In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

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

E. San Juan Jr. examines Peirce’s discourses on semiotics, ethics, and aesthetics and suggests their analogies with the radical critiques of Marx and other progressive trends.

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

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

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

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

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

Las metodologías activas son unas excelentes herramientas para la mejora del desarrollo de competencias, así como del aprendizaje del alumnado. Se recogen las percepciones y el uso que 92 profesores de educación secundaria de la Comunidad Valenciana (España) manifestaron en un cuestionario tras haber realizado una formación en las mismas. Los resultados permiten constatar que, si bien se produce un aumento en el uso y una mejora en las percepciones, sigue habiendo una considerable resistencia al cambio de este colectivo de (...) profesorado. Encuentran desventajas como considerarlas muy exigentes con el tiempo y son escépticos en el aprendizaje real del alumnado. (shrink)

El coaching ejecutivo ha dado lugar a numerosos desarrollos de orientación básicamente prescriptiva. Una perspectiva crítica y con base empírica puede permitir ir más allá de la retórica del coaching e identificar las tensiones y las contradicciones de los procesos de coaching en un contexto organizacional, como entorno relacional y cultural. El objetivo de este trabajo es acercarnos críticamente al coaching ejecutivo individual en la práctica, estableciendo las diferencias entre lo preconizado por las teorías y los expertos del coaching y (...) lo que se hace en las empresas. Mediante 50 entrevistas en profundidad a coaches y coachees, identificamos cuatro grandes discursos sobre el coaching ejecutivo: a) herramienta de crecimiento personal; b) relación diádica; c) resolución de problemas en equipos de trabajo; y d) mecanismo de cambio organizacional. El análisis muestra las tensiones y las contradicciones ad intra y entre los discursos y, con ello, la importancia de considerar el contexto organizacional. (shrink)

El Jubileo Extraordinario de la Misericordia ha sido un importante acontecimiento eclesial, que ha permitido profundizar en esta realidad que el Papa Francisco define como “la viga maestra que sostiene la vida de la Iglesia”. En la historia de la Iglesia, los santos han vivido la experiencia de la misericordia de Dios de diversas maneras, y como vivencia personal la han reflejado en sus escritos. Es el caso de San Juan de Ávila, quien trató abundantemente sobre la misericordia tanto (...) en sus obras impresas como en su epistolario y en sus predicaciones. El presente artículo pretende resumir la riqueza del magisterio del Apóstol de Andalucía sobre la misericordia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

San Juan de Ávila (1499-1569), predicador, reformador, director de almas, pero al mismo tiempo eminente teólogo pastoral que lideró la Contrarreforma española. El pensamiento del Apóstol de Andalucía sobre la Iglesia está formado por la riqueza de elementos pneumatológicos que aparecen en sus escritos. Esto hace que su visión del Misterio de la Iglesia sea intensamente dinámica, mostrando además que el Espíritu Santo, como alma y fuerza interior de la Iglesia, es quien sostiene y garantiza su Misión en el (...) mundo. (shrink)

Svetost vašega življenja in vaša gorečnost za svete učenosti sta me tako ganili, da sem vam napisal nekaj o vzgoji krščanskih žena, zelo pomembni temi, ki pa je vendarle do sedaj med vso raznoliko množico učenjakov in pisateljev ni še nihče obravnaval. Kaj je namreč enako nujno kakor duhovno oblikovanje teh, ki so v vsakem življenjskem položaju naše nerazdružljive družice? Med dobrimi je naklonjenost trdna, med slabimi pa ni dolgotrajna.

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

La presencia de una brecha digital entre las personas mayores y el resto de ciudadanos puede convertirse también en un factor clave de exclusión social, que vendría a sumarse a otros problemas inherentes a este grupo de edad ya presentes en nuestra sociedad. En este sentido, las personas mayores es uno de los grupos sociales con un mayor riesgo de exclusión de la sociedad de la información.

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

Introduction. Dying to see -- The anthropomorphic image : negotiations of space between body and landscape -- The imperfect replica : departures and arrivals from Naples to Nagasaki -- The visionary image : the return of the image from Brazil to Rome -- The utopic image : unsettling circuits between Chile and Rome -- Epilogue : The proliferation of the body : Francis Xavier in Goa.