This paper aims to investigate the significance of mood for a philosophical approach to emotion. Are moods problematic because they constrain us in an affective cage? Or do they rather give us access to the world? The starting point for this investigation is the work of Martin Heidegger: I analyze what he defines as vorweltlich arguing that this term refers to the emotional dimension of human existence, in particular, to mood, or, in Heideggerian terms, Stimmung. Human existence is not just (...) a neutral being-there but a being-affected, a being-in-a-mood. I then move on to consider the role of mood in relation to the concept of transcendence, providing an analysis of two main source of inspiration in Heidegger’s thought: Augustine and Aristotle. This allows us to distinguish three aspects of Stimmung : Stimmung as openness to the world, Stimmung as teleological movement, and Stimmung as event of ontological difference. In the final section, I discuss the contribution of these aspects of Heidegger’s thought to the contemporary debate on emotions. (shrink)

Este ensayo provee una visión general de la obra de la pintora mexicana María Izquierdo y ubica sus imágenes e ideas dentro de los debates sobre el rol del arte en la sociedad mexicana entre 1930 y 1950. En la primera década de su carrera ella estaba tangencialmente afiliada al grupo vanguardista literario conocido como los Contemporáneos, que abogaba por el arte puro. Después de 1939, cambió los temas y el estilo de su obra y enfatizó la mexicanidad, acercándose a (...) algunas de las ideas -aunque no a todas- propugnadas por los muralistas y otros artistas que compartieron su agenda. A través de su carrera, Izquierdo creó obras que abordaron cuestiones de género y promovieron una presencia positiva de las mujeres. Las representaciones de las protagonistas femeninas de Izquierdo contrastan con las de los muralistas, quienes generalmente las presentaron en papeles secundarios. (shrink)

Plusieurs générations de chercheurs internationaux interrogent l’esthétique de Merleau-Ponty suivant deux axes : d’une part, le dialogue constant et passionné avec des arts (peinture, littérature, cinéma) et ses protagonistes (Cézanne, Proust, Claude Simon) qui est à l’origine de l’esthétique de Merleau-Ponty, et dans d’autre part, l’impact de la pensée merleau-pontienne sur les arts, depuis le Minimal Art américain en passant par le Body Art et la danse contemporaine. Tandis que certaines contributions s’intéressent, en s’appuyant sur les inédits, au rapport jusqu’ici (...) moins étudié que Merleau-Ponty entretenait avec la musique, mais aussi avec la photographie, d’autres contributions jaugent l’héritage merleau-pontien dans des arts sur lesquels il n’a pas lui-même écrit (la sculpture, la danse ou le théâtre). Ce volume propose donc une première synthèse générale du rapport de Merleau-Ponty aux arts, tout en en indiquant les lignes de fuite et les horizons qui en font aujourd’hui, cinquante ans après sa mort, toute l’actualité. -/- Contributions d’Emmanuel Alloa, Ronald Bonan, Fabrice Bourlez, Mauro Carbone, Lambert Dousson, Eliane Escoubas, Barbara Formis, Paule Gioffredi, Adnen Jdey, Stefan Kristensen, Rosamaria Salvatore, Jenny Slatman, Bernhard Waldenfels, Benedetta Zaccarello. (shrink)

MIRÓ M, GASTALDO D, NELSON S and GALLEGO G. Nursing Inquiry 2012; 19: 270–280 Spanish nursing under Franco: reinvention, modernization and repression (1956–1976)This article examines Spanish nursing during a critical 20‐year period (1956–76) when, under the dictatorial government of General Franco, nursing became the target of a modernization strategy. In the national standardized system of state‐run schools, the previously distinct nursing and midwifery programmes were merged into a new training programme which created the single professional denomination of ATS–Ayudante Técnico Sanitario (...) (Technical Sanitary Assistant). Under the leadership of medicine, and with the blessing of the Catholic Church and the Sección Femenina (Women’s Section of the Falangist Party), nursing was positioned as feminized and subordinate to medicine, a predominantly male profession in mid‐twentieth century Spain. This article discusses this crucial phase of Spanish nursing history by focusing on one influential historical document (published in 1956), Professional Moral Orientation for the Sanitary Technical Assistants, a nursing textbook on professional morals for first‐year nursing students written by Rosamaria Miranda, a Catholic nun and a trained nurse. Our analysis reveals that gender‐related and technical discourses concerning disciplinary and pastoral power relations presented in this textbook legitimate the core beliefs of Franquism put forward by the politically powerful women’s branch of the ruling Falangist Party in mid‐twentieth century Spain. (shrink)