vol. 12, n.º 23 (enero-junio 2015)

In the article the “New distribution of the world: racism, independence and Latin-American identity”, is explain as the imperial culture and the overbearing mien and Iberian racist caused the break with the native mother and then the war. The Creoles inherited, then, the social Christian order, with the target as catequizador of Indians and owner of extensive dominions. But the war filed the devotion for Spain, preserving, nevertheless, the revenues of conquering nobles. Then one tried to erase the realistic and Latin past, with liberal institutions and new surnames. At the end of the event fragile colonial conditions stayed, really, with castes and regions, petrified and isolated, from the same conquest. 

In the history of philosophical anthropology, no other question has defined a dimension for the problematic and paradoxical character that is to be drawn from the question of what it means to belong to mankind. The lines proposed below are complementary readings to those formulated by the metaphysical tradition (Aristotle, Aquinas and Heidegger), the structuralist tradition (Levi-Strauss and Foucault), and the cultural tradition (Protagoras of Abdera and Nietzsche). It belongs to the tradition of transcendental philosophy, but focuses on a work that has been little explored from the anthropologycal point of view and which originally arose from aesthetic concerns. Kant’s Third Critique is the “breeding ground” for the projection of a theoretical approach which I have called “symbolic anthropology” which in turn will become the sounding board for such proposal and evoke the tradition of Philosophical anthropology. An introduction to a philosophy of culture (1944) of neo-Kantian Ernst Cassirer. From Latin America, in a contemporary context, the research of the Mexican philosopher Beuchot will also be taken into account, in particular his provocative proposal for analogue hermeneutics which, in this first study, will be assessed based on a telling and profound book entitled Hermenéutica, analogía y símbolo (2004). 

This text presents a re-reading of researches about the Papel Periódico Ilustrado and about the way the relationship between texts and images have been addressed, which it presents as an illustrated literary periodical publication; as from this review some perspectives of analysis are suggested. It realizes a state of the art of the studies about the newspaper and a review through the ways in that relationship has been comprehended in other countries, in newspapers with similar literary or illustrated character. In the end, it proposes some questions that open perspectives about the form in which that relationship can be understood, from art and literature.

This article deals with an overview of intentionality that humans had about the utopia of creating artificial life, demiurgic claim which accompanied him on his becoming, in the search for transcendence. From this perspective, through a historical sketch, the study takes as a benchmark the development of anthropomorphic structures such as automata and robots, vital component of what would later become the synergy between body and machine (cyborgs), to demonstrate the prospect scientific topic. On the other hand, refers also some forms of media treatment used in popular culture, especially since the science fiction stories that question the limits of technology versus human embodiment and its mixture with the machine, until the narratives submitted by the film and television, among which Robocop, both the 1987 version and the 2013 remake of the television series Intelligence (2013). 

This article examines Paul Celan’s speech The Meridian (1960) from an ethical point of view in order to understand what he refers to as poetry. In order to do this I have carefully gone over and analyzed hisreferences to different works written by the playwright Georg Büchner throughout the speech. Therefore, the article first reflects upon the concept of art with which Celan begins his exegesis of Büchner’s work. Here the aestheticizing and alienating aspects that the poet relates to an artistic human existence are described. In the second section the notions of art and myth are compared in accordance to how philosopher Jean-Luc Nancy approaches the latter in The Interrupted Myth. In this section the discursive property of art, myth, literature and community is presented. This is important so we can thus understand the dangers that Celan finds in the language and individuality of art: a road leading to a staged an artificial existence in which discourse separates people from each other and from their own singularity. Finally, the article’s last section traces Celan’s notion of poetry and how he describes it in The Meridian through two central figures in Büchner’s work: Lucile (from Danton’s Death) and Lenz (from Lenz). This section introduces key words and concepts to understand Celan’s speech and conception ofpoetry. In this way, I hope to offer a clarifying reflection on what poetry meant for Celan: a secret spacing and ever changing way that opens for encounter. 

This paper explores two intertwined subjects in the cultural and artistic modernity: the aesthetic experience of nature and the understanding of temporality in terms of progress. We can find these subjects in the Colombian project named Comisión Corográfica –considered the cultural and scientific most important project in Colombia’n history of Nineteenth Century. The project was conceived on the context of liberal reforms and it grouped intellectuals, scientists and artists like Manuel Ancízar, Agustín Codazzi y Carmelo Fernández. The analysis will be make from the perspective of a history of ways of aesthetic experience that was formulated by Hans-Robert Jauss. From this research perspective we can ask by different ways of artistic praxis and aesthetic appreciation of world. In addition, this perspective allows understand the relation between particular ways of aesthetics experience and political processes of modernity. The paper concerns specifically the conception of nature and progress in Alexander von Humboldt and Agustín Codazzi in as much that it were determining elements in the Comisión Corográfica. 

Taking into account theoretical references on the relationship between art, violence and memory, on one hand and, on participatory art, on the other, this article reflects on the exhibition Where are the missing? Absences that interpellate, organized by the National Center for Historical Memory and exhibited during the second quarter of 2014 in various spaces. Methodologically the show is analyzed from two categories: participatory art and artistic practices; the first ones closely linked to the community and the second ones focused on the production of “work” linked to the name of an artist. Although the purposes and, sometimes, the procedures used by both practices are similar, both their results and the relationship with the audience and the communities are qualitatively different, as are the “languages” present in each practice: the first ones concentrated on the faces of the missing, while the seconds ones, explores the trails of forced disappearance. 

The Colonial Museum of Bogotá was recently closed due to a series of works of restoration in the building and a complete renewal of its curatorship. This fact invites us to look over the work that has been done before, particularly because during the last decade this institution became a research center where historians, conservators, and artists worked together. When one went through each of the exhibition rooms that were opened to the public between 2005 and 2012, it was evident how different historiographical perspectives had influenced the way in which the art works were classified and exhibited. The diverse points of view of Colombian historians to colonial art and culture during the last ten years have determined changes in the curatorial processes that one should examine in order to better understand the historiographical perspectives that were dominant during those years. Not only could we take a journey from iconography to anthropology, but we could also see the tensions between social history, cultural history, and postcolonial studies that have taken place in the museum. This produces an interesting phenomenon: the exhibition space was transformed into a thinking space. With this in mind, the following article has two main purposes: First, to present different historiographical approaches and their influence on Museography during those years; and second, to explain how curatorship has become a medium to criticize different discourses around both colonial art and culture in Colombia.

Preliminares

Since feminism of the 70s, especially the Anglo-Saxon, the analytical category of gender emerged, which allowed revealing theconstructed nature of inequalities between women and men. From the initial approach, this category referred to the need to rethinkand act on analytical perspectives, and permeated by a partial male view that historically had concealed or disguised these inequalities, from the anatomical difference between the sexes.“Woman is not born, she is made”; phrase of Simone de Beauvoir is an antecedent of the social and cultural construction that gender category incorporates within its main tenets. Become women is much more complicated that transformed into a man, because, historically, the human and the male have been interchangeable concepts in the same way that they have been the concepts of women and inferiority This article aims to show the richness of gender as an analytical category and its contribution to the understanding of other categories such as power, culture and ideology. In the analysis of the category power, some discussion arising decolonial studies to show that the construction of a feminist project ­—ético boat politicall—, require large doses of agreement and unity are taken up, but in particular a critical consciousness.

Nota editorial

The current write sign the path of the African American population and his way to structure his community and his turnout in the political arena. This process it compares with the evolution of the contention in the Tilly´s and Tarrow’s work, and shows the particular issues in the political scene in the Bogota city. 

What does it mean to represent blacks in XIX Century travel writing? This is the essential proposed question in order to explore the topic. In order to find answers to this question, I will attempt to examine Charles Darwin’s travel accounts (1809-1882). This work examines the way in which black communities are portrayed as well as the discursive devices the writer resorts to in order to narrate them. Throughout the study, I will show how the traveler, in his hasty attempt to interpret and describe these populations in his own community, describes and reconstructs them by means of certain recurring strategies of representation mediated by European imagery.The mechanisms that the writer uses to depict the Otherness reveal an ideology imbued with inconsistencies, ambiguities and contradictions that mimic colonial discourse. I will try to analyze this rhetoric by using the theoretical guidelines proposed by David Spurr in his book The Rhetoric of Empire: Colonial Discourse in Journalism, Travel Writing and Imperial administration and Mary Louise Pratt in Imperial Eyes: Travel Writing and Transculturation. Some theoretical key concepts are taken into account throughout this essay in order to classify the scenarios in which cultural encounters take place. Since Darwin is supposed to be an intellectual authority, particular attention is paid to the existing relation that comes into play between his discursive ideas and the role that they play in contributing to think black identity and cultures.

This literary review offers the results of documents published by international agencies, NGOs and academic work on human trafficking and Commercial Sexual Exploitation of Children (CSEC). In these documents issues such as: investigative trends, proposals for the prevention and the role of the media, were considered. The results confirm that between 2001 and so far in 2013, most researches in Colombia are associated to the study of trafficking of sexual exploitation, especially of children and women. There is less work developed on filial relationships (servile marriage and adoption for exploitation), commission of crimes (involvement in different crimes such as theft and drug transportation) and organ trafficking. This review has been made in order to provide a starting point for further research on the issues mentioned above. 

In the last thirty years, cities in Latin America have undergone significant changes in its territorial characteristics (socio-spatial), which makes updating relevant reflections on the characteristics of the possible changes that have occurred in this recent period.This article takes up the proposed modeling of the Latin American city, especially those describing the contemporary phase modelcalled by scholars as fragmented city, stadium where the emergence of global capital is evident from the eighties of the twentieth century and displayed, based on studies of some Latin American cities, representative territorial features of these urban changes.The central hypothesis of the article suggests that the cities of metropolitan character of Latin America are privileged stage in the processes of globalization and this has brought consequences in the recent territorial mutations. Phenomenon without being replicatedexactly -saves their particularities from one city to another-itself presents common features that can be modeled for yourunderstanding.The methodology used is -not exhaustive review of some studies that propose modeling of the Latin American city to identify the characteristics of perceived changes that define the model stages, while retakes case studies from the cities of Bogotá (Colombia),Buenos Aires (Argentina), Santiago (Chile) and Sao Paulo (Brazil) where the relevance of the model is demonstrated.

This article intends to place and determine the subjectivity manifested in the artistic works of Lorenzo Jaramillo (1955-1992). Specifically, his final work the lying men (1987-1990). The subjectivity in this study is referred to a veiled tension that exists betweenhis artistic production and the reception. It is then about putting into play the questions on conventional interpretations of the history of Colombian art and open a field of reflective contingency on subjectivity, significant gap in the theories and concepts in the local context. For this, I use the text Mémoires d’aveugle, l’autoportrait et autres ruines by Jacques Derrida because it opens the perspective look that adjusts to an aesthetic thinking of the image but that establish a potential story, a dialogue through key concepts that appears in his text regarding subjectivity, namely: Identity, otherness, alterity and image