scholarly journals Payador: Considerações sobre oralidade, experiência e memória em Buenos Aires, la novela, de Pedro Orgambide / Payador: The Consideration of Orality, Experience, and Memory in Buenos Aires, la Novela by Pedro Orgambide

2019 ◽  
Vol 15 (1) ◽  
pp. 263
Author(s):  
Fernanda Palo Prado
Keyword(s):  
Buenos Aires ◽  
Walter Benjamin ◽  
The Other ◽  
Contact Zones ◽  
Present Essay ◽  
Porous Surfaces ◽  
The One

Resumo: O presente ensaio tem por objetivo refletir sobre o estabelecimento de possíveis paralelos entre Pedro Orgambide e Walter Benjamin por meio da figura do payador e do contador de histórias [narrado] a partir do tripé: oralidade, experiência e memória que possuem, entre si, margens porosas que promovem zonas de contato nas quais características de uma e das outras se imiscuem e que servem de base para o traçado dessas considerações. Parte-se do texto “O narrador: Considerações sobre a obra de Nikolai Leskov” de Benjamin, por um lado, e de Buenos Aires la novela, de Orgambide, por outro. A análise não se pretende definitiva ou única, busca-se apresentar uma forma de leitura do escritor argentino sendo certo que embora tenham percorrido caminhos distintos [em diversos pontos], a leitura mais sistemática de ambos fez com que fosse possível ensaiar uma série de considerações entre um e outro.Palavras-chave: oralidade; experiência; memória; Walter Benjamin, Pedro Orgambide.Abstract: The present essay aims to reflect on the establishment of possible parallels between Pedro Orgambide and Walter Benjamin through the figure of the payador and the storyteller [narrator] from the tripod: orality, experience and memory that have, between them, margins porous surfaces that promote contact zones in which characteristics of one or the other are involved and which serve as the basis for the tracing of these considerations. Part of the text “The narrator: Considerations on the work of Nikolai Leskov” of Benjamin, on the one hand, and of Buenos Aires la novela, of Orgambide, on the other. The analysis is not intended to be definitive or unique, it is sought to present a form of reading of the Argentine writer being certain that although they have crossed different paths [in several points], the more systematic reading of both made it possible to rehearse a series of considerations between them.Keyword: orality; experience; memory; Walter Benjamin, Pedro Orgambide.

scholarly journals Onnipotenza divina e ordine naturale nel Medioevo

2019 ◽  
Author(s):  
Andrea Possamai
Keyword(s):  
Thomas Aquinas ◽  
Theological Reflection ◽  
Ancient World ◽  
The Other ◽  
Augustine Of Hippo ◽  
The Past ◽  
Present Essay ◽  
Other Hand ◽  
Pliny The Elder ◽  
The One

The present essay aims, on the one hand, to recall the reasons of anti-naturalism, intended in a metaphysical perspective, of a large part of medieval philosophical and theological reflection and, on the other hand, to show how the same type of problems, specifically those concerning the possible mutability or immutability of the past, can be employed in favour of various conflicting positions on the matter. To demonstrate this, reference was made to some thinkers who could represent emblematic positions on the theme, in particular: Pliny the Elder for the ancient world, Augustine of Hippo, Peter Damian, Bonaventure and Thomas Aquinas for the medieval era.

Allegory at the Limits of Classicism: EUGENIO MONTALE'S LA BUFERA E ALTRO

2009 ◽  
Vol 43 (2) ◽  
pp. 405-417
Author(s):  
Elias Polizoes
Keyword(s):  
James Joyce ◽  
Walter Benjamin ◽  
The Other ◽  
Work Of Art ◽  
The World ◽  
The One

This article offers a reading of the “Conclusioni provvisorie,” the last section of Eugenio Montale's La bufera e altro. It takes its lead from notion of Classicism outlined by T.S. Eliot in his 1923 review of Ulysses and argues that the recourse Montale makes to Dante in particular, and to Christian symbolism in general, is structurally akin to the parallel James Joyce draws between Homer's Odyssey and the world of the early 1920s. In Eliot's view, it is by invoking the coherence of ancient myth that a writer can lend shape and significance to the chaos of the modernity. In Montale's case, however, rather than work to organize the chaotic present according to the idealized image of form and order Classicism promises, the structural use the poet makes of Christianity serves a demythologizing function. On the one hand, it exposes how Classicism is unable to marshal the chaos of the present beyond transforming it into a work of art; on the other, it shows that ideas of order are in fact allegories of the kind elaborated by Walter Benjamin, that is to say, provisional, makeshift, and ultimately empty.

scholarly journals From Displacements of Form to Auratic Trace: Notes on Didi-Huberman’s Thinking on Images

2020 ◽  
Vol 14 (26) ◽  
pp. 248-272
Author(s):  
Alice Mara Serra
Keyword(s):  
Jacques Derrida ◽  
Walter Benjamin ◽  
The Other ◽  
Dialectical Image ◽  
Other Hand ◽  
Nous Voyons ◽  
The One ◽  
The Way

This text underlines the way in which, for Georges Didi-Huberman, topics including matter, symptom and memory become primordial to the thinking of images. But as Didi-Huberman proceeds, the course that leads him to highlight such topics first addresses other topics that, inphilosophy and iconography, sought to deny such readings, namely: image as form and its correlative meanings, that is, image as symbol and image as visibility. Didi-Huberman, however, argues that the notion of form may no longer be merely opposed to that of matter, nor be considered as solely idealistic. If, on the one hand, Didi-Huberman presents the insufficiency of the deconstruction of the notion of form presented by Jacques Derrida, on the other hand, the displacements of the notion of form proposed specially in Ce que nous voyons ce qui nous regardepoint to an approximation to deconstruction, mostly to the themes of trace, index and “the belows” (les dessous) of images. In addition, passages of this and other works of Didi-Huberman may insinuate a connection between the notions of trace and aura, which refer to convergences concerning the deconstruction of the visible and the dialectical image. This text seeks to reconstruct such directions from writings of Didi-Huberman and, in this way, restores other writings that border on them: specially from Jacques Derrida and Walter Benjamin.

scholarly journals Observability, Unobservability and the Copenhagen Interpretation in Dirac's Methodology of Physics

Quanta ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 68-87 ◽  
Author(s):  
Andrea Oldofredi ◽  
Michael Esfeld
Keyword(s):  
Quantum Mechanics ◽  
Quantum Theory ◽  
Close Contact ◽  
Copenhagen Interpretation ◽  
The Other ◽  
Interpretation Of Quantum Mechanics ◽  
Present Essay ◽  
Other Hand ◽  
Methodological Principles ◽  
The One

Paul Dirac has been undoubtedly one of the central figures of the last century physics, contributing in several and remarkable ways to the development of quantum mechanics; he was also at the centre of an active community of physicists, with whom he had extensive interactions and correspondence. In particular, Dirac was in close contact with Bohr, Heisenberg and Pauli. For this reason, among others, Dirac is generally considered a supporter of the Copenhagen interpretation of quantum mechanics. Similarly, he was considered a physicist sympathetic with the positivistic attitude which shaped the development of quantum theory in the 1920s. Against this background, the aim of the present essay is twofold: on the one hand, we will argue that, analyzing specific examples taken from Dirac's published works, he can neither be considered a positivist nor a physicist methodologically guided by the observability doctrine. On the other hand, we will try to disentangle Dirac's figure from the mentioned Copenhagen interpretation, since in his long career he employed remarkably different—and often contradicting—methodological principles and philosophical perspectives with respect to those followed by the supporters of that interpretation.Quanta 2019; 8: 68–87.

scholarly journals La guerre des six jours et la presse Française : essai d'analyse

Res Publica ◽  
1970 ◽  
Vol 16 (5) ◽  
pp. 617-644
Author(s):  
Paul Henriet
Keyword(s):  
Public Opinion ◽  
Thematic Analysis ◽  
Representative Sample ◽  
The Other ◽  
Complete Sample ◽  
Present Essay ◽  
Other Hand ◽  
The One ◽  
Quantitative Approaches

The present essay aims at defining the attitude of the French press towards the conflict of May/]une 1967 between Israel and Arab countries.As a thematic analysis of a representative sample of daily, weekly and monthly newspapers, covering bath periods of the preceding diplomatic antagonism and of the actual war, the article comprises a number of quantitative approaches which, as they complement each other, lead to certain conclusions in respect, on the one hand, of the particular newspaper analysed and, on the other hand, of the complete sample under observation. This method makes it possible to bring to light the fundamental pro-Israel and anti-Arab leanings of the sample, as they reflect the pre-existent attitudes of French public opinion. It also reveals that the only pro-Arab and anti-Israel newspaper are those that belang at the far left end of the sample.These factors lead to hypothesize that the disposition which favoured Israel sprung in fact not from any special sympathy towards Jewry, but from a feeling of bond with a mode of civilisation as represented by the Western and pro-Western characteristics of Israel.

Introduction

2020 ◽  
pp. 1-18
Author(s):  
David Anderson
Keyword(s):  
Walter Benjamin ◽  
The Other ◽  
Spatial Turn ◽  
Landscape Art ◽  
History Of ◽  
The One

The introduction commences with a ‘detour’ into the history of landscape art and the picturesque, suggesting ways that this mode pre-empted what may seem like more modern ideas about the interference between perception and representation. This discussion is folded into a brief account of the so-called ‘spatial turn’ and the interventions of theorists including Doreen Massey and Marc Augé, establishing an immediate context for the work of Keiller, Sebald, and Sinclair. Suggesting a twin heritage of the ‘English Journey’ on the one hand and the French Surrealists and Situationists on the other, the introduction then offers the tension between amant and amateur as a way of characterizing the balance of exotic/everyday, plan/coincidence, and high-brow/low-brow in these figures’ work. It considers the role of pedestrianism and melancholia before closing with a discussion of Walter Benjamin and Gustave Doré’s ‘New Zealander’.

scholarly journals ALEGORIJA KAIP KALBĖJIMAS APIE KITYBĘ

2009 ◽  
Vol 6 (1-2) ◽  
pp. 117-133
Author(s):  
Lina Vidauskytė
Keyword(s):  
Walter Benjamin ◽  
The Other ◽  
Philosophical Concept ◽  
Indirect Speech ◽  
The One

Šiame straipsnyje aptariama Walterio Benjamino alegorijos samprata, kuri gali būti suprantama ir kaip jo taikomas filosofinis alegorinis metodas. Šis metodas traktuojamas kaip būdas kalbėti apie kitybę. Alegorija, kuri reprezentuoja barokinį Trauerspiel (tai savarankiškas žanras, o ne antikinės tragedijos tąsa), pasižymi tam tikru pertrūkiu tarp formos ir turinio, arba tarp reikšmės ir išraiškos. Benjaminas siekia reabilituoti alegoriją – romantikai buvo pradėję ją nuvertinti. Čia pasirodo svarbi Benjamino kalbos samprata, o tiksliau – nuopuolio situacija, kuri atsispindi ir kalboje. Alegorija pasirodo kaip vienintelė įmanoma tokioje situacijoje. Alegorijos fragmentiškumas, konvencijos ir išraiškos dialektika, priklausomybė nuo reikšmę suteikiančio autoriteto, kilmė iš liūdinčio / gedinčio žvilgsnio, kuriam pasaulis suskyla į atskirybes, formali giminystė tokiems turiniams kaip irimas (Verfall) ir mirtis, kilmė iš „kalbos dvasios nuopuolio“ („Sündenfall des Sprachgeistes“), kurį alegorija ir išreiškia, alegorijos sąsaja su kita nei žmogiška būtimi yra pagrindinės filosofinio alegorinio metodo ypatybės.Pagrindiniai žodžiai: alegorija, simbolis, Barokas, Romantizmas, netiesioginis kalbėjimas, kitybė, Trauerspiel, tiesa.Allegory as representation of the OtherLina Vidauskytė SummaryThis article deals with German philosopher’s Walter Benjamin philosophical concept of allegory. The concept of allegory is aplied as method in the main works of Benjamin. This method is concidered as a way of speaking about the Other. Allegory represents Baroque Trauerspiel (it is an autonomous genre rather than continuation of Anciet Tragedy) and have interruption between form and content, meaning and expression. Benjamin seaks the rehabilitation of allegory from its humiliation since Romanticism. Benjamin’s notion of language after the Fall is one of the most important issues for using allegory, or indirect speech. Allegory is nearly the one way of expression in such historical (not mythological) situation. Allegory’s fragmentation, its dialectics of convention and expression, its origin from mourning gaze, formal kinship to such contents as decay and death, its origin from “the Fall of language spirit” etc. are the main characteristics of such philosophical method.Keywords: allegory, symbol, Baroque, Romanticism, indirect speech, Other, Trauerspiel, truth.

scholarly journals The Intuitive Recommencement of Metaphysics

2016 ◽  
Vol 24 (2) ◽  
pp. 62-83 ◽  
Author(s):  
Camille Riquier
Keyword(s):  
The Other ◽  
Complex Relationship ◽  
Present Essay ◽  
Intellectual Intuition ◽  
Pass Through ◽  
The One ◽  
Élan Vital ◽  
Shed Light ◽  
As If

If we are to understand the complex relationship between Bergson and Kant, we must not approach the former’s philosophy as if it could only be either pre-critical or post-Kantian. Instead, the present essay seeks to shed light on this relationship by treating Kant (after Descartes and before Spencer) as another “missing precursor of Bergson.” In Bergson’s eyes, Kant, like Descartes, contains two possible paths for philosophy, which reflect the two fundamental tendencies that are mixed together in the élan vital and continued in humankind: intuition and intelligence. Bergson breaks with Kant from the interior of his philosophy, which he divides into two Kantianisms: the one, which he rejects as ancient, and the other, which he appropriates. What the analysis of this Bergsonian appropriation of Kant reveals, however, is not the existence of a latent Bergsonism in Kant, but rather the recovery of a Kantianism that is completed in Bergson—a Kantianism that embarked down a path that Kant himself, who held himself back from following it in order to dispense with all “intellectual” intuition, had only sketched. Thus, if Bergson is to be believed, an intuitive metaphysics, which installs itself in pure duration, is neither below nor beyond Kantian critique, but can pass through it, can traverse it in its entirety, since it proposes to surpass it, to prolong it following the path that Kant himself had cleared in order to fulfill its suppressed virtualities.

scholarly journals Dinámica y cautiva: la cultura material de la casa. Una mirada etnográfica sobre el habitar en Haedo, Provincia de Buenos Aires

2020 ◽  
pp. 165-182
Author(s):  
María Florencia Blanco Esmoris ◽  
Keyword(s):  
Material Culture ◽  
Buenos Aires ◽  
The Other ◽  
Know How ◽  
Other Hand ◽  
The Family ◽  
The One ◽  
The Relationship

This article aims to problematize, on the one hand, the relationship that people establishes with their homes in the daily dynamics. That is, how they occupy, decorate, use and organize the environments of the house. On the other hand, the objective is to know how this living is produced in relation to the locality where they live: Haedo. The material culture is appealed to in two senses: of the house and of the objects that compose the inhabitant. The data comes from the ethnography I made between 2015 and 2019 with the family of Gloria, a resident of Haedo.

Inventory of a Century

2019 ◽  
pp. 462-483
Author(s):  
Alexander Kluge
Keyword(s):  
Walter Benjamin ◽  
The Other ◽  
The Past ◽  
Arcades Project ◽  
Present Tense ◽  
Alexander Kluge ◽  
The One ◽  
As If

This chapter looks at the dialogue between Prof. Dr. Burkhardt Lindner, editor of the Benjamin Handbook, and Alexander Kluge wherein they talked about Walter Benjamin's Arcades Project (1982). According to his exposé of 1939, Walter Benjamin divided Arcades Project into six parts and called the first “Arcades,” the second “Panoramas,” and the next “World Expositions.” And then came “Interiors,” “Streets,” and then finally “Barricades.” He wrote his exposé incidentally in the present tense such that it did not appear like a story from the past, but rather as if he were an eyewitness of something taking place now. He then assigned a figure to each of these six keywords such that there was within Benjamin's imagination one person who did, planned, or achieved something, on the one hand, and an object world naturally far more powerful, on the other. Lindner and Kluge also considers Benjamin's anthropological materialism.

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