Miguel de Unamuno’s theory of tragic sentiment is central to understanding his unique contributions to religious existential thought, which centers on the production of perhaps the most unavoidable and distinctive kind of human feeling. His theory is rightly attributed with being influenced by the gestational thought of, inter alios, Schopenhauer, Kierkegaard, and Nietzsche, but within these pages I should like to suggest a peculiar kinship between seemingly strange bedfellows, namely, between Unamuno and Immanuel Kant. Although the relationship between (...) Unamuno and Kant is conflicted, ranging from clear indications of influence to expressions of antipathy, there has been relatively little comparative research done on these two thinkers. Moreover, this scant literature has mainly explored connections between Unamuno’s existential thought and Kant’s first two Critiques. In these works, however, feelings are regarded as inclinations and thus receive no serious consideration. In what follows, I therefore juxtapose Unamuno’s analysis of tragic feeling in The Tragic Sense of Life with Kant’s discussion of the feelings of beauty and the sublime in the Critique of Judgment. (shrink)

The aim of this paper is to argue against the received view among Unamuno scholars that Miguel de Unamuno was defending a sort of pragmatic argument for religious faith and that his notion of religious faith as “querer creer” (“wanting to believe”) is to be identified with William James’s “the will to believe”. As I will show in this paper, one of the aspects that makes Unamuno’s reasoning philosophically relevant is his ability to formulate a non-pragmatist defense (...) of religious faith without a prior commitment to the truth of any religious or theological statement and grounded in our longing for an endless existence through God’s Salvation. (shrink)

In 1930, the Spanish philosopher Miguel de Unamuno (1864–1936) wrote one of his most well-known novels, San Manuel Bueno, mártir [Saint Manuel Bueno, Martyr]. The novel is about the fictional character Manuel Bueno, a catholic priest from a small Spanish village who, despite being unable to believe the Christian claim that there is an after earthly death life, devotes himself to the spiritual care of his people, being thereby sanctified after his death. The aim of this paper is to (...) show that the guideline of San Manuel Bueno, mártir is the expression, in fictional, non-philosophical language, of the conception of religious faith Unamuno had already defended in his major philosophical work, Del sentimiento trágico de la vida en los hombres y los pueblos [The Tragic Sense of Life in Men and Nations]. (shrink)

El objetivo de este artículo es explorar la manera en que Joaquim Xirau y Miguel de Unamuno concibieron el amor. A pesar de que no hay motivos suficientes para concluir una influencia directa y filosóficamente relevante de Unamuno en la obra de Xirau, sí podemos concluir que la forma en que ambos autores concibieron el amor guarda ciertas similitudes. Así, ambos coinciden en concebir la entrega amorosa como un ejercicio de afirmación individual que trae consigo un incremento de la (...) propia singularidad. También, tanto Unamuno como Xirau conciben la entrega amorosa como un acto que, aun surgiendo del propio individuo y no de como es de hecho el mundo, personifica aquello amado, dejando de ser así visto como un mero objeto y mostrándose bajo una forma personal. Y ambos, aunque de un modo distinto, hacen del relato bíblico acerca de la vida y Resurrección de Cristo un aspecto central de sus maneras de entender el amor. (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)

El objetivo de esta nota es mostrar que no hay ningún motivo para llamar irracionalista a Miguel de Unamuno. Unamuno puso límites a la razón y rechazó lo que, a su juicio, constituía una violación de dichos límites (el cientificismo y el intelectualismo), pero en ningún momento despreció el uso de la razón.

En este artículo defiendo que la novela Un pobre hombre rico o el sentido cómico de la vida expresa, bajo una forma irónica, la noción de fe religiosa de Miguel de Unamuno.

In this paper I will argue that Unamuno was conceiving of God (and ordinary, non-religious fictional characters more generally) in realist, though non-evidentially grounded, terms. I will point out that this way of conceiving of God allowed Unamuno to claim the actual existence of God (though as a fictional, purely humanly created character) and, with this, the possibility of there being an actual relationship between the concrete religious person and God without having to dispense with his own core (...) claim that religious faith is just a subjective, though natural and thus inevitable, human reaction. (shrink)

Considering the war context and the emergence of the avant-garde in the early twentieth century, I base on this work the reasons why the presence of the concept of nivola, attributed by Miguel de Unamuno to refer to the literary technique used in his novel Mist (1914), provokes a possible confrontation between universes composed of elements of reality and the virtual. In that sense, it will be appropriate to explain the procedure that originates that collision of established plans. For (...) this, I will resort to literary categories that support the theories of fiction, according to the perception of Thomas Pavel and Marie-Laure Ryan. (shrink)

TRABAJO DE FIN DE GRADO -/- Søren Kierkegaard (Copenhague, 1813-1855) figura como una de las grandes figuras del pensamiento filosófico de Europa en pleno siglo XIX. Su filosofía se articula como una tensión constante entre el pesimismo existencial, la fe protestante y la impotencia de la razón, motivo por el cual se ha debatido acerca de lo adecuado del calificativo de filósofo o teólogo. Los años 1844 y 1849, por otra parte, son uno de los más prolijos de su carrera (...) como escritor, publicando textos como "Migajas filosóficas", "El concepto de angustia" o "La enfermedad mortal". Se trata de las obras seleccionadas para el presente trabajo, cuyo primer objetivo no es sino la investigación del papel de la fe en la filosofía de Kierkegaard. Esto responde a varios motivos: el primero de ellos, por la inextricabilidad que comporta la religión con las concepciones de la existencia en su obra. Como hemos mencionado, el análisis vital que hace en sus escritos siempre tienen presente las aportaciones del cristianismo, sobre todo en su vertiente protestante. De esta manera, saber cuál es la significación esencial de fe en el autor danés permitirá una más profunda dilucidación de su vinculación con el resto de los condicionantes existenciales que plantea, como lo son la angustia o el terror. -/- El segundo motivo se marcaría por la cercanía temática que guarda con un aclamado personaje de nuestras letras: Miguel de Unamuno. En efecto, el bilbaíno escritor de "nivolas" ha sido y es conocido por una finísima —y, desde luego, también agónica— sensibilidad existencial. Los temas centrales de sus escritos principales son, mediata o inmediatamente, la expresión y canalización literaria de los análisis de Kierkegaard. Así, "San Manuel Bueno, mártir" rezuma una incertidumbre nauseabunda —en el sentido sartreano del término— que recuerda a "El concepto de angustia"; mientras que "Del sentimiento trágico de la vida" expone, a caballo entre la poesía y la filosofía —a las cuales, como veremos, considera idénticas—, las características esenciales de la fe y su naturaleza de «salto» aducidas en las "Migajas filosóficas". De hecho, es bien conocida la fascinación de don Miguel por el autor de Copenhague, llegando incluso a estudiar danés para acceder a los textos originales. -/- De esta manera, el breve ensayo que se sigue pretende investigar uno de los conceptos angulares de la filosofía de Søren Kierkegaard con el objetivo último de aproximarlo al contexto peninsular, donde los desasosiegos existenciales del norte europeo encuentran en la figura de Miguel de Unamuno un digno interlocutor. Para ello, se hará una lectura comparativa, si bien no tratando de detectar influencias intelectuales o biográficas reales, sí planteando el núcleo de investigación como perteneciente a una misma preocupación fundamental: lo que Unamuno bautizó como el sentimiento trágico de la vida. (shrink)

En su Sentimiento Trágico de la Vida, Miguel de Unamuno argumenta que necesitamos creer en Dios y que esta necesidad es suficiente para justificar la adopción de la creencia religiosa. El objetivo de este artículo es reconstruir y analizar el argumento de Miguel de Unamuno, el cual constituye, sin lugar a dudas, el eje vertebrador del Sentimiento Trágico de la Vida. En este artículo, defenderé: primero, que el argumento no puede usarse para justificar la adopción de la creencia (...) religiosa; segundo, que el argumento parece ser más convincente si se entiende en términos de deseo y no de necesidad; tercero, que ya sea en términos de deseo o necesidad, lo que realmente demuestra el argumento es el conflicto entre nuestro desear, o necesitar, creer en Dios, por un lado, y nuestra falta de licitud epistémica para adoptar dicha creencia, por otro lado. (shrink)

Comix Zone (Sega Technical Institute, 1995) is a two-dimensional scrolling beat ‘em up videogame released in 1995 for the Sega Mega Drive (known as Sega Genesis in North America). Comix Zone has two peculiarities which makes it even today an easily distinguishable videogame. These peculiarities are interrelated. First, Comix Zone imitates the aesthetics and visual settings peculiar to comic books, the aim of which is to join the experience of playing a videogame with that of reading a comic; and second, (...) Comix Zone is ultimately grounded on the philosophical claim that fictional characters are actually existing entities, distinct from, and even colliding with, their creator(s). It is pointed out that this claim on the nature of fictional characters was seriously argued for, and put it into literary practice, by the Spanish philosopher Miguel de Unamuno (1864–1936). (shrink)

Traduçáo do artigo "'God is dreaming you': Narrative as Imitatio Dei in Miguel de Unamuno," artigo publicado originalmente Janus Head –Interdisciplinary Studies in Continental Philosophy, Literature, and the Arts , Volume 7, Issue 2.

This short essay is part of a 5 volume work entitled 100,000 Years of Beauty complete with more than 300 authors from over 30 countries. I was aksed to write about Simone de Beauvoir and the concept of 'emancipated beauty'; I cast Beauvoir's theory of freedom--combining liberation and equality with beauty and femininity--in defiance of the long-standing and constrictive dichotomy that says women must choose one or the other. Beauvoir's most famous phrase, "One is not born, but (...) rather becomes a woman," entails a lifelong struggle against cultural, religious and philosophical norms of inequality and the restrictive ideals of beauty those norms have imposed since the days of Aristotle and Confucius. On Beauvoir's view, one can be both free from oppression and beautiful . . . (shrink)

There is a renewed interest amongst scholars in the practice of pil- grimage. Over the past two decades, pilgrim -/- numbers have risen significantly, whilst forms of ''implicit'' or ''alternative'' spirituality have gained visibility and now coexist with -/- organised religions, sometimes sharing the same ritualistic space. There is probably no better place to look at the coexistence of -/- old and new forms of ritual expression than in the Camino to Santiago. To better understand the meanings attributed to this (...) -/- pilgrimage, we undertook a survey with over 470 pilgrims at various locations along the Camino. The findings confirm that -/- individuals with various, often contrasting, motivations and expectations walk side by side on this pilgrimage route. We -/- suggest that the results cannot be read simplistically as either confirming a ''post-secularisation'' trend or a religious revival. (shrink)

Además de las numerosas concomitancias que a menudo se han venido señalando en los últimos años entre la filosofía de Immanuel Kant y la de Ludwig Wittgenstein, es posible detectar una coincidencia ulterior entre ambos en el ataque que los dos realizan a la teoría disposicionalista de la normatividad (esto es, la tesis según la cual el agente que sigue una regla correctamente debe contar para ello en su interior con una especie de mecanismo causal o disposición que produzca, ante (...) el estímulo de una norma, el efecto del seguimiento correcto). Las razones por la cual ambos consideran defectuosa esta teoría son, fundamentalmente, tres: el hecho de que esa especie de mecanismo interno es incompatible con nuestra idea de lo que son los mecanismos; la ausencia en el dibujo que nos hace esta tesis disposicionalista de las prácticas reguladas de precisamente algún poder regulativo (es decir, un “deber ser” diferenciado de lo que de hecho se da, de lo fáctico; o, dicho en términos kantianos, la distinción entre actuar “según concepciones de reglas” y actuar “según reglas”); y lo inapropiado de aplicar el concepto de causa a mecanismos internos como aquellos por los cuales abogan los disposicionalistas. En nuestra comunicación examinaremos esta acometida conjunta kantiano-wittgensteiniana a la tesis disposicionalista, lo cual acaso sirva para comprender a su vez mejor los íntimos vínculos que ligaron al pensador alemán y al pensador austríaco en más de un recodo de sus respectivos caminos del pensar. (shrink)

In this paper, we discuss an abductive argument for the existence of God from the experience of awe at natural beauty. If God's creative work is a viable explanation for why we experience awe at natural beauty, and there is no satisfactory naturalistic explanation for the origins of such experiences, then we have defeasible evidence that God exists. To evaluate the argument's tenability, we assess the merits of the two main theocentric frameworks that can be marshaled to answer (...) the question of why human beings experience awe at natural beauty: (1) taking the experience of natural beauty as resulting from God's design intentions and (2) conceiving experiences of natural beauty as religious experiences in themselves. We argue that the presence of phenomenological content the fine-grainedness of which exceeds our descriptive and conceptual capacities is better accounted for by the latter hypothesis: experiencing natural beauty amounts to experiencing divine attributes. We conclude that the argument's theological premise is tenable and, having previously argued for the empirical premise (Porcher & De Luca-Noronha, 2021), we conclude that awe at natural beauty is best explained by the existence of God. (shrink)

We intend to analyze the plausibility of the two kind of ethical justifications that are most commonly used in order to defend the concept of an “intellectual property” of copyrights. Firstly, we will examine justifications of property based on natural law, like the one originally provided by John Locke. We will argue, with the help of authors like Lysander Spooner, that the same arguments that Locke uses for property in general are entirely applicable to intellectual property, although this is certainly (...) a peculiar kind of property. Secondly, we will examine whether or not we can apply to intellectual property the same two arguments that Utilitarian authors use for justifying property in general: the “tragedy of the commons” argument and the scarcity argument. We will claim that the first one is fully pertinent here, and that the second one is not: but this is a problem of that kind of justification of property in general, and not a problem of intellectual property as such. (shrink)

Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an (...) analogy between art and creation, we propose that aesthetic appreciation of nature may provide theists with a unique phenomenological insight into God's creative intentions, which are embodied in the physical beauty of creation. We suggest two directions in which this way of looking at the natural world can be fleshed out: in a spontaneous way, that does not take into account background information, and with the help of science. (shrink)

Este trabajo retoma las categorías que trabaja Kant en función de la emisión de juicios con respecto al gusto y la estética. Para ello, es necesario que se considere el método que se configura a partir de la sistematización de las cosas y los fenómenos que intervienen para obtener su constitución. Asimismo, todo ello está orientado a precisar el concepto de estética, para que después se comprendan los tipos de juicios que se derivan de las facultades cognitivas, como los juicios (...) analíticos y sintéticos, los juicios a priori y a posteriori, los juicios determinantes y reflexionantes, los juicios estéticos en el Arte y los juicios teleológicos. (shrink)

Kant’s critical philosophy represents a rudimentary existentialism, or a proto-existentialism, in the following respects: He emphasizes human finitude, limits our knowledge, and argues that human consciousness is characterized by mineness (Jemeinigkeit). He introduces the influential concept of autonomy, something that lead to controversies about constructivism and anti-realism in meta-ethics and anticipated problems concerning decisionism in Existentialism. Kant makes human freedom the central philosophical issue, arguing (in the incorporation thesis) that freedom is inescapable for human agents. He even holds that awareness (...) of freedom leads to anxiety (as opposed to fear), and that anxiety precedes the fall into evil. In the doctrine of radical evil, he argues that human agents are always already suffering from self-deception because of this fall. In order to overcome self-deception and evil, Kant proscribes a radical self-choice in which the agent takes over himself and society by thinking independently and consistently. However, this is not only a moral issue for Kant but also something that concerns religious faith and hope, since Kant argues that we need religion to overcome not only moral evil but also despair. Although he criticizes traditional natural theology, Kant develops a practical (moral) interpretation of religion that anticipates religious Existentialism. In this context, he developed an influential critique of philosophical theodicies and a notion of the hiddenness of God that emphasizes the importance and inscrutability of evil. By doing this, and by introducing philosophy of religion and philosophical anthropology as new disciplines, Kant prepared the ground for Existentialism. (shrink)

Textos de Miguel de Unamuno de sus libros, comentados.

In this paper, I explore Unamuno’s narrative fictions as thought experiments about self and emotion. I begin by developing a notion of thought experiment consequent with his understanding of philosophy as a form of literature. Next, I focus on the philosophy of the emotions implicit in his major essay Del Sentimiento trágico de la vida. The third section offers a case study in the form of envy in the novel Abel Sánchez. The final section addresses different forms of knowledge about (...) the emotions conveyed by Unamuno’s fictional works. (shrink)

In juxtaposition with the myth and tragedy of Ovid’s Medea, this paper investigates the possibility within the Kantian conception of agency of understanding moral evil as acting against one’s better judgment. It defends the thesis that in Kant self-deception, i. e. the intentional untruthfulness to oneself, provides the fundamental structure for choosing against the moral law. I argue that, as Kant’s thought progresses, self-deception slowly proceeds to become the paradigmatic case of moral evil. This is discussed with regard to two (...) important topics in his later moral philosophy: the doctrine of radical evil and the crucial role of the duty of truthfulness in ethics. The inquiry into Kant’s theory of conscience unfolds both against this theoretical background and in light of its historical roots in the polemic against casuistry and probabilism. This contribution closes with a brief look at the tools Kant implements to counter this tendency to self-deception in moral judgment and particularly at the role casuistry plays within his conception of moral education. (shrink)

El objetivo de este artículo es clarificar la noción de «vida auténtica» tal y como es descrita por Joan Roura-Parella en su última obra Tema y variaciones de la personalidad (1950). Por «vida auténtica» se entiende una vida autogobernada, que permite al individuo realizar su propia singularidad y, por tanto, preservar su autonomía y dignidad como persona. Una vida dominada por factores ajenos al propio individuo, sean cuales sean éstos, es una vida alienada, que no permite el desarrollo del individuo (...) en tanto la persona que es. Se señala la relevancia filosófica de la propuesta de Roura-Parella, que es la de ofrecer una justificación no-evidencial para una forma de vida cristiana, agapística. De acuerdo con Roura-Parella, una forma de vida basada en la entrega amorosa para con el prójimo está justificada en tanto que ésta es el resultado último de nuestra propia condición natural, constituyendo así un acto de afirmación personal y siendo, por tanto, condición necesaria para gozar de una vida auténtica — «la vida alcanza su hondo sentido al salirse de sí misma para darse a los demás» (Roura-Parella, Tema y variaciones de la personalidad, 1950, p. 229). Se señalan las diferencias y semejanzas de la propuesta de Roura-Parella con respecto a las de Miguel de Unamuno y Joaquim Xirau, autores que fueron cercanos a Roura-Parella y quienes, aunque partiendo de razonamientos distintos a los de Roura-Parella, también concibieron la entrega amorosa para con el prójimo como un acto de afirmación personal. (shrink)

Necessity can be ascribed not only to propositions, but also to feelings. In the Critique of Judgment (KdU), Immanuel Kant argues that a feeling of beauty is the necessary satisfaction instantiated by the ‘free play’ of the cognitive faculties, which provides the grounds for a judgment of taste (KdU 5:196, 217-19). In contradistinction to the theoretical necessity of the Critique of Pure Reason and the moral necessity of the Critique of Practical Reason, the necessity assigned to a judgment of (...) taste is exemplary necessity (KdU 5:237). Necessity can also be assigned by employing the de re/de dicto distinction, namely, by ascribing entailments of what must necessarily hold to either a thing (de re) or to a proposition (de dicto). Although Kant does not use the distinction in any of the three Critiques, this omission has not prevented Kant scholars from applying the distinction in their analyses of the first two Critiques. In this paper, I examine the role that modality plays in Kant’s third Critique and I attempt to bring the de re/de dicto distinction to bear on Kant’s famous aesthetic theory. Ultimately, I perform a retrospective classification of the modality of taste by arguing that because a judgment of taste is not a statement about an objective fact, a judgment of ‘x is beautiful’ can only be read as de dicto necessary. (shrink)

My observations here are meant to address a current lacuna in discussions of Kant's aesthetics, namely the beauty of poetry. There are, I admit, numerous treatments of poetry considered in the light of Kant's aesthetic theory, but what may not be noticed is that in discussions of poetry and Kant's aesthetics, the topic of poetic beauty only rarely comes up. This virtual silence on the beauty of poetry is surprising, given that the beautiful is obviously one of (...) the two foundational aesthetic categories in Kant's aesthetics. This silence stands out all the more given that Kant himself explicitly mentions that poems can be beautiful and furthermore declares poetry to be the highest form of fine art. Why, then, is the beauty of poetry almost never discussed in relation to Kant's aesthetics? Ultimately, I will be arguing that this silence on the beauty of poetry is a motivated one, albeit an unintentionally motivated one, namely because Kant's conception of free beauty militates against its being applied to poetry. In other words, this lacuna in discussions of Kant's aesthetics rests on a lacuna in the field of products of fine art to which the Kantian conception of free beauty can be applied. It seems that this lacuna has been overlooked in the literature principally because Kant himself overlooks it; in addition, interpreters of Kant may well independently overlook it for the same reasons that Kant apparently did. Johann Gottfried Karl Christian Kiesewetter's book, Immanuel Kant's Critik der Urtheilskraft für Uneingeweihte (1804), serves to bring the discussion into higher focus. (shrink)

El objetivo de este artículo es clarificar la noción de «vida auténtica» tal y como es descrita por Joan Roura-Parella en su última obra Tema y variaciones de la personalidad (1950). Por «vida auténtica» se entiende una vida autogobernada, que permite al individuo realizar su propia singularidad y, por tanto, preservar su autonomía y dignidad como persona. Una vida dominada por factores ajenos al propio individuo, sean cuales sean éstos, es una vida alienada, que no permite el desarrollo del individuo (...) en tanto la persona que es. Se señala la relevancia filosófica de la propuesta de Roura-Parella, que es la de ofrecer una justificación no-evidencial para una forma de vida cristiana, agapística. De acuerdo con Roura-Parella, una forma de vida basada en la entrega amorosa para con el prójimo está justificada en tanto que ésta es el resultado último de nuestra propia condición natural, constituyendo así un acto de afirmación personal y siendo, por tanto, condición necesaria para gozar de una vida auténtica — «la vida alcanza su hondo sentido al salirse de sí misma para darse a los demás» (Roura-Parella, Tema y variaciones de la personalidad, 1950, p. 229). Se señalan las diferencias y semejanzas de la propuesta de Roura-Parella con respecto a las de Miguel de Unamuno y Joaquim Xirau, autores que fueron cercanos a Roura-Parella y quienes, aunque partiendo de razonamientos distintos a los de Roura-Parella, también concibieron la entrega amorosa para con el prójimo como un acto de afirmación personal. (shrink)

A partir de la tesis del filósofo español Miguel de Unamuno (1864-1936), según la cual el extremo occidental — Portugal — y el extremo oriental — India — se dieron las manos espirituales por vía de la comprensión de la vanidad del mundo (vanitas), presentada en su obra Por tierras de Portugal y España (1911), nos proponemos poner en diálogo las visiones del mundo barroco occidental y del mundo budista oriental sobre la vanidad y la muerte. En este sentido, (...) nuestra reflexión se centrará en el pensamiento del P. António Vieira, como ejemplo capital del pensamiento barroco portugués, y en el Sermón de Benares, como texto fundador del budismo. (shrink)

When Kant begins his judgements of beauty in several step eventually, we reach a nexus to which taste and a certain subjectivity is taken into account. But at the end of the day we ask ourselves why is it beautiful? There are certain objects such as tragic poems and video games that are beautiful deemed beautiful. In this essay I will explore the tension created by Kant’s judgements of beauty and the beauty of tragedy through the medium (...) of poetry and video games. Mary Mothersill’s (2004) Beauty and the Critics Judgment: Remapping Aesthetics article brings together how word itself authorizes the notion of beauty from which Kant’s own struggle with this tension is further unresolved. This important development is brought into the forefront when we treat art as an epistemic experience much like how John Dewey (1934) wrote in his book Art as Experience. By framing this with Georg Trakl’s poem Grodek and Hideo Kojima’s video game Death Stranding, we see that Kant’s judgments show an understanding of the beauty of tragedy. (shrink)

Mediante una investigación teórica y de trabajo de campo en relación a la adaptación de la titulación de arquitectura al EEES y con el objetivo de hacer efectivo un despliegue gradual del desarrollo de las competencias del submódulo de dibujo, se exponen los resultados de la coordinación entre asignaturas y una selección crítica y comparativa de actividades de aprendizaje. Se indaga además en la dispar distribución de las materias de dibujo de la adaptación al plan de bolonia, concluyendo con una (...) propuesta de despliegue independiente y mejorada del submódulo desvinculado de las materias que no le son afines. (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

It has been insufficiently remarked that Murdoch deems “Kant’s ethical theory” to be “one of the most beautiful and exciting things in the whole of philosophy” in her 1959 essay “The Sublime and the Good”. Murdoch specifically has in mind the connection between Kant’s ethics and his theory of the sublime, which runs via the moral feeling of respect (Achtung). The chapter examines Murdoch’s interest in Kant on this point as a way to tease out the range of issues that (...) complicate Kant’s significance for the development of Murdoch’s distinctive conception of ethics as it is articulated in _The Sovereignty of Good_ and earlier essays. It focuses on her particular concerns about the moral dangers of consolation, and why this led her to propose reworking the Kantian theory of the sublime as a theory of art, and specifically of tragedy. (shrink)

The Pythagorean tradition dominates the understanding of beauty up until the end of the 18th Century. According to this tradition, the experience of beauty is stimulated by certain relations perceived to be between an object/construct's elements. As such, the object of the experience of beauty is indeterminate: it has neither a determinate perceptual analogue (one cannot simply identify beauty as you can a straight line or a particular shape) nor a determinate concept (there are no necessary (...) and sufficient conditions for beauty at the semantic level). By the 13th Century in the West, the pleasure experienced in beauty is characterized as disinterested. Yet, on the basis that all cultural manifestations of the pythagorean theory of beauty recognize that judgments of beauty are genuine judgments, we would want to say that judgments of beauty are lawful. In addition, from ancient times, up until after Kant, philosophers of beauty within this tradition recognize two kinds of beauty: a universal, unchanging beauty coexisting with a relative, dynamic beauty. These two kinds of beauty and the tensions discussed above, are reconciled and dissolved respectively, according to the metaphysical/religious commitments of the particular author. As yet, however, these features of beauty have not been reconciled within a physicalist worldview. This is what I set out to do. (shrink)

In this paper I defend two closely related claims. The first claim, to which the first section of the paper is devoted, is that for Kant taste is a sort of cognition, that is, a form of awareness of reality for which questions of justification are appropriate. Nevertheless, In our appreciation of natural beauty we are aware of the suitability of appearances for inclusion in a rational system, albeit in a way that is subject to important limitations in comparison (...) with scientific cognition. In the second section of the paper, I will use this reading of Kant’s theory of taste to throw new light on Kant’s account of genius later in the “Critique of Aesthetic Judgment.”. (shrink)

This book is the result of the last few years of study by the research group of the San Dámaso University ‘Thinking a University for the 21st century’, which had already published a book with the same title in this publishing house. This new work brings together different experts on the Spanish university and Spanish philosophy in the 20th century. Firstly, this work offers a look at the history of the university in our country from the Renaissance to the present (...) day. Secondly, it presents the ideas on the nature and mission of the university institution contributed by several of the most important Spanish thinkers of the last century. The book concentrates on authors who have been somewhat neglected in this respect, despite their generally substantial contributions to this field of study. Thus, here we are provided with studies that explore the ideas on the university of Miguel de Unamuno, Manuel García Morente, María Zambrano, Fernando Rielo, Pedro Laín Entralgo, Julián Marías and Antonio Millán-Puelles. We believe that the compilation here of their thought provides a rich and inspiring reflection for the university of the 21st century. (shrink)

I offer an interpretation of the puzzle posed by Greenberg’s failure to come to terms with the explosion of postmodernist experimentation in the 1960’s. Greenberg, one of the most influential critics of the immediately preceding period and a strong supporter of New York abstract expressionism and color field painting, is indelibly associated with modernist schools of painting. His short essay, “Modernist Painting”, valorized precisely these movements and was a tour de force catapulting Greenberg into critic superstar status; it is still (...) one of the central documents in debates about modernism. Because Greenberg there makes references to Kant’s aesthetics in identifying the virtues of modernism his account is usually interpreted in terms of the formalism of the period and Kant’s analytic of the beautiful. This offers a reading of Greenberg as a formalist and as identifying modernism with a concern for the formal properties of art, the flatness of the picture frame and the formal relations between the aesthetic properties. Greenberg was also celebrated as having a legendary acuteness of aesthetic appreciation—a critical eye penetrating immediately to a work’s aesthetic depth. (shrink)

Within dramatherapy and psychodrama, the term ‘de-roling’ indicates a set of activities that assist the subjects of therapy in ‘disrobing’ themselves from their fictional characters. Starting from the psychological needs and the therapeutic goals that ‘de-roling’ techniques address in dramatherapy and psychodrama, this text provides a broader understanding of procedures and exercises that define and ease transitional experiences across cultural practices such as religious rituals and spatial design. After this introductory section, we propose a tentative answer as to why (...) game studies and virtual world research largely ignored processes of ‘roling’ and ‘de-roling’ that separate the lived experience of role-play from our everyday sense of the self. The concluding sections argue that de-roling techniques are likely to become more relevant, both academically and in terms of their practical applications, with the growing diffusion of virtual technologies in social practices. The relationships we can establish with ourselves and with our surroundings in digital virtual worlds are, we argue, only partially comparable with similar occurrences in pre-digital practices of subjectification. We propose a perspective according to which the accessibility and immersive phenomenological richness of virtual reality technologies are likely to exacerbate the potentially dissociative effects of virtual reality applications. This text constitutes an initial step towards framing specific socio-technical concerns and starting a timely conversation that binds together dramatherapy, psychodrama, game studies, and the design of digital virtual worlds. (shrink)

In the framework of his transcendental philosophy, Kant strictly separates morality from aesthetics. The pleasure in the good and the pleasure in the beautiful are two different kinds of pleasure (Arten des Wohlgefallens). As a consequence, a moral act as such cannot be beautiful. It is only in a second step that Kant indicates possible connections, in his comments on aesthetic ideas, symbolism, the sensus communis, and education in general. In Confucius on the other hand we do not find such (...) a radical separation between beauty and morality. Ritual is a source of both. Moral acts can be beautiful. One might wonder whether Confucius missed a point, or whether Kant overdid the separation. Or is it that their conceptions are so fundamentally different that they cannot easily be translated and identified across different philosophical traditions? (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their (...) account of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

In the texts that presented the theoretical assumptions of the Parc de La Villette, Bernard Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Jacques Derrida, prove that (...) terms such as disruption, dissociation, disfunction, disjunctions and dispersion not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette, 1985, in which the architect’s design drawings and texts explaining his concepts related to the Park de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Peter Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus a thesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the stratus of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. (shrink)

Recensie van: Christoph Menke, Tmgodie im Sittlichen. Gerechtigkeit und Freiheit nach Hegel. Frankfurt: Suhrkamp, 1996. Paul Cobben, Postdialectische zedelijkheid. Ontwerp voor een Hegeliaans antwoord op Heidegger, Habermas, Derrida en Levinas. Kampen: Kok Agora, 1996. Hegels rechtsfilosofie speelt in de hedendaagse discussie tussen communitaristen en liberalen een belangrijke rol. Hij wordt door sommigen beschouwd als iemand die de vrijheid van het individu het primaat geeft - een echte liberaal dus -, dan wel als iemand die het individu ondergeschikt maakt aan de (...) gemeenschap, omdat indivi- dualiteit slechts binnen een gemeenschap kan ontstaan. Deze discussie vormt ook een deel van de achtergrond van Tragodie im Sittlichen en Postdialectische zedelijk- heid. Christoph Menke en Paul Cobben betogen beiden dat Hegel weliswaar te- kortgeschoten is in het doordenken van (aspecten van) de verhouding tussen indivi- du en gemeenschap, maar dat reeds in zijn eigen werk aanwijzingen te vinden zijn voor een correctie daarvan. Menke richt zich daarbij nadrukkelijker op de kant van het individu, Cobben meer op een herschrijving van de inrichting van de gemeen- schap. (shrink)

(Spanish) RESUMEN: La libertad absoluta postulada por Viktor Emil Frankl y Jean-Paul Sartre, la Shoah y la creencia en un dios omnipotente, bueno y justo parecen contradecirse. La pregunta por el sentido del sufrimiento de las víctimas del Holocausto (la verdadera catástrofe, el mayor crimen contra la humanidad), simbolizado por Auschwitz, y como punto de inflexión en la historia, es terriblemente dolorosa y parece no tener una respuesta filosófica ni teológica. A mi juicio, es importantísimo distinguir entre las víctimas inocentes (...) de la Shoah que perecieron y las víctimas inocentes que sufrieron un verdadero infierno y perdieron a sus seres queridos, pero que lograron sobrevivir. Ambas son víctimas, por supuesto, pero así como encontrarle un posible sentido al sufrimiento de las víctimas masacradas y gaseadas podría suponer un insulto a su sufrimiento y agonía –en especial, al horror que sufrieron los niños–, el horrible sufrimiento de los supervivientes pudo dar, tal vez, de alguna manera, un sentido a sus vidas después de la liberación de los campos de concentración y exterminio, ya fuera como voz, como protesta o como simple supervivencia. Frankl apuesta por un sentido último (que abraza el sentido del sufrimiento de las víctimas), y Sartre, aunque parezca no apostar por sentido alguno, volcó su vida al compromiso político después de la Segunda Guerra Mundial, y ello parece vislumbrar una minúscula pizca de sentido después de la barbarie. La filosofía de Frankl es un sí a la vida incluso en las situaciones más extremas, un grito casi nietzscheano que exalta el valor de la vida más allá de cualquier sufrimiento. Frankl, padre de la logoterapia y superviviente del Holocausto, abre una puerta a Dios al hablar de un dios inconsciente, una dimensión suprahumana y una fe incondicional, y define la religión como espiritualidad y como la búsqueda del hombre por el sentido último. Según Frankl, la libertad no se contradice con Dios, y la religión existe no a raíz de la barbarie, sino a pesar de la barbarie. El existencialismo sartreano es una filosofía de la libertad radical y de la responsabilidad. El hombre está condenado a ser libre. El ser humano es un ser en el que la existencia precede a la esencia. Somos totalmente responsables de lo que somos. Sartre afirma que la libertad humana es incompatible con Dios. En un mundo sin Dios, la moral la construyen los hombres, con sus propias decisiones y sus acciones, y la existencia y el sufrimiento de las víctimas no tienen sentido alguno. Sartre define al hombre como libertad, responsabilidad, angustia y contingencia. Frankl define al hombre como libertad, responsabilidad, espiritualidad y búsqueda de sentido. Con esta tesis me propongo entrar en la resbaladiza dimensión del dolor, la desesperación, el sentido y sinsentido del sufrimiento de las víctimas (teniendo presente los horrores de Auschwitz, que en teología y filosofía ha simbolizado desde la liberación de los campos la muerte de Dios y la muerte de la moral). Es verdad que no solo los hombres, mujeres y niños judíos fueron víctimas de la barbarie alemana, pero, como reza el mensaje de Elie Wiesel en la exposición permanente del Block 27 del Auschwitz-Birkeanu State Museum: "Not all victims were Jewish in this place, but all Jews were victims". La Shoah no es un episodio dentro de la Segunda Guerra Mundial, sino un punto de inflexión en la historia de la humanidad, y es una catástrofe que nos concierne a todos, hombres y mujeres judíos y no judíos, religiosos e irreligiosos, creyentes e increyentes, como seres libres, responsables y morales que somos –o que deberíamos ser. Muchas de las víctimas del Holocausto, en medio de la desesperación, entraron en las cámaras de gas orando, aferrándose a la esperanza de que ese final espeluznante no era un punto final. Con esta tesis no me propongo de ninguna manera responder a la eterna pregunta de si Dios existe o no, sino que propongo interpretar ese grito hacia Dios como un desesperado anhelo de esperanza. También me propongo encontrar una coherencia en las posturas de estos dos grandes pensadores para quienes la libertad y la responsabilidad definen al hombre: Frankl (quien apuesta por una dimensión suprahumana donde existe un sentido último en el que el sufrimiento de las víctimas tiene que tener algún sentido, aunque ese sentido sea completamente incomprensible en la dimensión humana) y Sartre (el existencialista ateo por excelencia, para quien el mundo, la existencia y el sufrimiento son absolutamente contingentes). En el primer capítulo expongo la logoterapia y el existencialismo sartreano: describo las tres dimensiones del hombre y las tres búsquedas de sentido propuestas por Frankl, y expongo las cinco consecuencias de "l'existence précède l'essence", centrándome en la libertad y la responsabilidad, y hablo del suicidio. El segundo capítulo está dedicado al dios inconsciente frankleano, la dimensión suprahumana, la búsqueda por el sentido último y la fe incondicional. En el tercer capítulo ilustro la libertad sin Dios sartreana, la ontología sartreana, el ateísmo sartreano y el humanismo sartreano, y hablo sobre la responsabilidad, la mauvaise foi, la contingencia, la situation y la angustia. El cuarto capítulo es necesariamente histórico (sin dejar de ser filosófico): me pregunto por la muerte de Dios después de Auschwitz, argumento y defiendo la unicidad del Holocausto (la Shoah es un punto de inflexión en la historia de la humanidad), describo las masacres antes de los campos de exterminio (Einsatzgruppen, Ordnungspolizei y Wehrmacht), el gigantesco complejo de Auschwitz (Stammlager, Auschwitz-Birkenau y Monowitz-Buna), reflexiono sobre Dios y el mal (centrándome en los niños de Auschwitz), describo los días de Frankl en Auschwitz, hablo de Dios como esperanza, de la inmortalidad y la escatología, de la crueldad de Dios, de la relación entre el cristianismo y el antisemitismo, del islam y el antisemitismo, critico el silencio de Dios, hablo de la muerte de Dios y del juicio contra Dios. En el quinto capítulo expongo la moral frankleana (una moral que atañe al hombre y no a Dios), basándome en su teoría del amor y en su única obra de teatro (Synchronisation in Binkerwald), y la moral sartreana (una moral que atañe a una humanidad sin Dios), recordando a Dostoyevsky, analizando la famosa cita de Garcin en Huis clos "L'enfer, c'est les Autres", criticando el marxismo de Sartre y cuestionando (con la mirada de Frankl y Sartre) el verso de Brecht "Erst kommt das Fressen, dann kommt die Moral"; al final del capítulo incluyo una reflexión propia y las críticas frankleana y sartreana sobre la impunidad de los verdugos y colaboradores después del Holocausto (con el permiso de Dios). Después de la Conclusión, añado un Apéndice sobre las vidas de Frankl y Sartre, para poder entender mejor su obra. PALABRAS CLAVE: logoterapia, existencialismo sartreano, búsqueda de sentido, libertad, responsabilidad, moral, angustia, sufrimiento, supervivientes, víctimas, contingencia, espiritualidad, religión, Dios, esperanza, antisemitismo, culpa, Auschwitz, Holocausto, Shoah. /// (English) ABSTRACT: The absolute freedom defended by Viktor Emil Frankl and Jean-Paul Sartre, the Shoah and the belief in an omnipotent, benevolent and just God seem to contradict each other. The question of the meaning of the victims' suffering of the Holocaust (the true catastrophe, the biggest crime against humanity), simbolised by Auschwitz and as a turning point in History, is terribly painful and doesn't seem to have an answer. In my opinion, it's crucial to distinguish between the innocent victims of the Shoah who perished and the innocent victims who sufferend a real hell and lost their loved ones, but managed to survive. Both are victims, of course, but just as finding a possible meaning to the suffering of the massacred and gassed victims could result in an insult to their suffering and agony –especially to the horror that the children suffered– the gigantic suffering of the survivors could, maybe, somehow, give a meaning to their lives after the liberation of the concentration and extermination camps, either as a voice, as a protest, or as a simple survival. Frankl believes in an ultimate meaning (that embraces the meaning of the victims' suffering), and Sartre, even if it appears not to embrace any meaning, turned his life to political engagement after War World II, and that attitude seems to give a tiny glimpse of meaning after the barbarity. Frankl's philosophy says yes to life even in the most extreme situations, and it's a Nietzschean-like scream that exalts the value of life beyond any monstrous suffering. Frankl, the father of logotherapy and a Holocaust survivor, opens a door to God when he talks about an unconscious God, a supra-human dimension and an unconditional faith; he defines religion as spirituality and as man's search for ultimate meaning. According to Frankl, freedom is not contradictory with God, and religion exists not because of the barbarity but in spite of the barbarity. Sartrean existentialism is a philosophy of radical freedom and responsibility. Men are condemned to be free. We are beings where the existence precedes the essence. We are completely responsible of what we are. Sartre argues that human freedom is incompatible with God. In a godless world, morality is constructed by people, with their own choices and actions, and human existence and the suffering of the victims don't have any meaning. Sartre defines man as freedom, responsibility, Angst and contingency. Frankl defines man as freedom, responsibility, spirituality and search for meaning. With this dissertation I attempt to enter in the slippery dimension of the pain, despair, meaning and meaninglessness of the victims' suffering (having in mind the horrors of Auschwitz, that in theology and in philosophy have simbolised, since the liberation of the camps, the death of God and the death of morality). It's true that not only Jewish men, women and children were victims of the German barbarity, but, as Elie Wiesel's message from the permanent exhibition from Block 27 of the Auschwitz-Birkeanu State Museum reads: "Not all victims were Jewish in this place, but all Jews were victims". The Shoah is not an episode inside War World II, but a turning point in the history of humankind, and a catastrophe that embraces us all, Jewish and not not Jewish men and women, religious and not religious, believers and not believers, as the free, responsible and moral beings that we all are –or that we should be. A lot of the victims, in the midst of their desperation, entered into the gas chambers praying, holding to the hope that their horrifying end was not the ultimate end. With this dissertation I do not attempt to answer the eternal question of the existence of God, rather, I will try to interpret that scream to God as a longing for hope. I also intend to find a coherence between the thought of these two great thinkers for whom freedom and responsibilty define man: Frankl (who argues that there is a suprahuman dimension where an ultimate meaning exists and where the victims' suffering has to have a meaning, even if this meaning is completely incomprehensible in the human dimension) and Sartre (the atheist existentialist par excellence, for whom the world, human existence and suffering are absolutely contingent). In the first chapter I expose logotherapy and Sartrean existentialism: I describe the three dimensions of man, the three searches for meaning, the five consequences of "l'existence précède l'essence" and I speak about suicide. The second chapter delves into the unconscious God, the supra-human dimension, the ultimate meaning and the unconditional faith. In the third chapter I expose the freedom without God defended by Sartre, Sartre's ontology, Sartre's atheism, Sartre's humanism, and his ideas about responsibility, mauvaise foi, contingency, situation, and Angst. The fourth chapter is necessarily historical (while being philosophical too): I wonder about the death of God after Auschwitz, I argue and defend the uniqueness of the Holocaust (the Shoah is a turning point in the history of humankind), I describe the massacres before the extermination camps (Einsatzgruppen, Ordnungspolizei y Wehrmacht), the gigantic Auschwitz camp complex (Stammlager, Auschwitz-Birkenau y Monowitz-Buna), I reflect on God and evil (focusing on the children of Auschwitz), I describe Frankl's days in Auschwitz, I talk about God as hope, about immortality and escathology, I discuss God's cruelty, the relationship between Christianity and antisemitism and Islam and antisemitism, I question the silence of God, and I talk about the death of God and about the trial against God. In the fifth chapter I talk about the Franklean morality (a morality that concerns man and not God), on the basis of his love theory and his only work of theater (Synchronisation in Binkerwald), and the Sartrean morality (a morality that concerns a humanity without God), remembering Dostoyevsky, analysing Garcin's famous quote in Huis clos "L'enfer, c'est les Autres", crticizing Sartre's marxism and questioning (with Frankl's and Sartre's eyes) Brecht's verse "Erst kommt das Fressen, dann kommt die Moral"; at the end of the chapter I include my own reflection (and Frankl and Sartre's critique) about the impunity of the executioners and collaborators after the Holocaust (with God's permission). After the Conclusion, I add an Appendix about the lives of Frankl and Sartre, which helps understanding better their work. KEYWORDS: logotherapy, existentialism, search for meaning, freedom, responsibility, morality, Angst, suffering, survivors, victims, contingency, spirituality, religion, God, hope, antisemitism, guilt, Auschwitz, Holocaust, Shoah. (shrink)

A typical claim in anti-representationalist approaches to cognition such as ecological psychology or radical embodied cognitive science is that ecological information is sufficient for guiding behavior. According to this view, affordances are immediately perceptually available to the agent (in the so-called “ambient energy array”), so sensory data does not require much further inner processing. As a consequence, mental representations are explanatorily idle: perception is immediate and direct. Here we offer one way to formalize this direct-perception claim and identify some important (...) limits to it. We argue that the claim should be read as saying that successful behavior just implies picking out affordance-related information from the ambient energy array. By relying on the Partial Information Decomposition framework, and more concretely on its development of the notion of synergy, we show that in multimodal perception, where various energy arrays carry affordance-related information, the “just pick out affordance-related information” approach is very inefficient, as it is bound to miss all synergistic components. Efficient multimodal information combination requires transmitting sensory-specific (and not affordance-specific) information to wherever it is that the various information streams are combined. The upshot is that some amount of computation is necessary for efficient affordance reconstruction. (shrink)

This paper examines the relationships between Romantic painting, poetry, and philosophy, historically tracing the circulation of images used to communicate sublimity (for example, images of ruins, storms, volcanoes, and so on). Kant's "Critique of Judgment" deployed the same vocabulary of images that appear in Coleridge and Shelly, in Church and in Turner. The discussion thereby places Kant's 3rd Critique within its cultural context. But it also reveals the massive shift from Enlightenment rationalism to 19th century historicism that Romanticism enacted, and (...) Kant's resistance to, and unwilling participation, in that shift. For the nostalgic logic of ruins, and the irruption of geological time, both of which were conceived and negotiated through sublimity, cannot be assimilated within Kant's philosophy. The treatment of the sublime in the "Critique of Judgment" represents Kant's philosophy straining at its own limits in the attempt to develop a philosophy of history and to articulate an historicized philosophical anthropology. Therefore, read through art history, Kant's 3rd. Critique represents a vital transition between Enlightenment rationalism/beauty and Romantic historicism/sublimity, along with the work of Beethoven, Goya, and the Marquis de Sade. (shrink)

En 1968 Raquel Carson comenzaba una revolución en el pensamiento, quizá una de las de mayor peso en la actualidad. En su libro "La primavera silenciosa" acusaba del deterioro ambiental al poder ilimitado del ser humano. La creencia surgida en la modernidad de que todo lo que el hombre decidía era en sí mismo lo mejor por haber sido fruto de una voluntad libérrima, daba primacía y legitimidad absoluta a su acción sobre la naturaleza. Surgieron con gran fuerza numerosos grupos (...) ecologistas que adoptaron un pensamiento que responde al nombre de "ecología profunda" o "Deep Ecology" descrito por primera vez por Arme Naess en un artículo publicado por la revista Inquiry y titulado "The Shallow and the Deep, Long Range Ecology Movement". Los principios que proponía este movimiento (Naess 1984) pueden ser resumidos en ocho grandes puntos: 1) la vida de los seres no humanos es un valor en sí: 2) la riqueza y la diversidad de estas formas de vida son también valores en sí; 3) los seres humanos no pueden intervenir de manera destructiva en la vida; 4) a este respecto, la intervención humana actual es eminentemente excesiva; 5) por consiguiente, las reglas de juego deben ser radicalmente modificadas; 6) esta modificación radical debe hacerse tanto a nivel de las estructuras económicas como de las estructuras ideológicas y culturales; 7) a nivel ideológico, el cambio principal consiste en apreciar más la calidad de la vida que el goce de los bienes materiales; 8) las personas que acepten estos principios tienen la obligación de contribuir, directa o indirectamente a la realización de los cambios fundamentales que aquellos implican. (shrink)