heart do not talk that way.”“Are your strawberries expensive?”“Why? What?”“I'm checking to see if you have God in your heart.”“Child, if you knew how I have to work for this berry! I have to weed it a hundred times. In a week, the quitch grass grows as high as a horse. And I water it with water I carry from the stream, it kills my arms... ”“How much are the berries?”“They're not for sale. Anyway, soon money won't mean a thing. Soon all money, all these papers made from the skins of sinners on their satanic presses will be annulled. What matters is how we treat each other.”“So if I try your strawberries for free, my ‘thank you’ will be enough?”“Hands off!” she said and thwacked my fingers.I heard loud laughter behind me—same laughter as from the café near the Continental. There was no one sitting near Alina. (This is what fate looks like, remember.) Without asking, I sat next to her, away from the old lady.“Excuse me, but the night before last didn't you, yes, didn't you intrude on my privacy?” She started right away.“I saw it a little differently. Who was that young man with the mustache who paid me for you?”“Are you checking to see if you can flirt?”The tram stopped. People got on and off.“Are you coming back from the hospital?” she asked. “Don't be shocked. My uncle works there. He's told me all about you.”“An uncle by the name of Skorsky?”(Remember: this is what fate looks like.)“Yes. Skorsky's been strange recently—says things that make me wonder if he hasn't lost his mind. Have you noticed anything?”“I don't know.”“You know perfectly well.”“Where are you going?” I tried to change the subject.“I have to send something to my theater friends in Odesa. By the way, they'll be putting on Oedipus Rex soon in Kyiv—in Ukrainian.”“Greek tragedy in Ukrainian! That's a first.”“Exactly. The troupe is rehearsing now in Odesa. The theater where they will perform this fall is being remodeled.”“Wait. Now I remember where I've seen you before—it was at a performance! Vynnychenko's Black Panther and White Bear, at the Bergonier on Fundukleivska.“The same director is doing the Oedipus. He's my friend.”“He's your friend in what sense?”“Again with that tired subject. By the way, I've been thinking about you.”“And I about you.”“That's good. I was thinking not about you, to be precise, but about that elevator you invited me on.”“Who was that man with you?”“Like a broken record! Even if he had been my fiancé, I'm not bought or inherited. I'm not a brooch or a hundred acres of land, and I'm not a house in Kaniv!... Who was with you when you saw Black Panther?“Ah, so.”“Answer!”“That was my mother. She looks very young. She is coming to Kyiv the day after tomorrow. I can introduce you.”“Oh, this is my stop.”I looked out the window and realized that I had long since passed the stop for Bilinsky's.“Can we see each other again?”“We can. But you have only one chance.”Alina the anarchist wrote something on a scrap of paper and handed it to me.Morning, not morning but a thick porridge (I hate porridge). Dew, thick spit, crushed fruits, urine, all on the sparkling cobblestones. The sun, just barely having made its appearance, is already scorching. The human masses scurry and grumble like poorly digested food inside a stomach.I walked diagonally across St. Sofia's Square, then along the perimeter, then one edge, then again diagonally across. I went underground. The basement café of the Continental Hotel was practically empty. I again asked the server to bring the cloth with the embroidered portrait, but I couldn't remember the musician's last name, only that it ended with -sky. The server said that -sky was currently in the southern cities of Yalta and Odesa. I added that Kurbas, the director, Alina's friend, was also in Odesa, rehearsing Oedipus Rex, and that he'd previously put on Black Panther.I was bored, so I walked along Khreshchatyk and then headed down, calling to mind all the Kyiv churches of Podil: there's Birth of Christ, St. Nicholas on the Shore, Intercession, Pyrohoshcha, Holy Presentation, St. Dymytrii Rostovsky, St. Illia's. And also the Epiphany Brotherhood Monastery, Ascension Convent, and St. Katherine's, all these whipped-cream churches on the waffles of our streets. A few of them reminded me of themselves by appearing suddenly out of nowhere.The smells on Kontraktova Plaza where commerce buzzed were like multicolored light bulbs turning on one after another. Here you could catch the aroma of Balabukha jam, which blended with the next smell, English shoe polish at the Raiskys’ shop. Then the crunchy-smelling cabbage from old women standing in a row like herons and spitting out the shells of sunflower seeds. Farther on, the stench of a good-sized rat that crawled under Mrs. Shevchuk's shop where she sells broadcloth. Oh, she can't scream: no, she'll quietly dig that rat out herself so as to not scare off her clients.I bought a paper and two pairs of underwear. I asked two laughing young chambermaids who were secretly puffing in a grape-filled yard for a smoke. I wandered around Podil until evening when I came across a sawmill near the Dnipro that surprisingly smelled pleasantly of mazut fuel oil. The weather was dry, yet in the middle of the road was an enormous puddle, a deep dark black. A forty-year-old woman in a pale pink dress stood near it. The theatricality of it all provoked me to pose her a question,“Ma'am, what should I do?”But she paid me no attention. I shouted,“What should I do?”“What to do, what to do?” she said in Polish. “Jump in the water and swim so far away that you cannot return.”I quickly crossed a section of the forest. The wind brought a mixture of unpleasant air, like a stinky handkerchief held under one's nose. Passing the trees, I saw light in the spaces between them and exited at the hospital.Outside the windows, two orderlies lay in chairs with their heads thrown back. Two others—fools—ran around the yard in different directions, peering out at... something. The lights on the first floor of the hospital were on, and the staff milled about.“You're just in time!” said Ivan, a tall, young orderly.“For what?”“Your patient ran away! We went into his room and he wasn't there.”“What patient?”“The one who bit Alevtyna,” said Danylo, the other orderly, short and middle-aged.“That's Skorsky's patient, not mine.”I had no intention of helping them. This was all history—like my family, Kyiv, and my previous life. I had no intention of thinking about it. I wanted to go to my office, pack up my field surgery kit, and get out. So what? Their psychotic syphilitic ran away—it happened.Of course, that patient could have something to do with Bilinsky's murder. But that was no longer my problem.“What a strange coincidence!” the doctor on duty said. “Comrade doctor, the other one responsible for this patient was just here.”“And where is he now?”“He took off toward the church to look for the patient.”“Didn't the patient escape earlier?”“Don't know.”“How do you not know? You had better call the police, moron, before he kills someone. And get those sleeping orderlies to look for him.”“They can't... ”“Why not? Should I go wake them?”“They're on morphine.”“And you, I can see, have lost your mind. Go, catch your psycho! If it turns out that he killed Bilinsky—and on your watch—you can't imagine what's in store for you.”I adjusted my homburg and set off in the direction of St. Cyril's, that unwelcoming monolithic cube. I glanced around—what if our escaped syphilitic were to jump out of the bushes and bite or strangle me. I looked around because I wasn't sure of my actions, wasn't sure of my choices. Tripping over a clump of clover, I reached the open doors of the church. I couldn't stop myself from going in.The walls and ceiling were covered with frescoes. There was what used to be an angel rolling up the sky on the southern column of the narthex. But also graffiti: people scratched their names on it so as not to be forgotten—their idea of eternity. Prince Volodymyr the Great compared this activity to the desecration of graves. The vandals paid a fine and were beaten with canes. During the raids of Batu Khan, the church was deserted and cracks appeared all over it. Wild martens and feral dogs sought shelter here; insects swarmed under the ceiling with its red mosaics. Birches grew in its midst. Water seeped in the cracks, the water became ice, the ice widened the cracks, more water seeped in the cracks, becoming more ice that further widened the cracks, the wall split and nearly fell over, and then the wall fell over. Yet the angel is still rolling up the sky... When I reached the exit, I heard a rustling behind me. I turned after I stepped outside: in the depths of the church, like a stick in a pot of tar, stood a man with a large bag thrown over his shoulder and a revolver pointed right at me.“Is that you, Doctor?“Don't move!”“What's... Skorsky, what's with you?”“Don't move, I say!”“What are you doing here?”And finally I understood... Skorsky was himself the psycho! (Really, I had known for a while.)“You are the murderer! I knew it! But—why?”“Shut up.”“It was you. You! The stolen cigarettes, the strange behavior, Bilinsky. If I shout, everybody will come running. They've already called the police!”There was heavy breathing behind me. And then a gun rang out.The city is overgrown with new buildings. They encircle everything that was once on the periphery. Kyiv has become an old lady that can no longer restrain herself in the face of pastries. The city climbs farther. It steps over the swamps, turns the old rivers into a series of lakes; the other bodies of water it drives into canals. The grain that falls from the wild wheat is black. When the sun heats it, the grain melts and trickles into the earth. St. Cyril's stands indestructible. No one spackles the small cracks in its walls with either expensive putty or glues, nor with cheap cement and whitewash. One day a small fox appears in the doorway. It runs inside and along the floor of simple gray tiles. The gods watch from the walls, watch and fall into ruin. The fox runs to the iconostasis. Before it is a time-darkened Virgin Mother and Child in oil on sheets of zinc. The fox runs the metal steps that wind up to the second floor. The fox runs past all the vaults, naves, all the frescoes. A buckthorn seed flies in through a broken window. It will be the first. Soon the buckthorn will grow everywhere. A dumb hare will make its nest in the buckthorn bushes and nightingales will settle in the upper branches to sing until the end of the world. The fox runs between the thick rays that penetrate the windows. It catches one of the rays, squints its eyes, and warms itself in the sun.The shot rang out, but I did not fall. I looked around—and on the church threshold was our syphilis patient bearing a rod. His head lay on the rocks by the doorway.“If only he'd been at the stage of nose deformity! Just imagine: a hole instead of a nose plus a hole from the bullet—like an extra pair of eyes!” Skorsky laughed at the corpse.“We need to call the orderlies.”“They heard the shot. They'll run here on their own. You see, Professor Bilinsky believed it would take two or three years to wrap up this patient's case,” Skorsky told me. “But I took care of it much faster!”“Excuse me, but I'm going crazy in this city. I thought that you were Bilinsky's murderer.”“Just so. Why not? I am Bilinsky's murderer.”“Don't tease. You've changed a lot recently, so... ”“Yes, I've started killing people. You might term such a change significant.”“You have the right to irony.”“I am not being ironic.”“Let's call it sarcasm.”“It's the honest-to-God truth.”“And yes, you have the right to mock me.”“Well then, let's be done. To the horses!”“What horses?”“Alina's waiting!”Alina, her uncle Skorsky, a few others I didn't know, and I rode like the wind that ripped off my homburg and carried it back to Kyiv.“There's a fresco in the choir loft at St. Cyril's where Vrubel painted himself and patients from the hospital as the apostles. When I came across it by accident, I really believed they were saints,” Alina said.“I've never been up there. I've only seen the church from below.”“Remember the way back so you can see it sometime.”“The Puchai River used to flow here. You shouldn't trust the landscape,” Skorsky said, reaching for something, perhaps his bag, just when we left the darkness of the trees and saw the endless steppe ahead of us.We rode all night without stopping. Though no one was chasing us. Though we had nowhere to be. We rode like beasts released from a cage. The promises of the horizon turned what we'd left behind into a cage fit for those from whom freedom had been severed, like an anomaly, at birth.The pre-morning sky looked at first like a sack of turnips—filled with something heavy. But with each verst, the sky became lighter. When it was finally light enough to see clearly, we arrived at a knoll at the foot of a stone wall that from a distance had appeared to be a gigantic piece of halva. The exterior ruins of the castle gave no hint of how it was when all was fine here, when people defended themselves successfully from the nomads’ raids. From far off, the wreckage looked like a natural agglomeration of stones—a rocky elevation, no more: a cluster of cliffs. It would rain a few hundred more times, a few hundred more winds from a few hundred directions would blow on this heap, and it would collapse as though nothing had ever been here.A few stalks of wheat grew from one of the rocks. Someone had probably cast a handful of grain here for some birds that forgot to eat it.“Who could this castle belong to?” I asked Skorsky.“I reckon the Swan Princess,” the doctor rejoined, hoping to sound knowledgeable.From behind one of the piles of gray sandstone emerged a young man in a black reptilian coat and a white papakha as lush, bright, and out of place as a dahlia. His name was Artem. The heat was melting our brains, but he was dressed like that, in rooster fashion, which was popular among the otamans. Artem helped Alina dismount her horse and tried to kiss her on the lips, but she offered him a cheek instead.Had she been racing to see this clown?We entered the yard—the ruins had fashioned an internal space that was more or less protected, at least from strangers’ eyes. It turned out that there were even places where it was possible to hide from the rain, and from there the ruins didn't look half bad.In the center of the court was a table, and on it a wooden bucket with pink gladiolas. How romantic! It all looked like it came from outer space. Where on earth, in the middle of the steppe, far from any village or town, did this table, this simple table, come from? And the gladiolas? The steppe hadn't been plowed in so long that any cultivars would have gone wild, degenerated, dried up completely.A campfire crackled nearby—a little preview of what we would soon do to the houses, villages, and cities. Artem the otaman brought over a cezve from the fire and poured the first portion into a small, copper cup for Alina. He also got out a porcelain cup with images of rosy cherubim—but how...?“Who else would like coffee?”Only Skorsky and I responded. The question excited me, even distracted me from the thought of the kiss I had recently witnessed and the Kyiv I had recently left.“It's obvious who the professors here are; cultured people drink coffee. Are you both doctors?”“Uh-huh.”“For wolves of the steppe, like us, doctors are gold, even more precious than gold. Actually, a Hippocrates like you should eat more, because those in your profession will soon be worth your weight in gold. Work on your figures, both of you.”“Who will take pity on the horses that have to carry us?”“We'll find the horses. And very large doctors can be transported on machine-gun carts. We'll need to seat the otamans near you. Only a fool would shoot at a doctor.”“I think we'll find quite enough fools here.”“With your beard, Doctor, you look like Tsar Nicholas II. But even so you won't be shot. You might even be canonized!”“We've only just arrived and you're going on about executions,” Skorsky grumbled and checked to make sure that he still had his bag.“Apologies, apologies, pardonnez-moi. But you are not merely a doctor. A venereologist! Skorsky, you're a specialist! A venereologist is the most important person in wartime. The most valuable! You are the botanists of war. You can't imagine what varieties of flowers grow here, and these beds have long awaited a proper gardener. Or even just a man with a scythe!”“Bite your tongue,” Alina said. “I don't need to listen to this.”“Yes, yes, of course. Excuse me, my r—. ” He almost said “rose.”We rested all day. We went down to a surprisingly close river overgrown with lilies. We rowed the boats left by fishermen. I talked to Skorsky. He took his bag everywhere, refusing even to swim so he wouldn't have to part with it. I asked him what he had in it, but he said it wasn't my damned business.Alina rowed with the otaman to the middle of the river. They were having a loud discussion. She was waving her hands. The current carried their boat downstream slowly and smoothly. What a nuisance, that current!I tried to meet with Alina one-on-one, but she was avoiding me. In the morning I was confused, by lunch I was sad, and after lunch I got angry.In the evening, I lay on the hot grass and drank another cup (I have no idea where they got such good coffee), which had no effect at all on my sleep. I watched the Perseids. Every year, the Earth passes through the tail of Comet Swift-Tuttle. People can see the meteor shower and make a wish. I wished. I counted forty-seven falling stars. All forty-seven of my wishes were for the same thing.Around the campfire, they were sitting, talking. I saw how he tickled her face with a piece of grass and she brushed him off in annoyance. Then they were screaming at each other. Later they again spoke kindly, after which they again quarreled. My joy grew after each tiny mistake that Artem made. I wanted him to show the worst he was capable of.They were screaming at each other, but all I could hear was beautiful opera singing. The stars fell to the sound of their screaming. The stars blessed my joy.Then this happened: Alina kicked the fire, scattered burnt kindling, and burned some of the grass. Artem grabbed her by the arm, but she broke away from him and ran off to the horses.“Go then! I guarantee you'll get to Katerynoslav and return with your tail between your legs.”“I'm going to Huliai-Pole! To Father Makhno!”I jumped up and ran after her.“Where do you think you're going?” Artem shouted.Really—where was I going? I was going after her: to Huliai-Pole, to Katerynoslav, to Rome, to Washington, to Istanbul, to Montevideo... “Go to sleep,” he said. “Come morning, this coquette will be here, right as rain. We've already been through this show. Tomorrow she'll be right here next to my boot!”... No, she won't.In some sort of shape we entered some town. There were some buildings that were some colors, some trees, some streets, some roads, and some signs. Posts, flustered birds’ nests, echoes, colors, shapes—each of some kind. A wedding procession was coming toward us. If you want to make orange, you need to add yellow to red, and then bam—it's black. If you want to salt the soup, shake in a little, and then bam—two handfuls. You want to say a kind word, and then bam—a punch in the face. I was rocked around like a watermelon on a boat and threw up my breakfast straight into the horse's fluffy mane. Sanko found this hilarious, but I said I'd pulverize him. So Sanko sped ahead.No one knew anything about Alina. The daytime sky was like a poorly washed bowl. The sun was a squashed, rotten apricot. The night sky looked like the sole of a boot to me. The moon was a dirty cheap copper coin that had gotten stuck to the sole. Everything seemed spoiled to me, irrelevant, unnecessary. Without her, this journey was a waste of time.“You'd better stay away from everyone,” Artem said. “You'll infect us with your pining, and pining is worse than the clap.”The wedding procession was before us. The young couple, still utter children, walked so calmly it was as if they didn't see us. As if we were made of a light breeze—our bodies, clothes, our horses and their iron shoes—of the lightest gasses. As if we were visible only to ourselves and the coal-black dog that barked, panting and gasping.The wedding was headed straight for us. We were in the middle of the road, and so were they. We approached each other slowly, a wave going toward a wave. Some ten meters before their indifferent faces, I noticed the color of the bride's eyes. And the coral-colored tulips that fell on the road before her. Round goose eggs on meaty stems, the flowers were falling and falling before her. The bride's eyes were almond shaped.“Hey there,” Artem shouted at me. “Wake up!”I came to and saw the whole village, everyone there, not realizing my group had turned left onto a side street away from the procession. The tulips disappeared—where'd they get tulips in the fall? I was sitting alone on my horse in the middle of the road, and the entire wedding procession came to a stop. I moved to the side, and the throng marched on, cutting off our escape route. We rode a few more meters and came across the synagogue.“You know what, you're right,” said the otaman.“Who is?”“Oleksii is the only one here who's right.”“About what?”Artem turned his horse and raced back. Everyone stood still while he ran his horse into the crowd and began firing his revolver. People scattered in all directions. Artem trotted, cackling like an imbecile. The horse kicked an old guy in the mouth. The man fell, spitting out his gold teeth. We rode up to the commotion and formed ranks, but none of us wanted to join the otaman.The bride stopped in the middle of the street. On both sides were buildings and trees, as well as dust, sky, and sun. She stood still, beautiful, as if nothing had happened. Then she adjusted her garland and walked calmly on.“Well, should we get some sugar now?” Artem laughed, looking at the bride, and off he went toward the sugar factory.It was then I noticed that all of the houses had shutters—fuchsia, blue, ocher—and that all the shutters were closed.We flew toward the dirty building, whistling and shouting. If there had been aesthetes among the otamans, they would certainly have razed the abomination in this field after seizing it. They would have spread soil on top and sown buckwheat. Long live buckwheat!, that wonderful crop. Like hunting dogs hot on the trail, we raced to our defenseless victim, with the baying of hundreds of hounds behind us. The field shook beneath us. We became an artist's canvas, evolving from Realism to Romanticism, Romanticism to Expressionism, Expressionism to Suprematism. If we had been painted in black and white, we would have been splotches (until the ink ran, annihilating all remaining patches of white).Two men stood near the gate—unarmed and undressed, in nothing but their undershirts and boots. Our fervor, our kinship with the elements, our entirety, were all for naught.“Jesus Christ! What bores!” Artem exclaimed. “How boring you are!”“Maybe boring for us, but fireworks for them,” Sanko said, dismounting his horse.“The fear of death engenders creativity,” our otaman—a distinguished philosopher of the early twentieth century, that demonic breed—prophesied.He went on, “Excuse me, but with all due respect, we are not going to search you. Just show us right away where the money is. Why are there so few of you? Don't say there's not much money. I want piles and piles of money! If you don't show it to us, we'll print our own on your skin. Believe me, we will.”We entered the factory grounds. There were no workers, only an enormous mountain of sugar beets that looked like a pile of coal from a distance and a pile of dead rats from up close.“So, did you have a good year?” Artem asked a man in an undershirt.“Not really—too dry.”“Nah, that's fine. You wouldn't have been able to gather most of the harvest this year anyway. There's a fire burning across all of Ukraine, all of Russia. The whole world!”While Artem tossed thoughts like well-chewed sunflower seeds into the crowd, the two men quietly stepped aside and then ran fast ahead to the factory's main hall. The gigantic door slammed shut. The gate was locked behind us! The windows were smashed! The factory roared from inside like a cumbersome machine starting up. Bullets whirred through every window.“Bastards! It's a trap! Quick, after me!”Still on horseback, Artem bounded over to a vast window, low to the ground, and smashed it mercilessly. He broke the frame and jumped inside on his horse. I and a few others followed. We broke into their lair, threw open the doors, and let the other warriors inside.Iron vats of hot sugar were steaming, pipes were clattering; machinery groaned.“Parasites!” Artem gritted his teeth. “I'll get you. I'll get you red sons of bitches. Painted whores!”At the word “painted,” his horse fell to the ground. Lying prone, Artem continued fighting, but the red soldiers wouldn't let him stand. Fighting nearby, I rode over to assist but did not know where to aim. Artem got up, ran forward, and brought his sword down on the head of the closest soldier, all the way to the middle of his skull, to the bridge of his nose. It was like butchering a pig. Artem thrust the sword into the buttock of another who was fleeing and cut off his leg at the bend in the knee.“I'll cut off every last one of your asses! Cut off your asses!” Artem bellowed.A half hour later, the dead were lying, the captured sitting, and the victors doing anything they pleased.“Skorsky, are there a lot of casualties?” I asked the doctor, whose hour it was. I hoped not, because I was too tired to help him.“Just a few. The dead are already dead, and the wounded are not ours.”Though Skorsky rarely asked my help, and though I'd become an ordinary soldier, the doctor in me was still present in the most unpleasant attribute—knowledge. Others saw an eviscerated man, pieces of dusty flesh smeared with clay, soil, sand, and straw. I saw a perfectly formed kidney hanging perfectly from the rest of its body like a child's mitten from its coat. You could try this death on for size. Wear it like a sanbenito of the Inquisition.Artem counted the money and then lay on the floor alongside the gigantic sugar mountain in the middle of the room. From time to time, the crystals rustled as they fell.“I didn't think you'd be such a fighter!” the otaman said without turning toward me. “I thought you'd be healing us. You'd keep to the rear and we'd hide you like a girl. But here you are, in the vanguard, like a lion!”“I got excited,” I told him, choosing not to react to the “girl” part.“’Cause Alina said there was no sense counting on you to fight.”“Really?”“Does that sting?”“Why would it? I'm a doctor—not everyone is. It requires a brain. Unlike waving a sword.”“Yeah, yeah. I gave her gladiolas. We were lying in the boat near that castle, doing all manner of things, and she told me all about you. How you met.”“You were lying in that boat talking about me?”“It was the day before you left Kyiv. You agreed to go with the anarchists so quickly!”“Were you surprised? Doctors make fast decisions.”“But you probably had great prospects. Your parents are rich, right?”“And who are your parents?”“Probably all your relatives fled abroad—bourgeois. Why did you stay?”“What the hell's your point?”“Alina, by the way, died a while ago. Probably.”“Don't jinx her.”“Listen here,” he said, staring at the ceiling. “And listen good. If you have designs on her—dead or alive—it's best you castrate yourself now.”“After you.”“If I want to kill somebody, you know, I just do it.”At last he looked at me. I was lying on the floor nearby and looking in his direction, sweaty and relaxed, my appearance complemented by my disdain for his opinion, his authority, his stupid hat. His everything.Artem raised his arm above his head, stuck a finger in the sugar mountain, and licked it. We both got up. Had I anticipated this turn of events, I would have readied a gift for him. Artem held his revolver. Under my hand I found a knife the workers used for gathering beets: it was a deliberately sharpened arc they sank into the swollen brassicas. I jumped up and quickly stepped around the sugar mountain.Artem's bullet hit a pane and broke the glass.“Not man enough for hand-to-hand?”The otaman shot again.“You should've challenged me to a duel, you romantic!”Encrusted with white crystals, I charged Artem from the sugar mountain. We fell in, and the sugar stuck in our hair, mustaches, nostrils, armpits.The gang ran in to get us apart, then backed off because it had nothing to do with them. By now the sugar mountain had burst its banks. Of the once perfect pyramid, a deformed mound remained.Wounded, Artem fell on the sugar mound, turning the white red.I stood before the gang sugar-coated and holding a bloody hook. The old otaman was drawing his last breath. Blood trickled from the corner of Artem's mouth and streamed from the left side of his breast.“What's the commotion?” Old Roman had just come in.“Be quiet,” the boys told him. And a good thing they did.“You killed him? You killed the otaman!”“Shut your mouth,” the boys told him.“You... ”I slugged Roman's stinky herring mouth. How did that son of a bitch find pickled herring in a sugar factory? My fist was now bigger and stronger than ever before, a steel anvil that could split nails and shatter memorial plaques. The unfortunate man's jaw twisted like an upper millstone that had gone off track from the lower.“Let's get out of here and go to Makhno's camp,” I gave my first order.We galloped so fast the grass burned beneath us. The birds and bugs had no time to fly out of the way; hooves trampled the burrows of rodents who didn't dare crawl out of their holes for a long time after. We raced like no one had ever raced before.The steppe, that sly fox, pretended to be an innocent fool. The steppe said, “I'm like Adam: I don't even know my own name.” But its grass harbored the tracks of thousands of armies and the heels of Herodotus, the crunch of Trypillia vessels, and the smell of Scythian hemp, Roman coins, clay figures of wolf people, the chevrons of Denikin's army, glass from the Chekists’ ruby stars, traces of uranium from flying saucers. I threatened it: “Steppe, show me your layers, or I will burn you, plow you under, flood you.” But it just replied: “I'm like Adam: I don't yet know my name.”I lost geography as if it were a silver coin. It fell out of my pocket and rolled through the feather grass that blanketed the steppe in white foam. The open space ahead was so endless that the whole world might as well have been steppe. If people ended up here from somewhere else, they would conclude they were on another planet. The coin fell and became an argentum, became one with the ring on the hand of the princess who had one green eye and one blue, with the twisted candlestick at the monastery on the other side of the steppe, with melted ingots. It broke down into simpler elements, simpler and simpler yet. The horse carried me spreading the seeds of northern plants to the south, just as southern riders had once brought flowers and weeds to the north. And then I turned back. Just as I had no geography, I had no time. Every night I fell asleep with the thought that the next day I would again race. Through all spacelessness, all timelessness. I exchanged one horse for another, got on a train, on a boat, traversed forty versts on foot—in rain that brought the river up to the road, in heat that overturned cattle. The earth I walked on became mine. Mine was the water in the lakes and springs, clean water, dirty water, enlightened water, contaminated with oil, stinking of algae, of fish that died in wells, stinking of the memory of atrocities, water as clean as broken bread. The water did not become Alina.I was doing this for her: I got the basturma out from under my saddle, sodden with the horse's sweat, sliced the throat of a rich man whose daughter I had danced with at a ball, climbed into a vat of beet juice and took a sugar bath, carried out the expropriation of the savings banks, wiped the sweat from my face with my shirt—and the cloth turned red; I didn't know from what. If it was someone else's blood, I didn't care; if it was my own, even less.We mostly came across Reds. We scraped them up like old red paint on a door in order to repaint the boards black. Black looked better. Red is tasteless, but black has style. Healthy men died before us of myocardial rupture like bunnies found in the nest. The ones whose hearts were sewn of steel wire envied the deceased. Seizing estates, banks, distilleries, and prisons reminded us of gathering in the harvest. If you're too lazy to pick an apple, you can shake the tree; some of the fruit gets bruised when it falls. We seized buildings like we were shaking apple trees. No one picked the fruits, we just shook: shook under the beds, under the tables, behind the curtains. No, there was no picking. We just shook until the red juice spurted from the apples.Near the Khorol River with Father Makhno and me in charge, we captured sixteen machine guns and four cannons, as well as five hundred prisoners who immediately came over to our side. The villagers voluntarily gave us bread and cheese, chickens and kvas. People joined us. The front of the machine-gun cart said “You can't run,” and “You won't catch us” at the back. We took factory after factory. Millions of karbovantsi, thousands of poods of sugar, weapons. We smashed the telephone exchanges and captured the telegraphs. We made alliances with some and then with others. Lenin, Wrangel, Frunze, the Germans, Chinese, Australians, Kaiser Wilhelm II, Cleopatra, Maria Theresa Walburga Amalia Christina. We ran the steppe. There were a hundred thousand of us. There were three hundred thousand of them. There were three hundred thousand of us. There were a million of them. There were two million of them. We were all of humanity. We were so many that we were none.The nobles’ estates were long ago forsaken. In the people's deepest trunks lay silks and guipure laces that were once perhaps used only to cover a table. Five steps from the barn in the direction of the pear tree, some silver candlesticks are buried; there's a plaster figure of an angel in the chicken coop, covered with shit and feathers.I was reluctant to be going to my home, but I didn't see any way out. Fate intended me to be a different being from the one I was before.Here my grandfathers and great-grandfathers were born. Here the ones who caused my grandfathers and great-grandfathers to flee had stopped. When we were still far off I noticed that someone was in the house. It was our men—Skorsky had brought them here, about twenty in all. I asked Sanko, whom I had walked with side by side more than once, where the doctor was now. All the men answered that he was around somewhere, but I didn't see him that evening.In 1918, the spirit of my great-grandfather Stepan, along with my mother and uncle, had gotten into a britzka and scrambled off to Paris, to Napoleon, against whom my great-grandfather had fought with the Cossacks, to whom the Russians promised to return self-rule. Following him in the cart went the soul of Grandpa Oleh, who lost a finger when he cut down the old linden near the house; his second finger was blown off by a cannonball near Balaklava, and later his entire hand was cut off by some Turk. Next went the spirit of my father, also Stepan, who did not take part in any war but died of measles at the age of forty. They all got the hell out of here. First, they went to Kyiv, led by my mother, Tamara Makarivna, in order to collect Uncle's family and me, their son. And their son, it turns out, has now come back to rob his own home (I didn't drive my war buddies away, did I?). It's a shame that I didn't know where the bathtub was, or whatever they bathed me in when I was small. It would have been good to walk through the ranks of anarchists with that basin and tell them all to spit into it.Remembering every room, I carried Alina upstairs to my mother's bedchamber. There was no longer furniture or pictures, only bare walls. The bed and mattress remained, but that was enough. Mother hated noise, so she set up her room far away from the running in the halls and the creaks on the stairs. I adjusted the mattress; in a gap, looking like a stalk of wheat, there lay a gold bracelet that she lost in the haste and that the thieves could not find in the mayhem. I tucked it into my pocket.The place could still be saved. It was strong, built under the leadership of my grandfather, who knew how to do it right. He built a sawmill, a gristmill, a dress factory (today it's probably been ransacked, maybe even by our own men).Alina had a complete, displaced break in her right fibula. We needed water first. I went downstairs—the guys were dragging out the piano like an old cow to the slaughter.“What are you doing with that?”“Taking it out.”“Why?”“What's it to you? We want to have fun.”“Can you play?”“We're not your bourgeois lily-handed bitches.”They couldn't play, but they were famous at destruction. “Noise is the music of the new time,” one of the smarter among them might have said. “But noise is the opposite of music. Just as a rose is the opposite of your ugly mugs,” I'd have responded if there was anyone to say it to. I could also have said that this was a Bosendorfer grand piano, that it was very valuable—but do the guys not deserve such a luxury?“Why are you so boring? We're relaxing.”“Then let me play a little first.”“Go ahead, but fast. One-two.”So I played. As before. My fingers ran up and down the black and white keys, which weren't simply keys of these, the simplest, colors. These were the keys that remembered my fingers specifically—achieved by that slovenly German Katerina, our governess. She knew a bundle of languages, could play the piano, and was interested in the latest scientific discoveries. But she had not an ounce of sympathy for anyone who couldn't master anything on the first try. More than once she hit my pinkie against the black key that remembered every one of its four thousand touches. She would pound it on the key and shout, “Si bémol! Si bémol,” and later bang my fingers and translate, “B flach! B flach!”I played. I could not expose myself, so the only thing I could do was believe in miracles. What if these coarse men saw value in this bit of furniture so unintelligible to them? And what if they didn't destroy it, this emblem of my childhood, my land, my air, which I could protect in no other way? My air. My water.“Shchedryk, shchedryk, shchedrivochka,” one of them who recognized the tune began to sing along.“Look at you.” They did not expect music from me, who had until recently been drinking blood like water.They said, “Again, again!”A group of curious men gathered around me. They were ordinary farmers, thieves, and recidivists, peasants and workers, everyone except for Skorsky. They needed this music as they needed baths. The music cleansed them from the inside, perhaps. They had not heard anything besides the whistle of a bullet, the neighing of a horse, or the knocking of a chisel and the whirring of a saw, amputating limbs, for a long time.But it could not go on long. I did not close the piano lid, just stood and went to fetch water for Alina, leaving the unfinished song for later. The well was to the north—that is, at the “Head.” My father once promised to give me a compass if I could learn to identify the ends of the earth by means of the sun. And to make it easier to remember, I gave each one of them a name: the east where the day begins was “Right” (my right hand), the west “Left,” the north “Head,” and the south “Feet.” Back when I could still do whatever I wanted all day long, I would wake in the morning and say: I'm going to the Feet. The mound was at the Feet, Left had the river, Right had the forest. It was only to the Head that I rarely went, because a village was located there. When the villagers saw me, they would speak in whispers and avoid the master's son.... I wiped her brow and her burning, sunken cheeks. I lay down next to her to feel the heat of her skin.When the fire in Alina calmed slightly, I went out into our orchard. My father had once been given a gift from Japan—a tulip tree that blossomed with yellow-green flowers. It had to have grown in the time that I was away. It would have been fatal had it been cut down. I again took the stairs down into the drawing room and came across nobody—they had all disappeared in search of food or were hidden away in their burrows. In the middle of the hall, like an opened rib cage, was the piano, irreparably shattered.B Flach! B Flach!Translation © Ali Kinsella 2022. (shrink)

RESUMO Este artigo pretende traçar as possibilidades de aproximação entre ambos os filósofos por meio do prisma do espaço, do mundo, da terra, do habitar e da casa. Para isso, foram utilizadas, principalmente, leituras que permeiam o segundo Heidegger, nas obras entre 1936 e 1969, e as obras de Bachelard mais ligadas a terra e ao espaço, entre 1933 e 1948. Desse modo, após várias reflexões sobre as semelhanças e dessemelhanças de ambos os filósofos, foi possível encontrar os pontos de (...) divergência e convergência, estes últimos acabam superando os primeiros nos entre-espaços possíveis, sobretudo, nas visões da arte, mas não tanto da linguagem que cada um utilizou. Por isso, são desafiadoras e instigantes as rupturas causadas na possibilidade de continuidade dessas tendências filosóficas. ABSTRACT The article aims at exploring the possibilities of establishing connections between Heidegger and Bachelard from the perspective of space, world, dwelling, and house. We used works written by Heidegger between 1936 and 1939, after the "second" period, and those written by Bachelard between 1933 and 1948, which deal more with earth and space. Reflection on the similarities and differences between the philosophers makes it possible to find points of divergence and convergence. The latter are greater than the former in the possible in-between spaces, mainly regarding the views on art, but not that many with respect to the language used by each one. For this reason, the breaks in the possible continuity of these philosophic views are challenging and encourage further reflection. (shrink)

El retorno de Odiseo no solo implica que el misterio del bosque ya ha empezado a aclararse; que monstruos y gigantes han sido dominados y vencidos; que la bruja ya se ha desembrujado y se ha tomado la medida al elemento sin medida que es el mar; más fundamental incluso es el hecho de que la Odisea identifique su retorno con el proyecto de apertura interna de la casa, así como con la génesis de dos esferas secundarias o derivadas: la (...) esfera de la representación «artística» y la esfera del «pensamiento», la «mente» o la «interioridad». La visión de la Odisea da vueltas en torno a la cuestión de en qué sentido todos los hallazgos, toda la frescura y la capacidad inventiva del personaje terriblemente sabio no solo son a la vez, e inseparablemente, crímenes y transgresiones; también son pérdidas irreparables y definitivas. Quizá la Odisea no tenga ese «final feliz» que se supone a veces; quizá el viaje o camino de Odiseo es en el fondo un viaje o camino sin retorno. (shrink)

Este artículo intenta aproximarse a la figura femenina de Hiparquia de Maronea, identificando su lugar dentro del cinismo antiguo, movimiento filosófico contestatario de finales del siglo iv a. C. Su figura sería ejemplo de una mujer “extradoméstica”, opuesta completamente a la imagen de la mujer ateniense que permanece recluida en el interior de la casa, respetando celosamente las leyes del silencio. Al respecto, para descifrar las claves de Hiparquia, es fundamental y muy significativo considerar el “matrimonio de perros” como la (...) expresión más elevada del éros cínico. La kynogamía implica una ruptura radical con el matrimonio convencional, en cuanto institución religiosa, social y política que determina en el oîkos el lugar de las mujeres en la antigüedad, y constituye el punto culminante de la unión erótica cínica, al poner de manifiesto su “indiferencia” respecto al acto sexual. Hiparquia, comparada con Artemisa, se sitúa en los confines de lo salvaje, unida a su esposo, Crates de Tebas, vive en co-herencia según las leyes de la naturaleza. (shrink)

Esta obra contribuye al homenaje que la Universitat de València rindió al profesor Amartya Kumar Sen con motivo de su investidura como Doctor Honoris Causa. La cuidada selección de artículos preparada por el profesor Casas Pardo, precedida de un estudio introductorio sobre su obra, recoge las aportaciones más importantes, originales y creativas del Dr. Sen a la economía, la ética y al pensamiento social en general.

España arrastra un problema de vivienda accesible desde hace veinte años. En 2001 el Instituto Nacional de Estadística publicaba un estudio en el que se anunciaba que el país contaba con 3,1 millones de casas desocupadas. Diez años después, tras la crisis del sector inmobiliario otro estudio evidenciaba la existencia de más hogares de hasta 3,4 millones de hogares vacíos.Este trabajo pretende realizar una revisión de las políticas fiscales llevadas a cabo tanto en España como en otros países para (...) que las viviendas vacías salgan al mercado del alquiler. (shrink)

La presente obra ofrece la primera historia completa de toda la filosofía novohispana desde 1521 hasta 1821. Se trata de una visión unitaria y completa de toda la filosofía de la época colonial de México, única en su género y con muchas aportaciones valiosas y originales, con método y bases de verdadera investigación histórico-filosófica. Se abre el libro con una hermenéutica de la historia de la filosofía novohispana en la cual el autor, siguiendo las orientaciones más modernas, comprende e interpreta (...) la historia de las ideas en México a partir de sus verdaderos comienzos: desde la polémica entablada por Agustín Rivera y Agustín de la Rosa sobre la validez o no de la acción de España en la enseñanza de la filosofía y de la ciencia en la Nueva España. En su conjunto la obra, estructurada cronológicamente, estudia las actividades y manifestaciones filosóficas de las órdenes religiosas en los tres siglos clásicos, estableciendo una división entre humanistas y escolásticos. Entre los humanistas, destacan fray Juan de Sumárraga, fray Bartolomé de Las Casas, Vasco de Quiroga y Francisco Hernández. En la exposición de los escolásticos, y atendiendo a las diversas órdenes, traza un resumen de las obras principales de los autores más destacados: Diego Valdés, Alonso de la Vera Cruz, Pedro de Hortigosa, Antonio Rubio y Antonio Arias, así como sor Juana Inés de la Cruz. (shrink)

Introducción: Los cambios biológicos, sicológicos, económicos y sociales que se observan durante el envejecimiento conllevan a pensar que en los ancianos existe una serie de factores que favorecen la aparición de una depresión. Objetivo: evaluar la efectividad de una intervención sicológica para disminuir la depresión en adultos mayores de la Casa de abuelos "Dr. Diego Tamayo Figueredo", de Puerto Padre, en el período de noviembre de 2013 - mayo de 2014. Material y métodos: se realizó un estudio de intervención sicológica (...) en una muestra de 12 adultos mayores de la casa de abuelos. Se aplicó un programa de intervención sicológica, así como la Escala de Depresión Geriátrica para realizar la valoración antes y después de la intervención. Se empleó el modelo Cognitivo- Conductual de Beck. Los datos fueron tratados según la estadística descriptiva. Resultados: el porciento más elevado de pacientes correspondió al grupo de ancianos con edades entre los 60 y 90 años de edad. Respecto al sexo, el más frecuente es el masculino. El asma bronquial, la hipertensión arterial y la diabetes Mellitus representaron el mayor porciento de antecedentes patológicos personales. Conclusión: la intervención sicológica resultó efectiva pues se logró disminuir a leve los niveles iniciales de depresión establecida y los considerados con leve a no depresión, por lo tanto se afirma que con su aplicación fue modificado el estado emocional de los adultos mayores que se implicaron en la muestra. Introduction: Biological, psychological, financial and social changes observed during aging lead to think that there is a series of factors that favor the appearance of depression in senior citizens. Objective: Assessing the effectiveness of a psychological intervention in order to reduce depression in senior citizens from "Dr. Diego Tamayo Figueredo" Senior Citizens' House, Puerto Padre, from November 2013 to May 2014. Material and methods: A psychological intervention study was conducted on a sample of 12 senior citizens from the house. A psychological intervention program as well as the Geriatrics Depression Scale were applied before and after the intervention in order to make the assessment. The Beck's cognitive-behavior model was used. Data was processed according to descriptive statistics. Results: The highest percentage of patients corresponded to a group of seniors between 60 and 90 years of age. Regarding sex, males are more common. Bronchial asthma, arterial hypertension and diabetes mellitus represented the highest percentage of personal pathological history. Conclusion: The psychological intervention proved to be effective since initial established depression levels were reduced to minor and those considered as minor were reduced to no depression ; therefore, it is stated that its application modified the state of mind of the senior citizens involved in the sample. (shrink)

Este trabajo surge a partir de la investigación general de las técnicas hidropónicas teniendo en cuenta sus ventajas y desventajas para de esta forma poder encontrar aquel factor determinante a través de una comparación de técnicas hidropónicas que permitan clasificarlas y escoger la mejor opción que genere menos impacto ambiental negativo y demuestre ser más productivo en los entornos urbanos. Adicionalmente, un factor determinante en las ciudades es su espacio limitado por lo que la mejor opción también deberá incluir un (...) óptimo manejo del espacio que permita a casi cualquier individuo poder aplicarlos desde su entorno sin recurrir a excesivas modificaciones. Como principal resultado se escogió a la Hidroponía recirculante como método predominante por los excelentes resultados que se obtienen con relación a los demás, adicionalmente, este puede ser fácilmente aplicado en los ambientes urbanos por su versatilidad y buen manejo de recursos. Palabras Clave: Hidroponia, ambiente, urbano, comparativa, técnicas, cultivo. Referencias [1]J. López, «La producción hidropónica de cultivos,» IDESIA, vol. 36, nº 2, pp. 139-141, 2018. [2]J. Lee, A. Rahman, J. Behrens, C. Brennan, B. Ham, H. Seok Kim, C. Won, S. Yun, H. Azam y M. Kwon, «Nutrient removal from hydroponic wastewater by a microbial consortium,» New Biotechnology, vol. 41, pp. 15-24, 2018. [3]H. Ku, C. Tiong, A. Suresh y B. Ong, «“Active” hydroponic greenhouse system to kick-start and augment reforestation program through carbon sequestration e an experimental and theoretical feasibility study,» Journal of Cleaner Production, vol. 129, pp. 637-646, 2016. [4]J. Beltrano y D. Gimenez, Cultivo en hidroponía, Buenos Aires: Universidad de la Plata, 2015. [5]L. Ramírez, M. Pérez, P. Jiménez, H. Giraldo y E. Gómez, «Evaluación preliminar de sistemas acuapónicos e hidropónicos en cama flotante para el cultivo de orégano,» Revista Facultad de Ciencias Básicas, vol. 7, nº 2, pp. 242-259, 2011. [6]S. Hosseinzadeh, D. Testai, M. BKheet y J. De Graeve, «Degradation of root exudates in closed hydroponic systems using UV/H2O2: Kinetic investigation, reaction pathways and cost analysis,» Science of the Total Environment, vol. 1, pp. 1-9, 2019. [7]N. Camarena, A. Rojas y M. Santos, «Fluoride bioaccumulation by hydroponic cultures of camellia,» Chemosphere, vol. 136, pp. 56-62, 2015. [8]W. Wang, Y. Ma, L. Fu, Y. Cui y M. Yaqoob, «Physical an mechanical properties of hydroponic lettuce for automatic harvesting,» Informatión processing in agriculture, vol. 1, pp. 2214-3173, 2020. [9]M. Zárate, Manual de Hidroponia, Coyoacán: Universidad Autónoma de Mexico, 2014. [10]S. Magwaza, L. Magwaza, A. Odindo y C. Buckley, «Partially treated domestic wastewater as a nutrient source for tomatoes grown in a hydroponic system: effect on nutrientabsorption and yield,» Heliyon, vol. 6, nº 12, pp. 2405-8440, 2020. [11]C. ARANO, «Hidroponía: Algunas paginas de historia,» Tecnología de Producción, nº 58, pp. 24-32, 2007. [12]G. Guzmán, Hidroponia en Casa: Una actividad familiar, Costa Rica: Ministerio de Agricultura y ganaderia, 2004. [13]J. Gilsanz, HIDROPONIA, Montevideo : Unidad de Comunicación y Transferencia de Tecnología, 2007. [14]C. Miller, «El debate de hidroponia orgánica: Perspectivas norteamericanas sobre si la producción hidropónica merece ser certificada como orgánica.,» Productores de Hortalizas, nº 6, pp. 36-38, 2017. [15]A. Herrera, «Manejo de la solución nutritiva en la producción de tomate en hidroponía,» Terra Latinoamericana, vol. 17, nº 3, pp. 221-229, 1999. [16]C. Espinal y D. Matulić, «Recirculating Aquaculture Technologies,» Biomedical and Life Sciences, pp. 35-76, 2020. [17]H. Resh, «Técnicas de cultivo con flujo laminar de nutrientes,» de Cultivos Hidroponicos, España, Mundi-Prensa, 2001, pp. 35-37. [18]P. Blanca y L. Teresa, «Sistemas recirculantes y su interés en el cutlivo de ornamentales,» Tecnología de producción, nº 35, pp. 34-36, 2006. [19]C. Magán, «Recirculación de las soluciones nutritivas, Manejo y Control Microbiologico,» InfoAgro, nº 2, pp. 1-2, 2016. [20]S. Goddek, A. Joyce, B. Kotzen y M. Dos-Santos, «Aquaponics and Global Food Challenges,» Aquaponics Food Production Systems. Springer, vol. 1, nº 1, pp. 3-17, 2019. [21]S. G. Verdoliva, D. Gwyn Jones, A. Detheridge y P. Robson, «Controlled comparisons between soil and hydroponic systems reveal increased water use efficiency and higher lycopene and β-carotene contents in hydroponically grown tomatoes,» Scientia Horticulturae, pp. 3002-4238, 2020. [22]A. Chaudhry y V. Mishra, «A Comparative Analysis of Vertical Agriculture Systems in Residential Apartments, » de 2019 Advances in Science and Engineering Technology International Conferences, Dubai, United Arab Emirates, United Arab Emirates, 2019. [23]T. Mazhar, G. Jianmin, L. Imran, S. Kashif, Q. Waqar, S. Sher y C. Jiedong, «Modern plant cultivation technologies in agriculture under controlled nvironment: a review on aeroponics,» Journal of Plant Interactions, vol. 13, nº 1, pp. 338-352, 2012. [24]K. Janiak, A. Jurga, J. Kuźma, W. Breś y M. Muszyński, «Surfactants effect on aeroponics and important mass balances of regenerative life support system – Lettuce case study,» Science of the Total Environment, vol. 718, nº137324, pp. 1-12, 2020. [25]F. Rahman, I. Jahan, R. Biplob, N. Farhin y J. Uddin, «Automated Aeroponics System for Indoor Farming using Arduino,» de 2018 Joint 7th International Conference on Informatics, Electronics & Vision and 2018 2nd International Conference on Imaging, Vision & Pattern Recognition, Kitakyushu, Japan, 2018. [26]M. Caldeyro Stajano, «La Hidroponía Simplificada como Tecnología apropiada, para implementar la Seguridad Alimentaria en la Agricultura Urbana.,» Cuadernos del CEAgro, nº 8, pp. 71-76, 2006. (shrink)

Este artículo examina la manera en que el diseño específico de las casas de baños de la Antigüedad tardía en la provincia romana de la Cirenaica, base de operaciones para la conquista islámica de Ifrīqiya, influyó en el desarrollo de los hammams en el norte de África y en al-Andalus. Los restos arqueológicos de los baños bizantinos/tardoantiguos y los primeros hammams son puestos en comparación para demostrar las grandes similitudes de su trazado general y dentro de este, del diseño (...) del caldarium en particular, lo que apunta a la pervivencia de los esquemas de construcción que sobreviven hasta el día de hoy en los hammams marroquíes. La característica más distintiva era la estancia rectangular para el baño de calor, calentada por un solo horno, y flanqueada por dos exedras que albergaban sendas bañeras rectangulares. Este diseño de hammam «occidental» era marcadamente distinto de los hammams contemporáneos en Oriente, que a su vez continuaron con el diseño tradicional de los baños públicos romano-bizantinos orientales. Contrariamente a lo que se presuponía, este artículo demuestra que el diseño «occidental» no se originó en los primeros momentos del Marruecos medieval y de al-Andalus, extendiéndose posteriormente hacia el Mediterráneo oriental, sino que se originó en el norte del África romano-bizantino, extendiéndose hacia el Oeste, para regresar, a través de la circularidad cultural, al lugar de origen con nuevas adaptaciones. (shrink)

Quatro painéis de muito boa pintura, representando aspectos da vida e martírios dos Santos Mártires de Lisboa, Veríssimo, Máxima e Júlia, estão patentes no Museu Carlos Machado, em Ponta Delgada, nos Açores.Obras nunca estudadas antes de 2001, embora referenciadas documentalmente já no século XIX, permaneceram em colecções particulares até aos anos sessenta do século XX, quando foram doadas ao museu açoriano, onde se encontram em bom estado de conservação. Nunca dali saíram, a não ser um dos painéis para a XVII (...) Exposição Europeia de Arte, Cultura e Ciência (núcleo da Casa dos Bicos) e outro painel, em 1992, para uma exposição em Génova. As obras, de relativamente pequenas dimensões, são muito ricas em aspectos iconográficos e de caracterização de ambientes. Datáveis da década de 30 do século XVI, têm sido atribuídas ao pintor Garcia Fernandes e, mais recentemente, a Cristóvão de Utreque, um dos mestres que foi referenciado como eventual colaborador dos chamados Mestres de Ferreirim: Cristóvão de Figueiredo, Gregório Lopes e Garcia Fernandes.Muito interessante, no entanto, é a iconografia das paisagens urbanas de duas das pinturas, mas a vida e os martírios dos santos não acompanham o que se conhecia da literatura do tempo. (shrink)

En 2011 el señor Mario Posada Ochoa donó a la Universidad EAFIT una extensa y poco conocida colección de arte; acaso unos cuantos amigos habrían visto de cerca las 480 obras que recibió la Universidad, de artistas como Segundo Angelvis, Inés Acevedo Bernal, Sergio Trujillo Magnenat, Luis A. Rengifo y Ramón Vásquez, entre otros. Algunas de ellas carecían de la firma del autor o de un dato que comprobara la autoría, y estaban deterioradas, más que por el tiempo, por el (...) improvisado bodegaje: don Mario las había guardado durante cuarenta años en su hermosa casa de Maracaibo, en el centro de la ciudad. En Extensión Cultural de EAFIT han procurado, desde entonces, conservar este legado. (shrink)

En este trabajo analizamos las relaciones de complementación en la lengua toba hablada en el este de la provincia de Formosa en estrecha correlación con construcciones seriales simétricas. Se trata de dos tipos de cláusulas complejas cercanas –argumentos compartidos, los dos o más verbos son finitos, no existe marca evidente de subordinación en términos sintácticos– por lo cual los límites entre ambas no resultan evidentes. Por este motivo, proponemos un abordaje de tipo funcional de la subordinación. En línea con la (...) propuesta de Cristófaro, entendemos la subordinación como una relación asimétrica entre dos eventos y no como un tipo específico de cláusula. Proponemos que no existe la complementación en esta lengua como tipo de cláusula y que la “incrustación” no es un criterio que nos permita abordar el fenómeno. El corpus se compone de cinco horas de texto libre narrativo relevado en sucesivos trabajos de campo en las comunidades tobas de Barrio Nam Qom y la ex Colonia secular Bartolomé de Las Casas. (shrink)

La problematización de la pobreza, la criminalización, encierro, reclusión y disciplinamiento de los pobres constituyen factores fundamentales para poder explicar con éxito el nacimiento del primer capitalismo. En este artículo queremos mostrar de qué forma la pobreza, que durante toda la Edad Media había sido naturalizada como una parte más de un orden divino, se convierte, a partir del siglo XVI, en una cuestión problemática que protagoniza apasionados debates. En esta nueva problematización de la pobreza encontraremos los mimbres con los (...) que posteriormente se tejerá toda una tupida red punitiva y disciplinaria que tendrá como propósito la creación de un ejército de trabajadores sumisos en condiciones de miseria. (shrink)

Resumo: A proposta desse trabalho é repensar a linguagem, tema central da filosofia contemporânea, não mais como um instrumento do qual o sujeito se apropria e desapropria de acordo com a própria vontade, mas, juntamente com Heidegger, como a própria casa do ser. A função de comunicação é apenas uma das múltiplas possibilidades da linguagem. Com Heidegger é desenvolvida a questão de como a fenomenologia transforma-se em hermenêutica e de como a autocompreensão surge paralela a toda compreensão. A filosofia autêntica (...) é aquela na qual, ao questionar-se sobre algo, o sujeito é inserido na própria questão. A compreensão nunca é impessoal, pois a aletheia perpassa o sujeito que, ao compreender algo, está compreendendo a si mesmo. Palavras-chave: Filosofia. Martin Heidegger. Linguagem. Lógica. Verdade. Metafísica.: The purpose of this paper is to rethink the language, the central theme of contemporary philosophy, not as an instrument to which the subject is appropriate and unappropriate according to their will, but, along with Heidegger, as the house of being. The function of communication is only one of the many possibilities of language. With Heidegger is developed the question of how phenomenology turns to hermeneutics and how the selfunderstanding is parallel to all understanding. The authentic philosophy is that in which is questioned about something and the subject is inserted in the issue. The understanding is never impersonal, therefore Aletheia permeates the subject that by understanding something is to understand yourself. Keywords: Philosophy. Martin Heidegger. Language. Logic. Thuth. Metaphysics. (shrink)

El registro de la personalidad de Pablo, su formación intelectual y su misión hacen de él un hombre de controversias y de originalidades en su discurso. Este artículo pretende describir: (a) la estructura argumentativa de la llamada 'carta a Filemón' (Fm), texto considerado de autoría paulina, y (b) las maniobras estratégicas que desarrolla el autor del documento para resolver la discusión crítica, específicamente a partir del uso de estrategias de cortesía verbal. En términos generales, desde un análisis dialéctico, la carta (...) nos presenta el pedido del prisionero para que Filemón reciba a Onésimo de regreso en su casa, así como los argumentos que favorecen esta postura. Al insertar las maniobras estratégicas, es decir, el elemento pragmático y retórico, se puede observar un cambio en el punto de vista y en el argumento. Las estrategias de cortesía verbal ayudan, por un lado, a que la comunidad acoja a Onésimo y, por otro lado, aprenda que los cristianos han sido generados por la fe en Cristo. Por tanto, no sólo se declara la petición, sino una nueva verdad de fe y una práctica de vida eclesial y social. Pablo salvaguarda la imagen negativa, apelando a un nuevo estilo de autoridad y a una renovada forma de vida comunitaria que va más allá del contexto específico en el que fue escrita la carta. Todo hombre y mujer de fe son miembros dignos de la comunidad porque son “mis entrañas” (Fm 12b). (shrink)

No es nuestro propósito relatar el trabajo de Hegel en sus Lecciones de la Historia universal, por el contrario, queremos aprehender el concepto de desarrollo de la historia a partir de la acción (tat) del espíritu, en tanto la historia -dice Hegel- es “la sustancia del espíritu”. Y esta temática la desarrolla tanto en la Enciclopedia, como en la Fenomenología del espíritu, así como en las Lecciones de filosofía de la religión (especialmente en 1828) y en su Filosofía del derecho. (...) Si no se concibe la historia sino por la acción del espíritu que deviene movimiento y deviene libertad y racionalidad. De tal modo, que puede decirse que la razón dirige la historia. Pero si califica la historia de divina es porque en ella la razón se historiza y pierde su condición abstracta. Pues en la historia, dice Hegel, el espíritu se encuentra en casa. Debe entenderse ese proceso de movimiento, como sustancia espiritual y el fin absoluto en el mundo, de ahí que no pueda hablarse de fin de la historia. El saber absoluto no implica un cierre al proceso infinito de un despliegue a través de las determinaciones finitas. Debe subrayarse la importancia de la eticidad y de la Filosofía del derecho, pues el Estado en cuanto sustancia ética no anula los derechos de los sujetos que devienen a través de la historia. Pudiendo considerarse a los mismos sujetos y los estados formas de objetivación del espíritu en su movimiento. No puede por ello entenderse el saber absoluto siquiera como un cierre de la historia ni como una superación de las figuras que en su movimiento produce. Más bien es lo que Hegel sostiene como Teodicea de la historia. Y en ella, la religión ya manifiesta la asunción de la negatividad y la superación de la muerte de Dios por el espíritu en la comunidad. Ahora bien, la comunidad alcanza su máxima expresión en el Estado, no es la pretensión de Hegel la exaltación del estado, sino que tiene muy en cuenta que los ciudadanos son sujetos de derecho dentro del Estado. (shrink)

Este estudo se ocupa com algumas questões do prólogo do Parmênides, que, em geral, passam desapercebidas, mas são importantes para a compreensão da arquitetônica do diálogo. Haverá de ter, por exemplo, algum significado o fato de Platão trazer para dentro do Diálogo, Céfalo de Clazômenas, que veio para Atenas encontrar Antífon e ouvir dele um relato de Pitodoros sobre o que Parmênides e Zenão, vindos de Eleia, confabularam com Sócrates em Atenas. Clazômenas é a terra de Anaxágoras, daquele que, a (...) convite de Péricles, fundou em Atenas uma escola filosófica. Do debate que ocorreu entre Parmênides, Zenão e Sócrates, na casa de Pitodoros, foi Pitodoros, quem, por primeiro, registrou de memória; depois ele passou a Antífon, e, Antífon, passou a Céfalo, que, enfim, veio a ser, e não o irmão de Platão, o relator do Diálogo. Há, pois, um fluxo de personagens e de regiões que compõem o Diálogo. Há ainda algo inusitado: Zenão, perante Sócrates e seus companheiros, na casa de Pitodoros, fez uma leitura de seus “escritos”, dos quais, no final, Sócrates pediu a Zenão que relesse apenas “o primeiro argumento”: o do paradoxo do Um e do Múltiplo, tema sobre o qual incidiram o debate e a construção do Diálogo. Este estudo cumpre três etapas: comenta o introito, esboça a tratativa do Um e do Múltiplo e ensaia algumas possibilidades de leitura e de interpretação do Parmênides. (shrink)