Philosophy of Literature

What might Adam Smith have learned from Jane Austen and other novelists of his moment? This paper finds and examines a serious problem at the center of Adam Smith’s moral psychology, stemming from an unacknowledged tension between the effort of the spectator to sympathize with the feelings of the agent and that of the agent to moderate her feelings. The agent’s efforts will result in her opacity to spectators, blocking their attempts to read her emotions. I argue that we can (...) resolve this tension by looking to developments in eighteenth-century literature, as perfected in the hands of Jane Austen. I focus on two techniques, focalization and free indirect style, and I show that the problems for spectatorship diminish when we see that good Smithian spectators are savvy readers. (shrink)

Strange weather is one of the growing ways human beings experience climate change phenomenologically or beyond abstract scientific data. Even those who do not “believe” in climate change experience it. Odd weather is also one of first things human beings talk about with one another or share, today and at least since the great flood in the Epic of Gilgamesh. This article considers how increasingly violent weather is ushering in a new type of narrative and art and announcing a new (...) political and climatic regime. It considers a series of contemporary works of art about strange weather as a more precise example or microcosm of a certain reinvention of epic in our time. It then considers how this shared narrative of violent weather is intruding on, disrupting, and reconfiguring our political systems at the same time as it is collectivizing, historicizing, and politicizing the public before the growing threat of climate change. (shrink)

La entrevista realizada al doctor Wilfredo Penco indaga acerca de las constantes confrontaciones que existen en las disciplinas de la Literatura y la política; sobre todo, en el tema del compromiso del autor con su respectiva sociedad. En ese sentido, las respuestas que se obtendrán partirán de dos referentes esenciales: los sucesos históricos y los casos particulares que se han apreciado en el ámbito académico, en la que los intelectuales y los escritores cumplen un rol determinante. Uno de los interrogantes (...) que se busca resolver con esta constatación es comprender si es necesario que se articule un compromiso político en un texto literario. (shrink)

César Ernesto Arenas Ulloa nació el 15 de septiembre de 1988 en Chiclayo (Lambayeque, Perú). Realizó estudios literarios en la Universidad Nacional Mayor de San Marcos, hasta obtener el grado de licenciado. En el 2012, obtuvo un reconocimiento académico por ocupar el primer puesto a nivel de toda la escuela de Literatura. En el 2018, presentó su tesis titulada Autonomía y especificidad de la obra dramática: una lectura semiológica de El sistema Solar de Mariana de Althaus. Asimismo, tiene intereses en (...) el teatro peruano, el psicoanálisis y la escritura. Ha sido docente de Lenguaje en diversas universidades privadas de Lima. Ha publicado en revistas indexadas, así como ha participado en congresos y proyectos financiados. Actualmente, vive y estudia en Italia. (shrink)

Within science fiction the topic of ‘first contact’ is a popular theme. How will an encounter with aliens unfold? Will we succeed in communicating with them? Although such questions are present in the background of many science fiction novels, they are not always explicitly dealt with and even if so, often in a poor way. In this article, I will introduce a typology of five dominant types of solutions to the problem of first contact in science fiction works. The first (...) four solutions are the more dominant, but also the least interesting ones. There is a fifth category that addresses the question of first contact in a more interesting way, exemplified by the work of Stanisław Lem. This fifth option defines itself as a critique of the four previous categories, or of their shared assumption of what Lem (1967) has called ‘the myth of cognitive universality’. Lem is sceptical of the common optimism that first contact will always be successful. In books such as Solaris (1961), His Master’s Voice (1967) and Fiasco (1986), humanity makes first contact with an alien phenomenon, but fails to comprehend the phenomenon. Fundamentally, it will be argued that Lem’s work shows that in such an encounter we will typically not only lack the right answers to our questions, but that we also often lack the correct questions: we simply do not have the right categories or instruments to even recognize, let alone meaningfully interrogate, the alien phenomenon. The article ends with an exploration of the implications of Lem’s pessimism and whether it is the most plausible option for first contact. Moreover, the article will draw some lessons for philosophy of science, by exploring the parallel with the confrontation of novel or deviant phenomena in science. Lem’s work is helpful here because it succeeds in articulating what has not always been appreciated in the philosophy of science, namely that the right questions by which to interrogate scientific phenomena are not given, but that their articulation always requires work. (shrink)

In this paper, I highlight the philosophical differences between Camus’s and Sartre’s notions of the absurd. “The absurd” is a technical term for both philosophers, and they mean different things by it. The Camusian absurd is a mismatch between theoretical reasoning and practical reasoning. The Sartrean absurd, in contrast, is our theoretical inability to explain contingency or existence. For Sartre, there is only relative, local absurdity; for Camus, the absurd is universal and absolute. I show how their different understandings of (...) the absurd led to Sartre’s misreading of The Stranger; he misses its main mechanism for generating the feeling of the absurd because he reads the novel through his own conception. In order to draw out their philosophical differences, I will provide a reading of the novel that contrasts with Sartre’s. (shrink)

From the beginning, Augustine's "Confessions" presents itself as a dialogue with God. Taking a cue from Ludwig Feuerbach’s "The Essence of Christianity [Das Wesen des Christentums]," this dialogue can easily be dismissed as a projection of the self. This would imply that the divine otherness is nothing more than a mirror of one’s own fears and preferences. “Does this critique,” I asked myself in this piece, “really do justice to a position like that of Augustine?” For a long time, I (...) did not know how to approach what I had — provisionally — called Augustine’s dialogue with God. It appeared to me that Augustine, in an accidental and indirect way, had re-invented the Platonic dialogue and had turned it into a new Christian genre. “It is true,” I told myself, “that the genre of the Confessions shows family resemblances with the hagiography and the autobiography. But most certainly it cannot be reduced to these genres.” The Greek words ‘hagios’ (holy) and ‘autos’ (self) are in flagrant contradiction with the intention of the Confessions. Augustine tries to stay clear of any claim of holiness and only highlights his own ‘self’ to immediately question it. “Is the Platonic dialogue,” I asked myself, “not a far more appropriate predecessor for Augustine’s dialogue with God?” Both types of dialogues can be seen as true dia logoi in which at least two different voices emerge. However, contrary to what one would expect, it is not the dialogue form itself that frames these two voices. Instead the two voices emerge within the discourse of a single speaker, incorporating true otherness within the discourse of the self. Building on these reflections, I explore how Augustine's dialogue with God succeeds in eluding Feuerbach's charge of self-projection. (shrink)

This article argues that we can construct a complex interpretation of the nature of time by linking Aciman’s gnostic thread to aspects of twentieth century theory, from philosophy and psychoanalysis. In brief, it attempts to demonstrate the roles of dislocation, deferral, and Otherness in constituting human temporality. The essay begins by surmising the conceptual history of time, touching on key ideas put forward by Augustine and Bergson. The second section takes a psychoanalytic turn after exploring Homo Irrealis to describe the (...) significance of desire and fantasy. Thirdly, we develop a unique and temporal application of difference and deferral, building off of Deleuze and Derrida. The fourth section will consider how the psychoanalytic concept of the Other is inhered within time. We conclude that an Acimanic analysis of time is the means by which we can understand existence not as a series of moments, but a rich progression of dissimilitude and Otherness defined moreso by its lack of cohesion and directness of being than by a unified and self-identifying subject. (shrink)

Literature, in particular philosophical literature, proves to be particularly challenging when read in isolation from the philosophy it comes from. Reading Sarte’s Nausea through Kierkegaard illuminates important themes of language, music, the ethical and aesthetic, and immediacy in both Nausea and Kierkegaard’s various pseudonymous works. The comparison here is extremely fruitful given the poetic and literary form of Kierkegaard’s work, especially against this particular work from Sartre. The themes in Nausea that are examined are interestingly not present in his other (...) works and are necessary in some regard to be brought forth in a novel rather than a philosophical treatise. (shrink)

Esta es una entrevista realizada al escritor peruano Cronwell Jara en el 2009.

This essay experiments with Kant’s writings on rational religion distilled through the Strange Case of Dr Jekyll and Mr Hyde as canonical confrontations with primal problems of evil. It suggests boundaries between Stevenson’s characters and their occupations comparable to the those conflicted in the Kantian university, namely, law, medicine, theology, and philosophy (which makes a short anticipatory appearance in his earlier text on rational religion). With various faculties it investigates diffuse comprehensions—respectively, legal crime, biogenetic transmission, and original sin—of key ethical (...) modes: will, inheritance, incorporation, freedom, duty, obligation, love, living, and killing to conclude on the possible logic of evil (or evils of logic) collateral and possibly innate to Kant’s comprehension of radical evil. (shrink)

XENOLOGY AND XENOTOPOGRAPHY OF BERNHARD WALDENFELS The paper strives to adapt Bernhard Waldenfels’ xenology and so called ‘xenotopography’ for the philosophico-literary studies in fantastic world-building with a special concern of the ‘portal-quest’ model of fantasy and SF. Following Waldenfel’s remarks on the nature of post- Husserlian diastasis of our world [Heimwelt] and otherworld [Fremdwelt] and acknowledging the consequences of allocating one’s attitude towards the otherness in the symbolical borderland [‘sphere of intermonde’] in between, it is examined whether such a model (...) can occur in the fantastic literature and what may be the consequence of xenotopographic reconsideration of its basic ontological premises. Additionally, the article offers an original xenotopograpfic model of worldbuilding which addresses three carefully chosen case studies of fantastic worlds from Orson Scott Card’s Ender’s Game tetralogy, Neil Gaiman’s Stardust and George R. R. Martin’s The Song of Ice and Fire. In the end, it is suggested that hitherto presented xenotopography gravely inspired a postmodern shift in the genres of fantasy and SF which results in more ethically conscious representations of the otherness and even more concise and alien comprehensive world-building. (shrink)

Redresses the critical neglect of uplifting literature for children from the 16th to the 19th century, by looking at how catechisms, poetry, allegories, parables, short stories, novels, and plays handle the motif of imagining heaven on earth. Annotation copyright by Book News, Inc., Portland, OR.

Hegel was ambivalent about Dutch genre painting’s uncanny ability to find beauty in daily life. The philosopher regarded the Dutch painterly aesthetic as Romanticism avant la lettre, and classifies it as such in his Lectures on Aesthetics, under the section entitled “Die romantischen Künste [The Romantic arts].”1 Dutch art, in Hegel’s reading, is marred by many shortcomings. The most prominent among these are the “subjective stubbornness [subjective Beschlossenheit]” that prevents this art from attaining to the “free and ideal forms of (...) expression” that marked the productions of Italian artists such as Raphael. In contradistinction to their Italian counterparts, Dutch artists in Hegel’s view are apt to. (shrink)

I begin with a puzzle. According to some scholars, Plato’s view that the forms possess value as objects of desire gives rise to a problem in his metaphysics: how can forms of injustice and ugliness be considered desirable? To resolve this puzzle, I focus on Plato’s views on eros and argue that the philosopher’s love of forms is best understood as a kind of rational compulsion. Approaching the puzzle from this direction gives us an idea of how Plato’s forms might (...) be viewed as value laden. It also suggests an understanding of his metaphysics that’s less otherworldly than is often thought. (shrink)

Translation of "Von der Armut am Geiste; ein Dialog des jungen Lukács," by Ágnes Heller. This translation originally appeared in The Philosophical Forum, Spring-Summer 1972.

This study investigates Phillipe Lacoue-Labarthe's claim in "The Caesura of the Speculative" that Hölderlin is a "modern" writer. Its aim is to establish what is at stake in this claim and to evaluate whether it can be substantiated. In Chapter One I discuss the relationship between tragedy and philosophy. I show that the uneasy relationship between philosophy and the arts is premised upon Plato's understanding and judgement of mimesis. I contrast Plato and Aristotle's treatment of poetry by examining how they (...) understand the mimetic process. In Chapter Two I focus on Hölderlin's understanding of the relationship between Ancient Greece and 18th Century Germany. After discussing the background to Hölderlin's work I provide detailed readings of two texts, The Perspective from which We Have to Look at Antiquity, (1799) and the first letter to Böhlendorff, dating from 1801. I argue that in these texts Hölderlin, through his acknowledgement of the divided nature of Greek culture, offers a unique understanding of the relationship between Greece and Germany which isolates him from his contemporaries. In Chapters Three and Four, I examine Hölderlin's understanding of tragedy. After establishing the centrality of the aesthetic presentation for Hölderlin's project I examine the "poetological" writings which date from 1798-1800. I give a close analysis of the implications of Hölderlin's statement that the tragic "is the metaphor of an intellectual intuition" which occurs in the text On the Difference of the Poetic Modes, (1800), showing why the tragic form is central to Hölderlin's poetological project. To illustrate the problems inherent in this project, in Chapter Four I examine Hölderlin's attempts to write a tragic drama which corresponds to his theoretical beliefs. I discuss the two theoretical texts - The Ground to Empedocles and Becoming in Dissolution - which accompany Hölderlin's drama Empedocles. In analysing these texts I argue that there is an inherent tension between the presuppositions of the theory and the way they can be realised in the drama. In Chapter Five, I turn to Hölderlin's final work, his project to translate Sophocles' tragedies. Through close analysis of the theoretical Remarks which accompany the translations, I show how Hölderlin's theoretical and poetological interests in Greece and Tragedy are brought together through this project. I argue that these texts give an insight into the problems which confront Hölderlin's poetological project. However, simultaneously, these texts provide an alternative way of understanding the function of the tragic form. In this discussion I show how the questions concerning the status of dramatic mimesis and the "mimetic" relation between Greece and Germany coincide in the analysis of Sophocles' dramas. In conclusion I return briefly to the questions that I raised in the introduction concerning the status of tragedy in the present time, and assess the accuracy of the claim that Hölderlin is a "modern" thinker. (shrink)

Interpretational monists and pluralists most often accept contextualism. At the same time, most of them resist constructivism, which takes all interpretations of artworks to be separate artworks. However, one of the central arguments to establish contextualism, based on Borges’ story of Pierre Menard, is so formulated that using it can force all contextualists into accepting constructivism. This paper points out the under-specification present in the philosophical use of the Pierre Menard example to then combine it with arguments presented by contextualists (...) themselves and show that without a more careful look at the example discussed, accepting all those arguments entails constructivism. (shrink)

Frederick Douglass, in his first autobiography, Narrative of the Life of Frederick Douglass, describes how his sociopolitical identity was scripted by the white other and how his spatiotemporal existence was likewise constrained through constant surveillance and disciplinary dispositifs. Even so, Douglass was able to assert his humanity through creative acts of resistance. In this essay, I highlight the ways in which Douglass refused to accept the other-imposed narrative, demonstrating with his life the truth of his being—a human being unwilling to (...) be classified as thing or property. As I engage selected passages and key events from Douglass's narrative, I likewise explore the ways in which the resistance tactics. (shrink)

<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (shrink)

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...) and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...) the term “pornographic art.”. (shrink)

Following the pattern set by the early German Romantics, Kierkegaard conveys many of his insights through literature rather than academic prose. What makes him a valuable member of this tradition is the theory he develops to support it, his so-called “theory of indirect communication.” The most exciting aspect of this theory concerns the alleged importance of indirect communication: Kierkegaard claims that there are some projects only it can accomplish. This paper provides a critical account of two arguments Kierkegaard offers in (...) defense of this claim. The first argument is that he needs to use indirect communication in order to discourage people from losing themselves in the “crowd”. The second argument is that he needs to use it in order to help people out of a “monstrous illusion”. It is shown that while both arguments justify Kierkegaard’s decision to use indirect communication, neither one supports the original claim about its indispensability. (shrink)

This dissertation concerns Kierkegaard’s theory of indirect communication. A central aspect of this theory is what I call the “indispensability thesis”: there are some projects only indirect communication can accomplish. The purpose of the dissertation is to disclose and assess the rationale behind the indispensability thesis. -/- A pair of questions guides the project. First, to what does ‘indirect communication’ refer? Two acceptable responses exist: (1) Kierkegaard’s version of Socrates’ midwifery method and (2) Kierkegaard’s use of artful literary devices. Second, (...) for what end does Kierkegaard use indirect communication? There are two acceptable responses here as well: (1) helping others become religious and (2) making others aware of the nature of existence. -/- These responses are interrelated. First, Kierkegaard’s notion of religion places restrictions on the means he can use to get readers to become religious. These restrictions ultimately entail that the only viable form of religious pedagogy is the midwifery method. Second, Kierkegaard engages in the midwifery method in part by making readers aware of the nature of existence (especially religious existence). But given the problems plaguing his readers, he thinks a straightforward approach to this project will likely fail. An approach that used artful literary devices such as deception and humor would be more successful. Third, Kierkegaard believes that there is one aspect of religious existence (viz. subjectivity) that people can come to know only first-hand. As such, he cannot directly impart knowledge of subjectivity to his readers. He argues that this means he must use the midwifery method. And he thinks the most productive way to do so is to provide readers with the kind of fictional narratives found in his early pseudonymous writings. Thus artful rhetorical devices play a role here as well. -/- All of Kierkegaard’s arguments for the indispensability thesis turn on debatable assumptions. But the arguments concerning artful rhetorical devices have the additional defect of being merely probabilistic in nature. They lack the strength to support the indispensability thesis even if we grant the relevant background assumptions. Therefore, to the degree that the indispensability thesis has merit, it lies with the arguments concerning the midwifery method. (shrink)

The topic of this essay is how non-realistic novels challenge our philosophical understanding of the moral significance of literature. I consider just one case: Joseph Heller’s Catch-22. I argue that standard philosophical views, based as they are on realistic models of literature, fail to capture the moral significance of this work. I show that Catch-22 succeeds morally because of the ways it resists using standard realistic techniques, and suggest that philosophical discussion of ethics and literature must be pluralistic if it (...) is to include all morally salient literature, and not just novels in the “Great Tradition” and their ilk. (shrink)

Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for use in introductory (...) courses on literary theory and criticism. Designed to function both as a stand-alone text and a companion to Rivkin and Ryan’s Literary Theory: An Anthology, Second Edition. (shrink)

María José Rincón González nació en Sevilla (España) y reside en República Dominicana desde 1992. Es miembro de número de la Academia Dominicana de la Lengua (ADL) desde el 2011 y directora del Instituto Guzmán Ariza de Lexicografía. Asimismo, es miembro correspondiente de la Real Academia Española (RAE) y miembro del consejo asesor de Fundéu Guzmán Ariza. Con respecto a su formación superior, es doctora en Filología por la Universidad Nacional de Educación a Distancia (UNED) y máster en Lexicografía por (...) la Universidad de Sevilla y la UNED. Ha participado en congresos internacionales y ha contribuido en las ediciones de diccionarios del idioma español. Entre sus publicaciones de artículos, se encuentran las que pertenecen al Diario Libre y el Boletín de la Academia Dominicana de la Lengua, entre otros textos, tales como “La antroponimia femenina dominicana (1945-1995)” (2002), “El Diccionario de la lengua” (2013), “Presentación del Diccionario de americanismos de la ASALE” (2013), “Variantes dialectales del léxico dominicano en el Diccionario de americanismos” (2016), “La lematización de variantes gráficas en el Diccionario del español dominicano” (2017) y “El Diccionario de criollismos, primer diccionario dominicano” (2020). De igual modo, ha publicado en libros y capítulos de libros. Entre ellos se encuentran el Diccionario del español dominicano (2013), “El nacimiento de un nuevo diccionario: el Diccionario del español dominicano” (2017) y De la eñe a la zeta (2019). (shrink)

Este artículo tiene como propósito corroborar la cosmovisión de Octavio Paz, a partir de la inacción de la sociedad cotidiana, que es notoria en un fragmento del poema “Máscaras del alba” de La estación violenta (1958). Su crítica contra el sistema por la ausencia de compromiso social y político revela dos conceptos que fundamenta Mijaíl Bajtín en Estética de la creación verbal: su intencionalidad como autor y la expresión concomitante en función del género discursivo empleado. Para comprobar estas dos premisas, (...) incluiré como instrumento metodológico los campos figurativos o las provincias figurales que aborda Stefano Arduini, que comprenden los tropos de la metáfora, la metonimia, la sinécdoque, la metonimia, la elipsis, la antítesis y la repetición, además de sus variaciones. (shrink)

David Chalmers a récemment soutenu que la réalité virtuelle est réelle, plutôt que fictionnelle. Dans cet article, j’examine les implications ontologiques de ce « réalisme virtuel ». Comme je le suggère, cette position s’associe naturellement à une ontologie algorithmique, qui identifie les objets virtuels à des structures de données comprises de manière fonctionnelle. Je présente ensuite plusieurs objections à cette ontologie algorithmique. Tant que celles-ci ne sont pas réglées, la question de l’identité des mondes et des objets virtuels reste encore (...) en suspens. (shrink)

La entrevista al doctor Camilo Fernández Cozman se realizó el 19 de julio de 2021, a 9 días del 28 de julio, fecha en la que se conmemora la Independencia del Perú.

Este artículo reconstruye el contexto histórico y cinematográfico que permitió que la película de Luis Buñuel y Salvador Dalí tuviera una intencionalidad distinguible. Para demostrar ese acápite, retomo los estudios críticos que se han hecho en torno a este cortometraje, así como las categorías pertinentes de las vanguardias del dadaísmo y el surrealismo, junto con el psicoanálisis de Sigmund Freud y Jacques Lacan. Con todo ello, propongo que el objetivo de este trabajo es fundamentar las razones que generaron que esta (...) producción fílmica estuviera orientada a transgredir lo tradicional y lo ético de la sociedad europea. Esa volición solo se lograría desde la epifanía de su arte onírico e inconexo. (shrink)

This is a short piece on literary literacy, in the form of a choose-your-own-adventure story. -/- The entire piece is spread across all three volumes: Volume 1 Chapter 12, Volume 2 Chapter 5, and Volume 3 Chapter 22.

José Hugo Burel Guerra nació el 23 de marzo de 1951 en Montevideo (Uruguay). Desde 2017 es miembro de número de la Academia Nacional de Letras del Uruguay (ANL), institución a la cual ingresó con su discurso titulado «Ismael». Es licenciado en Letras por el Instituto de Filosofía, Ciencias y Letras (que se conoce en la actualidad como UCUDAL) y la Pontificia Universidad Católica de Río Grande do Sul. Aparte de ser escritor, se ha desempeñado como músico, publicista, diseñador gráfico, (...) profesor y periodista. Dentro del ámbito literario, ha publicado cuentos, novelas y ensayos. Entre su producción, algunos títulos son los siguientes: Esperando a la pianista y otros cuentos (1983), Tampoco la pena dura (1989), Los dados de Dios (1997) El autor de mis días (1999), El guerrero del crepúsculo (2001), Tijeras de plata (2003), Los inmortales (2004), El corredor nocturno (2005), El desfile salvaje (2007), El caso Bonapelch (2014) y La misteriosa muerte de Eleanor Rigby (2019). Asimismo, ha sido merecedor de múltiples distinciones. Algunas de ellas fueron el segundo premio del concurso literario de Radio Carve (1975), el Premio Juan Rulfo de Radio Francia Internacional (1995), el Premio de Inéditos del MEC-Ministerio de Educación y Cultura (1995), el VII Premio Lengua de Trapo de Narrativa (2001), el Premio Bartolomé Hidalgo (2004), el Premio Alas (2008) y el Premio Libro de Oro (2014). (shrink)

Este artículo examina La ciudad y los perros (1963) de Mario Vargas Llosa para fundamentar cómo se logra la estratificación teórica de estilos y técnicas que se emplean para abordar la violencia en el texto. Sobre la epistemología, recurre principalmente a Todorov, Hamburger, Lotman y Genette. Y, para argumentar la manifestación de la violencia, considera las eventualidades que padecen los personajes del Colegio Militar Leoncio Prado; en especial, el Jaguar, el Poeta y el Esclavo. Esas acciones serán justificadas por la (...) instrucción castrense, la evolución humana, la necesidad de una conducta hegemónica idónea y la búsqueda del efecto perlocutivo en el lector. Para sistematizar esas peculiaridades, se opta por una metodología adscrita al cotejo de información teórica para que sea confrontada con el discurso literario. El análisis que se desarrolla es complementado con fragmentos representativos para que las formulaciones sean más directas y convincentes. Como resultado, se confirma esa correspondencia entre las teorías heterogéneas, la novela y la interpretación, por lo que el concepto de violencia adoptaría una multidimensionalidad que evidencia su existencia y su requerimiento esencial en los personajes. Con ello, se sustenta como conclusión que la violencia en ese contexto debería ser permanente e imprescindible para subsistir. (shrink)

Durante años, el estudio de la retórica ha incluido figuras que permiten el análisis de la poesía, como también, la creación diversificada según los múltiples estilos. Al respecto, en este artículo, se extraerá la propuesta fundamentada por Stefano Arduini, quien establece la noción de campo figurativo, como un ordenador de lineamientos subjetivos, propios del raciocinio, de la que se infieren seis subclasificaciones: la metáfora, la metonimia, la sinécdoque, la elipsis, la antítesis y la redundancia, además de los tropos internos que (...) las componen. Ante ello, se recurrirá a los planteamientos elaborados por los críticos y los teóricos de la Literatura para la confrontación hermenéutica que configuran estos conceptos difundidos por la poesía. Los autores a los que se recurrirán son Aristóteles con Retórica, Marco Fabio Quintiliano con Instituciones oratorias (1887), Pierre Fontanier con Les figures du discours (1977), George Lakoff y Mark Johnson con Metáforas de la vida cotidiana (1995), Jacques Lacan (1998), Stefano Arduini (2000), Oldřich Bĕlič (2000), Tomás Albaladejo (2008) y Camilo Rubén Fernández Cozman (2010). (shrink)

Blithz Lozada Pereira nació en Oruro (Bolivia) en 1964. Es miembro de número de la Academia Boliviana de la Lengua desde el 2009, fecha en la que expuso su discurso “La educación del indio en el pensamiento filosófico de Franz Tamayo”, con el que fue admitido. Es miembro honorario de la Asociación Peruana de Educación Intercultural. Ha sido coordinador, director, consultor y organizador de investigaciones y eventos académicos e institucionales. Obtuvo la licenciatura en Filosofía, así como realizó estudios de posgrado (...) en Ciencias Sociales, Educación Superior, Filosofía y Ciencias Políticas. Asimismo, se especializó en políticas, organización y gestión de la ciencia, la tecnología y la innovación. Se ha desempeñado como docente. En la actualidad, enseña en la Universidad Mayor de San Andrés en La Paz. En su mayoría, sus investigaciones se enfocan en la problemática andina de la actualidad. Entre algunas de sus publicaciones, se encuentran las siguientes: Sugerencias intempestivas (1998), Educar para gobernar (2009), La educación del indio en el pensamiento filosófico de Franz Tamayo (2010), Theatrum ginecologicum (2012), La educación intercultural en Bolivia (2005), Cosmovisión, historia y política en los Andes (2007), Ciencia, tecnología e innovación en Bolivia: contexto internacional, investigación universitaria y prospectiva científica (2011), Políticas científicas, tecnológicas y de innovación en Bolivia (2016), Cultura política, ciencia y gestión de gobierno en América Latina (2017) y Políticas comparadas de conocimiento y bienestar en seis países sudamericanos (2018). (shrink)

En este trabajo, se realizó una entrevista al docente Ángel Misari, quien explica cómo aplica sus conocimientos adquiridos en la Maestría en Escritura Creativa que hizo en la Universidad Nacional Mayor de San Marcos. Su intervención es de utilidad, ya que profundizará en la transferencia oportuna de ese saber en tres ámbitos: en su función como crítico de la producción artística, en su interés ficcional en la parte creativa y en la educación con estudiantes. En suma, la experiencia que manifiesta (...) revela su formación literaria, así como las influencias y los motivos que lo impulsaron a desenvolverse en esta carrera. (shrink)

El propósito de este artículo es sistematizar los estudios críticos acerca del adiestramiento castrense en los personajes de La ciudad y los perros (1963). Para conseguirlo, se confrontará con la hermenéutica de Gadamer, orientada a la propalación de estrategias heurísticas y taxonomías que consoliden el corpus de la novela cotejada. Así, se reconocerá el efecto que cumplen las variantes extrínsecas de la lectura, tales como las jerarquías y las percepciones idóneas y erróneas de la educación del Colegio Militar Leoncio Prado. (...) Por ello, la adecuación de este contenido permitirá una mayor dilucidación del tema cuestionado con su respectivo soporte crítico. (shrink)

Esta entrevista retoma la experiencia de enseñanza de la profesora María Luisa Roel en función de la producción literaria de España. El objetivo es interiorizar sobre cómo esta se ha transferido en el ámbito de educación universitaria. A partir de la trayectoria de la docente, se brinda un panorama de cómo los estudiantes de la carrera profesional de Literatura acatan el conocimiento y la lectura de autores españoles, como Miguel de Cervantes. De igual forma, se mencionan dos momentos históricos en (...) los que se vería la presencia o la ausencia de esta producción: en la Literatura del Virreinato y la creación literaria contemporánea. (shrink)

OBJETIVO: establecer una taxonomía a partir de las mujeres que se plasman en La ciudad y los perros. Asimismo, se explicará cuál es el rol de cada tipología hallada que se involucra en el desarrollo de los cadetes. MÉTODO: se confrontará con la teoría sociológica y los estudios críticos que se han hecho sobre la obra literaria para determinar en qué medida los personajes aludidos están en una correspondencia ineludible con las mujeres. RESULTADOS: se consiguió clasificar el propósito de los (...) tipos de mujeres que se presentan en el texto y que son fundamentales para los personajes de esa institución castrense. CONCLUSIÓN: se comprobó que la inclusión de las experiencias con mujeres en los adolescentes de la novela de Mario Vargas Llosa era fundamental para su desarrollo humano. (shrink)

Este artículo toma como referentes la ideología sociológica que se infiere de los ensayos de Mario Vargas Llosa. A la vez, esa cosmovisión que se identificará del autor será explicada y vinculada con La ciudad y los perros. El objetivo de este trabajo de confrontación es proponer una organización epistemológica a partir de la percepción del escritor peruano y apreciar cómo se corrobora en una de sus novelas. Para ello, he sistematizado las temáticas que el narrador reincide en extrapolar en (...) su discurso, que se relacionan con la concepción de la Literatura y la naturaleza humana. Estos tópicos serán importantes para que el lector adopte un juicio con respecto a la realidad. (shrink)

As we enter the 21st century, we do well to consider the values implicit in science fiction, the principal arena of future speculation in popular culture. This study explored whether consumption of science fiction (SF) is correlated with distinctive socio-ethical views. SF tends to advocate the extension of value and rights to all forms of intelligence, regardless of physical form; enthusiasm for technology; and social and economic libertarianism. This suggests that consumers with these socio-ethical views would be attracted to the (...) SF genre, and that amount of SF consumption would be correlated with adoption of these views. -/- Groups of respondents involved in medical ethical and environmental issues were surveyed in 1992 (N=278). SF consumption was found, at first-order correlation and controlling for covariates, to be associated with: greater support for extending rights to animal and machine intelligence; greater enthusiasm for technology, and rejection of limits to human endeavors; and greater social libertarianism. SF consumption was not associated with specific views on the cognitively and physically disabled; support for abortion rights; or economic libertarianism. (shrink)

Los Alephs de Borges se distinguen de los Alefs de Cantor. ¿Qué son aparte de infinitud? ¿Dónde viven? ¿Qué hacen? Este escrito es una invitación a la imaginación ante la dialéctica entre la Teoría de Conjuntos cantarina y la Poesía Múltiple borgesiana. Enfrentaremos entonces lo profundo, el corazón, la invención en esos dos autores, revisando en particular ideas de densidad, asintoticidad, fractalidad. Nuestro pensamiento se expande a partir de la Teoría de Conjuntos, pero solo Borges puede distorsionar algo tan sublime, (...) con sus deformaciones del espacio, del tiempo, de lo real, donde inventa más infinitos de los que podemos imaginar. Estudiaremos cómo, en la matemática y en la literatura, la expansión de la imaginación es fundamental para crear, descubrir, ligar pensamientos y llegar a lo más verdadero y profundo. (shrink)

Considerando el contexto bélico y el surgimiento de las vanguardias a inicios del siglo XX, fundamento en este trabajo las razones por las cuales la presencia del concepto de nivola, atribuida por Miguel de Unamuno para hacer referencia a la técnica literaria que emplea en su novela Niebla (1914), suscita una confrontación posible entre universos compuestos por elementos de la realidad y lo virtual. En ese sentido, será propicio explicar el procedimiento que origina esa colisión de planos establecidos. Para ello, (...) recurriré a categorías literarias que sustentan las teorías de la ficción, según la percepción de Thomas Pavel y Marie-Laure Ryan. (shrink)