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This paper deals with El samurái de la Graflex, by Daniel Salinas Basave. The analysis focuses on the representation of a historical character of Japanese origin: Kingo Nonaka, whose figure represents the irruption of a culture that contrasts with the attitudes and ideosyncrasy of revolutionary Mexico. Non-aka concentrates elements that form the image of a Japan in transition towards modernity. Between meditation as a method for diving and fluency with a camera, Salinas Basave follows Nonaka in his wanderings and allows the reader to appreciate details of the history of the first half of the twentieth century from a perspective "alien" to the Mexican one, while building a space for reflection on writing and memory. [ABSTRACT FROM AUTHOR]

This paper will analyze Paul Ricoeur's Neo-Kantian proposal to articulate memory and history. The first step is to consider the concept of representation as a way to make both means of referring to the past comparable. In the next step, these two types of representations are articulated by leading back to Heidegger's temporal ontology. Amongst other consequences of this foundation, it follows that the possibilities of past agents can be reinterpreted in the present. This situation legitimizes the impossibility of setting fixed rules for the articulation between memory and history. Finally, this paper will discuss whether the philosopher does, or does not, commit a fallacy of composition, since his description is based on a specific form of history, while his prescriptions seem to have a general reach. [ABSTRACT FROM AUTHOR]

This paper will analyze Paul Ricoeur's Neo-Kantian proposal to articulate memory and history. The first step is to consider the concept of representation as a way to make both means of referring to the past comparable. In the next step, these two types of representations are articulated by leading back to Heidegger's temporal ontology. Amongst other consequences of this foundation, it follows that the possibilities of past agents can be reinterpreted in the present. This situation legitimizes the impossibility of setting fixed rules for the articulation between memory and history. Finally, this paper will discuss whether the philosopher does, or does not, commit a fallacy of composition, since his description is based on a specific form of history, while his prescriptions seem to have a general reach. [ABSTRACT FROM AUTHOR]

From three particular works created in Latin America, the article proposes that the contribution of art for the construction of a more democratic culture lies in the work of art that opens the experience of memory as an origin from and by means of which things historical to us and speak to us. For this, the paper addresses works that propose the crisis of the modern museum in relation to history and memory. [ABSTRACT FROM AUTHOR]