In Chile, “set the body to work” is a popular expression that highlights the materiality of the effort invested in any economic activity. It is also a metaphor that leads us to reflect on the “absence of body” in recent narrative since accounts that articulate narrators’ voices and experiences of physical or manual trade are scarce. This article addresses an exception, the novel Panaderos (Bakers), by Nicolas Meneses (2018), that presents the everyday life of a working family in detail: the mother (a seasonal agricultural worker), the father (a baker), and the foray of the family’s eldest son, the narrator, in a supermarket’s bakery. Their lives revolve around activities that require manual skills and specialized training. On one end, their trade connects them to risk and physical accidents. On the other, they are under entrepreneurial logics devoid of empathy or justice, a system condemned by the recent Chilean social uprising.
在智利，“set the body to work”是一个流行的表达，它强调了在任何经济活动中投入的努力的重要性。这也是一个隐喻，引导我们反思最近叙事中的“身体缺失”，因为清晰的叙述者的声音和身体或手工交易的经历很少。本文讨论的是一个例外，尼古拉斯·梅内塞斯(Nicolas Meneses, 2018)的小说《面包师》(Panaderos)，它详细描述了一个工薪家庭的日常生活:母亲(季节性农业工人)，父亲(面包师)，以及作为叙述者的长子在超市面包店的突然袭击。他们的生活围绕着需要手工技能和专门训练的活动。一方面，他们的职业将他们与风险和人身事故联系在一起。另一方面，他们处于缺乏同理心和正义的企业逻辑之下，这种制度受到最近智利社会起义的谴责。
{"title":"“Cuando voy al trabajo…”: Cuerpo y oficio de Panaderos en el contexto de la narrativa chilena reciente","authors":"Lorena Amaro","doi":"10.7764/68.14","DOIUrl":"https://doi.org/10.7764/68.14","url":null,"abstract":"In Chile, “set the body to work” is a popular expression that highlights the materiality of the effort invested in any economic activity. It is also a metaphor that leads us to reflect on the “absence of body” in recent narrative since accounts that articulate narrators’ voices and experiences of physical or manual trade are scarce. This article addresses an exception, the novel Panaderos (Bakers), by Nicolas Meneses (2018), that presents the everyday life of a working family in detail: the mother (a seasonal agricultural worker), the father (a baker), and the foray of the family’s eldest son, the narrator, in a supermarket’s bakery. Their lives revolve around activities that require manual skills and specialized training. On one end, their trade connects them to risk and physical accidents. On the other, they are under entrepreneurial logics devoid of empathy or justice, a system condemned by the recent Chilean social uprising.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"829 1","pages":"249-270"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76442569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fun, Taste & Games. An Aesthetics of the Idle, Unproductive, and Otherwise Playful","authors":"Diego Maté","doi":"10.7764/68.12","DOIUrl":"https://doi.org/10.7764/68.12","url":null,"abstract":"","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"13 1","pages":"235-239"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76008228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este ensayo desentraña cómo y si acaso la literatura responde o se pliega al despertar político en Chile. En otras palabras, ¿qué significa despertar con el lenguaje? A pesar de que la respuesta ha sido lenta, las literaturas tienen un rol fundamental de escribir las heliografías del futuro y dar cuerpo a comunidades que están a la espera (de justicia y de constituirse). En la revuelta, esas comunidades emergieron desde los subterráneos del orden neoliberal poniendo en simultánea acción el goce y el sacrificio. La propuesta es que la lengua literaria que no es potencialidad, sino potencia, una lengua que pone en acción el presente del colectivo para dar nombre a los espacios emancipatorios que transitan a las sombras del Estado/mercado. Utilizando metodologías críticas de los estudios culturales, teorías del otro utopianismo y calibraciones del poder deseante del lenguaje poético, se critica la literatura neoliberal y sus prácticas extractivistas con el objetivo de proponer otras metodologías estéticas que abran espacios al respirar del otro.
{"title":"Los nombres del futuro, una propuesta","authors":"M. Ríos","doi":"10.7764/68.21","DOIUrl":"https://doi.org/10.7764/68.21","url":null,"abstract":"Este ensayo desentraña cómo y si acaso la literatura responde o se pliega al despertar político en Chile. En otras palabras, ¿qué significa despertar con el lenguaje? A pesar de que la respuesta ha sido lenta, las literaturas tienen un rol fundamental de escribir las heliografías del futuro y dar cuerpo a comunidades que están a la espera (de justicia y de constituirse). En la revuelta, esas comunidades emergieron desde los subterráneos del orden neoliberal poniendo en simultánea acción el goce y el sacrificio. La propuesta es que la lengua literaria que no es potencialidad, sino potencia, una lengua que pone en acción el presente del colectivo para dar nombre a los espacios emancipatorios que transitan a las sombras del Estado/mercado. Utilizando metodologías críticas de los estudios culturales, teorías del otro utopianismo y calibraciones del poder deseante del lenguaje poético, se critica la literatura neoliberal y sus prácticas extractivistas con el objetivo de proponer otras metodologías estéticas que abran espacios al respirar del otro.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"167 1","pages":"367-381"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80528286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.13128/AISTHESIS-11728
N. Mapp
This essay argues that Antony and Cleopatra’s pitting of Egypt against Rome is a cipher of aesthetic resistance to modern rationality. The coordinates are Adornian. Antony’s and Cleopatra’s complex identities elude the disenchanting, nominalist machinery in which diffuse indeterminacy necessitates conceptual imposition. Here, the individuals are essentially dramatized: sensate, embodied selves composed and expressed in relations of passionate recognition. The lovers’ deaths, and especially Cleopatra’s self-conscious theatre, rewrite the ascetic, dominative, and pseudo-theatrical rationality of Octavian Rome. The protest, the passion and singularity, lives mainly through its expressive emphases – such as hyperbole – and the re-functioning of the very dominative roles and norms being opposed. This reflects the restricted but critical – aesthetic – status of early modern drama, and specifies its opposition to the deepening attack on sensate knowing in its world.
{"title":"Early Modern Aesthetics: Antony and Cleopatra and the Afterlife of Domination","authors":"N. Mapp","doi":"10.13128/AISTHESIS-11728","DOIUrl":"https://doi.org/10.13128/AISTHESIS-11728","url":null,"abstract":"This essay argues that Antony and Cleopatra’s pitting of Egypt against Rome is a cipher of aesthetic resistance to modern rationality. The coordinates are Adornian. Antony’s and Cleopatra’s complex identities elude the disenchanting, nominalist machinery in which diffuse indeterminacy necessitates conceptual imposition. Here, the individuals are essentially dramatized: sensate, embodied selves composed and expressed in relations of passionate recognition. The lovers’ deaths, and especially Cleopatra’s self-conscious theatre, rewrite the ascetic, dominative, and pseudo-theatrical rationality of Octavian Rome. The protest, the passion and singularity, lives mainly through its expressive emphases – such as hyperbole – and the re-functioning of the very dominative roles and norms being opposed. This reflects the restricted but critical – aesthetic – status of early modern drama, and specifies its opposition to the deepening attack on sensate knowing in its world.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"59 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87651267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El presente articulo reflexiona sobre la experiencia del Taller de Fotografia Azentun con adolescentes mapuche de la ciudad de Santiago, en torno a la identidad indigena desde una perspectiva contemporanea. La investigacion promovio la construccion de un relato de autorrepresentacion de la identidad mapuche por medio del uso de la fotografia y una lectura critica sobre el imaginario visual mapuche. Algunas de las imagenes realizadas por el grupo de adolescentes fueron expuestas en el Museo Historico Nacional como un ejercicio de tension y relectura del relato identitario oficial en contraste con los microrrelatos adolescentes.
{"title":"El Taller de Fotografía Azentún con adolescentes mapuche de Santiago. Una propuesta fotográfica-performática para recrear una identidad visual indígena y urbana en el Museo Histórico Nacional de Chile","authors":"José Mela Contreras","doi":"10.7764/67.10","DOIUrl":"https://doi.org/10.7764/67.10","url":null,"abstract":"El presente articulo reflexiona sobre la experiencia del Taller de Fotografia Azentun con adolescentes mapuche de la ciudad de Santiago, en torno a la identidad indigena desde una perspectiva contemporanea. La investigacion promovio la construccion de un relato de autorrepresentacion de la identidad mapuche por medio del uso de la fotografia y una lectura critica sobre el imaginario visual mapuche. Algunas de las imagenes realizadas por el grupo de adolescentes fueron expuestas en el Museo Historico Nacional como un ejercicio de tension y relectura del relato identitario oficial en contraste con los microrrelatos adolescentes.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"30 1","pages":"207-229"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72406627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present work is a theoretical study that compares the modes of documentary representation provided by Bill Nichols, Michael Renov, and John Corner. Such paradigms correspond to the increase of documentary studies from the beginnings of nineties of 20th century. They have become prominent guides for the reinterpretation of aesthetics and history of documentary film. The critical revision proposed here includes the analysis of specific examples of Cuban documentary films produced by Cuban Institute of Art and Cinematic Industry (ICAIC) between 1959 and 1991. The three models followed identify different theoretical backgrounds over which project the image of documentary, for that reason, this study argues for the triangulation of the categories in the exam of significant volumes of documentaries.
{"title":"Los modos del cine documental. Análisis de tres modelos","authors":"Carlos Guillermo Lloga Sanz","doi":"10.7764/67.4","DOIUrl":"https://doi.org/10.7764/67.4","url":null,"abstract":"The present work is a theoretical study that compares the modes of documentary representation provided by Bill Nichols, Michael Renov, and John Corner. Such paradigms correspond to the increase of documentary studies from the beginnings of nineties of 20th century. They have become prominent guides for the reinterpretation of aesthetics and history of documentary film. The critical revision proposed here includes the analysis of specific examples of Cuban documentary films produced by Cuban Institute of Art and Cinematic Industry (ICAIC) between 1959 and 1991. The three models followed identify different theoretical backgrounds over which project the image of documentary, for that reason, this study argues for the triangulation of the categories in the exam of significant volumes of documentaries.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"50 1","pages":"75-102"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75268728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper investigates the nature of the ghost and terror into philosophical thought, and how it allows us to reconsider, in the field of epistemology, the experience of terror in the perception, understanding and knowledge about reality. This analysis is developed, firstly, by means of the recovering of the evil genius figure mentioned in the Metaphysical Meditations by Rene Descartes, which provides a key to reconsider terror as an element present in the conformation of subjectivity. Besides that, it is based on the considerations on Jacques Derrida’s cinema as a device for the production of spectra, meanwhile it allows us to understand the figure of the ghost as that which disrupts and alters the reality. Both lines of study converge in the analysis of the Uruguayan horror film The Silent House, directed by Gustavo Hernandez, which opens the possibility of appreciating how terror is a bodily experience that allows the subject to access a new understanding of himself and his world.
{"title":"El cuerpo del terror: el genio maligno en La Casa Muda","authors":"Estefanía Paz Hermosilla Órdenes","doi":"10.7764/67.7","DOIUrl":"https://doi.org/10.7764/67.7","url":null,"abstract":"This paper investigates the nature of the ghost and terror into philosophical thought, and how it allows us to reconsider, in the field of epistemology, the experience of terror in the perception, understanding and knowledge about reality. This analysis is developed, firstly, by means of the recovering of the evil genius figure mentioned in the Metaphysical Meditations by Rene Descartes, which provides a key to reconsider terror as an element present in the conformation of subjectivity. Besides that, it is based on the considerations on Jacques Derrida’s cinema as a device for the production of spectra, meanwhile it allows us to understand the figure of the ghost as that which disrupts and alters the reality. Both lines of study converge in the analysis of the Uruguayan horror \u0000film The Silent House, directed by Gustavo Hernandez, which opens the possibility of appreciating how terror is a bodily experience that allows the subject to access a new understanding of himself and his world.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"11 1","pages":"151-165"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87875321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper argues the need to reread Hegelian aesthetics based on the transcripts of Hegel’s Berlin lectures on aesthetics. To do this, the differences between these notebooks and the Lectures on Aesthetics edited by Hotho, are exposed and analyzed, showing the most relevant modifications and manipulations that the editor made both on the structure and the content of Hegelian aesthetics. Thus, the analysis begins with the inclusion of the natural beauty in the Lectures on Aesthetics; then, it deals with the systematization and triadic structure of this work; and, finally, the problematic canonical definition of the ideal.
{"title":"Las lecciones sobre estética de Hegel: discrepancias fundamentales entre la edición de Hotho y los Nachschriften","authors":"Italo Angelo Debernardi Cárcamo","doi":"10.7764/67.1","DOIUrl":"https://doi.org/10.7764/67.1","url":null,"abstract":"This paper argues the need to reread Hegelian aesthetics based on the transcripts of Hegel’s Berlin lectures on aesthetics. To do this, the differences between these notebooks and the Lectures on Aesthetics edited by Hotho, are exposed and analyzed, showing the most relevant modifications and manipulations that the editor made both on the structure and the content of Hegelian aesthetics. Thus, the analysis begins with the inclusion of the natural beauty in the Lectures on Aesthetics; then, it deals with the systematization and triadic structure of this work; and, finally, the problematic canonical definition of the ideal.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"5 1","pages":"9-30"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87902440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present work aims to restore the problem of the Warburg’s method. First, we will analyse the influence of Jacob Burckhardt and Robert Vischer in the Warburguian proposal of a psychology for the approach of cultural phenomena. Then, we will discover that Warburg moves from this approach towards a new concern for the way in which impersonal forces produce historical-cultural senses. As we propose here, on the one hand, this movement is mediated by the configuration of a critique towards aestheticism and historicism (made explicit in 1900 through a famous epistolary exchange with Andre Jolles); on the other hand, it allows a better understanding of the notion of surviving pathos as well as the Warburguian interest for developing a theory of social memory, influenced by Richard Semon.
{"title":"Aby Warburg y el pathos superviviente. De la psicología a la memoria social","authors":"Daniela Losiggio","doi":"10.7764/67.5","DOIUrl":"https://doi.org/10.7764/67.5","url":null,"abstract":"The present work aims to restore the problem of the Warburg’s method. First, we will analyse the influence of Jacob Burckhardt and Robert Vischer in the Warburguian proposal of a psychology for the approach of cultural phenomena. Then, we will discover that Warburg moves from this approach towards a new concern for the way in which impersonal forces produce historical-cultural senses. As we propose here, on the one hand, this movement is mediated by the configuration of a critique towards aestheticism and historicism (made explicit in 1900 through a famous epistolary exchange with Andre Jolles); on the other hand, it allows a better understanding of the notion of surviving pathos as well as the Warburguian interest for developing a theory of social memory, influenced by Richard Semon.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"35 1","pages":"103-121"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78619255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este articulo busca revelar posibles cristalizaciones conceptuales que pudieran detener la reflexion en torno a los procedimientos de apropiacion artistica. Para ello, se reconsidera la idea de una supuesta modernidad artistica pura y despojada de su pasado, y se evalua la creencia tacita de que algun estilo, elemento u operacion especifica es, en si mismo, suficiente para constatar la modernidad de las obras. Con todo, y en virtud de examinar su fuero moderno, distingue y examina si las propuestas artisticas reconvirtieron los recursos disponibles (apropiacion transformadora), si edificaron versiones de algun estilo hegemonico (apropiacion acoplada), o si establecieron diatribas apegadas a su referente (apropiacion critica).
{"title":"La eficacia rupturista e innovadora de la maniobra de apropiación en el contexto del arte moderno latinoamericano","authors":"C. Pavez","doi":"10.7764/67.3","DOIUrl":"https://doi.org/10.7764/67.3","url":null,"abstract":"Este articulo busca revelar posibles cristalizaciones conceptuales que pudieran detener la reflexion en torno a los procedimientos de apropiacion artistica. Para ello, se reconsidera la idea de una supuesta modernidad artistica pura y despojada de su pasado, y se evalua la creencia tacita de que algun estilo, elemento u operacion especifica es, en si mismo, suficiente para constatar la modernidad de las obras. Con todo, y en virtud de examinar su fuero moderno, distingue y examina si las propuestas artisticas reconvirtieron los recursos disponibles (apropiacion transformadora), si edificaron versiones de algun estilo hegemonico (apropiacion acoplada), o si establecieron diatribas apegadas a su referente (apropiacion critica).","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"18 1","pages":"53-74"},"PeriodicalIF":0.2,"publicationDate":"2020-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88547413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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