The eighteenth‑century English writer Matthew Gregory Lewis wrote one of the most dramatic Gothic novels, The Monk; over 200 years later, a film of the same name appeared, based on the novel and directed by Dominik Moll. The film, a free adaptation of the book, presenting the story of the moral downfall of the monk Ambrosio, has inspired us to philosophical reflections on sexuality, sensuality, and physical desire. We have attempted to analyze and interpret this cinematic work of art in (...) the context of these issues. The method we have adopted is based on a thorough discussion of the topics developed in the film and related issues. This method, while not pretending to be scientific objective, enables us to outline an interesting field of research as well as to identify a number of theoretical problems and questions that remain open. The formula we have adopted is to quote lines from the film The Monk which permits the analysis of selected issues related to sexuality, sensuality, and physical desire. Moreover, these quotes serve to order the text and enable the precise identification of interpretive trains of thought. (shrink)

In his book On the Nature of Marx’s Things Jacques Lezra inherits another Marx and another materialism. It is an aleatory materialism: a materialism of the dynamic contingency of Marx and his “things”. This “subterranean current” of aleatory materialism is excavated by Lezra in his swerve through the letters, notebooks, and “private notes” of a young Marx working on his doctorate thesis. Following Lezra’s necrophilological thread –which encounters Lucretius and his “things”– we find that, in a parallel fashion, Marx is (...) also searching for a concept of science in his dissertation. This is what here is tentatively called a science of contingency. This science – though not in the usual disciplinary sense– opens the possibility of an alliance with Karen Barad’s performative materialism that displaces the humanism of the “new materialisms” by thinking alongside another science of contingency, also of a certain Lucretian inheritance, and which Marx did not get to think: quantum mechanics. -/- -- -/- En su libro On the Nature of Marx’s Things Jacques Lezra hereda otro Marx, y otro materialismo. Un materialismo aleatorio, un materialismo de la contingencia dinámica de Marx y sus “cosas”. Tal “corriente subterránea” del materialismo aleatorio es excavada por Lezra en su desvío por las cartas, cuadernos y notas “privadas” de un joven Marx que trabajaba en su tesis de doctorado. Siguiendo el hilo necrofilológico de Lezra, que se topa con Lucrecio y sus “cosas,” encontramos que, paralelamente, Marx también busca un concepto de ciencia en su tesis: lo que tentativamente nombramos ciencia de la contingencia. Ciencia, no ya disciplinaria, que abre la posibilidad de una alianza con el materialismo performativo de Karen Barad que desplaza el humanismo de los “nuevos materialismos” desde una reflexión critica que piensa a la par de otra ciencia de la contingencia, también de cierta herencia lucreciana, con la cual Marx no llegó a pensar: la mecánica cuántica. (shrink)

El filósofo checo Jan Mukarovsky (1891-1975) fue uno de los fundadores del Círculo de Praga. Fue el primero en intentar desarrollar una estética semiológica, cuya herramienta metodológica fundamental es el signo. Él está consciente de que el fenómeno estético no es igual ni reductible al lingüístico, por lo que procura una definición del signo mucho más amplia de la que es habitual en los medios lingüísticos. Por ese camino se topa con el tema de los valores estéticos. Su enfoque (...) de la estética, totalmente original en su momento, le permite adelantar fecundas ideas sobre los valores estéticos. (shrink)