U radu se sagledavaju Foucaultove analize problema državne i društvene moći iz sredine 1970-ih u kontekstu političkih i društvenih okolnosti u Francuskoj nakon zbivanja u svibnju 1968. Nasuprot ...postavci o isključivo internom metodološkom sazrijevanju, u radu se zagovara teza da su te analize mnogo više produkt svojeg doba nego što se može činiti te da su zapravo izrasle iz postavke o post-revolucionarnoj epohi u kojoj su moguće isključivo partikularne politike identiteta što će u drugoj polovici 1970-ih zagovarati Foucault.
Apego al lugar en espacios heterotópicos Laura Valdés González; Amanda Melissa Casillas Zapata
Pensum (Córdoba),
12/2023, Letnik:
9, Številka:
11
Journal Article
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El vínculo emocional entre las personas y los lugares que habitan es crucial en el diseño, intervención y comprensión de espacios urbanos. El artículo busca captar las nociones de Foucault sobre la ...heterotopía como marco teórico para abordar el apego al lugar en la realidad material y simbólica de las ciudades postmodernas. Este artículo investiga las interconexiones teóricas y conceptuales entre las dimensiones del apego al lugar y las heterotopías y sus implicaciones a escala ciudad. El problema abordado se deriva de la escasa investigación sobre la construcción de apego al lugar en espacios heterotópicos. Se presenta la caracterización de un parque urbano de la ciudad de Monterrey como una heterotopía y las connotaciones para el estudio del apego al lugar en este entorno. Los resultados resaltan la importancia de un análisis desde heterotopías urbanas como estrategia para comprender el funcionamiento del apego al lugar en la complejidad de las ciudades postmodernas. Se proporciona una valiosa contribución en las consideraciones para estudiar el papel del apego al lugar como un fenómeno dinámico y multiescalar en la sociedad actual.
Prispevek prikazuje sodobne prostorske in socialne procese na avstrijskem Koroškem in analizira položaj slovenske manjšine v pogojih postmodernega družbenega stadija. Manjšina je družbeni kolektiv, ...ki se je skozi desetletja številčno zmanjševal zaradi asimilacije. To so sprožali tako namerni asimilacijski ukrepi na eni ter vrsta dejavnikov v družbenem okolju na drugi strani. Proučujemo, kako in v kakšni meri lahko značilnosti prostorskih struktur in življenjski slog ljudi v postmoderni družbi vplivajo na pripadnike manjšine.
U središtu je pozornosti članka prikazati odnos Matoševa modernog književnog opusa te njegov moderni medijski flanerizam nasuprot postmodernom intermedijskom književnom flaneriranju Branka Čegeca, ...oslanjajući se pritom na teorijska razmatranja Dubravke Oraić Tolić, Krešimira Nemeca, Igora Gajina te Gorana Galića. U članku se sažima povijest pojma flanera i flanerizma, s naglaskom na njegovu primjenu na Čegecov i Matošev opus. Budući da subjekt u Čegecovim poetskim tekstovima meandrira označiteljskim putanjama, vidjeti nam je kakva je njegova pozicija u odnosu spram subjekta u Matoševim tekstovima. Analiza potvrđuje kako se Čegec postmodernističkom aparaturom, uz dakako literarne odmake, oslanja na intermedijalne izvore i tragove kao i Matoš te mu na taj način šalje simbolični postmoderni odgovor.
This article explores the relationship between Matoš’s modern literary oeuvre and his modern media flâneurism with Branko Čegec’s postmodern intermedial literary flâneurism, by relying on the theoretical considerations of Dubravka Oraić Tolić, Krešimir Nemec, Igor Gajin and Goran Galić. The article provides an overview of the history of terms flaneur and flâneurism, with an emphasis on how they apply to Čegec’s and Matoš’s work. Since the subject in the poetry written by Čegec meanders along the signifier paths, it is necessary to determine its position in relation to the subject in Matoš’s texts. The analysis confirms that Čegec, like Matoš, is using the postmodernist apparatus, albeit with certain literary departures, to rely on intermedial sources and traces, and is thus giving a symbolic postmodern response to Matoš.
A través del análisis crítico de la teoría de la interpretación entendida como límite a los poderes de los últimos intérpretes de la Constitución, este trabajo intenta evidenciar la inexistencia, por ...una parte, de algunos de los más importantes baluartes sobre los que se funda el Estado constitucional moderno; por otra, la de la neutralidad argumentativa y de una razón pura. Por tanto, evidencia también la necesidad de que los juristas, recogiendo el espíritu de la crítica jurídica como instrumento de análisis para dignificar nuestra convivencia social, den sustento a un nuevo Estado constitucional basado en el verdadero respeto de la pluralidad y del principio democrático.
FRITJOF CAPRA Y LA TEORÍA SOCIAL Alexander Luis Ortiz Ocaña
Revista Logos ciencia & tecnología,
07/2017, Letnik:
9, Številka:
1
Journal Article
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Durante la ejecución del proyecto de investigación Modelo didáctico para la formación ética del estudiante de contaduría pública, desarrollado por el grupo UMBRALES, de la Universidad Cooperativa de ...Colombia, Santa Marta, Colombia, hicimos algunas reflexiones teóricas, ontológicas, epistemológicas y metodológicas acerca de la educación ética en las universidades. En este estudio ofrecimos una detallada valoración de las particularidades de la educación ética en los estudiantes de Contaduría, con una dimensión integradora, holística y comunicativa. Fue necesario caracterizar el proceso de educación de los valores desde una perspectiva ética, comunicativa e interdisciplinaria, y conceptualizarlos teniendo en cuenta un enfoque holístico y configuracional. Al explicar el proceso psicológico para la formación ética y axiológica y analizar el papel de las influencias intrínsecas y extrínsecas en dicho proceso, nos percatamos de la necesidad de hacer reflexiones ontológicas, epistemológicas y metodológicas, no sólo sobre el proceso de la formación ética, sino sobre el proceso de investigación sobre la formación ética contable.En este artículo se presenta una panorámica sobre los aportes de Capra a la ciencia postmoderna. Se analizan diversas concepciones epistemológicas desde la mirada de este eminente filósofo, científico y epistemólogo moderno. Especial atención tiene el positivismo de Augusto Comte y Emilio Durkheim, el estructuralismo de Saussure y Lévi-strauss y el materialismo dialéctico e histórico.
The article offers an interpretation of the dinosaur in the Moscow imagery of the late 20th century as an allegory of the state in which the Marxist-Leninist ideology found itself in those years: ...more and more inflated with rhetoric, while more and more devoid of contents. In V. Aksyonov's The Burn (1975-76), in the paintings of the duo Komar and Melamid (Ancestral Portraits, Bolsheviks Returning Home After a Demonstration, 1978-82), in D. Prigov's drawing Horror (1990s) and verses “For the Little George”, in V. Erofeyev's Russian Beauty (1990), and in V. Sorokin's Ice (2002), the prehistoric monster in its different inflections is the embodiment of a black humour, characterized by an ambiguity typical of both the postmodern parody described by L. Hutcheon and the grotesque realism analyzed by M. Bachtin. The artist's effort in becoming another to himself, simultaneously engaging his own culture and disengaging himself from it by way of a sharp irony, is portrayed in Prigov's Bestiary (1977-2004), where his colleagues are the more 'monstrous' the more they are 'geniuses'. The monster creates a tragicomic and destabilizing clash on different levels, thus prompting reflection about a tormented historical period and about Art's willy-nilly complicity in the rhetorical construction of the official discourses.
This article explores the relationship between Matoš’s modern literary oeuvre and his modern media flâneurism with Branko Čegec’s postmodern intermedial literary flâneurism, by relying on the ...theoretical considerations of Dubravka Oraić Tolić, Krešimir Nemec, Igor Gajin and Goran Galić. The article provides an overview of the history of terms flaneur and flâneurism, with an emphasis on how they apply to Čegec’s and Matoš’s work. Since the subject in the poetry written by Čegec meanders along the signifier paths, it is necessary to determine its position in relation to the subject in Matoš’s texts. The analysis confirms that Čegec, like Matoš, is using the postmodernist apparatus, albeit with certain literary departures, to rely on intermedial sources and traces, and is thus giving a symbolic postmodern response to Matoš.
Suvremena umjetnost izgubila je svoju likovnost, a ostala joj je samo vizualnost. S druge strane, prijelaz od likovne moderne ka nelikovnoj suvremenoj umjetnosti donio je i mnogo novosti; jedna od ...njih je tzv. ‘probijanje četvrtog zida’. Radi se o kazališnom (a zatim i filmskom) terminu koji označava trenutak kada se gledatelj na neki način interaktivno uključuje u predstavu, a likovi pokazuju svijest da su likovi u predstavi. Upravo će suvremena umjetnost istraživati postupke brisanja granica između umjetničkog i svakodnevnog čina, sugerirajući kako »sve je umjetnost« i »svaki čovjek je umjetnik«. Novo je doba donijelo otuđenost javnosti od znanosti i umjetnosti, ali i nova filozofska tumačenja medijskog krajolika i hiperrealnosti postmoderne. Hiperrealne postaju i digitalne igre, od kojih se neke temelje upravo na rušenju »četvrtog zida«. Zbunjene reakcije na tehniku rušenja »četvrtog zida« variraju u rasponu od verbalnih reakcija na performance, preko previše doslovnog shvaćanja filmova pa sve do tragičnih nesreća, čak i samoubojstava povezanih s određenim digitalnim igrama. To da stvarnost oponaša hiperstvarnost postalo je uobičajeno, ali otvorilo se i pitanje: može li suvremeni pojedinac s time izaći na kraj?
Modern art has lost its artistic character; only its visual aspect remains. On the other hand, the transition from modern fine arts towards non visual contemporary art has brought a great deal of novelties; one of these is “breaking the fourth wall”. This is a theatre (and film) term referring to moments when viewers become interactively involved in a play, and the characters become aware that they are characters in a play. Modern art has explored processes by which the border between artistic acts and everyday acts is erased, suggesting that “everything is art” and “every man is an artist”. The new era has caused the public to become alienated from science and the arts, but has also provided new philosophical interpretations of media landscapes and the hypperealism of the post-modern. Digital games are also becoming hyperrealistic, and some of these are founded on demolishing the “fourth wall”. Confused reactions to techniques of breaking the “fourth wall” vary from verbal reactions to a performance and excessively literal perceptions of film to tragic accidents or even suicides connected with particular digital games. Hyperreality mimicking reality has become commonplace, however the question arises: can the modern individual deal with this?
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