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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]

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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]

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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]

This text reviews a discursive formation visible in literature, art and politics that has built a narrative about the, here called, disposable bodies. Through various reflections, we will explore a series of statements that account for the emergence of figures related to violence and the body, denouncing many how certain discursive manoeuvres intend to assign certain lives to the landfill. These stories, we understand, are presented in the discursive form of an archive that shows the critical condition of the figure of the trash-body as well as the spectral force that its writing releases. The so-called notarial rhetoric is, then, a logic and style used by different authors as a metonym of the exercises of memory and forget that is condensed into certain literary or visual images. Following the thesis of Benjamin, this article explores the emergence of a residual memory as a critical allegory, not used to rebuild certain humanity and its heritage, but to pepper its ruins. [ABSTRACT FROM AUTHOR]

The study sought to analyze the learning level of form, movement and location competence in mathematics in students of the III Cycle of four educational institutions located in Sayapullo, Gran Chimú province, 2022. The design was based on a quantitative approach with a simple descriptive, non-experimental and cross-sectional design. The study sample consisted of 20 students and the instruments used were a development test and a checklist. The results in relation to the general objective showed that 60% of the students had difficulties in molding double and triple dimension geometric figures with plasticine or clay, which indicated the difficulty in learning the competence of form, movement and location in mathematics in the students of the III Cycle in the province of Sayapullo, 2022. [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.

Este estudio examina los conceptos de "figura" y "alegori'a" en la estética musical del compositor inglés Brian Ferneyhough, en particular relación con sus obras Lemma-Icon-Epigram (1981) para piano y Kurze Schatten II (1983-9) para guitarra. Al hacer esto, se aborda la problemática de las múltiples mediaciones que rodean una partitura en tanto artefacto cultural, y en particular el potencial impacto de distintas alusiones e intenciones del compositor en las prácticas interpretativas de estas partituras. Se analizan las grabaciones comerciales de estas obras mediante el modelo de análisis "morfosintáctico", correlacionando el sonido musical escrito e interpretado, así como datos temporales cuantificados con la escucha cercana de distintos parámetros de las interpretaciones, abordando la mediación entre escritura y interpretación musical y delineando estilos interpretativos. Finalmente, se evalúa qué estilos interpretativos pueden dar mejor cuenta del posible impacto de los conceptos de figura y alegoría en las prácticas interpretativas de estas partituras. [ABSTRACT FROM AUTHOR]

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Copyright of Sacrum et Decorum is the property of Wydawnictwo Uniwersytetu Rzeszowskiego 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.)

Este ensaio apresenta uma interpretação da trajetória do Arcebispo da Igreja Católica Dom Helder Camara (1909-1999). A partir de uma análise documental e bibliográfica, ancorada no conceito de figura, proposto pelo filólogo Erich Auerbach, foi realizada uma interpretação figural da trajetória de Dom Helder Camara, através da qual um acontecimento histórico do passado é representado como prenúncio de acontecimentos posteriores, considerando o fato anterior como anunciador e precursor de um acontecimento que ocorreu depois, ou este como realização e preenchimento de uma figura que o anunciava no passado. Um outro recurso teórico adotado na elaboração deste ensaio foi a noção de trajetória, de acordo com a concepção proposta pelo sociólogo Pierre Bourdieu.

Loores de Nuestra Señora de Gonzalo de Berceo es un poema cuyo tema es el rol desempeñado por la Virgen María en la economía de la salvación como madre de Dios e intercesora. Dentro del extenso microtexto narrativo-argumentativo inserto en el macrotexto envolvente de la plegaria petitorio-laudatoria, se expone entre las cuadernas 4 a 13 una selección de seis figuras marianas del Antiguo Testamento –la mata de Moisés, el bastón de Aarón, la verga de Jesé, la alcoba de los salmos, el vellocino de Gedeón y la puerta de Ezequiel–, que anticiparon las cualidades y acciones de María. El presente trabajo se propone estudiar tales figuras con el objetivo de analizar en cada caso los cuatro sentidos exegéticos –literal, tipológico, tropológico y anagógico– referidos por Berceo y evocar su tradición. Luego se las estudiará como un conjunto para dilucidar los campos semánticos que pueda haber en común. A partir de ello se verificará la presencia de un dinamismo semántico-alegórico subyacente, pautado por el macrotexto, que representa las relaciones Dios-María y los hombres en la historia de la salvación. El análisis específico de cada figura y del conjunto a la luz de esta pauta estructural-semántica propuesta posibilitará una mejor delimitación de su intencionalidad, articulación interna con el macrotexto y su interpretación global.

Este artigo apresenta uma investigação sobre as figuras atribuídas a Jean Piaget em vídeos do YouTube. Por meio de revisões teóricas, primeiramente se discute o sistema de recomendação do YouTube e sua influência na tomada de decisão dos usuários, seguida de análise de figuras ou imagens atribuídas a Piaget em textos de história da psicologia. Nesse sentido, visando a identificar as figuras atribuídas a Piaget e a abordagem dos principais conceitos da epistemologia genética difundidos nos vídeos do YouTube, uma matriz de análise - construída juntamente com nossos pares - é apresentada. Para alcançar o objetivo proposto, mediante uma lista inicial de 50 vídeos recomendados pela plataforma após a busca pelo termo ‘Jean Piaget’, foram selecionados os 20 com maior número de visualizações. Depois de assistir e transcrever os vídeos selecionados, a matriz de análise foi preenchida. Os resultados obtidos indicam que o estudo da obra de Piaget a partir de seus próprios escritos é o único meio para identificar erros conceituais, material de qualidade ruim, produtores de conteúdo não confiáveis e refutar críticas infundadas. Por fim, foi possível reconhecer Piaget como um polímata do Século XX.

La propuesta de este artículo es recorrer la poesía escrita por mujeres a través de la isotopía de lo animal, como figura, como voz y como sistema simbólico. Para ello se revisan algunas referencias a la relación animal / humano para luego focalizar ciertos modos de estudiar lo animal en la literatura. El corpus de análisis está conformado por poemas escritos por mujeres en el noroeste argentino durante las últimas décadas del siglo XX, y finalmente se sitúa un abordaje de la poesía de Rosa Machado, verdadero zoo-logo desde el cual es posible explorar los límites lábiles entre ambos universos. El carácter corpóreo une a estas dimensiones, mientras afloran interrogantes, dudas y desconfianzas que se convierten en el poema en figuras altamente provocativas.

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Figura es la primera obra de poesía experimental que José Antonio Cáceres concibe como libro. Su elaboración, entre 1966 y 1973, es paralela a la evolución del artista, desde el concretismo al letrismo –en la antesala de la poesía cinética–, lo que condiciona la heterogeneidad de posibilidades expresivas que recogen los poemas visuales que lo configuran. Esta primera edición publicada por la Universidad de Extremadura (UEx), está realizada por Emilia Oliva y reproduce facsimilarmente los originales inéditos que durante casi medio siglo ha conservado Fernando Millán. Su publicación posibilita el acceso a este libro que supone, en la trayectoria experimental de José Antonio Cáceres, un antecedente fundamental.

Los estudios sobre comunicación se presentan como una zona no unificada de interés teórico e investigación. Sin embargo, se ha configurado un itinerario que, si bien da cuenta de la coexistencia de variadas problemáticas e interrogantes con base en diferentes perspectivas teóricas, epistemológicas y políticas, tiende a legitimar unas formas particulares de concebir a la comunicación. En este escrito nos proponemos revisar algunas de las nociones de comunicación consideradas fundantes en el campo de estudios de la comunicación. Con ello buscamos revisar el pensamiento que marcó el inicio de la investigación en comunicación y comprender cuáles son algunos de los antecedentes que viabilizan la continuidad, no de los estudios sobre comunicación, sino de una forma de pensarla que se define por la retirada al conformismo y que ha permitido, desde ese lugar del pensamiento, asociar a la comunicación unas nociones e intereses que la vuelven ajena al sentido de lo humano y que conllevan, por lo tanto, el riesgo de la deshumanización. Para llevar a cabo nuestro trabajo recuperamos la noción de «figura» de Roland Barthes y, en consecuencia, seguimos como operatoria el «procedimiento de la tópica» propuesto por él; procedimiento que «implica una grilla en cuya superficie se pasea un tema» (Barthes, 2004: 53). De modo que este procedimiento consiste en el establecimiento de una tópica o red de lecturas en textos que suscitan una serie de asociaciones en torno a un tema. Estas asociaciones surgen a partir del criterio de recurrencia que da lugar a las figuras. Las figuras que abordamos en este trabajo son las siguientes: comunicación-información-conexión, comunicación-palabras-silencio.

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

Starting from the hypothesis that cruelty, as a word, is a trope that produces certain effects in the political and aesthetic sphere in its relationship with other figures, we will give ourselves the task of developing the following questions: 1) The beast and the sovereign as cruel figures of the political; 2) deconstructive analysis of the notion of property; 3) fabulation and cruelty. I will try to show how in institutional discourses figures such as animality, humanity, sovereignty and cruelty are put into play that authorize or prohibit, legitimize or denounce violent practices on certain populations and forms of subjectivity. [ABSTRACT FROM AUTHOR]

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El artículo explora la posibilidad y condiciones de una interpretación figural del Libro de Alexandre. Propone, en consonancia con lecturas recientes de la obra maestra del mester de clerecía, que la traición, en tanto evento iterativo y núcleo moral en el poema, configura un punto de acceso idóneo para la comprensión de la estructura del texto y de su autoconciencia poética. Se provee un esquema matricial para la evaluación de las diversas instancias de traición en el texto y se vislumbra un modo para considerar su vigencia en la producción literaria contemporánea en lengua española.

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.

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The environmental crisis is generating a vertiginous change in the biosphere (sixth mass extinction of species, climate change, water and air pollution, excessive urbanization, etc.). This change produces, in turn, a break in the perception of nature as it has existed until the nineteenth century, where there were still relatively untouched territories. From the theology of biblical tradition, creation has been considered not only as a path to the Creator but also as the first of the soteriologic events of salvation, which inaugurated the history of salvation. Patristic tradition and Christian mysticism have developed the idea that nature is a way of encounter between the believer and its source. However, the situation in which the biosphere has entered in recent decades threatens the perception of the natural figure as a «you», mediator in the encounter with the divine figure.

Análisis de la imagen sintética y de las intenciones de sus productores con el abandono de los cauces de reconocimiento habituales de los circuitos artísticos. Lo que parece interesar a los nuevos creadores de imágenes sintéticas ya no es la realidad y su posible dislocación, sino el fin mismo de esa realidad, su final, su desaparición. Para lograr sustituir la realidad por “otra cosaâ€, recurren, paradójicamente, a un paradigma perceptivo/representativo que parecía periclitado, el hiper-realismo. Sólo que en esta caso se trata de un hiperrealismo de lo inexistente, un hiperrealismo fantástico, y lo hacen desprovistos de compromiso -crítico- alguno y desprovistos de angustia alguna, la que desapareció con la sustitución definitiva de la Metafísica por la Tecnología (en la Era Digital)

This text deals with the allegorical and figurative games in the construction of the narrative by Esaú and Jacó, by Machado de Assis. Machado's novel is studied in the light of the concepts of allegory and figure from theorists such as Luiz Costa Lima, Walter Benjamin, Eric Auerbach and João Adolfo Hansen. It is a theoretical-critical reflection on the relationships that are established between the textual fabric and its unfolding in fiction. [ABSTRACT FROM AUTHOR]

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]

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador 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.)

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.

Desde ciertos presupuestos exploratorios del “arte moderno” como destino de emergencia de la imagen-fantasma (a partir de la lectura del Sofista por Deleuze), se ensaya en estas páginas la posibilidad de que la soberanía de la imagen moderna no radique predominantemente en sus valores formales y de pureza, sino en su potencia de resistencia al entendimiento. Kant, Baudelaire y Lautréamont, en lo relativo a la definición de la imagen irreductible a percepción “realista”, o Ingres, el último Goya y un Manet más enigmático que meramente plasticista, nos orientan hacia aspectos (la querella de las imágenes contra los signos, las nociones de figura y extrañamiento) y autores (Redon, Picabia, entre otros) menos atendidos por la historiografía de las conquistas formales y “autonomistas”.

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.

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS 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 Área Abierta is the property of Universidad Complutense de Madrid 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 Austral Comunicacion is the property of Austral Comunicacion 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.)

The termfigura gives us the possibility to think about the criticallimits of the entanglement between the political and the poetical on the fluctuat-ing trajectories of the passing time (chronos) and the embodied time of the event(kairos). In Auerbach’s article “Figure” (1938) the concept is defined as a dy-namic with its own regime of historicity, connecting one particular person/ eventwith another particular person/event. Such a regime presumes the kairotic logicof the right occasion, ofthe exceptional time of the context, where somethingthat is suggested to happen, just happens. This is the process of real embodimentof figures. The main point of Auerbach is that thefigura is a temporal, not onlyа special topological concept. It is characterized by itsdynamic and radiantpower, its own historicity inasmuch as it has inherited and preserves several tem-poral layers. In the end of this paper I shall make a distinction betweena literaryfigure anda conceptual persona.Bartleby, the Scrivener is seen as a conceptualpersona by Deleuze and Guattari, Derrida, Badiou, Rancière, Hardt and Negri,Agamben, Zupancic, Zizek, yet Bartleby is still a literary figure above all else –a literary figure that sometimes copies its own formation, and sometimes...simply prefers not to. The task of the current paper is to outline the stakes ofmodern literary history, composed through literary figures. [ABSTRACT FROM AUTHOR]

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