This article interrogates how both visual culture and queer futurity can be made visible in and through the Philippine archive as a case in point. It begins by problematizing a paradoxical specter of futurity that seems to haunt more the Global North. But despite such haunting, the Philippines in the Global South continues to have thin to nil (i.e., nearly absent) envisioning toward a queer futurity, for most Filipino LGBTQIA + scholars seem to still be engaged in recovering “lost histories” (...) from the archives and “thick descriptions” of the present, while focusing more on the textual than the visual. The article then proceeds to discuss mobilizing ekphrasis and representation as main conceptual tools in bridging the temporally opposite projects of queer archiving and queer futurity. It analyzes through ekphrastic re-reading the various LGBTQIA + representations from the Philippine archive – that is, a “palimpsestic site” of colonial confrontations, national (re)construction, and potentially global queer critique. These re-readings along the archival grain juxtapose the archival representations as historically authentic vis-à-vis their more present-day representations as visual proxies. Yet more crucially, the potency of these ekphrastic re-readings – in lieu of visually actual – lies in their capacity to reverberate queer possibilities, re-awakening them from their sleep within the archives, and thus re-mobilizing them toward becoming a useful part of academics, activists, and artists’ “shared arsenal” in re-envisioning and, hopefully in time, reifying such past possibilities into future queer actualities anew. (shrink)

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the (...) methodology developed by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

Neil Gorsuch lauds judges who purport to “apply the law as it is, focusing backward, not forward, and looking to text, structure, and history to decide what a reasonable reader at the time of the events in question would have understood the law to be . . . .” It’s hard to see how such a form of Originalism withstands scrutiny. -/- First, using “reasonable reader” understandings rather than speaker meaning turns language and law on their heads. Audiences effectively become (...) the speakers in ordinary speech (since reader or audience meaning prevails), and audiences (and thus the ruled) effectively become the rulers when interpreting law (since audiences’ meaning prevails). -/- Second, since laws look forward to govern conduct, how can best legal practices keep such a backward focus? -/- Third, words (however understood by others at the time “originally” uttered) may or may not (depending on speaker and not reader meaning) signify concepts whose meanings embrace change over time. For example, the word “planet” used by a speaker before the discovery of Uranus and Neptune may or may not include further planets depending upon what the speaker meant by “planet.” (The same applies to the inclusion or exclusion of Pluto had the speaker used the word “planet” after the discovery of Pluto but before its exclusion by current science.) Unlike the “reasonable” reader of Gorsuch’s Originalism as phrased above, speakers run the gamut from reasonable to unreasonable, from informed to uninformed, and from thoughtful to thoughtless. -/- Fourth, to the extent a judge is principally “constrained” by a text or texts (as he may determine), by dictionaries that he chooses, and by “history” as the judge understands it, isn’t judicial activism encouraged rather than restrained? Talk of a “reasonable” reader masks the fact that there can be multiple “reasonable” conclusions of what a reasonable or unreasonable speaker meant. Is a judge not therefore left to pick definitions and applications of terms that accord with the judge’s understandings of history, understandings that may well be colored by the judge’s politics and judicial philosophy? This applies to principles as well as labels for things. Principles are also subject to multiple frames, and their terms are subject to multiple definitions therefore raising the very same questions just raised above. -/- Finally, such Originalism doesn’t merely fail with legal texts. It also fails when applied to other texts (including sacred texts such as the Ten Commandments) and when used to interpret art (such as “Landscape with the Fall of Icarus” often attributed to Bruegel and which inspired such great ekphrasis as Auden’s “Musée Des Beaux Arts”). These further failures underscore the dysfunction of Originalism in Gorsuch's form noted above. -/- Keywords: Originalism, Neil Gorsuch, Text, Textualism, Scalia, Interpretation, Pragmatics, Speaker Meaning, Art, Painting, Bruegel, Auden, Ekphrasis, Icarus, Bible, Ten Commandments, Herod, Declaration of Independence, Abraham Lincoln. (shrink)

Entre el arte y la literatura se han generado múltiples reflexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y manifiestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la (...) imagen. En el seno de esta discusión, se quiere analizar el diálogo disciplinar entre la literatura y el arte que se da en torno a la figura del pintor post impresionista Paul Gauguin y el escritor Mario Vargas Llosa. Para ello, reflexionamos a partir de una de las obras fundamentales del pintor francés, que tiene su correspondencia y complementariedad en la obra literaria del escritor peruano. De esta manera, se presenta una revisión de una fuente literaria que propone no solo una alusión temática a la obra del pintor, sino que se enmarca bajo coordenadas estéticas, que superan los armazones de las teorías o historias meramente literarias. (shrink)

Through an analysis of Kierkegaard’s and Dostoevsky’s approaches to the theme of the death of Christ – one of the major leitmotifs in the debate of their contemporaries conveyed through theological and philosophical considerations, but also expressed in novels and in art – I show how the thinkers comprehended and articulated in their works the religious challenges awaiting the modern man.