vol. 12, n.º 24 (julio-diciembre 2015)

The relationship between individual and group is a central topic in different fields of knowledge. It is an important matter that constitutes the music too. This paper considers that personal-musicality is linked structurally -but not exhausted- to a socio historicalmusicality. Thus, it tries to suggest some lines of reflection about the practice of reggae music in a Caribbean island. The analysis of this musical phenomenon will allow us to recognize dimensions of collectivity that musicians and listeners are weaving. This work develops a sociological/ethnographical exercise and historical review to detail sonorous discrepancies, social syncopations and culturalresistances that strengthen collective action.

This work studies the life of objects based on the similarities between Breton and Cortázar. On the one hand, it reflects on the importance of restoring to the object its meaning in order to discover and understand its poetic existence; on the other hand, it illustrates the important dialogue that exists between both of them for a better comprehension of Oliveira’s world in Rayuela, as well as their poetic attitude when changing reality as a means to change life.

This text analyzes the interpretation of history and politics in the essay “The Wall and the Books” by Jorge Luis Borges. From a historical fact, Borges begins a disquisition with a methodology very close to the Nietzschean interpretación of history and his genealogial aproach, contained in more recent years by Michel Foucault. This trial by Borges is not a historical experiment, but an aesthetic and politic exercise that connects it to the contemporary proposal of Jacques Rancière in the aesthetic regime of the arts. The trial results in a proposal to intuit, configure and know reality from an aesthetic point of view.

The richness of contemporary poetry lies in the plurality of literary languages that comprise it. However, one of the most significant trends, that which descends in direct line from the vanguard, the Brazilian Concretism and the latest generation of poets of the risk, supposes that the boldest poetry of our time has broken the gender codes, with the notion of the ego (hence with the notion of lyricism), with the communicative function (producer of sense) of the language, etc. So, it stops speaking of poetry to retake other terms as writings, transtexts, linguistic islands, etc. This paper aims, from the current contributions of American (Perloff, Hoagland, Swensen, Burt), French (Meschonnic, Caron, Maulpoix) and Hispanic criticism, to rethink the notion of lyricism and tell about the writings of the ego in the face of the limit of gender.

This work presents and reflects on the construction of an “art (photo) - Militant memory” field in Argentina. Inspired by the bourdiana theory, work around four artists paths that converge in the art space art Museo de Arte y Memoria de La Plata. With that, we understand the different relations of alliance and solidarity between these actors and institutions in shaping a specific type of art relevant to works by the memory of Argentina’s military dictatorship.

This didactic and aesthetic product show that the human being uses diverse rational and sensory instruments to accede or to come near to knowledge and art. The didactic tools that are worked and perfected trough the beat of scientific progresses, can and must give foundations to learn and enjoy the game of lines, shapes and the mathematical symbols, as well as to interpret and enjoy an integral work, or an affective and cerebral universe. An unaware observer, just like a professor, an art critic or a spectator of an aesthetic work, that represents its cosmos, tries to explain its self as a creator or as a receptor. The senses are sharpened in front of a painting, consciously or intuitively. The professor must open infinite possibilities provided by art, from the self-appropriation of language and its implementation inside a classroom, museum or in everyday life. A neurodidactic premise can indicate that noticing the integral message of a painting, is as valid in the interpretation as in a detail selection: a window. To peep into the aesthetic universe from the teaching, can constitute the answer to the inquirer, student or spectator that advocates to know, understand and feel something: the minimum that a painting, a sculpture, a poem or a tune originates.

The performance has been conceived and viewed from its inception as an art form, whose main characteristic is the ephemeral nature of their actions, which are known to viewers who are mostly absent from the action, only through photography or videos. Thus, this research aims to investigate the relationship between performative practice as an art form and photography as a practice that not only is projected as documentation and registration, but also in its participation in the performance work in a way that it is much more active, leading artists, such as Edwin Jimeno, to explore other fields that allow them to initiate in processes that until now had not addressed.

Preliminares

The work of the Colombian artist Doris Salcedo establishes an ongoing dialogue with the poetry of Paul Celan. This dialogue is developed via the artistic translation of Celan’s poetry into Salcedo’s sculptures. Being two languages of art, this translation must go through a specific process which is based on the concepts of experience, displacement, exile and transposition, concepts present both in the poetry and the sculpture of these artists. Translation is then a constant and open dialogue about the most important issues of human history, being in this case, violence, war and victims. Just as Paul Celan was a witness during World War II; Doris Salcedo is a witness of the story of victims of armed conflict in Colombia. From translation dialogue is achieved, meaning the stablishment of a meeting place for art, its history, the country’s reality and also the possibility of activating the collective memory.

Nota editorial

Currently the Plurinational State of Bolivia faces a conflict determined by the tension between two antagonistic conceptions of economic development: President Evo Morales’s conception based in the mixture of the ancestral indigenous conception of the world on the one hand and the socialist economic model on the other, and the capitalist conception led by the regional government of Santa Cruz de la Sierra, supported by the transnational companies and the country’s traditional elites. This article analyzes the relationship between the concept of development of the indigenous president and the socialist model, and the incidence of the elites of Santa Cruz de la Sierra in the implementation of President’s Morales model taking into account the control they have of the productive apparatus.

The paper aims to show the conceptual construction that students in degree programs (undergraduate) in Human Relations (HR) and Social Work (SW) in the School of Community Sciences at the Autonomous University of Coahuila (UAC) have regarding the concept democracy. It begins with basic definitions and a discussion of the theories of democracy. The data analysis of the use of qualitative methodology, interpretive, particularly based on the use of natural semantics networks. The sample consisted of a total of 110 students (n = 110); 55 students of H.R. and 55 students of S.W. Derived from the analysis and interpretation of semantic networks for both groups, we conclude that, for all of them democracy is government of the people, through elections, give their vote hoping that every political action is acting with equality and justice.

This paper presents the construction elements of fertilization as biopolitical problem. Through reviewing the terms birth control and family planning practices medicalization that match policies and population observed control programs. The aim is to describe the discursive marks that show medicalization practices present in the advertising guidelines Norforms brand. The medicalization focuses its interest in expanding their control actions on life in the particular case of contraceptive ovules where you can visualize the strategy of creating social disease and treatment advocacy through the campaigns of public hygiene.In the article, the results of the analysis of four mailers brand Norforms published in magazines circulating in Bogotá in the years presented 1964, 1972, 1991, and 1998. For discourse analysis of the concepts of biopolitics and medicalization recourse provided by Michel Foucault from which economic and political described dynamics of population control.

This article seeks to answer the following question: do Colombian philosophers look at national problems? For the answer it turned to the collection of archives and subsequent analysis of the articles of philosophical interests published in the El Espectador Magazín Dominical in 1980-1990. It stated for the supposition that it is possible to find philosophical writings in the press related to the national situations and realities of that convulsive period.

In this article I present an analysis of the discursive productions that circulated around the artwork El gran telón (1990) by the Colombian artist Luis Caballero, using primarily the three-layered method of discourse analysis originally proposed by the theorist Norman Fairclough.With this text, I have the purpose to delimitate the differences of identification and representation that were produced by the art critics of the time and by the artist himself about his own artwork. Besides, in a broader sense, I try to exemplify the way in that art criticism gets integrated in a social system in reciprocal influence.