La obra pretende aunar la reflexión estética y el ejercicio de la crítica de arte a través de la mirada histórica. La primera parte tiene como hilo conductor cuestiones básicas relativas a la estética francesa del XVIII, entre el ámbito del gusto y el contexto de la belleza, entre la calificada como estética de la ratio y la estética de la "delicatesse". La segunda se centra en la teoría del arte, atendiendo a aspectos concretos del hecho artístico, matizados a su (...) vez entre la observación histórica y el pensamiento contemporáneo. (shrink)

The aim of this research is focused on analyzing the alteration of the psychophysiological and cognitive response to an objective computerized stress test, when the behavioral response is controlled. The sample used was sports science students, with a mean age of 22.82 A quasi-experimental design was used in which the response of each participant to the DT test was evaluated. The variable “number of hours of physical activity per week” and the variable “level of behavioral response to stress” were controlled. (...) Before and after this test, the following parameters were measured: activation and central fatigue, and perceived exertion. Significant differences were found in all of the measures indicated. The usefulness of this protocol and the measures used to analyze the stress response capacity of the study subjects are discussed. (shrink)

RESUMENEl trabajo se propone analizar la relación que John Dewey establece entre la experiencia estética y la crítica de arte. Dewey entiende la crítica como estadio mediador entre la expreiencia estética y la propia finalidad ilustrativa de la crítica. Asimismo, esta mediación es analizada como experiencia crítica, desarrollada en el proceso reflexivo y comunicativo del juicio crítico.PALABRAS CLAVEDEWEY-ESTETICA-CRITICA DE ARTEABSTRACTThe paper focuses on the relation John Dewey establishes betwerrn the aesthetic experiencie and art critique. Dewey conceives critique as a mediating (...) stage betweeen the aesthetic experience and the critique's own enlightening finality. This mediation moreover is but a critical experience, deployed within the reflexive and communicative process of judgement. KEYWORDSDEWEY-AESTHETICS-ART CRITIQUE. (shrink)

In Spain, the state of alarm declared on March 14, 2020 caused changes in the population in relation to the habits of physical activity and sports practice. This study analyzed what motivational variables predicted the self-efficacy and commitment to sports practice, as well as the differences according to gender, during lockdown and the progressive de-escalation caused by COVID-19, using the theory of self-determination as a theoretical framework. The study sample was conformed of 179 subjects between 18 and 65 years of (...) age. The Behavioral Regulation in Sport Questionnaire, the Psychological Need Satisfaction in Exercise Scale, the Physical Activity Self-Efficacy scale, and the Sport Commitment scale were applied. The most relevant results have showed significant differences in favor of the male gender in terms of levels of controlled motivation and amotivation, as well as higher levels of self-efficacy and basic psychological need of autonomy. Furthermore, the regression analysis has revealed that self-efficacy and current commitment to sports practice were explained by a variance of 57 and 64%, respectively, due to autonomous motivation and the basic psychological need of competence. Therefore, the basic psychological need of competence should be fostered in order to increase the levels of self-determined motivation, self-efficacy, and commitment to sports practice of the population. (shrink)

Normal 0 21 false false false ES-CO X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} The analysis of Heidegger’s conception of language serves as a starting point and common thread to explain his aesthetics theory and the linkage and relationship between aesthetics and ontology, and between aesthetics and truth, understood (...) as aletheia, as an “out of oblivion”, as “un-concealment.” Second, we analyze the constitutive characteristics of Da-sein, as being-in-the-world, from the point of view of language. Third, considering the historical horizon as ontologically constitutive of Da-sein, we try to explain from real life what does this temporality mean and what does create mean, as well as why the creation of a work of art occupies an important place in relation to Heidegger’s proposal. We finally ask what is poetry to Heidegger and in what ways it is inseparable from the truth (aletheia). And we try to interpret the scope of Poetry (Dichtung) in relation to aesthetics and of language in relation to the truth. Lenguaje, olvido del ser, aletheia (verdad), desocultación, Dichtung (Poesía), poiesis, creación, estética, ontología fundamental, vida auténtica o autenticidad. (shrink)

This paper proposes and analyzes the psychometric properties of the PREVI-A scale. It describes the process of item development, the factorial structure of the scale, reliability, evidence of validity and diagnostic performance with regard to recidivism risk in juvenile offenders. The sample was made up of 212 juvenile offenders held at detention centers run by the Madrid Agency for Reeducation and Reintegration of Juvenile Offenders, a regional government body. Statistical analyses were used to corroborate the theoretical factorial structure of the (...) PREVI-A, which consists of six risk/protection dimensions based on the Risk-Needs-Responsivity Model, and to obtain empirical support for the reliability and validity of PREVI-A as a tool to assess the risk of recidivism by juvenile offenders in Spain. (shrink)

Examines the complex thirteenth-century poem Roman de la rose in the light of the philosophical ideas of its time and shows the range and scope of the poem's dialogue with pressing philosophical questions at the time it was written.

The thirteenth-century allegorical dream vision, the Roman de la Rose, transformed how medieval literary texts engaged with philosophical ideas. Written in Old French, its influence dominated French, English and Italian literature for the next two centuries, serving in particular as a model for Chaucer and Dante. Jean de Meun's section of this extensive, complex and dazzling work is notable for its sophisticated responses to a whole host of contemporary philosophical debates. This collection brings together literary scholars and historians of (...) philosophy to produce the most thorough, interdisciplinary study to date of how the Rose uses poetry to articulate philosophical problems and positions. This wide-ranging collection demonstrates the importance of the poem for medieval intellectual history and offers new insights into the philosophical potential both of the Rose specifically and of medieval poetry as a whole. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Image and SilenceGiorgio AgambenTranslated by Leland de la Durantaye (bio)[End Page 94]In the Roman pantheon there is a goddess named Angerona, represented with her mouth bound and sealed (ore obligato signatoque).1 Her finger is raised to her lips as if to command silence. Scholars claim that she represents, in the context of pagan mystery cults, the power of silence, although there is no consensus among them as to (...) how to understand this power. Etymologically speaking, myein, the root of the Greek word mysterion, means “to close the mouth, to silence.” At the beginning of the sacred rites in Eleusis a herald “commanded silence” (epittatei tēn siōpen). It is said that that the initiates into these Eleusinian mysteries were required to maintain absolute silence concerning what they had seen and heard during their initiation. Our question is how to understand this silence. Was it a prohibition aimed at keeping a secret doctrine from the uninitiated? Or did it concern, instead, something truly impossible to say?To begin we might ask what sense there might have been in the obligation to remain silent given that it was possible for anyone—including slaves, and thus, potentially, the entire population of Athens—to be initiated into the mysteries. In his early work, “On Philosophy,” Aristotle affirmed that, “the initiates do not need to learn something (mathein ti), but, instead, to be disposed to something, to experience and to undergo something (pathein kai diatethēnai).”2 It would therefore be possible that in the ancient mystery cults the initiate did not learn a doctrine that could be expressed in words (yet had to remain secret), but, instead, experienced something essentially silent, something impossible to say. “A great awe in face of the gods,” we read in the Homeric ode to Demeter, “silences the voice.”3The impossibility of speaking—and the power of silence—has two forms, one joyful and the other disturbing. In myth muteness is often associated with rape. The Romans tell the story of Lara who was punished for her inclination to gossip by being rendered mute and who was then raped in a sacred wood by Mercury (who took advantage of her impossibility of speaking). Before being transformed into a swallow Philomela was raped by Tereus, who cut off her tongue to prevent her from recounting his misdeed. Persephone, raped, kidnapped, and conducted to Hades, remained there silent as the dead. In every one of these cases silence is the painful experience of a privation of speech, of being unable to say what one wishes to say.In Gnostic mythology, the preexisting, eternal, uncreated God contains within himself a female figure which is his silence, Sigē. From his union with Silence Thought is born. “Sigē,” we read in a Valentinian text, “is the mother of all the beings that have emerged from the Abyss. He who has failed to say the unsayable has silenced it; he who was understood the unsayable, has declared it unsayable.”4 Here too silence appears as the experience of an impossibility of saying, as a privation. It is in opposition to this abyssal figure of silence that the church fathers affirmed the primacy of the logos in which God is revealed. Nevertheless, of the power of silence Heidegger would write: “This primordial silence is more powerful than any human potentiality. No one, on his or her own, has ever invented language—that is, has been strong enough to break the power of this silence.”5 [End Page 95]In Kafka’s parable on Ulysses, we are told that the silence of the Sirens is more perilous than their song, and that Ulysses—who realized, as his ship neared them, that the Sirens were silent—put on an act to protect himself from this silence, plugging his ears with wax and having his men tie him to the mast.6 In Kafka’s retelling of the tale, the silence of the Sirens represents a zero degree of song and, following a stubborn tradition that sees in absence the most extreme form of presence, also represents an at once zero and ultimate degree of reality. In this sense Heidegger could write... (shrink)

Normal 0 21 false false false ES X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} After a brief introduction in which I underline the acknowledgment that Emil Kettering makes about the importance of the concept of nearness in Martin Heidegger’s philosophy, but in which I also take distance from his (...) approach to the fundamental relation between language and nearness, which I consider limited, I state that the late Heideggerian conception of language can be better understood if these two concepts are considered, in a rigorous Heideggerian sense, as “the same” [das Selbe]. With the aim of giving this thesis a phenomenological foundation I approach the Heideggerian reflection on the nearness in five levels, beginning with the usual definition of nearness as “short distance” and ending with its identification with the language. My approach to this matter focuses exclusively on the late work of Heidegger. (shrink)

Para el común de las personas el proceso del conocimiento abarca desde el momento que el recién nacido empieza a ver manchas de luz y color carentes de significado. En poco tiempo llega a entender lo inmediato, tal como ocurre con el resto de los animales. Luego, va adquiriendo los conceptos de pasado y futuro e incorpora el lenguaje. Para que las impresiones sensoriales, que transmiten mensajes de la realidad, adquieran significado, deben ser estructuradas por redes conceptuales, que son fundamentalmente (...) lingüísticas. De ahí la importancia de analizar significados, de no renunciar a la función argumentativa del lenguaje, de no quedarnos en el nivel puramente sensorial. (shrink)

Mediante una investigación teórica y de trabajo de campo en relación a la adaptación de la titulación de arquitectura al EEES y con el objetivo de hacer efectivo un despliegue gradual del desarrollo de las competencias del submódulo de dibujo, se exponen los resultados de la coordinación entre asignaturas y una selección crítica y comparativa de actividades de aprendizaje. Se indaga además en la dispar distribución de las materias de dibujo de la adaptación al plan de bolonia, concluyendo con una (...) propuesta de despliegue independiente y mejorada del submódulo desvinculado de las materias que no le son afines. (shrink)

The past seven centuries of scholarly attention to and debate over the Roman de la Rose bear strong witness to the fact that the allegorical figure Faus Semblant presents us with an interpretive crux—one of many such in the poem—that we are not likely to resolve in the coming centuries. Perhaps it should come as no surprise that a character who so embodies paradox—a profane friar who is openly honest about his intent to deceive—should be so difficult to pin (...) down; it is his singular talent, after all, to dissemble and confuse. The last century has seen a significant increase in criticism centered upon Faus Semblant that seeks to understand what he signifies within the larger allegory of the poem and how he relates to Jean de Meun's purported satire and antifraternalism. But this struggle to understand and explain the character began centuries earlier and, like him, has taken many forms. As early as the thirteenth century, the passage of Jean's poem in which Faus Semblant explains his craft and guile had begun to attract a diverse group of revisers: scribes, who added or deleted passages in order to shape a reading of the poem or avoid offending readers; remanieurs, such as Gui de Mori, who substantially rewrote the passage in efforts to reshape the poem into a more cohesive form; readers, whose marginal inscriptions and notae often accompany the passage; and illustrators , as images of Faus Semblant are frequently included in illuminated copies of Rose manuscripts. Even Jean himself seemed to feel the need to gloss and contain Faus Semblant, offering an apology and clarification in lines 15213–30. (shrink)

Avant-propos du traducteur Nous proposons ici la traduction d’un texte de Roman Ingarden rédigé en polonais sous le titre de O psychologii i psychologizmie w nauce o literaturze. Initialement publié en 1937 dans la revue polonaise Verticale [Pion], il fut repris dans le troisième et dernier volume des Études d’Esthétique [Studia z Estetyki]. C’est ce texte final que nous avons traduit, sans qu’il nous ait été possible d’en vérifier la fidélité par rapport à la version initiale de 1937. Ingard...

This article concentrates on manifestations of medieval political philosophy in the Roman de la Rose. In particular, it focuses on two themes, which are crucial for understanding the very foundations of political and social life of human beings: (1) the origins of political community, private property and other social institutions; and (2) the relationship between love and justice, and the political relevance of these two concepts. -/- The first part of the article discusses Jean de Meun’s view concerning the (...) origins of social institutions, and relates it to Ciceronian and Augustinian traditions, which had a deep influence on medieval political philosophy. However, the main focus of the article is on the relation between Jean de Meun’s political ideas and medieval understanding of Aristotle’s political philosophy and moral psychology. Aristotelian influences are traced especially in relation to the second theme, which occupies the latter part of the article. It is argued that the political role of love and justice cannot be understood without taking medieval Aristotelian philosophy seriously. -/- Instead of trying to find historical and textual connections between individual medieval philosophers and Jean de Meun’s poem, the article embraces a different methodological approach: it aims to understand the philosophy behind the poem. This aim is achieved by providing a detailed reading of certain relevant passages, which are analysed against medieval adaptations of Aristotle’s practical philosophy. By such means, the article charts possible connections between scholasticism and La Rose and aims to show that they can—and indeed, should—be understood against thirteenth century Aristotelian philosophy. The result will be a philosophically informed understanding of the political dimensions of the poem. (shrink)

The much-commented prologue of Jean Renart's Roman de la Rose is a rich source for literary speculation, and it is unlikely that successive generations of critics will ever exhaust its many interpretive possibilities. Jean himself, active in the first two decades of the thirteenth century, remains an enigmatic figure: critical agreement makes him the author of three works, the Lai de l'Ombre, in which he names himself ; the Roman de l'Escoufle, attributed to him on account of allusions (...) to the first work and stylistic similarities; and, lastly, what is now most commonly called the Roman de la Rose. Jean emerges playfully from within the lines of his works: humor and ingenuity appear as his trademarks, and are more revealing of his character than the one extant reference to his name. The following analysis explores but one small aspect of Jean's creativity and narrative engin. Beginning with a reading of the prologue, and a consideration of the status of lyric insertions in the romance, I will contend that the amount of clothing exchanged in the Roman de la Rose and the extraordinary concentration on it render this work highly unusual and that it has potential as a metaphor for the intricate textual exchange inherent in the circulation of poetry. In short, a matrix of imagery concerned with fabric and clothing highlights the status of lyric insertions in the text. The argument will be that the exchange of clothing in the romance echoes the circulation of song: robes, mantels, and tunics are the material correlatives of the various kinds of song that adorn the text aurally as the clothes do visually. While it might seem improbable at first, Jean's prologue plants the idea with his analogy of textual composition to cloth production. (shrink)

Pour remédier au caractère oligarchique des démocraties contemporaines, John P. McCormick propose de s’inspirer de Machiavel pour mettre en place un Tribunat du peuple, qui compléterait le modèle de l’élection par l’institution d’une assemblée de classe spécifique, réservée au peuple et en faveur du peuple. Le présent article est une étude critique de cette proposition, à partir d’une analyse précise du terme de « Tribun » dans les Discours sur la première décade de Tite-Live. McCormick se trompe dans sa lecture (...) des Tribuns chez Machiavel, de même que dans celle du remède des assemblées, qui ne relève pas de la délibération telle qu’il la conçoit. (shrink)

Buena parte de la elegancia del concepto de selección natural reside en una falsa aparienciade sencillez, y a menudo se expresa metafóricamente. En este artículo reviso diferentesmetáforas de la selección natural con el fin de revelar algunas complejidades ocultas. Enrealidad, el concepto de selección natural es un concepto difícil estrechamente relacionadocon otros conceptos complejos, tales como el concepto de eficacia biológica y de adaptación.Una discusión sobre las metáforas de la selección natural es pertinente porque la imagenque ellas evocan puede obstaculizar (...) la investigación del proceso natural al cual se refieren. (shrink)

At that crucial moment in the Roman de la Rose when Faus Semblant and Astenance Contrainte set off in the guise of pilgrims to silence Male Bouche, Astenance Contrainte, disguised as a beguine, is compared to.

La obra del chileno Roberto Bolaño ha sido objeto de números estudios que la abordan desde diferentes enfoques en la última década. Este artículo que se integra a la tesis doctoral Bolaño ou la réécriture du mythe de l’écrivain maudit propone una aproximación a los personajes que por su ocurrencia reiterada constituyen el núcleo narrativo de su obra. Se trata en esencia de caracterizar la imagen de varios personajes; tomamos el caso de Archimboldi en 2666, de varios personajes de Estrella (...) distante y de Ulises Lima en Los detectives salvajes. Para ello introducimos el concepto de imagen y analizamos los fenómenos recurrentes a los que la imagen de los personajes se confronta en los textos. Finalizamos caracterizando las imágenes de los personajes de acuerdo con la clasificación de Wunenburger en L’imagination, imagen duplicación, imagen ficción, imagen símbolo e imagen arquetipo. Au cours de la dernière décennie, l’œuvre de l’écrivain chilien Roberto Bolaño a été abordée sous différents angles. Cet article, qui s’intègre à la thèse doctorale Bolaño ou la réécriture du mythe de l’écrivain maudit, se propose d’étudier les personnages qui apparaissent de manière réitérative et qui peuvent constituer le noyau narratif de son œuvre. Il s’agit essentiellement de caractériser l’image de quelques personnages présents dans trois romans de Bolaño. On étudiera le personnage d’Archimboldi dans 2666, quelques personnages de Estrella distante et celui d’Ulises Lima dans Los detectives salvajes. Le concept d’image sera introduit et on analysera les phénomènes récurrents auxquels les images sont confrontées au sein des textes. On finira par caractériser l’image des personnages étudiés d’après la classification de Wunenburger dans L’imagination, à savoir : image duplication, image fiction, image symbole, image archétype. Bolaño’s literary texts have been studied from different points of view in the last ten years. This article is included in the doctoral thesis Bolaño ou la réécriture du mythe de l’écrivain maudit and proposes an approach to the kind of characters that due to their systematic presence in the texts are the center of the narrative structure. We intend to characterize the image of some characters. We take the case of Archimboldi in 2666, the one of some characters in Estrella distante, and the one of Ulises Lima in Los detectives salvajes. In order to do that, we introduce the concept of image and we analyze the current phenomena to which the texts are confronted to. We finalize giving some features of the characters’ images according to Wunenburger in L’imagination, classification: image of duplication, image of fiction, image of symbol and image archetype. (shrink)

Enrique Gómez Arboleya chose as the subject for his doctoral thesis the study of Hermann Heller's theoretical proposals. This research was done in Nazi Germany to be read in the Republican Spain of 1935, but was not published until 1940, after the Civil War. The present article seeks to compare the 1935 original version, until now unknown, with that subsequently published in 1940, while at the same time assessing these works for the Spain of that time and for the author.s (...) intellectual production. In spite of the radically opposed historical and personal circumstances of the writing and publication, the differences are not so great because the author limits himself to setting out the thought of the German theorist without evaluating it. Nevertheless, these works are a good introduction to Heller's thought, despite certain gaps and the iusnaturalist nuances added in the 1940 version, and open up the sociological and humanist path that would mark Gómez Arboleya's intellectual trajectory. (shrink)

Авторами розглянуто вплив провідних світових кредитних рейтингових агентств на фінансову безпеку емітентів цінних паперів. Обґрунтовано перформативний характер діяльності кредитних рейтингових агентств з позицій моделі «Les economies de la grandeur» нового соціологічного французького інституціоналізму, що дає змогу розв’язати протиріччя щодо сильної опозиції стосовно їх функціонування з одночасним збереженням діючої системи нормативного використання кредитних рейтингів.

Este artículo tiene por objetivo retomar la teoría de Byung Chul Han sobre la sociedad del logro (Leistungsgesellschaft), tomando específicamente lo expuesto por él sobre el dogma de la transparencia que surge en la lógica neoliberal-digital contemporánea, para ser completado con la teoría freudiana de lo Unerkante -no reconocible-. Para esto el trabajo se divide en tres momentos: el primero tiene por objetivo exponer lo que se entiende por dogma de la transparencia y cómo se relaciona con el Homo œconomicus; (...) seguidamente, se presenta el concepto de lo Unerkante de Freud para plantear una nueva topología de lo no-reconocible en el plano subjetivo, proponiendo el concepto del ombligo de la subjetividad; y, finalmente, se expone cómo ese ombligo empalma con la teoría de Han frente a la transparencia, de modo que se puedan generar nuevas interpretaciones de lo que sería una salida a la sociedad del logro. (shrink)

El presente artículo ensaya un acercamiento abarcador al hecho religioso, asumiendo la religión como un universal antropológico, como la actitud que cada vida tiene frente al hecho bruto de que se vive. Se postularán tres lugares emotivos o _pathos_ vitales que darán somera cuenta de los tres modos básicos de articulación de lo religioso: el _pathos_ del desencanto, el pathos trágico y el pathos del asombro. De las conversaciones, tensiones y transiciones entre ellos concluiremos con una reivindicación del asombro como (...) genuina experiencia de una vida estrictamente religiosa, esto es, de una vida reconciliada con la totalidad. (shrink)

Se pretende definir el ámbito de una disciplina que, contra lo que pueda parecer, no se funda hasta el siglo XIX. Para llevar a cabo la tarea se hace necesario aclarar qué se entiende por filosofía (¿hablamos de filosofía mundana o académica?; ¿la filosofía es de tradición occidental o podemos hablar también de tradiciones orientales?; ¿en qué medida?; ¿cuáles son sus métodos?) pero también por historia (res gestae o historiam rerum gestarum). Lo cual influirá asimismo en las alternativas posibles sobre (...) la concepción de historia de la filosofía. Aquí se defenderá como filosófica esta misma —no reductible a perspectivas sociológicas, biográfico-psicológicas, etc.— y constructivista como posición superadora de una historia de los filósofos frente a una historia de los sistemas. (shrink)