Talk between Dussel and Forner-Betancourt: dialogue between philosophical knowledge, interculturality and indigenous school education

Summary The article focuses on Enrique Dussel's Philosophy of Liberation, with the aim of reflecting on the articulation between modernity, the Eurocentric paradigm and the world paradigm. In this sense, the article develops the discussion on rationality and irrationality of modernity (myth of modernity) and its transmodernity (overcoming), as it is directly related to the question of the negative dialectical method with the negation of otherness - of indigenous populations - in philosophical systems. Eurocentric totality and points out the analytical movement as overcoming, expanding and liberating the negative dialectical method. It also outlines the intercultural philosophy of Rául Fornet-Betancourt, which aims at a symmetrical dialogue between philosophical knowledge. It is inferred, from the Liberation of the Other as Alterity and Interculturality, the concrete existence of a dialogical relationship between philosophical knowledge, enabling greater cosmological, philosophical and educational enrichment, as well as the teaching of intercultural philosophy in indigenous schools. In this study, the bibliographic review is the methodological strategy used.

“Loud and Open Speaking in ‘the People's’ Mighty Name”: Eliza Cook, Music and Politics

In 1849, the working-class poet Eliza Cook (1818–89) expanded her international profile by venturing into weekly periodical publication with Eliza Cook's Journal. Not only was this the first British journal named after a female editor but it also placed an unusual emphasis on music—unusual not least because few women in that epoch were given the opportunity to participate in the broader critical discourses on music. Cook's poetry was already widely disseminated through various musical settings by composers from William Balfe to Henry Russell; in her new journal, music further emerged as central to her philosophy of liberation for all. Placing street musicians alongside opera and salon concerts in an exhibition of remarkably eclectic taste, Cook saw the propensity for music making in all layers of society. She regarded musical culture as a soundscape of experience, emotion, and agency to which she, and all those from the laboring classes, not only had a right to access, engage in, and share but was part of their own innate being. Music symbolized imagination, freedom from the mundane, and limitless human potential. Efforts to secure music for “the people” were thus indissolubly linked to broader political rights for suffrage and equality.