A Latin-American/Spanish edition of the medieval classic. Boethius' treatises on meditation and beauty are still valid to this very day.

ABSTRACTDescartes did not use the terms ‘primary’ and ‘secondary’ qualities, but a similar distinction emerges from his texts: certain qualities of objects are intrinsic pr...

Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations (...) of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How do the human mind and brain bring about these sorts of behaviors? What psychological and neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? Empirical examinations of such questions have a long and rich history in the discipline of psychology, the genesis of which can be traced back to the publication of Gustav Theodor Fechner's Vorschule der Aesthetik in 1876, making it the second oldest branch in experimental psychology. The Oxford Handbook of Empirical Aesthetics brings together leading experts in psychology, neuroimaging, art history, and philosophy to answer these questions. It provides the most comprehensive coverage of the domain of empirical aesthetics to date. With sections on visual art, dance, music, and many other art forms and aesthetic phenomena, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our mind and brain endow us with the faculty to produce and appreciate art and aesthetics. (shrink)

La autora presenta al “Estado de derecho” como un campo de lucha. Desde arriba, se busca conferirle ese estatuto al nuevo poder mundial, correlato y brazo político-militar de las burocracias privadas. Es la estrategia de globalización –que reduce la democracia a puro procedimentalismo formalista- y que no puede sino generar desde abajo resistencias mundiales: resistencias programáticas y organizadas que buscan construir otro mundo posible, por un lado, y por otro lado resistencias irracionales, sin capacidad de articulación política. La autora recorre (...) el pensamiento de Hinkelammert, destacando la crítica que elabora al fetichismo de la mercancía, del dinero y del capital y su planteamiento de un conflicto entre rebelión legítima frente a la ley despótica e idolatría de la ley. (shrink)

La figura del chileno Francisco Bilbao (1823-1865), como pensador americanista y crítico de las filosofías de la historia eurocentristas, constituye el hilo central de este análisis. La autora expone los elementos claves de la crítica de Bilbao respecto de los sistemas de pensamiento que promueven una aceptación pasiva del pasado y el presente como un designio de la Providencia o bien del Progreso. Se develan las lógicas que existen tras las distintas versiones de la filosofía de la historia, como teoría (...) justificadora del relato de los vencedores sobre los vencidos, como así de las intenciones hegemónicas de los países centrales respecto de las nacientes repúblicas latinoamericanas del siglo XIX. El carácter visionario y libertario de Bilbao es destacado por la autora, especialmente en cuanto forjador de una original teoría crítica de la historia con raíces americanas. (shrink)

Las siguientes líneas presentan un análisis de las connotaciones de la utopía, a través del cual es posible un cuestionamiento certero acerca de si, hasta el momento, por medio de lo institucional/académico, se ha estado considerando, y con ello, proyectándose didácticamente, una utopía que, lejos de la ambigüedad, no es el mismo sueño para estamentos privilegiados que para la mayoría de las personas que no ostentan dichos privilegios. Desde el pasado a la más rabiosa actualidad, se trata de mostrar cómo (...) hay otra forma de enseñar la utopía, que puede ser un pensamiento racional, y algo más pragmático, de lo que quizás nos inculcaron, algo con una vigencia y una potencialidad que diversas fuentes, desde la investigación social, y educativa, pueden atestiguar. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 34.2 (2006) 62-84 [Access article in PDF] Georg Lukács Magus Realismus? Sara Nadal-Melsió The reception of Georg Lukács's theorizing of realist narratives has been complicated and controversial, often relying on an artificial division of Lukács's oeuvre. On the one hand, the widely admired History and Class Consciousness stands as the mouthpiece for anything philosophical or political in Lukács. On the other, one finds a generalized dismissal of (...) Lukács's "reactionary" defenses of realism. But the role of realism in Lukács's oeuvre cannot be trivialized or rejected as "doctrinaire" or "outmoded"—two of the most common charges against Lukácsean literary criticism—without damaging an understanding of his political and philosophical contributions to Western Marxism.I thus propose a revisiting of Lukács's writings on literature during the 1930s. I consider them to be a development of the philosophical insights of History and Class Consciousness and as a corrective to the aesthetic theory of Theory of the Novel in the form of an axiological understanding of literary change and preservation. One cannot accept the outcome of Lukács's philosophical investigations and dismiss his often authoritarian radical advocacy of realism—for they are mutually inclusive. Lukács's project takes shape through his use of the aesthetic to salvage ideological and epistemological issues raised by his critical adoption of Marxism. What I propose is similar to what has become a trademark of Gramscian studies.1 In the same way that one does not begin an analysis of Gramsci's philosophy without addressing his molding and obsessive study of the Italian language, his twisting and redefinition of words ("hegemony," "intellectual," and so on), one should not, indeed cannot, embark on the exegesis of Lukács's philosophical writing without addressing his use of literary criticism and of nineteenth-century realism to rethink philosophical Marxism and to rename some of his terminology; "naturalism" and "realism" became, from the 1930s onward, codewords for a reworking of his earlier "reification" and "totality." After History and Class Consciousness, the superstructure, culture, and its changing values, not only became the condition of possibility for a Lukácsean/Marxist philosophy but, in a move against determinism, the only, quasi-utopian transformative force able to explain Marxism to itself. After Lukács, it comes as no surprise that Marx's last, never completed, project was a critical study of Balzac's La comédie humaine.I will focus on two moments of Lukács's "turn to literature": his famously controversial intervention in the Expressionism Debate and his less prominent entrance into the realm of "literary criticism," the essays "Narrate or Describe" and "The Intellectual Physiognomy in Characterization. " I will also read Lukács's failure to theorize contemporary realism in terms of his own insights regarding the historicity of subjective standpoints. Paradoxically, this failure functions as an example and proof of the Lukácsean narrative of literary change.While the first critical work to acknowledge the philosophical implications of Lukács's defense of realism, Fredric Jameson's 1971 Marxism and Form, remains [End Page 62] widely read, it did not bring about a reconsideration of Lukács's literary criticism. It is Jameson's contention that Lukács's entire oeuvre can be accounted for through an epistemology of narrative. Thus, Lukács's numerous writings emerge as part of a coherent and single-minded project. According to Jameson, "Lukács's work may be seen as a continuous and lifelong meditation on narrative, on its basic structures, its relationship to the reality it expresses, and its epistemological value when compared with other, more abstract and philosophical, modes of understanding" [163].2 If one agrees with Jameson's statement, one is also forced to acknowledge the sustained coherence of the Lukácsean project together with its enforced complexity. The chronology of such a lifelong project (1885–1971) began with the ambiguities of "fin-de-siècle" aestheticism and ended shortly after May '68. Lukács's recantations, revisions, and contradictions play against the backdrop of historical and institutional pressure. Yet one cannot help... (shrink)

The Routledge International Handbook of Neuroaesthetics is an authoritative reference work that provides the reader with a wide-ranging introduction to this exciting new scientific discipline. The book brings together leading international academics to offer a well-balanced overview of this burgeoning field while addressing two questions central to the field; how the brain computes aesthetic appreciation for sensory objects, and how is art created and experienced.

Apartir de una revisión de la definición tradicional de la filosofía y de una crítica de sus supuestos, el artículo propone una formulación del quehacer filosófico latinoamericano acorde a las exigencias de una agenda teórica y práctica actual. A continuación se valora el aporte de Franz Hinke..

We commend Menninghaus et al. for tackling the role of negative emotions in art reception. However, their model suffers from shortcomings that reduce its applicability to empirical studies of the arts: poor use of evidence, lack of integration with other models, and limited derivation of testable hypotheses. We argue that theories about art experiences should be based on empirical evidence.

El libro de Michael Heinrich tiene el doble mérito de presentar una mediación de la obra cumbre de Karl Marx, redactada en un lenguaje claro y accesible, y de proponer, al mismo tiempo, una interpretación densa y erudita del famoso texto. El autor no sólo evita las simplificaciones y los esquematismos, sino que incluso se interna por las complejidades y paradojas del pensamiento marxiano, que han dado origen a discusiones y polémicas nunca saldadas, y nos ofrece siempre una posición argumenta..

El trabajo analiza la obra del filósofo Arturo Andrés Roig, recientemente fallecido, desde la perspectiva del humanismo latinoamericano, corriente de pensamiento crítico de fuerte presencia en América Latina. El núcleo de la propuesta teórica de Roig está dado por la problemática del sujeto o, como ..

Based on a crit i cal analisis of the fun da - men tal works of Hinkelammert, an at tempt is made to sys tem atize his eth i cal and po lit i cal thoughts in ref er ence to the op po si tion be tween “global mar ket/civic cit i zen ship”. The ef fort to re cover the lib er tar ian potencial in ..

In August 2011 Edward Fullbrook, the editor of the Real World Economics Review and the driving force behind the World Economics Association (WEA), asked the three of us to take on editorial roles in the newly established philosophy, methodology and history of thought journal of the association. The project was, to say the least, rather daunting. We had a document outlining the scope and editorial policies of the would-be journal written by Grazia Ietto-Gillies. Grazia had also developed the proposed Open (...) Peer Discussion Forum (OPD), based on her research into similar peer review systems used within the natural sciences. However, we had never met each other nor worked together and we lacked administrative and technical support. In addition, scheduling editorial meetings between Rome, Mexico City and Oxford proved rather challenging! Nevertheless, a combination of belief in the cause of the WEA and foolhardiness led us all to accept. The first issue of the journal is the fruit of our collective labours as well as those of our authors. In addition, both Jake McMurchie (the association's IT expert) and Jane Spurr (our production and layout expert) have been instrumental in the process of transforming a vibrant open peer discussion into six conventional journal articles. (shrink)

El trabajo propone un recorrido por la historia hispanoamericana del siglo XIX, a fin de recuperar para la reflexión presente las formulaciones más destacadas de la vastísima tradición intelectual de la unidad continental, así como también los antecedentes, menos prolíficos pero no por ello menos importantes, de una teoría de la democracia en un sentido amplio, popular y participativo. El cruce de estas dos vertientes del pensamiento de nuestra América constituye en conjunto un programa identitario que todavía nos interpela y (...) que tiene mucho para aportar a los proyectos presentes y futuros de la patria latinoamericana. (shrink)

ABSTRACTFrom a specific point of view, mediation is the process whereby a third party helps to change their attitude from an adversarial one to a collaborative one which allows them to work together in finding and creating solutions to their conflict. Mediation deals with conflict from its own perspective and it has its own status as a dispute resolution process in the systems of justice, where it is recognized. The Philosophy of Mediation has been developing as a discipline, which analyses (...) the status of mediation as knowledge. It studies its nature, its constituent elements, its ontological foundations and its connection with other disciplines. This article argues that it is possible to include certain basic principles of the philosophy of María Zambrano in the Philosophy of Mediation framework. Those elements are essential for understanding the world of human conflict since they provide a new perspective from which to see dispute resolution methodologies. They can be summed up in the idea of including the hidden as the substrate of the visible, revealing the underlying forces of human existence. Within the context of the mediation, the understanding of these forces could help to resolve conflicts. (shrink)

Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has been (...) interest in the brain’s underpinnings of aesthetic reactions to art on the one hand, and in the neural correlates of moral judgment and decision-making on the other (Greene and Paxton .. (shrink)