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This essay analyzes the allegorical mode of the previously understudied poem by Robert Henryson, The Bludy Serk. In Serk, a knight saves a lady whom he loves from an evil giant, dying in the process. This story is then compared to the story of Christ's Passion, and the poem concludes by identifying the two stories as, in some sense, the same story. This narrative mode is best described using the concept of figura as understood by Erich Auerbach in his essay on the subject. Serk is the only poem in Henryson's corpus which seems to employ this manner of constructing its narrative(s) and is relatively unique among lyrical poems about Christ's Passion in the later Middle Ages. In this regard, it seems to be innovative, and merits future study by Henryson scholars and students of allegory alike. [ABSTRACT FROM AUTHOR]

Among idiomatic expressions, technolect finds its place in the daily interactions of Moroccans. Known for its technical, specialized, or scholarly nature, technolect can serve the function of shaping or reshaping our perceptions of the world around us. Through the use of figures of speech, such as metaphor or ellipsis, technolect enriches popular culture - represented here by idiomatic expressions - with lexical precision and a rich figurative field. In this way, technolect contributes to the construction of idiomatic expressions, moving beyond the often-restricted specialized sphere and integrating into popular linguistic productions. [ABSTRACT FROM AUTHOR]

En la enseñanza universitaria del dibujo de figura humana actual se utilizan metodologías de aprendizaje y trabajos de estudios heredados de la formación clásica. Sin embargo, éstas no siempre conectan con el estudiantado actual, que está sujeto a una realidad compleja fruto de la sobreestimulación producida por las redes sociales, que, a su vez, afecta a sus capacidades de concentración, gestión de la frustración y continuidad en el aprendizaje. Ante ello, el estudiantado puede encontrar dicha frustración a través de la repetición de ejercicios sin conocer los objetivos específicos de cada uno de ellos. Dada esta realidad, creemos que es necesario replantear el modelo docente en la enseñanza del dibujo de la figura humana. Por ello, vamos a plantear un modelo docente organizando la aproximación al dibujo de la figura humana consistente en tres fases: profundización en los fundamentos del dibujo de figura humana, estudio de la anatomía humana, y dibujo de la figura humana desde la memoria. Para ello utilizaremos ejemplos reales obtenidos en la Facultad de Bellas Artes de la Universidad del País Vasco (UPV/EHU).

Luca Pacioli (ca. 1447–1517) is widely considered a central figure in the Italian Renaissance, particularly in the history of practical mathematics. The perspectival representations of geometrical bodies that Leonardo da Vinci drew for Pacioli's Compendium de divina proportione are, in turn, often singled out to illustrate the relationships between the visual arts and mathematics in the late fifteenth century. Yet despite increasing scholarly attention, the philosophical framework of Pacioli's works deserves to be further explored. This paper discusses how Pacioli ably developed his arguments on regular geometrical bodies by relying on a predominantly Aristotelian philosophical framework. In this way, Pacioli established correlations among the quantitative, material, and formal properties of regular geometrical bodies, concluding with the visualisation of their (geometrically defined) form at the level of the intellect. [ABSTRACT FROM AUTHOR]

Este artigo ocupa-se do conceito de ‘Figura’ tal como Deleuze no-lo dá a pensar, sobretudo, nos ensaios Francis Bacon – Logique de la Sensation, Cinéma 1 – L’Image-mouvement e Cinéma 2 – L’Image-temps. Pretendemos defender a hipótese seguinte: a Figura deve compreender-se a partir de um conflito interior entre movimentos, modelos distintos. Por um lado, um desejo de conformidade ideal com um modelo discernível, estável; por outro lado, a deformação, a morte como modelo, morte múltipla, impessoal, sem relação necessária com um instante derradeiro, uma posição definitiva num quadro temporal a compreender em termos cronológicos, dizendo, distintamente, respeito a um elemento transformativo, vital, implicando uma possibilidade iterativa, ou de iteração, o eterno retorno da morte. Interessa-nos, em particular, acompanhar a repetição desta estrutura nos conceitos que a Figura solicita, que constituem a sua exo-consistência, como sejam os conceitos de ‘Imagem’, ‘corpo sem órgãos’, ‘Memória’, ‘perversão’ e ‘democracia’. Concluímos justamente sublinhando o alcance não apenas estético-artístico, mas, também, político da Figura, forçando-nos a repropor de novo e diferentemente a questão da democracia enquanto tarefa, devir-democrático, para além de qualquer espécie de forma-Estado que adequadamente a concretize.

This essay is an impressionistic account of Hortense J. Spillers's materialist synthesis of narrative theory, political theology, and expository logic that foregrounds people-centered histories and surprise in a proliferation of critical and theoretical paradigms and problematics. Focusing primarily on Spillers's mapping of novels by Paule Marshall, Ralph Ellison, and William Faulkner, the essay examines how her work consistently brings history into play alongside mobilizations of myth-criticism, narratology, and religious thought—fields that have notoriously evaded such historical groundings. [ABSTRACT FROM AUTHOR]

In this Dossier, four scholars reflect on Nicholas Onuf's leading article, 'Metaphoricizing modernity', (re)engaging with - and celebrating - more broadly Onuf's groundbreaking work from different places, perspectives, and angles. Part III (re)engages with (his) reconfigurations of Modernity and/as metaphor(s), including an extensive, and much careful response from Onuf to those four scholars and their (re)readings published in this Dossier: Celebrating Nicholas Onuf. Michael Marks is the fourth scholar to engage with and reflect on Onuf's leading article, and his work more broadly. Marks reads Onuf's essay on metaphoricising modernity as an invitation to see modernity in terms of its metaphorical qualities; that is, as an opportunity to reflect not only on modernity, but on the nature of metaphors and how they figure in scholarly inquiry. More specifically, for him, Onuf's characterization of modernity as embodying notions of forward motion and territorial physicality is one of the main insights of his essay that could be further explored with additional theoretical analysis. Nicholas Onuf closes this Part and the Dossier more broadly, carefully engaging with and responding to the contributions of Victor Coutinho Lage (in Part I), Manuela Trindade Viana (in Part II), Roberto Vilchez Yamato (in Part II), and Michael Marks (in Part III). Rethinking reconfiguration as a general, constitutive process, Onuf (re)engages with modernization and modernity's universal ethos, while responding to his postcolonial critics and their (re)readings of his highly generalized model of world-making. In so doing, Onuf also (re)engages with the concept and conceptualization of metaphors, repositioning his work and stance as a form of 'embodied anti-realism'. For him, old ontologies never die; like metaphors, they just layer up. [ABSTRACT FROM AUTHOR]

Este artículo analiza una constelación heterocrónica compuesta por nueve figuras de horizontes y de nubes de polvo de la pampa argentina provenientes de la literatura y de las artes visuales de los siglos XIX, XX y XXI. Según se sostiene a partir de un estudio teórico de diversas fuentes filosóficas, las imágenes son nudos semiótico-materiales, espejos emancipados de la servidumbre humana y voces no antropológicas en tiene lugar una configuración estético-política particular del espacio. Las figuras de horizontes están organizadas en función del ojo humano y ponen el espacio bajo su dominio. En cambio, en las nubes de polvo en las que danzan y se conectan los existentes la configuración humana se encuentra deshecha.

In his Sacro-sanctae Scientiae Indepingibilis Imago (1700), Dimitrie Cantemir seeks both to expose the nature of the human knowledge and to create a new „theologo-physics". Although the main themes of his discourse are the sacred creation of the universe, the course [progressus] of the creation, time, life, free will, fate and predestination, his reflections upon the imago Dei and man's stride to depict it remain a focal point throughout the entire book. The aim of this paper is to analyse Dimitrie Cantemir's discourse on image and on the attainment of knowledge through its use. I argue that this discourse revolves around three main concepts: the ineffable, the imaginable and the unpicturable, which eventually become three distinct stages of representation of the divine. [ABSTRACT FROM AUTHOR]

En este escrito me propongo presentar una reconstrucción à la Suppes de la Teoría pictórica, representacional o figurativa del lenguaje propuesta por L. Wittgenstein en el Tractatus Logico-Philosophicus para mostrar los límites del pensamiento, o más precisamente del lenguaje como expresión sensible del pensamiento, sobre el presupuesto de la existencia no explícita por parte de su autor de un isomorfismo entre la estructura del lenguaje, como expresión sensible del pensamiento, y la del mundo; de suerte que, para que el lenguaje pueda figurar algo del mundo, se requiere que entre ambas estructuras, la del lenguaje y la del mundo, se pueda establecer una función h-isomórfica no solo a nivel de sus dominios respectivos, dado que ambos poseen la misma cardinalidad, sino entre sus predicados y relatores, dada su misma aridad. Con ella pretendo dar cuenta de la compleja teoría pictórica o figurativa con el fin de diferenciar aquello que podemos decir con sentido, de aquello que únicamente podemos mostrar.

RESUMO Em Negerplastik, Carl Einstein demonstra a falibilidade da pretensa superioridade da Arte Europeia em relação à Arte Africana, a partir do desmonte da lógica a presidir ao modelo pictórico ocidental da idade clássica ao contrastá-lo à plasticidade escultórica africana. A Arte Ocidental ampara-se em uma arquitetura figural calcada no modelo naturalista cuja potência persuasiva repousa sobre a possibilidade de converter suas narrativas em ficções suficientemente críveis cujo efeito retórico assentou o ‘negro’ como ‘figura’ fabricada pela História e suas estruturas fictícias e imagéticas. Nosso texto propõe a raspagem desta paisagem figural no intuito de compreender como o negro se o pode reinventar a partir da poiesis artística contemporânea. Ao analisar obras de três artistas negros contemporâneos brasileiros, a saber, Rosana Paulino, Dalton Paulo e Antônio Obá, este artigo se ampara nas noções de figura e ficção, como se as estabelecem em alguns marcos textuais da História da Arte e da Teoria da História. PALAVRAS-CHAVE: Carl Einstein; Figura; Ficção; Africanidades; Teoria e História da Arte ABSTRACT In Negerplastik, Carl Einstein demonstrates the fallibility of the alleged superiority of European Art in relation to its African counterpart. Einstein denounces the logic of the western pictorial model of the classical era by contrasting it to the African sculptural plasticity. Western Art depends on a figurative architecture rooted in naturalism and whose persuasiveness resides in the possibility of converting its narratives into sufficiently credible fictions whose rhetorical effect established ‘blackness’ as a ‘figure’ fabricated by History and its fictional and imagetic structures. This text proposes the scraping of this figurative landscape with a view to understanding how ‘blackness’ might be reinvented by contemporary artistic poiesis. By analyzing the works of three Brazilian black contemporary artists, namely, Rosana Paulino, Dalton Paula and Antônio Obá, this article is anchored in the notions of figure and fiction, as established by textual references in Art History and Theory of History. KEYWORDS: Carl Einstein, Figure; Fiction; Africanities; Art Theory and History

El tema del lenguaje, su origen, potencia y límite, su modulación como metapoesía recurre muy especialmente en la tercera cántica de la Comedia donde este tema aflora en la representación de la subjetividad de Dante-personaje peregrino, de Dante-autor, en la representación de la subjetividad de los bienaventurados, y en muchas de las imágenes o metáforas líricas que van construyendo su espacio poético.

This essay considers Edward Said's many engagements with the work of Frantz Fanon and how those readings are woventogether through a politics of style, exile, and diaspora. [ABSTRACT FROM AUTHOR]

Para Gilles Deleuze, el cine de Alfred Hitchcock culminaba el cine clásico (imagen-movimiento) al mismo tiempo que asentaba las bases de la modernidad (imagen-tiempo). ¿Qué ha ocurrido desde entonces? ¿En qué medida el vínculo sensoriomotor a partir del cual Deleuze fundamentaba ambos sistemas sigue siendo un mecanismo figurativo para el cine contemporáneo? El siguiente artículo considera que Mulholland Drive ha sustituido el canon estético que, en el cine moderno, fue representado por Vértigo. La hipótesis de este texto es que el film de David Lynch explora la imagen-cristal deleuziana desde lo que el mismo Deleuze, a partir de la pintura de Bacon, llamó una “lógica de la sensación”. El desbordamiento de los afectos, la autodestrucción, la pérdida de la identidad, el poder subversivo del deseo o la creencia en un mundo que ya no se conforma con la realidad, son algunos de los elementos que transforman la mirada, la acción y la realidad, ejes principales de la teoría del cine de Deleuze.

El horror, la angustia, el miedo y la exaltación son reacciones que los seres humanos manifiestan cuando se sienten amenazados por aquellos seres que han traspasado los límites naturales o sociales. Un cuerpo mutilado, un cuerpo supurante, un cuerpo deforme, una trasformación corporal extrema induce al horror. Además, los lugares apartados y en penumbras provocan la sensación de guardar secretos y, esos misterios provocan los imaginarios más aberrantes, macabros y espeluznantes. No se trata tan solo de un juego de adjetivos, porque presentir a alguien detrás de uno provoca miedo. El horror, por tanto, es esa sensación percibida y sentida por los seres humanos, en cambio el terror es la realización de ese horror, ya no es la presencia que brota de la oscuridad o la encarnación de un cuerpo mutilado y amorfo, sino la realización del horror. El horror se siente en la piel, se presiente, pero cuando se manifiesta y entra en contacto con las personas, entonces el terror se magnifica. El cine de horror ha traído del imaginario monstruos, posesos, personajes que se alimentan de sangre y carne humana, por eso este trabajo abre una línea de investigación Semiótica con la cual, a partir de la configuración, permite construir inventarios de las figuras discursivas del cuerpo horrífico. De tal manera, la Semiótica de cuarta generación -Semiótica 4 [s4]- aporta los referentes teóricos y metodológicos para explicar las figuras de los cuerpos terroríficos en el cine de horror. El corpus en estudio es un breve compendio de textos cinematográficos ya clásicos en el cine de horror.

With the term “emotional competence” we can understand the ability persons have to recognise, accept, correctly express their emotional states. It is a matter of recognising, naming, taking and managing own and others' emotional characteristics. Being emotional competent is, also, being empathetic. To recognise, name and describe emotional states, a rational and denotative language based on conceptuality and classification is not enough. It is necessary the connotative and analogical dimension of the metaphor. The metaphor may be expressed not only through verbal language but also through images, which are excellent precious resources. Therefore, the symbolic apparatuses of the emotional competence become functional for constructing a more authentic knowledge and representation.

Este artículo indaga en la construcción de una estética en la filosofía de Gilles Deleuze más allá del período en su obra donde el arte posee una atención privilegiada. Para Deleuze, la estética no significa simplemente una zona disciplinar de la filosofía: la desarrolla desde sus primeros trabajos hasta Différence et répétition y Logique du sens. Conceptos como el de génesis, signo o fuerzas, entre otros, predominan en su trabajo de los años sesenta y sostienen una relectura del empirismo –“empirismo trascendental”– que enunció como una estética. La impronta metafísica de estos problemas será retomada en sus escritos de los años ochenta en que el arte comparece de manera más directa.

Com este artigo são trazidas à reflexão duas temáticas que, desde longa data, animam o pensamento filosófico ocidental, a saber: a representação imagética do corpo e as suas potencialidades simbólicas discursivas. Tendo em vista a articulação conceptual de ambas, no quadro geral de uma teoria estética da sensibilidade afecta aos novos meios tecnológicos, será aqui introduzido e desenvolvido o conceito de ‘convergência figurativa’, do qual se partirá para repensar as dinâmicas emergentes da representação do corpo e as diferenças que o médium digital impõe à própria ideia de representação. Mais do que ver na relação entre médium e corpo um liame puramente contingente e ancorado, única e exclusivamente, na representação do segundo pelo primeiro, trata-se, inversamente, de mostrar como é que ambos despoletam dinâmicas estruturais de complementaridade, quer estas sejam relativas aos domínios da figuração ou aos domínios da constituição material dos processos de mediação. Porém, para que, teórica e conceptualmente, possam ser escrutinadas, tais dinâmicas exigem uma reformulação do modo como se tem habitualmente compreendido a figuração do corpo pelos media, como, por exemplo, no caso das obras pictóricas artísticas. Por outro lado, tal como acontece no universo estético da arte, a ideia de ‘convergência figurativa’ deve, também, tornar evidente as formas da sua supressão, nomeadamente aquelas que atribuem ao corpo um estatuto pós-figurativo.

An analysis of the structure of grammatical texts in relation to the doctrine of grammatical accidents and its terminology is presented in the article. It describes nominal species and figura accidents from late-ancient Artes grammaticae, which, after long historical development, formed the basis for the word-formation discipline as we understand it today. Special attention is paid to the position of species and figura accidents in the De nomine chapter of the part of the grammars devoted to Etymologia and to the way they changed over time. Alongside species and figura, additional accidents (motio first and foremost), which later enriched the species-figura basis, are taken into account. The focus lies in the period from the sixteenth to the eighteenth centuries, when vernacular grammars (including grammars of Czech, Slovakized Czech, and Slovak) reflected the changes in the structure of Latin grammars. Within the given topic, typical features of representative grammatical texts are also identified: e.g., the features of Melanchthonian grammar, the Ramean ones, and the impact of Scaliger. The end of the eighteenth century, as demonstrated in the article, appears to be the crucial stage in the history of the establishment of word-formation as a self-contained linguistic discipline in the grammatography of Upper Hungary. At that time (specifically in 1791), Anton Bernolák, following in the footsteps of Rosa's (1672) and particularly DoležaFs (1746) grammars, finally identified wordformation as an independent research area in his systematic treatise entitled Etymologia vocum Slavicarum. [ABSTRACT FROM AUTHOR]

El presente artículo propone un recorrido crítico e iconográfico a través de las principales manifestaciones históricas de los zombis en el cine. Desde los orígenes del cine clásico, la figura del zombi se ha visto asociada al inmigrante, al esclavo. El objetivo de este trabajo es observar y establecer cuál ha sido la evolución de este arquetipo en la historia, y analizar su vigencia en los filmes del cine europeo contemporáneo que abordan la realidad socio política de los sin papeles, revisitando la figura del zombi. En este sentido, el artículo plantea una relectura histórico-política sobre este arquetipo de la cultura popular, tan presente en el cine y la televisión de nuestro tiempo.

This essay reframes a much remarked shift in Clark Coolidge’s poetry, from the atomistic early poems to the longer forms that emerged in the mid-seventies, by focusing this development through the lens of Coolidge’s collaboration with Philip Guston. In bringing attention to a relatively neglected body of work - the collaborative portfolio of image-text drawings called ‘poem-pictures’, and their remediation in the book Baffling Means - this essay shows how the change in Coolidge’s poetics circa 1975 corresponds to a prior shift in Guston’s painting, circa 1970, from his abstract expressionist to neo-figurative period. I draw on art historian Robert Slifkin’s re-reading of Guston’s ‘return to figuration’ through Erich Auerbach and Paul de Man’s epistemological and historiographic theories of the figural in order to show how Coolidge, in his collaboration with Guston, unfolds a ‘figural’ poetics from his earlier literalist and materialist approach to language. The essay redresses the shortfall of analysis of Guston’s collaborations with poets in art-historical narratives, while it shows how existing critical discourse misapprehends the change in Coolidge’s poetics as a move toward a ‘lyrical’ mode. [ABSTRACT FROM AUTHOR]

The underlying assumption of Lukács’ History and Class Consciousness is that “history” can be understood as a unified and meaningful meta-narrative, which can be read along the lines of a realist novel. Although the future is not guaranteed, the present contains “objective possibilities” which can be identified and realized through activist intervention in the world by those who are destined to “make” history, the proletariat. In the intervening century since the Russian Revolution, it has become impossible to read “history” as a singular, triumphalist story leading to human emancipation or identify any one group as its subjective agent. To salvage the revolutionary potential of Lukács’ work, it has been read instead in terms of “fidelity to the Event” by such latter-day Leninists as Alain Badiou and Slavoj Žižik. But their recourse to a meta-historical notion of pre-figuration and future realization is itself no less beholden to a literary or rhetorical device, that of figura, which was traced by Erich Auerbach in originally religious terms. [ABSTRACT FROM AUTHOR]

This essay will suggest that Dante’s journey through the earthly paradise in the Purgatorio is a figural representation of the journey of Cleopas and the unnamed disciple on the road to Emmaus in Luke 24. By making several references to the Gospel of Luke, Dante seems to be setting the stage for the reader to understand his own pilgrimage through the Garden of Eden as a retelling of the Emmaus story in the context of the Church Triumphant. Indeed, reading Luke 24 alongside Cantos XXIX–XXXI of the Purgatorio helps students to unpack the complex images of Dante’s experience in light of the themes present in the Emmaus story. For example, the concealment of Beatrice’s face and the gradual unveiling of her beauty mirrors Christ’s gradual revelation of his nature to Cleopas and the unnamed disciple. Cleopas and his companion also walk away from the promise of God revealed in Christ by leaving Jerusalem, just as Dante “took himself„ from Beatrice and “set his steps upon an untrue way„ (XXX 125, 130). In developing these and other parallels as well as elaborating on their significance for the latter cantos of the Purgatorio, this essay will attempt to establish a pedagogical approach to Books XXIX–XXX that draws on students’ recollections of the familiar Gospel text of Emmaus, which Dante clearly intends (among others) as a resource for appreciating his vision of an essential passage in Christian life.

The African genus Figura Ukrainsky, 2006 is revised. A detailed redescription of its morphology is presented. Three new species are described, F. bitalensis sp. n., F. lineata sp. n. and F. ruwenzorica sp. n. All species are illustrated. A key to all species and a map showing the distribution of the genus Figura are provided.

La imposibilidad de alcanzar contenidos cognitivos por medio de la percepción sensible actualmente puede ser cuestionada. Se busca reconsiderar que el conocimiento obtenido por medio de la percepción sensible guarde contenidos de objetividad, expresables aún con los conceptos. Se señalan relaciones de correspondencia entre percepción sensible con lo dado y las posibilidades resguardadas en la simbolización. Dado que la conceptualización es la abstracción racional de dichas relaciones, se demuestra la existencia vinculatoria de tales relaciones. El conocimiento de las neuronas espejo confirma la existencia de tales relaciones objetivas de correspondencia. Ello pone en evidencia que el conocimiento tiene acceso parcial a la realidad misma y que tal conocimiento está lejos de una relatividad absoluta.

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En el presente trabajo se analizan ciertos temas y construcciones que se desarrollan en La razón de mi vida (1951) para luego observar el quiebre y desmontaje, variación y reescritura que despliega Leónidas Lamborghini en su poema “Eva Perón en la hoguera” (1972). A través de tres aspectos de La razón de mi vida analizamos el conglomerado de la figura Eva: el género textual, el género sexual y los componentes míticos y religiosos. Luego se advierten los modos de operar del procedimiento lamborghiniano de reescritura, la elección y el descarte que el poeta opera sobre cada sección de La razón de mi vida: descomposición, ruptura, y composición de una nueva figura de Eva.

In response to Nazi exclusion of the Jews from German society on racial grounds, Erich Auerbach (1892–1957), a secular Jewish intellectual inspired by cultural Protestantism and Catholicism, formed a vision of a cosmopolitan Judeo-Christian civilization that reintegrated the Jews as biblical founders and cultural mediators. But the integration expunged any mark of traditional Jewishness. Focusing on Christian figurative thinking (typology), Auerbach viewed the binding of Isaac through the crucifixion, and contemporary Jews as civilization’s (unwilling and undeserving) martyrs. In the aftermath of the Holocaust, his cosmopolitanism reached a crisis, reflected in his postwar vision of Western decline. The progressive mandarin who had begun his intellectual life elevating Dante’s care for everyday life and sympathizing with French realist social critique ended endorsing Hugh of St. Victor’s alienation from reality and Pascal’s acquiescence in totalitarian rule.

Altazor o el viaje en paracaídas es valorado como un texto dramático, donde se reconoce una acción y un sujeto que la realiza. El poema tiende naturalmente a la presentación visual de las situaciones descritas que localizo especialmente en el entramado lingüístico y en las figuraciones del cuerpo del personaje. En base a estas características, se concibe la puesta en escena de Un viaje en parasubidas que exalta lo visual en el poema, el cuerpo y el gesto del actor, para presentar una de las tantas lecturas elaboradas en tono al poema de Huidobro. Este trabajo se propone el estudio paralelo de la escena poética y la escena teatral desde un objeto común: el cuerpo de un sujeto en escena.Altazor o el viaje en paracaídas is valued as a dramatic text, where an action is recognized and a subject realized. The poem naturally tends to the visual presentation of the situations described, situated especially in the linguistic framework and in the figurative body of the character. The stage is conceived under these characteristics, Un viaje en parasubidas extols the visuals of the poem, the body and the gesture of the actor so as to present one of the many reading tones in elaborated in Huidobro's poem. This paper proposes a parallel study of the poetic and theatrical scene from a common object, the body of a subject in scene.

Auerbach’s goal in writing “Figura” and Mimesis was the rejection of Aryan philology and Nazi barbarism, based on racism, chauvinism and the mythologies of Blood, Volk and Soil, which eliminated the Old Testament from the Christian canon and hence from European culture and civilization. Following the Nazi Revolution of 1933 and the triumph of Aryan philology, Auerbach began writing “Figura,” published in 1938, where he provided an apology for the Old Testament’s validity and credibility, striving to prove that the Jewish Bible was inseparable from the New Testament contrary to the claims of Aryan philology and Nazi historiography. Auerbach’s “Figura” should be considered not merely as a philological study but also, and more importantly, as a crucial stage in his response to the crisis of German philology with Mimesis, in turn, seen as his affirmation, against Aryan philology’s Nazi racist and völkish views, of the humanist, Judeo-Christian foundation of European civilization.

La tensión problemática del concepto de Gestalt en el primer pensamiento de Heidegger sobre el arte indica una proveniencia distinta de aquella de Nietzsche, implícitamente reconocida por Heidegger. La primera interpretación del esquematismo kantiano programa la superación fenomenológica de su disimulación como ‘arte oculto’. Esta fenomenología de la temporalidad originaria, formulada en términos de ‘esquemas horizontales’, revela el fracaso de dicha superación, ligado al fracaso del Seinsfrage. La colusión entre el problema de la libertad y aquel del esquematismo se resuelve, más allá de lo fenomenológico, en el motivo de la figura, conduciéndonos a advertir en el retiro del esquematismo un ‘impensado’ de Heidegger, frente al cual respondió mediante una sobredeterminación ‘onto-tipológica’ de la finitud de lo figural.

A través de un ejercicio hermenéutico, se plantea como el arquitecto norteamericano John Hejduk usa como estrategia para proyectar la representación, no como un medio de expresión sino como una herramienta poética que le permite adentrarse y evidenciar la condición humana. La interpretación de sus imágenes y proyectos nos muestran una obra que se desarrolla en el plano de la narrativa de acontecimientos, de donde se generan un conjunto de experiencias profundas a través de la contracción y expansión del espacio, en un sentido fenomenológico. Una arquitectura que se encuentra en el pensamiento simultáneo entre narración y representación.

Straipsnyje siekiama parodyti apsunkinto ieškojimo (ir suradimo) dinamiką ir turinį. Tam tikslui išskirti kai kurie sudėtingos ieškomosios veiklos etapai. Pirmuoju etapu laikomas figūros išskyrimas (sudarymas). Antruoju etapu - išskirtos figūros lyginimas su duotu etalonu. Aptariami skirtingi šios operacijos pasireiškimai (nesąmoningas ir sąmoningas palyginimas), jų vieta ir funkcijos ieškojimo procese. Trečiasis etapas - galutinio sprendimo apie lyginamąją figūrą priėmimas.

La presencia y la función de la imagen en la literatura espiritual altomoderna constituye un problema de primer orden, en el que convergen múltiples aspectos —iconográficos, históricos y sociales, pero también teológicos y doctrinales. La imagen es objeto de las controversias religiosas más significativas de la Primera Edad Moderna, e interviene, en gran medida, en la profunda fractura doctrinal en la Europa de la segunda mitad del siglo XVI. El presente estudio analiza el papel de la imagen en los tratados de meditación de los siglos XVI y XVII. Revisa las premisas doctrinales que sustentan la teoría de la imagen devota; expone los debates teologales acerca de su uso legítimo y apropiado por parte de los creyentes, y el papel de la figura material en las prácticas meditativas. Por último, explora la imagen como vehículo de la censura difusa, esto es, considera su actuación en el sutil —pero por ello no menos eficaz— disciplinamiento doctrinal de los fieles.

O artigo homenageia os trabalhos do Groupe μ, destacando o refinamento de suas colocações e formulações. Examina o estatuto da figura e do fundo em obras pictóricas, apoiando-se em uma precisão apontada pelo Groupe μ, em seu Traité du signe visuel (Tratado do signo visual), que credita esses estatutos a uma “decisão” do observador. Que argumentos determinam tal “decisão” perceptiva? O artigo conduz a pesquisa pelo exame de obras de Henri Matisse, Jean Dubuffet e Francisco Goya, e evidencia uma busca da figuratividade, que privilegia a percepção em função da proporção das figuras.

This paper addresses the agenda of enchantment as it relates to contemporary theatrical magic (those deliberately enigmatic activities that are performed, experienced and commercialized as a form of entertainment). Magic practice is regularly constructed along a particular teleology: ‘action → effect of impossibility → affect of astonishment’. The paper supplements this teleology in four sections. First, a discussion of magicians’ knowledge and the ignorance required for participant-spectators to apprehend effects of impossibility and become astonished. Second, an examination of two forms of reason: one, an investigation into hidden ‘secrets’; the other, a perception of superficial ‘effects’. Third, a critique of the figure of the magician and its disputed role within magic practice. Fourth, a presentation and discussion of three empirical vignettes – professional magician Jay Sankey’s ‘Unreal Experiments’ – which advocate an evental logic with an experimental ethos; thus, enacting a critique of the figure and teleological structure of practice, and posing a challenge to rethink and invitation to expand theatrical magic practice. In conclusion, the paper highlights some of the ways in which theatrical magic participates in the agenda to enchant the world that has so gripped social science. [ABSTRACT FROM PUBLISHER]

Snodgrass & Vanderwart (1980) standardized a set of 260 pictures in the USA for use in studies of cognitive processes that employ pictured objects as laboratory analogues of object themselves. Since then similar norms for this set were obtained in Britain, Spain, Japan and Iceland and a larger set of 400 pictures (including the original 260: Cycowicz et al., 1997) was studied in France and Brazil. The present article provides a comparison of the norms obtained in Brazil and internationally. The pattern of correlations among the Brazilian and other standardizations were equivalent to that previously observed: despite pictures being judged to be of similar familiarity and visual complexity (high positive correlations), name agreement was less correlated, possibly due to differences in the languages spoken in each country and/or in the sample size used in each study. Results confirm the adequacy of the Brazilian norms.Snodgrass & Vanderwart (1980) padronizaram um conjunto de 260 figuras nos EUA para uso em pesquisas de processos cognitivos nas quais figuras de objetos são utilizadas como análogos laboratoriais de objetos propriamente ditos. Desde então normas similares foram obtidas no Reino Unido, Espanha, Japão e Islândia, e um conjunto de 400 figuras (incluindo as 260 originais: Cycowicz et al., 1997) foi estudado na França e no Brasil. O presente estudo traz uma comparação das normas obtidas no Brasil e internacionalmente. O padrão de correlações entre as padronizações brasileira e as demais foi equiparável ao previamente descrito: apesar das figuras serem julgadas como tendo familiaridade e complexidade visual similares (correlações positivas elevadas), a consistência de nomeação foi menos correlacionada, possivelmente devido a diferenças nos idiomas de cada pais pesquisado e/ou devido ao tamanho da amostra empregada em cada estudo. Os resultados confirmaram a adequação das normas brasileiras.

This article combines cognitive psychological knowledge of identity and temporal perception with theories of literature and historiography. The main focus is how people receive and adopt written information about the past. I argue that in historiographical accounts, when detached events are translated as metaphors or narratives, the writing process isnot onlyguided by a reason and epistemological structure, but also by an attraction to an emotional credibility. In other words, writing history is partly accomplished for the purpose of reconstructing a smooth and coherent temporal order, emerging from a hope to attain an affective confidence which overcomes the absolute alterity of the past. On the other hand, when receiving a written historical narrative, an emotional attunement, a sensation of a connection with the past, helps us to assimilate the substance of that particular history as part of our individual way to perceive temporality and interaction. If historiography is understood on the one hand as an act of articulating the writer's narrative identity with the vocabulary provided by the past events, and on the other hand as a cultural means to strengthen the reader's explanation how ‘meaningfulness’ can be framed from aimless chronological time, it would be possible to scrutinize not only the ‘politics of history’ but also the ‘culture of writing about the past.’ [ABSTRACT FROM PUBLISHER]

Esse texto tem por objetivo analisar o mal de maneira subjetiva por meio da representação que o cinema realiza da história. A partir do conceito de figura (Lyotard e Dubois), a imagem é pensada pela sua ontologia e pelo sensível. A análise dos filmes biográficos de ficção sobre a ditadura militar brasileira, especificamente, Zuzu Angel (Sérgio Resende, 2006), legitima as escolhas estéticas dessa forma de representação atrelada a posições políticas culturalmente determinadas, impondo ao espectador uma atividade crítica de desconstrução da história.

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El dinamismo trilógico "figura-drama-verdad" constituye el eje central del método interdisciplinario entre literatura y teología en el cual vengo trabajando desde hace dos décadas. Sobre esta base, en investigaciones recientes puse de relieve el carácter “paradójico" de la figura y el papel innovador que representa para el discurso dialógico la afirmación del ritmo preposicional "desde-en-hacia". Profundizando estos lineamientos de búsqueda, consideraré ahora la cuestión del "lenguaje" interdisciplinario desde la doble perspectiva teológica y literaria de la "herida" y del "quiasmo". De acuerdo con esto, la presente exposición ha sido trazada siguiendo el itinerario que va «desde» la herida vital del amor, «en» el quiasmo de imagen y la palabra, «hacia» la transfiguración del lenguaje. Anhelo pues que, en la afinidad de búsquedas de nuevos lenguajes. "desde" la convergencia espiritual de búsquedas, pueda mi reflexión ser recibida como un aporte "hacia" el pensar y el construir ciudadanías dialógicas, cristianas y latinoamericanas.

Um diálogo de teor polêmico se instaura entre as canções “Fotografia 3x4”, de Belchior, e “Alegria, alegria”, de Caetano Veloso. A primeira permite acompanhar as fases do percurso de um migrante e as relações que este entretém com a sua principal instância doadora de valores, o sujeito tropicalista. Em função deste diálogo é que parece justificar-se a aspectualização do processo migratório em termos de ímpeto para migrar, frustraçãodo migrante e posterior desejo de retornar à terra de origem ou resistir no espaço do outro, combatendo-o. As reações do sujeito de “Fotografia 3x4” ao vivido devem então ser pensadas no quadro geral do contrato fiduciário que anima sua trajetória de migrante. Cada fase desta trajetória parece prestar contas a este contrato, isto é, parece repor ou questionar as bases do contrato fiduciário a partir do qual tanto o ser quanto o fazer do sujeito de “Fotografia 3x4” se veem determinados. Evidência disto é o estatuto narrativo ambivalente que a figura “sol” manifesta naquelas duas canções, ora se apresentando revestida com valor eufórico, ora com valor disfórico. Neste artigo, pretendemos examinar como a figura “sol” recobre temas diversos, desempenha papeis narrativos variados e realiza valores contrários e/ou contraditórios nas duas canções em foco. Mostramos que o modo de tratá-la em discurso define posicionamentos enunciativos que se encontram numa relação dialógica de caráter altamente polêmico.

Im Ausgang von der Möglichkeit, mit dem Wort figura Gestalten der Handlungsebene, dynamisch gefaßte Gedanken- / Wortgebilde und Erscheinungsweisen von Phänomenen geistiger und materieller Natur zu bezeichnen, läßt sich das Bellum civile als Werk beschreiben, an dessen Grund die Figur der Entzweiung steht, die durch eine Poetik der Emergenz in den Stoff entfaltet wird. Die vorgeschlagene Lektüre des Bellum civile wendet sich damit gegen das verbreitete Verständnis des Textes als eines (politischen, moralischen) Kommentars zum Bürgerkrieg und kehrt die Hierarchie um: Der (sekundäre) Bürgerkriegsstoff soll die zugrunde liegende Figur der Entzweiung explizieren, wird von dieser aber nicht gedeutet, sondern benutzt. Emergenz tritt als poetische Verhältnisbestimmung an die Stelle chronologischer und kausaler Erklärungsmodelle und behauptet eine bleibende Verbindung von Untergrund und hervortretendem Relief (Ereignis, Wesen, Gestalt). Dementsprechend lassen sich die Gestalten der Handlungsebene (figurae) als Ekstasen des Textes fassen, die in einer Verdichtung des Textes aus dessen Oberfläche hervortreten, zugleich gemeinsam mit anderen Textelementen Erscheinungsweisen (figurae) der abstrakten Figur der Entzweiung sind. Im sechsten Buch des Bellum civile wird die Ekstase insbesondere im Hervorgehen der Erictho aus der Konstruktion eines raum-zeitlich unmöglichen Thessalien kompositionell konkretisiert und imitationstechnischumgesetzt: Die ovidisch geprägte Begegnungsszenezwischen Sextus Pompeius und der textuell übercodierten Erictho bereitet den Boden für die Auffassung der Hexesowohl als einer Fortschreibung der nach Ovid vergehenden Sibylle als auch als figura (Gestalt und Erscheinungsweise) Roms, das sich in einer Trennung von sich selbst gegenübertritt und im (poetischen) Kannibalismus die Entzweiung zumVollzug bringt.