L’articolo si propone di analizzare, alla luce di un esteso scandaglio documentario e di un accurato spoglio delle testate locali, i rapporti fra Pier Paolo Pasolini e il Cineguf bolognese, negli anni in cui lo scrittore fu studente del Liceo Galvani e poi fra gli iscritti alla Facoltà di Lettere, sotto alla guida di docenti come Carlo Calcaterra e Goffredo Coppola. Questa ricerca ha permesso non solo di approfondire la conoscenza della cultura spettatoriale del giovane Pasolini, ma ha anche consentito (...) di ricondurre all’avvio del 1940 la sua prima prova da scrittore per il cinema, e cioè il soggetto Il giovine della primavera, rimasto inedito fino all’uscita dei Meridiani a cura di Walter Siti e Franco Zabagli nel 2001. Proprio uno sguardo inedito alle attività del Cineguf consente infatti di comprendere quanto la vita del circolo poté pesare sulla passione del poeta per il grande schermo, spingendolo a provarsi nelle vesti di sceneggiatore. (shrink)

Aristotle thinks that in order to remember, one must be cognizant of aphantasmaused as a copy of that of which it is a phantasma,and one must be cognizant of the time at which the original experience occurred . In De Memoria1, he uses the first half, , of this schematic account in order to explain certain kinds of mis-rememberings. For instance, he says that mad people sometimes conjure up fantastic images and take them to be memories of past experience; such (...) episodes are mis-remembering, because these people use that which is not a copy as if it were a copy . In De Memoria2, Aristotle returns to the topic of mis-remembering and here he uses the second half, , of his schematic account, together with the first, in order to explain additional sorts of mistakes. He claims that we sometimes recall the image of an event and properly use it as a copy, but we get the time wrong , and thus we fail to remember; further, he claims that we sometimes get the time right, but fail to use an image as a copy of the events which occurred during that time. In each case we fail to remember; for in order to remember we must both use an appropriate copy as a copy and accurately cognize the time. (shrink)

En la siguiente exposición se propone un comentario de la obra del filósofo cubano Pablo Guadarrama González, denominada Pensamiento filosófico latinoamericano. Humanismo, método e historia. La perspectiva humanista que es postulada contiene una serie de precisiones que son analizadas en sus implicaciones teóricas y prácticas. Asimismo, se extiende su estudio de las ideas filosóficas a distintos momentos del desarrollo particular seguido en América Latina, al igual que está acompañada esta tarea historiográfica de consideraciones metodológicas que resultan significativas. Desde el conjunto (...) de temas planteados por el autor se retoman sus aportes en relación a debates que se inscriben en el cruce disciplinario de la filosofía y la historia de las ideas, que se ubican inicialmente en el contexto latinoamericano pero aspiran a una proyección con alcances universales. We comment the Cuban philosopher Pablo Guadarrama González’s Latin American philosophical thinking. Humanism, method and history. The humanistic perspective posited therein contains some assumptions that we analyze in their theoretical and practical implications. Furthermore, we extend his study of philosophical ideas to different moments of Latin America’s particular development, being this historiographic task accompanied by significant methodological considerations. Of all the themes posed by this author, we take his contributions to the debates raised in the interdisciplinary intersection of philosophy and the history of ideas, initially located in a Latin American context but with universal projection. (shrink)

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El presente trabajo aborda la temática de la temporalidad ligada a la producción de relatos de memoria en la antigua Grecia, cuando esta tarea era encomendada a la creación de palabra en boca de los poetas. Mediante un estudio de las odas y de los epinicios de Píndaro -tanto en el contexto de su surgimiento como a través de interpretaciones filosóficas posteriores-, los relatos plausibles de conformar una memoria aparecen ligados a un acto de composición selectivo, donde el poeta decidirá (...) qué acontecimientos serán dignos de Elogio y cuáles, en cambio, de Vituperio. En un contexto que se asume complejo, constituido por fuerzas ambivalentes, las producciones de palabra al servicio de un sostenimiento de la memoria deberán sortear siempre la opacidad de las circunstancias que la confunden, la ironizan, la amenazan de olvido. La palabra, así, en boca de los poetas, tendrá la eficacia capaz de dar cuenta de una economía de lo verdadero que ya va trazando la memoria de las paradojas de su propia historia. This paper addresses the issue of temporality linked to the production of memory narratives in ancient Greece, when this task was entrusted to poets and their creation of words. Through a study of Pindar Odes and Epinicia - both, in the context of its emergence as through further philosophical interpretations- plausible stories to form a memory appear linked to a selective act of composition, where the poet decides what events will be worthy of Praise, and which, instead, of Shame. In a context that is assumed complex, consisting of mixed forces, word productions serving a sustaining memory must always overcome the opacity of the confusing circumstances, the irony, and the threat of oblivion. Words, in the voice of the poets, will become the efficacy marks of some kind of economy of the ruth that is already mapping the paradoxal memory of its own history. (shrink)

Por meio de processos-crime, reflete-se sobre a organização racial/racista da sociedade no passado. O assassinato de Vicente Crioulo, no ano de 1848, funciona como o primeiro paradigma para que se entenda que o Estado representa apenas um dos canais para a subjugação de povos não-brancos aos brancos dominadores. Esta abordagem filia-se à micro-história, e procura ver a vida cotidiana de homens e mulheres negras, escolhendo três casos paradigmáticos, que caminham da tortura e morte de um homem negro à uma rebelião (...) de escravos contra o seu feitor. Trata-se de uma narrativa de dor, mas também de resistência à ordem escravocrata. (shrink)