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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 is an analysis about violence impacts the subjects memory that relate to it in a war environment, as well as how violence and memory relate to history, and how they change in the becoming future. [ABSTRACT FROM AUTHOR]

This paper is an outline of some ways that lead us to think about the necessity of memory, inherent to the experience of the present. We will work around three thematic lines within the field of philosophy of history: first, the relation between the past and our present; second, the problem of the personal disposition of the subject of historical knowledge and his inevitable belonging to the present at the level of action; and the sense of a possible historical experience where the individual and the collective intersect each other, in relation to the question of establishing whether it is appropriate to make an exhaustive remembrance of those who died because of the armed conflict in Colombia. With this purpose, we will point out to a series of elements drawn from Benjamin's philosophy of memory so as to rehearse some possible connections with the philosophies of forgetfulness, remembrance and memory proposed by Nietzsche and Bergson. Thus, we seek to establish the reality of the past that is based on the virtual existence of recollection and, from there, to determine the ability of the latter to be updated in the form of vital forces, committed to making a future. [ABSTRACT FROM AUTHOR]

In this article, Juan Gustavo Cobo Borda reflects on the work of the Uruguayan artist based in Colombia, Carol Young. Cobo finds within her pottery art reflections about the nature of paper and in her instruments, an archeological finding of mythical origin. In her installations, Young displays pottery objects in a sort of exhibition regarding the classification and record of memory. [ABSTRACT FROM AUTHOR]

The following paper reflects on the responsibility that we, thinkers and social scientists, currently have in the task of building and criticizing historic memory. The paper takes as its theoretical framework Jacques Derrida's reflections with regard to the 'ghost', and his comprehension of justice as a form of responsibility that exceeds the forms of justice allowed by law. Moreover, we take the labors, claims and practices of the 'Asociación de Familiares de Víctimas de Trujillo' (AFAVIT) as an example of how the memory of ghosts is the memory that enables this other form of justice. [ABSTRACT FROM AUTHOR]

To mark the occasion of the centenary celebrations for Adolfo Sánchez Vázquez's birth, a series of tributes were held in Mexico in 2015 to honor both his figure and legacy. This paper aims to analyze the concept of broken memory from the Spanish philosopher through different stages; first, as a memory of witness and victim, and years later as an effect of historical, political and vital discontinuity amid the experience of exile and the lack of memory in successive generations. From this seminal concept, we propose that the absent, forgotten, relegated and excluded memories which are implicit in broken memories have gained presence through various other devices intended to safeguard and use the past: commemoration and post-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]

This paper presentes an analysis of the novel A gloriosa familia (1997) Pepetela Angolan writer is performed. To investigate the literary representation of the history of Angola, approaches Ana Mafalda Leite (2003) on post colonial theories are used; the notion of intertextuality, Kristeva (1981) and Ainsa approaches (1996) on the historiographical narrative theme. Moreover, consideringo ther specific features of the novel, references to studies on memory and oral tradition are included to facilitate understanding of the way this narrative reconfigures the issue in question. [ABSTRACT FROM AUTHOR]

It is usual nowadays to call Architecture as the set of buildings built to fulfill a specific function or activity. This point of view justifies the functional and constructive aspects of Architecture. What it is important to highlight in this paper is its active role in the creation of culture, where Architecture widely goes beyond this consideration. This is called the symbolic role of Architecture and it is related to the aesthetic current codes that are linked to patrimony, memory, history and social structure. To enlighten these arguments, cases from different periods and places are contrasted; highlighting, in a very special way, the demolition of the building known as "La Licuadora" --The Blender- in the city of Guayaquil. Architecture, from the theoretical point of view is considered the "web of meanings" whose reading depends on the cultural comprehension level. [ABSTRACT FROM AUTHOR]

This paper discusses a research on the incidence of forgetfulness of teachers in the subject image and the configuration of society. Oblivion is a constant in human societies and it appears to be stronger in societies, such as Colombia, that have failed to grow, to set the ground as a project due to the political haste, the weakness memory and the inordinate capacity to forget. Little by little, an essential question encircled the research horizon: if people forget, if teachers forget how to teach: what are these oversights, and what do they consist of? [ABSTRACT FROM AUTHOR]

The structure of Cristina Rivera Garzas novel Nadie me verá llorar is organized with real documents taken from some patients' clinical stories at the mental hospital, La Castañeda, which was opened in 1910 to celebrate the Mexican Independence centenary. This paper explores the way in which the concepts of memory and archive are put in play to create a relationship between the historical and fictional discourses. The intersection of both discourses and its function in the level of the narrative construction and sense, bring, in the end, a particular idea of history as discipline and the question of its truth as an official discourse by the authority in power. [ABSTRACT FROM AUTHOR]

The following paper tries to articulate, in a plexus of critical sense, the philosophical-political potential found in a series of stances like the Latin American philosophy, cultural control, critical theory and memory, that challenge, defend and support, in one same hermeneutic universe, the validity if the heterogeneous thinking, making the critique to sole thinking and the rescue for the other ontologies a "whistle amidst the cyclone". [ABSTRACT FROM AUTHOR]

In the aesthetic and ideological project of Transculturalisation in Latin America we find Juan Rulfo. This paper aims at showing how Rulfo's novel Pedro Páramo (1995), deals with perspectives from contemporary Latin American narrative and encompasses a social memory. By means of metaphor, Pedro Páramo represents the history of populations in a Latin American context whose culture has been silenced and which slowly started becoming conscious of that history. [ABSTRACT FROM AUTHOR]

This paper analyzes the official proposal for recent history teaching. For such purpose, we draw on national education laws (1993 and 2006), the curricula approved from 1995 to present for the secondary level (at the national level and at the Province of Buenos Aires) and regulations of the commemorations--especially March 24th and September 16th--. This analysis will be made in relation to the representations of memory and the progress of historiography about recent past, to consider up to what extent school contents have witnessed an impact due to changes in these narratives. [ABSTRACT FROM AUTHOR]

Reflection on the image reaches the second half of the twentieth century zenith an episode, one of whose chief representatives is to be the theoretical and literature emerged around the photographic image. The ontology of the photographic image, thus, represents a fundamental event in the critical theoretical framework and on the imagination. The notion of image and reflection on it is established that permeates not only the field of theory and practice of art but also affects the coding literature assuming a source of epistemological reflection about representation and authenticity phenomenological of this. The purpose of this paper is to show the importance of thinking about the photographic image and its practical demonstration as action in the specific case of Juan Mayorga's drama, where the analysis of the photographic ontology is at the service of understanding not only of reality but also of history, memory and emotions through the dialectical imagination as proposed in the play El cartógrafo. [ABSTRACT FROM AUTHOR]

This paper studies the links among history, memory and subjectivity in an Argentine documentary: M of Nicolás Prividera. It analyzes the tour of the protagonist who tries to reconstruct the history of his mother disappeared during the last military Argentine dictatorship. This tour is constituted in critical memory since it supposes an active search of fragments of the past, as an interpellation to others in this search. This exercise of critical memory is the one that enables the subject to present and future actions. The film demonstrates the labor that the new generations realize with the incomplete legacy that they received because of traumatic situations. [ABSTRACT FROM AUTHOR]

This paper tries to show that there has been an evolution in Paul Ricoeur's concept of testimony and that his first juridical definition is also different from others of the same origin. To determine this point we will compare his definition with C.A.J. Coady's. We will try to explain the motives, implications and limitations of its differences. Then it will be established that in Remembering, history and oblivion, the philosopher leaves the juridical concept of testimony, which main issues are to be a declaration inside a debate, and prefers another one that define it as a dialogical natural institution. Our hypothesis is that this change was not due to phenomenical but contextual causes. [ABSTRACT FROM AUTHOR]

The paper defends the validity and relevancy of ethnography/historiography as a specific modality of knowledge production. It does so by presenting and discussing the cases of an archaeologist who says he is one thousand years old, of an anthropologist who decided to make a poem about his ethnography, and of and ethnographer-historian who analyzes, under the name of "history", the production of Nasa and Cumbal memorialistas. The central argument is constructed around a commitment to the ethnographic/historiographic truth. It uses the metaphors of inside/outside with which Joanne Rappaport analyzes the commotion she goes through in her relationship with Nasa intellectuals. This inside/outside topic is read initially as the transit between the field and the archive. The outside is taken as the "conceptualizing knowledge" positioned between two forms of socio-historic reality, one existing within the discourse and the other without. The first takes in, describes and re-describes the second. [ABSTRACT FROM AUTHOR]

This article analyzes the cultural meanings of the indigenous uprising of 2001 in Upper Napo as a means to investigating indigenous historicity. Although there are various publications about the 2001 uprising, no one has looked at these events from the perspective of Kichwa historicity. The argument is that Amazonian Kichwa speakers structure and produce history through a conceptual complex of substance circulation (samai) that links social actors with primordial time-space. Using a historical testimony about Jumandy, the paper shows how the symbolic complex of Kichwa language-culture allows people to create links of substance and power with mythohistoric beings. [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]