Este artículo aborda la relevancia de algunos de los principales aspectos de Ortega y Gasset y plantea los puntos de vista teóricos de su pensamiento en conexión con los estudios interculturales que es tán afectando tan dramáticamente hoy en día. Ortega señala la necesidad de una visión integradora de las culturas donde la humanidad pueda cosechar relaciones de confianza con respecto a su cultura y la de los demás, con respeto y comprensión de la diversidad. Aunque tal condición de obertura (...) denota el “estatus” que pertenece a la estructura de la existencia humana; sin embargo, no determina de ninguna manera la naturaleza y la disposición buena o mala, positiva o negativa, pacifista o conflictiva de esta relación misma. La construcción real de un mundo que el espacio de una apertura hace po- sible es una tarea factual e inherente y exquisitamente humana. (shrink)

El proyecto mexicano de educación profesional antropológica tuvo un proceso formativo crucial a finales del gobierno posrevolucionario presidido por Lázaro Cárdenas del Río (1934-1940), pues estaba enmarcado por el programa político denominado Educación Socialista. Dicho programa dio cobijo a la fundación del Instituto Politécnico Nacional que tuvo en sus inicios un Departamento de Antropología, el cual fue transferido al Instituto Nacional de Antropología e Historia (INAH) en 1942, recibiendo el nombre de Escuela Nacional de Antropología (ENA). Aunque estos movimientos institucionales (...) parecieran solo reacomodos administrativos, dentro de ellos se modelaron interesantes perspectivas de trabajo antropológico e histórico, las cuales posicionaron a sus estudiantes en puestos clave de instituciones científicas, artísticas y gubernamentales que resultan elementales para la comprensión de las inquietudes y debates de la academia americana en las disciplinas antropo-históricas para las décadas venideras. Bajo tal contexto, este artículo identifica la potencialidad del proceso de formación académica y científica en la ENA a través de indicios contenidos en la documentación docente de Robert H. Barlow, profesor viajero estadounidense que, después de ser estudiante temporal, laboró en esta escuela entre 1945 y 1951. Consideramos sus registros como parte de un archivo vital, disperso en varias instituciones, que nos permiten rastrear algunos detalles sobre las personas que se encontraron en sus aulas durante este proceso de formación institucional de la ENA, contextualizándoles dentro del proyecto estatal de la profesionalización disciplinar, pero también en los inquietantes silencios que rodean las dispersas memorias andantes de este profesor migrante. (shrink)

Toujours déjà expressif, habité par la dimension du langage au moment même de l'expérience, le "visuel" est un champ à part entière où se croisent réel et imaginaire, et donc une nouvelle forme de compréhension de notre rapport au monde. En ce sens, les derniers travaux de Merleau-Ponty, par leur réflexion sur la question du visuel, remettent en cause la plupart des catégories par lesquelles nous avons coutume de "nommer" notre rapport au monde. Cette problématique se révèle particulièrement importante aujourd'hui. (...) Le développement continu des technologies optiques et médiatiques ne cesse d'ouvrir nos existences à des formes inédites de visualisation et d'expérience, et impose une compréhension renouvelée du statut contemporain des images. Convaincus que la pensée du dernier Merleau-Ponty peut contribuer de manière décisive à saisir ces enjeux, les dix auteurs des interventions recueillies dans ce volume des philosophes ainsi que des spécialistes internationaux des médias provenant de cinq pays différents proposent une réflexion collective particulièrement homogène et novatrice autour des croisements entre les notions de "visible" et de "visuel"."--Page 4 of cover. (shrink)

This paper explores the dialogue between Collingwood and Guido de Ruggiero on art and art criticism. The sense of identity of these two activities, it will be argued, can be understood only if one considers the criticism of living art: The art of one who also creates, who through a critical process transforms an outline into a work of art. Thus understood a work of art belongs to the life of the spirit, if considered from the dimension of becoming. Only (...) by reliving the past can it be transformed, yet this requires an understanding of the map of human experience. This is what constitutes specular phenomenology, a phenomenology reflected in the mirror of art and scientific analysis. (shrink)

In the face of seemingly new truth-related political phenomena, Hannah Arendt’s theory of truth in politics has recently seen a flare of renewed attention. Central to her theory is the distinction between rational and factual truths, and the claim that the latter, unlike the former, belongs to the political. The coherence of this claim, however, has been the object of much discussion and criticism. This article intervenes in the debate by foregrounding her conception of factual truth as “the outcome of (...) action” and advancing that this is best understood as an “extended” conception, one that includes in its compass a future-regarding concern for the facts yet-to-be. In so doing it contributes to clarify why it can be said that Arendt does not—like her critics have maintained—exclude truth from the realm of politics, but that in fact it brings to light truth’s most political dimension. (shrink)

In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film as it relates to his aesthetic theory. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and also extending that analysis to address the wider proliferation of screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the (...) philosophical significance of cinema as a novel aesthetic medium unfolding in the twentieth century. He then considers the significance of this philosophical framework for understanding the digital revolution, in particular the extent to we are increasingly and comprehensively connected with screens. Smart phones, tablets, and computers have become a primary referential optical apparatus for everyday life in ways that influence the experience not only of seeing but also of thinking and desiring. Carbone's Philosophy-Screens follows Deleuze's call for "a philosophy-cinema" that can account for these fundamental changes in perception and aesthetic production, and adapts it to twenty-first century concerns. (shrink)

«È ancora necessario, oggi in Italia, sforzarsi di sottolineare l’importanza e l’attualità del pensiero di Jan Patočka?» – si chiede Mauro Carbone presentando questo volume.

The article deals with the views of the Fathers of the Church on relations between husband and wife between the end of the first century and the end of the third century, an age that is less studied in this respect, even though it offers good documentation concerning the subject. Four themes are considered: 1. adultery and separation; 2. the conjugal debt; 3. the division of tasks between husband and wife; 4. the faith life of the couple. Different opinions and (...) often original points of view are presented in regard to the lawfulness of the second marriage, the culpability of adultery, the value of sexuality in the marriage and the wife’s subordination to her husband. (shrink)

Despite the transformation it introduced in theories of democratic representation, the so-called ‘constructivist turn’ left unchallenged the epistemology that had characterised traditional accounts: the questions at stake in current debates on representation are still mostly elicited by a ‘passive’ image of representation as ultimately the phenomenon of being represented by others. Nowhere has the focus explicitly been placed on the experience of representing others. This article proposes a recalibration of current constructivist accounts of representation by introducing what I term the (...) representative standpoint, an epistemological perspective which discloses neglected aspects of the nature and the value of democratic representation. In particular, I suggest that from the representative standpoint, we are able to configure representation as the periodic motion between two spaces: the square, where the representative meets with their constituents, and the circle, where the representative meets with the representatives of other constituencies. The essence of democratic representation lies precisely in the constant moving back and forth between these two spaces. I finally suggest that, configured in these terms, representation may be acknowledged and valued also for providing liberal democracies with an in-built device for a kind of civic education, the beneficiaries of which are the representatives themselves. (shrink)

Music and its treatment occupy a substantially reduced space within the articulated, plentiful array of Ortega y Gasset’s philosophical writings. References are limited to the articles Musicalia e Apatía artística published in 1921 in the review “El Sol”, and his 1925 essay, La deshumanización del arte. There are, moreover, some more or less explicit references to music in Gasset’s other writings. This notwithstanding, Ortega’s reflections are of interest for reasons which are implicit within his thought’s configuration. Foremostly, Gasset’s reflections on (...) music concern a clarification of the dynamics linking life with the different constitutive forms of a cultural landscape. (shrink)

Highlights Merleau-Ponty’s interest in film and connects it to his aesthetic theory.

The Philosopher and the Moviemaker.Merleau-Ponty and the Thinking of CinemaAs its subtitle indicates, the present article is devoted to the relations between Maurice Merleau-Ponty’s philosophy and the thinking of cinema. The first section focuses on two topics, each underlying the lecture on cinema given by Merleau-Ponty in 1945. On the one hand, we find the reflection about the peculiarities of expression in film and cinematic image; on the other, we see the convergence between the inspiration of cinema and that of (...) philosophy, which Merleau-Ponty sees as a significant characteristic of his time. This is a convergence in which the nouvelle vague’s cinema will recognise itself and which Christian Metz will retrospectively confirm. Moreover, by developing both of these topics, the author finds a way to interpret Merleau-Ponty’s lecture as an undeclared polemical response to Henri Bergson’s famous negative judgement on cinema. The second section focuses on the question of movement in cinema, putting together further references to cinema made by Merleau-Ponty in posthumous or unpublished writings such as the notes for the 1952-53 course on “The Sensible World and the World of Expression.” The third section focuses on Merleau-Ponty’s later reflection about vision and images. This section shows how the peculiar noveltyof cinema is more and more understood by Merleau-Ponty not only as historically convergent with a new way of conceiving philosophy, but as a symptom of the new ontology he was trying to formulate philosophically.Il filosofo e il cineasta.Merleau-Ponty e il pensiero del cinemaCome sottolinea il suo sottotitolo, il presente articolo è dedicato alle relazioni fra la filosofi a di Maurice Merleau-Ponty e il pensiero del cinema. La prima sezione si concentra su due argomenti, ognuno ravvisabile nella conferenza sul cinema tenuta da Merleau-Ponty nel 1945. Da una parte, troviamo la riflessione sulle peculiarità dell’espressione filmica e dell’immagine cinematografica; dall’altra, la convergenza fra l’ispirazione del cinema e quella della filosofia, che Merleau-Ponty vede come una significativa caratteristica del proprio tempo: una convergenza in cui il cinema della nouvelle vague riconoscerà se stesso e che Christian Metz retrospettivamente confermerà. Inoltre, sviluppando entrambi gli argomenti, l’autore trova modo di interpretare la conferenza di Merleau-Ponty come una non dichiarata risposta polemica al celebre giudizio negativo sul cinema formulato da Henri Bergson. La seconda sezione si concentra sulla questione del movimento nel cinema, riunendo ulteriori riferimenti di Merleau-Ponty al cinema in scritti postumi o inediti, come le note per il corso del 1952-1953 su “Il mondo sensibile e il mondo dell’espressione”. La terza sezione si concentra sulla riflessione dell’ultimo Merleau-Ponty sulla visione e le immagini. Ciò mostra come la peculiare novità del cinema sia sempre più compresa da Merleau-Ponty non solo come storicamente convergente con un nuovo modo di concepire la filosofia, ma come un sintomo della nuova ontologia che egli stava cercando di formulare filosoficamente. (shrink)

The aim of this study is twofold. Firstly, it intends to highlight the value of constructivist insights for religious studies by showing that various forms of approach to issues related to religion are mere constructs. In contrast to this viewpoint, the discipline of religious studies had traditionally sought a higher degree of objectivity in the scientific reflection of religious topics, but that has been a fraught path. Secondly, the example it refers to is worthy in itself. The reception of Judaism (...) in contemporary China is not only an under-investigated topic endowed with a great potential to reveal to what extent the Chinese ordinary man as well as the academic succeed to understand Western thought and to differentiate among the varied cultural traditions generally subsumed by them under the notion Western, but it also shows that the constructivist approaches preserve their validity in non-European contexts as well. Judaism’s reception in contemporary China will be pursued on four different levels: popular literature, fake books, articles in the Christian Chinese media and academic productions. The four categories of texts represent four different degrees of comprehension of the object of study, primarily offering information about the worldviews of the authors of the texts. The process of reception of thought is regarded as a form of encounter where the active part is striving to get out of its own mindset and move towards the other. (shrink)

Ce livre propose une interprétation inédite de la biologie d'Aristote. Il montre que, dans la démarche aristotélicienne, à côté de la pensée discursive, oeuvre une pensée visuelle qui élabore une représentation de l'organisation spatiale du corps vivant, apportant ainsi une contribution décisive à la définition des deux tâches majeures de l'enquête scientifique aristotélicienne: l'explication causale et la détermination des genres.

The links between the philosophies of Montaigne and Bruno are explored here for the first time, in this speculative comparison that focuses as much on rhetoric and ethics as on ontology and anthropology.

S'inscrivant dans le sillage des travaux les plus récents sur l'histoire du cartésianisme, ce livre en retient d'abord l'idée que ce phénomène varie selon les contextes nationaux, mais qu'il est parfois possible de repérer des ressemblances qui outrepassent les frontières. Se confrontant à une pensée vivante qui se réfracte sous des aspects inattendus, les articles recueillis explorent des sujets qui se situent à l'intersection de plusieurs champs disciplinaires (théologie, physique, médecine, éthique, anthropologie, etc.). Les acquis principaux du cartésianisme dans le (...) domaine scientifique constituent toutefois la toile de fond historique et épistémologique sur laquelle s'élaborent les analyses des contributions de ce volume."--Page 4 of cover. (shrink)