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This text is a heuristic account of the many arrangements (or agencements) of the literary experience through the debate over the aesthetic exceptionality and the position of the subject in artistic experience. It starts by discussing how the concept of subject guided the different aesthetic approaches in literary and aesthetic theory, turning art into some sort of fatiche which incorporates itself into the Western metaphysics that allegedly works as a static reference for the thinking of the world in which we live in. Then, after redefining the role of the subject in the aesthetic experience, the paper tries to present works of art as objects that speculate and experiment with the immanence. Thus, the exceptionality of the aesthetics lies in its completely original position regarding the potentially infinite ways of making words (cosmovisions) by means of literary agencements. Finally, the article ends with a reflection on the arrangements or agencements within immanence itself, shedding light on how literature connects itself with this kind of experience. [ABSTRACT FROM AUTHOR]

The article proposes to explore the poetics of Juan Gelman through some of the central aspects of his writing. Taking into account the correlation between viscerality and metalanguage, we argue that his texts renew the tradition of rupture, on the basis of the dialectical logic of destruction and creation. This approach connects his intellectual project with the avant-garde practices of Vicente Huidobro and Vladimir Mayakovski. Our objective is to reinforce the "position in favor of aesthetic-linguistic materiality as a fundamental element that emancipates the word" (Milán 10), on the basis of the Argentinean poet's writing. Gelman's poetry underlines that the intimate connection between life and language not only stimulates the circumstance and condition of the word through the political; it also reinforces the correspondence between poetic discourse and other forms of life experience, affirming that aesthetic perception has an immanent social dimension, and that the reality of language also gives rise to new conceptions of the world. [ABSTRACT FROM AUTHOR]

Copyright of Revista Científica Guillermo de Ockham is the property of Revista Cientifica Guillermo de Ockham, Universidad de San Buenaventura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Upon the development of a research about the representations of art, it is intended to speci-fy the analytical challenges proposed by syncretic and multimodal signifying practices, such as films. In order to solve the problem of immanent analysis of such mediations and semiotic objects, it is used the model that Jacques Fontanille proposed to address the levels of relevance on the cultural practices. Such model is presented through the analysis of the Colombian film Los retratos (The Portraits). This work demonstrates the relevance of the analytical method for treating the different layers that affect cultural object, understood as signifying practice, and characterized by the constitutive complexity. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional Interdisciplinar INTERthesis is the property of Revista Internacional Interdisciplinar INTERthesis and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Conatus: Filosofia de Spinoza is the property of Revista Conatus: Filosofia de Spinoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)