Suchergebnisse

Cindy Shermans Fotoserie "Disgust Pictures" (1986-90) gehört zu einer Reihe von künstlerischen Arbeiten der späten 1980er und 90er Jahre, die BetrachterInnen unmittelbar mit Ekelgefühlen affizieren. Im Unterschied zu den meisten von ihnen, richten sich Shermans Arbeiten jedoch gleichzeitig mithilfe postmoderner Strategien vielfältiger Bedeutungsüberlagerungen auch dezidiert an den Intellekt ihres Publikums. Die vorliegende Abhandlung geht anhand einer methodischen Vielfalt von gender- und rezeptionsästhetischen Ansätzen, ästhetischen und psychoanalytischen Theorien zur Wirkung von Ekel sowie der Untersuchung des diskursiven Entstehungsumfelds der "Disgust Pictures" der Frage nach der Besonderheit dieser Werkgruppe nach. Sie untersucht dazu exemplarische Arbeiten Shermans eingehend auf Darstellungsweisen und Wirkungsfaktoren, nimmt Vergleiche mit Vor-Bildern und künstlerischen Arbeiten anderer KünstlerInnen vor und zeichnet so ein interpikturales Netz von Bedeutungsstrukturen und Verweisen nach, welche die Arbeiten auszeichnen. Zu Beginn wird das Phänomen Ekel anhand seiner Theoretisierungen ausführlich beleuchtet, wobei ein Schwerpunkt auf den 80er und 90er Jahren des 20. Jahrhunderts liegt. In dieser Zeit rückte mit dem Aufkommen der Pandemie AIDS der menschliche Körper und seine Vergänglichkeit in den Fokus des gesellschaftlichen Interesses. So haben sich die Widerständigkeit des Körpers und seiner schwer zu kontrollierenden Randzonen und Abfallprodukte als wirkmächtige Impulsgeber für eine Kunst gezeigt, die ihr Publikum mit Gefühlen affizieren und damit teilweise auch gesellschaftlich und politisch wirken wollte. Dabei bestimmte Julia Kristevas Abjekttheorie die Diskussion der Zeit maßgeblich mit und wurde auch politisch gedeutet und instrumentalisiert. Exemplarische Arbeiten der zeitgenössischen KünstlerInnen Kiki Smith, Mike Kelley und Paul McCarthy ergänzen die theoretischen Ausführungen zum Ekel und übersetzen sie in spezifische künstlerische Strategien in Abgrenzung zu Shermans Arbeitsweise. Dann wird die inszenierte Fotografie als postmoderne künstlerische Ausdrucksform vorgestellt, deren Hauptmerkmal darin besteht, dass kein vorgefundenes, sondern ein arrangiertes Geschehen abgelichtet wird. Die Spannung zwischen der Beglaubigung des Dagewesenen durch die Fotografie und damit ihrem 'Wahrheitsanspruch' und der künstlerischen Inszenierung vor der Kamera macht den besonderen Charakter dieser Arbeiten aus und ermöglicht es den KünstlerInnen, die Funktionsweise des Mediums in ihren Bildern erlebbar zu machen und kritisch zu hinterfragen. In einem weiteren Schritt wird gezeigt, wie Sherman dieses medienkritische Potential der inszenierten Fotografie für ihre Arbeiten vor allem nutzt, indem sie medial vermittelte Wirklichkeitskonstruktionen über das Arbeitsmittel der Reinszenierung bewusst macht und ironisch kommentiert. Anhand der detaillierten Analyse einzelner Arbeiten wird darüber hinaus herausgearbeitet, wie Sherman formlose, Ekel auslösende Darstellungsmomente mit strukturierenden, formalästhetischen Elementen verknüpft, mit Konventionen der Körperdarstellung experimentiert und mediale Vor-Bilder 'parasitiert'. So werden beispielsweise ihre "Molding Foods", riesige Tableaux aus scheinbar verschimmelten, ausgespieenen, aber reichfarbigen Lebensmittelpasten, mit barocken Stillleben und mit Arbeiten des Nouveau Réalisme von Daniel Spoerri und Dieter Roth verglichen sowie Jackson Pollocks Drip Paintings als Vor-Bilder diskutiert. Daneben werden in thematischen Kapiteln wie "'Landschaften' des Ekels" und "Das Ekel erregende menschliche Antlitz" eine weitere Auswahl aus den "Disgust Pictures" vorgestellt und vor dem Hindergrund von Tim Heads künstlichen Landschaften, aber auch von Horrorfilmszenarien sowie von Arcimboldos Gemüse-und Marcel Duchamps Süßigkeitenportraits analysiert. Ekel erscheint innerhalb dieser Arbeiten nicht nur als Mittel, die RezipientIn direkt mit unangenehmen Gefühlen zu affizieren, sondern sein Einsatz ist auch thematisch bedingt und weist Bezüge zu aktuellen Ereignissen und gesellschaftlichen Problemen auf. Nicht zuletzt dient der Einsatz von Ekel erregenden Elementen als Form der Kritik an oder als Kommentar zu den verhandelten Themen, führt Sherman doch mittels der Zusammenschau und Verfremdung kultureller Versatzstücke anhand und innerhalb ihrer "Disgust Pictures" eine lustvolle Auseinandersetzung um die Konstruiertheit von Körperrepräsentationen und Geschlecht. Aufgrund ihrer spezifischen Arbeitsweise erhalten Shermans Arbeiten eine Pluriperspektivität, die einen großen Bedeutungsspielraum eröffnet, zu ihrer anhaltenden Aktualität beiträgt und sich als eine Besonderheit innerhalb der Gruppierung der Kunstwerke erweist, in denen Strategien der Ekelerzeugung wirksam werden. ; Cindy Sherman's series of photographs known as the "disgust pictures" (1986-90) belong to those artworks from the late 1980s and 90s that are intended to immediately evoke feelings of disgust in audiences. Unlike the majority of these artworks, however, Sherman's works rely on postmodern strategies such as the overlaying of multiple meanings in order to deliberately appeal to audiences on a cerebral level as well. In this doctoral thesis, I rely on several methodological approaches in gender, reception, aesthetic, and psychoanalytic theory concerning the effects of disgust to investigate the particular characteristics of this group of works while also reflecting on the discursive background of Sherman's "disgust pictures." I explore selected works by Cindy Sherman according to the methods of representation used and the factors determining the resulting effects. By comparing these with the artworks and pictorial models used by other artists, I also trace the intertextual references that characterize the "disgust pictures." In this thesis, I begin with a close examination of different theoretical approaches to disgust, with a focus on the 1980s and 90s. During this time, the emergence of the AIDS pandemic created a renewed public interest in the human body and its transience. The body's resilience, its difficult-to-control penetrable surfaces and excretions, were powerful incentives for a type of art that endeavored to evoke emotions in audiences, while some works also aimed at having a social and political impact. Julia Kristeva's theory of abjection played a major role in discussions at that time, because abjection was interpreted as something political that could be used as a tool. For the purpose of illustrating the different theoretical approaches to disgust, I also refer to a number of key works by contemporary artists such as Kiki Smith, Mike Kelley, and Paul McCarthy, whose specific artistic strategies I compare with Sherman's working method. An important theme is staged photography as a postmodern artistic means of expression. The main feature of staged photography is not taking a picture of something found, but creating the motif through a deliberate arrangement. The resulting tension between using the camera for verification – photography's "truth claim" – and artistic staging is what lends these works their unique character and what enables these particular artists to openly reflect on – and thus critically question – the functional mechanisms of photography as a medium in their pictures. In a second step, I demonstrate how Sherman applies staged photography to question the role of media and how she uses the techniques of restaging and ironic commentary to expose the constructs of reality conveyed by the media. In a detailed analysis of individual works, I examine how Sherman combines formless elements of representation, which evoke disgust, with structuring elements of a formal aesthetics. I also investigate how she experiments with the conventions of representing the body and how she feeds off certain pictorial models from the media. Her "molding foods" pictures – gigantic arrangements of colorful, moldy-looking food pastes that appear to have been regurgitated – are also compared with the pictorial models of Baroque still lifes, works by Nouveau Réalistes like Daniel Spoerri and Dieter Roth, and Jackson Pollock's drip paintings. In more thematic chapters, such as The Landscapes of Disgust and The Disgusting Human Face, I juxtapose Sherman's "disgust pictures" with, among other things, Tim Head's artificial landscapes, scenes from horror movies, Arcimboldo's portraits consisting of vegetables, and Marcel Duchamp's portraits consisting of marzipan vegetables. Disgust functions in these particular artworks not only as a means of directly evoking unpleasant feelings in audiences, but also as a thematic reference to current events and social problems and, not least, as a criticism or commentary. In her "disgust pictures," Sherman sensually investigates the constructedness of representations of bodies and gender by visualizing and defamiliarizing cultural elements. Sherman's unique working method lends her pictures a pluralist perspective that not only opens up the range of meaning in her works, but also contributes to her currency as an artist and is thus arguably a unique quality of her artistic practice in comparison with other artists that also rely on strategies of evoking disgust.

[spa] La tesis en sus seis capítulos sustenta el compromiso de la asistencia social con la construcción de las diferencias de clase, etnia y género en Santa Fe de Bogotá, en los contextos históricos barroco e ilustrado. La asistencia social, como un componente de las tradiciones occidentales que interpreta la pobreza y los problemas sociales, sus efectos e implicaciones, a la vez que definía y regulaba la acción para prevenirlos, remediarlos o erradicarlos, se instaló en la ciudad como parte de los dispositivos civilizadores. Por lo tanto, participó del proyecto de recreación de la cultura europea y contribuyó a la castellanización y al reforzamiento de las imágenes y de los simbolismos del cristianismo de la Contrarreforma desde las etapas iniciales de la formación de la sociedad colonial. Las propuestas asistenciales comprenden visiones sobre los sufrimientos humanos y paliativos frente a los mismos, procedentes tanto de las relaciones con el mundo sagrado como de las acciones humanas. La discusión se inscribe en los procesos a través de los cuales se forjó la diferencia como desigualdad, elemento clave del pensamiento androcéntrico, colonial y elitista. Tal diferencia se sustentó en la naturalización de la inferioridad de quien o quienes fueron definidos como el otro o la otra, los otros o las otras: los indígenas, los mestizos y los pobres de ambos sexos y diferentes edades. A la vez, produjo y reprodujo las relaciones jerárquicas entre los hombres y las mujeres, la sociedad blanca y el resto de la sociedad conformada por el heterogéneo mundo de los indios, los mestizos y las castas así como también entre los ricos y los pobres. Se visualizaron los impactos de la pobreza por motivos sociales, étnicos y de género y las interpretaciones sobre la misma que inspiraron las estrategias para prevenirla, tratarla o erradicarla que comprometió a los diferentes estamentos sociales: legisladores y administradores tanto eclesiásticos como civiles. Los discursos sobre la pobreza y el género que emergieron en los contextos barroco e ilustrado constituyen el material trabajado: la crónica, las vidas ejemplares, la iconografía, los pronunciamientos oficiales tanto religiosos como laicos de los donantes y proyectistas, así como también, los relatos de las experiencias vitales y los trozos del pensamiento de las mujeres y los hombres que dejaron huella de la divergencia y la resistencia a las pautas modélicas con las que se intentó regular sus vidas. Se trazó un recorrido desde los significados del ideal de la masculinidad representado en los modelos del explorador, conquistador y el guerrero, alejados de las mujeres y del mundo femenino pasando por las redefiniciones del colonizador quien requirió de un hogar para asentarse, hasta el ideal del padre providente, correspondiente al modelo de familia paradigmático de la modernidad que construyó la dependencia de las mujeres y de los hijos. La tesis se inicia en un diálogo con la historiografía colonial colombiana, la etnohistoria y la historia de la pobreza. Luego se plantea el tema, la metodología y el tratamiento de las fuentes. A continuación se propone una lectura sobre las imágenes y los imaginarios coloniales en las narrativas del seiscientos. Enseguida se observan los enunciados sobre la pobreza y las estrategias para tratarla transferidos desde España, el sincretismo y la significación para la cultura santafereña de la fundación de la Casa de los niños y mujeres recogidas en el año 1641. Después se muestran los sesgos de género de las manifestaciones del conflicto urbano en el que se destacan las infracciones tales como adulterios, amancebamientos y concubinato, la violencia contra las mujeres lo mismo que los hurtos y robos y los esfuerzos de las autoridades ilustradas por hacer prevalecer el imperio de la ley. La exposición culmina con las narrativas de la caridad ilustrada correspondiente al periodo en que se impulsó la modernidad cuando se reinventó en el año 1777 el hospicio para el encierro de los indios, mestizos y mulatos pobres y mendigos de ambos sexos y se estableció el Monte de Piedad para la protección de la viudas de los militares y altos funcionarios fallecidos al servicio de la Corona. ; [eng] This Thesis, within its six chapters, shows the commitment from the social assistance of Santa Fe de Bogotá - during the XVI and XVII Centuries - to the reproducing of the gender and ethnic social differences. The discourses on poverty - which came up within the baroque and illustrated contexts - constitute the worked material: the chronicle, the exemplary lives, the iconography, the official religious - as well as lay - pronouncements from the givers and project makers; as well as the stories of life experiences and the fragments of thought from the women and men who left traces of the divergence and resistance towards the model patterns by which their lives were tried to be controlled. A run over was drawn from the meanings of the ideal masculinity - represented by the models of: the explorer, the conqueror and the warrior, - distant from the women and from the feminine world, going through the defining anew of the colonizer - who required a home to settle -, up to the ideal providing father, corresponding to the paradigmatic model of family from the Modernity, who built the dependence of women and of the children. The Thesis starts with a dialogue with the Colombian Colonial Historiography, the ethno-history and the history of poverty. Then the theme is set forth - as well as the methodology, and the dealing with the sources. Following, a reading on the Colonial images and the imaginary in the narratives of the six hundred's is suggested. Following, there can be seen the enunciates on poverty and the strategies to deal with it - transferred from Spain -, the syncretism and the meaning - for the Santa Fe Culture - of the foundation of The House for the children and women sheltered during year 1641. Then after, the bias of gender - from the urban conflict expressions - are shown. The exposition ends with the narratives of the illustrated charity - corresponding to the period in which the Modernity was fostered -, when during year 1777 the hospice for the confinement (shelter) of the Indians, Mestizos and poor Mulattos, and beggars of both sexes was reinvented, and the Monte de Piedad was established for the protection of widows of militaries and high officials who died while serving The Crown.

The peculiarities of imagological discourse of Old Ukrainian thinker Hryhorii Skovoroda,connected with comprehension of the symbols of cult antique places (Athens, Rome, Carthage, Petra)are revealed in the article. The spiritual culture of Athens of the blossoming period of the polis isacknowledged to be the highest achievement of ancient Greek aesthetic-philosophical idea by him.H. Skovoroda proposes his meta-historical view of the conception of the decline of Athens as thecenter of ancient Greek culture. In his opinion the philosophers of the period of blossoming of thecity-state (firstly Socrates, Plato, Epicurus) were close to the comprehension of sacral mysteries of142 Науковий вісник Ізмаїльського державного гуманітарного університету. Серія «Філологічні науки». – Вип. 44.existence, as the matter of nature of human happiness and "soulful world" were in the center of theirspiritual pursuit, but modesty and moral scepticism of wise men in the period of the rise of Athensencouraged youth to master moral background of their doctrine in which the beginnings of the futureChristian ethics were seen. H. Skovoroda was sure that the decline of the polis happened as a resultof a withdrawal from the preaching of philosophy of self-knowledge proclaimed by Thales as themain postulate of wisdom, because of the appearance of numerous «philosophical monkeys» thatdidn't have anything in common with scholarship, but spoiled with the defilement of theirpseudoscience the Athenian youth, that began to aim at career and ranks most of all, having turnedsciences into the weapon of anger and superstition.The image of Rome is poeticized by H. Skovoroda as a center of Latin enlightenment. His ideaof the capital of legendary Italian empire is formed under the influence of the works of SidronioHosius («Ode»), Cicerone («About Old Age») and Plutarch («About Peace of Mind»), the extractsfrom which were partly translated by the Ukrainian artist.Rome is shown as a pie hole of human promiscuity and vices in the ode of Sidronio Hosiusinterpreted by the thinker. It was identified that it was the final part of the work «Episodium infunere Georgii Chamberlini» («The Scenes from the Life of the Dead Georgii Chamberlini»), beingwritten in the original with elegant Sapphic stanza, in Skovoroda's variation – with prose, but withthe division in corresponding verses, that brings it closer to free verse. The artistic space of theextract consists of two opposite in conceptual strain topoi – Bethlehem cave, where the teacher ofChristian church Iyeronim hid from the world and Rome as a symbol of noisy, carefree, luxuriouslife that existed in the imagination of a recluse. In the traditions of baroque dramatized imageryIyeronim is constantly suffering from ghostly scenes of Roman carnivals and ladies' dancing,banquets, not finding peace from prayers and remorse. If Sidronio Hosius aimed to give a reader theinstructive lessons of patience and willpower of the hero with the help of the description ofIyeronim's suffering, then for H. Skovoroda this artistic material was used to stress again theimportance of achieving peace inside one's heart through the belief that there is no sense to escapefrom the vanity of the world and be a recluse, if the temptation is the center of your mind.At the same time H. Skovoroda doesn't consider the image of Rome to be the embodiment ofpromiscuity and soullessness, and following Plutarch and Cicerone he calls cultural figures of thecapital of the empire «virtuous Romans». Obviously from Plutarch's essay «Marcus Cato» H.Skovoroda got to know about unbearable attitude of ancient Roman politician, speaker and writerMarcus Porcius Cato (Cato the Elder, 234 – 148 BC) to Carthage that was developed under theinfluence of the last working visit to Phoenician city-state. In the letter of 12 June, 1763H. Skovoroda presents to M. Kovalenskyi the story of Cato's obsessive appeal «Carthagodelenda»(«Carthage must be destroyed») in the Senate which was turned into a catch phrase later, that meantmetaphorically absolute necessity of overcoming enemies and obstacles. As we know from history,anyway Carthage was demolished to the ground as the center of anti-imperial ambitions of the entireMediterranean shortly after Cato's death. An encouraging attitude of the Ukrainian philosopher tothis instructive lesson is completely evident, moreover in the works of ancient authors the level ofspiritual life of Carthage of those times was assessed as the triumph of pagan culture in its worstdisplays – the cults of aggressive chthonic creatures, human sacrifice, promiscuity and unlawfulness.Thus, in Skovoroda's opinion military strength of ancient Rome contributed to the approval ofpositive values that were designed in the mind of the artist on the traditions of postantique oppositionof the Kingdom of Heaven and Kingdom of the Antichrist.If Carthage became the embodiment of barbarism in the imagological discourse, then anotherstrategically important colony of the Roman Empire – Petra, built amidst Arabian desert in the rockson the intersection of important trade routes, on the contrary, became a symbol of the church ofChristian faith founded by Apostle Petro. Even in antiquity in the works of Josephus Flavius andPliny the Elder, known by H. Skovoroda, Petra became a metaphor of blessed world, a symbol ofpromised land, a way to which is confusing and unsafe. H. Skovoroda withdraws a legendary imageof antique Petra not only as allegorical definition of grace, but also as a symbol of Christiansalvation (29 song «Garden…»), safe harbor, «kify» (stone), a stronghold of faith and peace of mind. ; Оперування Г.Сковородою сакральними топосами античної культури (Афіни, Рим,Карфаген, Петра, Троя, Адріатика) свідчить про глибокий рівень освіченості митця тавиявляє його культурні пріоритети. Троя як географічно невідома одиницяміфологізованої праісторії античної цивілізації сприймається крізь призму героїчногоепосу Гомера й Вергілія. Духовна культура Афін періоду розквіту поліса отрималанайвищої оцінки мислителя, який пов'язав причини занепаду міста-держави з відходом їївиразників від сповідування принципів чистоти й міри та вульгаризованому розумінню їхпослідовниками питання природи людського щастя й шляхів досягнення душевноїгармонії. Образ Риму в сприйнятті Г.Сковороди відповідає традиційним уявленням провелич та міць давньоримської столиці в контексті підтримки імперської політикиантичної держави, що жорстоко розправлялася з проявами незадоволення з бокуколонізованих країн, як-то видно з прикладу тотального руйнування Римом Карфагену.Г.Сковорода використовує уроки історії для ілюстрації власних зацікавлень, уподібнюючисебе до давньоримського політика Катона Старшого, який без втоми закликав сенатзруйнувати небезпечну для імперії столицю фінікійської держави. Образ Адріатики якстратегічний водний простір італійських земель отримав поетизованого звучання влатиномовному вірші філософа «Qiud mente velox…». Затока Адрія сталаметафоричним означенням життєвого виру в контексті ототожнення непередбаченихситуацій під час морських мандрів з їх виникненням в процесі будь-якого людськогожиття. Концептуальне навантаження назви давньоримської колонії Петри послугуваловикористанню Г.Сковородою її символіки не просто у значенні «обітованої землі»,розташованої у серці безводної пустелі, але й як метафори закладеної апостоломПетром церкви християнської віри, чому сприяла як етимологічна подібність назви містай імені святого подвижника, так і органічний зв'язок Петри з біблійною історією.

Розкрито суспільне, художнє, моральне значення щорічних Міжнародних Пасхальних асамблей, їх сутність і своєрідність, виражені в гаслі «Духовність єднає Україну», зокрема особливості ювілейної Х Асамблеї – 2018. Докладно розглянуто зміст її заходів – музичних діалогів; концертів, присвячених ювілеям видатних композиторів і виконавців; Першого конкурсу скрипалів імені Богодара Которовича; благодійної програми «Вірою, надією єдині»; охарактеризовано їх програми, творчий шлях колективів та окремих виконавців, які взяли участь у цих заходах. Х Міжнародна Пасхальна асамблея – 2018 «Духовність єднає Україну» справді стала грандіозним святом духовності та єднання українського суспільства. У цьому переконують творчі виступи, концерти не лише в концертних залах Києва, а й у Софії Київській, Михайлівському Золотоверхому Соборі, Успенському соборі Києво-Печерської Лаври, Патріаршому соборі Воскресіння Христового, у Храмі Василя Великого. У цих заходах виявилося прагнення людей жити в мирі і злагоді. Український політикум усе більше переконується в тому, що краще неспокійний мир, ніж жахи воєнного лихоліття. Це має стати нормою для України! Висока гуманістична ідея Пасхальних асамблей спрямована на утвердження стабільності, миру і благополуччя в нашій країні. ; Relevance of research. In the twenty-first century some profound socio-political, economic, and spiritual shifts have become the realities of life both in Ukraine and the world. They not only open up perspectives for the socio-cultural progress of mankind, but also create crises in all spheres of life. State activity in the field of spirituality as well as artistic and aesthetic integrity of Ukrainian society should be aimed at overcoming destructive processes of stagnation and instability, humanization of universal moral and spiritual values, revival of Ukrainian national culture. An important role in this is related to the annual International Easter Assembly "Spirituality unites Ukraine".The purpose of the research is to reveal the social, artistic, and moral significance of the annual International Easter Assemblies, their essence and peculiarity, expressed in the slogan "Spirituality unites Ukraine". Particularly it has been pointed out the properties of this event from the point of view of its jubilee Tenth Assembly-2018. The author has described in detail the content of its events, expressed by musical dialogues, concerts devoted to the anniversaries of prominent composers and performers. The first Bogodar Kotorovych Contest of violinists, the charity program "Unity in faith and hope" were characterized with a detailed description of the program, the creative path of the teams and individual performers who took part in these events.The methodology of the study provides an analytical review of the main activities that took place during the jubilee Tenth Assembly-2018. The scientific novelty of the study consists in the fact that it first characterized the performances of leading performing groups that took part in this international event. Their creative peculiarity has been revealed in connection with the embodiment of the author's design. The importance of musical dialogues introduced with the assistance of Embassies of foreign states accredited in Ukraine has been emphasized. This is a quite new form of international cultural cooperation, the purpose of which is the spiritual rapprochement of nations and nationalities, the popularization of the cultures of different peoples. During the Tenth International Easter Assembly in 2018, ten dialogues were held with the participation of performers from Italy, Hungary, the USA, Lithuania, France, Israel, Germany and other countries. There were creative performances, concerts not only in the concert halls of Kiev, but also in Saint Sophia Cathedral in Kyiv, St. Michael's Cathedral, the Assumption Cathedral of the Kyiv-Pechersk Lavra, the Patriarchal Cathedral of the Resurrection of Christ, at the Church of Basil the Great.The tradition of the Easter assemblies has become a honoring of prominent figures of musical culture. On April 17, 2018, a jubilee concert by Georgiy Agrathin "Musician-Magician" took place in the Great Hall of the Academy on his 70th anniversary with the participation of the National Orchestra of Folk Instruments of Ukraine (headed by V. Gutsal).The concluding Gala Concert of the winners of the 8th All-Ukrainian Television Children's Song Festival-Competition "Solovyenko of Ukraine" was the bright event of the Assembly. On 22nd April 2018, the First All-Ukrainian Bogodar Kotorovych Violinist Competition also has begun. The organizers of the contest are Petro Tchaikovsky National Music Academy of Ukraine with the support of the Ministry of Culture of Ukraine, the National Union of Composers of Ukraine, and the All-Ukrainian Foundation for International Communication "Ukrainian National Embassy", the National All-Ukrainian Music Union. The jury consists of well-known violinists from Ukraine, France, Poland, and Great Britain – students of the outstanding Maestro.The Grand Concert "Opera in the Academy" was dedicated to the 80th anniversary of the Opera Studio of the National Academy of Sciences of Ukraine. P. I. Tchaikovsky. This is a unique creative unit for the preparation of musicians of the world level. There is a spectator hall for 800 seats with a technically equipped stage, it has all the necessary theatrical workshops (decorative, lighting, sound, dressing room, engineering, costume, etc.), artistic, rehearsal and auxiliary premises. The artistic level of performances is provided by the constantly functioning choir, orchestra, ballet and mimic corpses; the production group – conductors, directors, artists, chormeisters, choreographers, concertmasters, who are outstanding persons of the musical theater. Academy educators and talented youth, winners of national and international artistic competitions and festivals constantly take part in all the productions and performances of the Opera Studio.The Opera Studio is not only an important academic unit of the Academy, but also a worldclass artistic center. On its scene there were many all-Ukrainian and international festivals and contests aimed at solving not only creative, artistic, but also social tasks, in particular to overcome confrontations and discord, spiritual impoverishment, depreciation of artistic heritage, national history. Among them there are international festivals "Vivat, Academia", "Italian Baroque in Ukraine", All-Ukrainian competitions of choral conductors and pianists of the firm "C. Bechstein", International Easter Assembly "Spirituality unites Ukraine".Findings and Conclusions. The Tenth International Easter Assembly-2018 "Spirituality unites Ukraine" has indeed become a grand holiday of spirituality and unity of Ukrainian society. It has revealed the desire of people to live in peace and harmony. ; Раскрыто общественное, художественное, моральное значение ежегодных Международных Пасхальных ассамблей, их сущность и своеобразие, выраженные в месседже «Духовность объединяет Украину», а также особенности юбилейной Х Ассамблеи-2018. Детально рассмотрено содержание её многообразных мероприятий – музыкальных диалогов, концертов, посвящённых юбилеям видающихся композиторов и исполнителей, Первого конкурса скрипачей имени Богодара Которовича, благотворительной программы «Верой, надеждой едины», охарактеризованы их программы, творческий путь коллективов и отдельных исполнителей, принявших участие в этих мероприятиях. Х Международная Пасхальная ассамблея-2018 «Духовность объединяет Украину» действительно стала грандиозным праздником духовности и единения украинского общества. В этом убеждают творческие выступления, концерты не только в концертных залах Киева, но и в Софии Киевской, Михайловском Золотоглавом Соборе, Успенском соборе Киево-Печерской Лавры, Патриаршем соборе Воскресения Христового, в Храме Василия Великого. В этих мероприятиях нашло своё выражение стремление людей жить в мире и согласии. Украинский политикум все больше убеждается в том, что лучше неспокойный мир, нежели ужасы войны. Это должно стать нормой для Украины! Высокая гуманистическая идея Пасхальных ассамблей направлена на утверждение стабильности, мира и благоденствия в нашей стране.

Recently published by the Madrid publishing house Sequitur, La Escuela Universalista Española del siglo XVIII is an introductory work to a study of the so-called Universalist School. Its author, Pedro Aullón de Haro from the University of Alicante, Spain, and Head of the Research Group "Humanism-Europe" since 1994, has coordinated various volumes whose main objective is the historical reconstruction of the Late Spanish Enlightenment Period, which was truncated by Charles III of Spain's expulsion of the Jesuits, affecting a great many of its members. This Enlightenment Period, in contrast to the victorious French Enlightenment, offered not a political, but a scientific and humanistic view of knowledge, taking a comparative and universalist approach, but, due to the aforementioned expulsion of the Jesuits, the authors dispersed, leaving their work unfinished; and it is only now, under the label of the Universalist School, coined by Prof. Aullón de Haro, that they have been gathered together furthering the possibility of recovering their meaning and systematic cohesion. This volume serves as an introduction to the publications that the author has announced for 2018, in which the detailed study of the main authors within this scientific community will be undertaken following an encyclopaedic structure, which will finally give recognition to the Universalist School movement, and whose stand out authors include: Juan Andrés, creator of the Universal History of the Humanities and Sciences; Lorenzo Hervás y Panduro, creator of Universal and Comparative Linguistics; and Antonio Eximeno, creator of a universal aesthetic concept of music as language and expression.The common thread of the School is precisely the "universalist ideation" that assumes the unity of knowledge in a harmonious integration of experimental sciences, fine arts and human sciences within a humanistic epistemological framework, and consequently, comparativism as a methodology of study, based on the unity of its object: the destiny of man, with his knowledge integrated into a unitary vision of the universe and the world. All this is ultimately based on the work of Dionysius of Halicarnassus, historically rooted in the process of Greco-Roman cultural parallels, and with the main figures of Macrobius, Scaliger and Morhof.Furthermore, 2017 is the second centenary of the death of Juan Andrés, commemorated by an international Congress held at the Complutense University of Madrid and featuring an important bibliographical exhibition in the History Library of this Madrid University, titled "Juan Andres y la Escuela Universalista Española" (2017).The great scientific and thematic scope of the School means that it is possible to discern several sectors or "sub-schools", although the authors often practice several disciplines: the linguistic sub-school (Hervás and his extensive circle of collaborators), bibliographical (Miguel de Casiri, Diosdado Caballero…), botanical-naturalist (Antonio José Cavanilles, Pedro Franco Dávila, Juan José Ruperto de Cuéllar, José Celestino Mutis, Eduardo Romeo…), musicological (Antonio Eximeno, Josef Pintado, Vicente Requeno, Buenaventura Prats, Joaquín Millás…), Americanist-Mexicanist (Francisco Javier Clavijero, Juan Bautista Muñoz, Miguel del Barco González, José Lino Fábregas, Juan Nuix y Perpiñá…), on the Philippines (Juan de la Concepción, Antonio de Tornos, Bernardo Bruno de la Fuente…), meteorology (Andrés, Viñes, Faura…), studies on translation (Carlos Andrés, Juan Bautista Colomés, Pedro Cantón…) etc.The work is divided into three sections: "Teoría general", "Textos de y sobre autores de la Escuela", and "Bibliografía fundamental y selecta".The first section begins with an introductory chapter in which the conceptual principles of the School are explained in relation to the particularity of the Hispanic cultural history, where both its antecedents and theoretical limits are determined. Next comes a description of the sequence of milestones, historical circumstances and accidents that resulted in the formation of the School, as well as an in-depth explanation of the concept of "universalist ideation". Finally, "La ideación del primer programa epistemológico", is a necessary exposition of the important and almost inaccessible Prospectus Philosophiae Universae, a work that was written and directed by Juan Andrés. It is a general and pluridisciplinary programmatic text published in 1773 in Ferrara, and access to it for consultation is hard to come by. That is, it is a kind of program that intends to carry out a radical overcoming of the culture and thought of the Baroque era, through the integration of empiricist science and philosophy with classical humanism and its evolution through a historically founded and revisable concept of progress. The fourth chapter, entitled "La Ilustración universalista: creación de la Comparatística moderna y Literatura Universal", lists the conceptual keys to understanding the particularity of this late Spanish age of Enlightenment of Hispanic-Italian roots, Christian, integrative, international, intercontinental, founded on a unitary vision of the universe and the world. The fifth chapter, "La clasificación de las ciencias, la universalidad tematológica y la estética de la expresión", analyses the variables of the Enlightenment Period, the various types of European illustrations and their internal conceptual sectors, in an attempt to bring to light the lack of historical and intellectual homogeneity of a process of great relevance, and analyses the universalistic classification of scientific disciplines by comparison with the classification of the French illustration, showing the flagrant reduction of the French classification, and also includes a revealing study on the concept of "expression" elaborated by Antonio Eximeno, which was later also recovered by Benedetto Croce, although without him acknowledging the precedence of Eximeno's work.The second part, "Textos de y sobre autores de la Escuela", presents a series of documents as a critical support of the School and its authors. This is especially true of the textual references from the three main authors with respect to the other members of the School, which provides an account of the indisputable existence of a productive and active scientific community.The last part records essential bibliographical sources and information intended to enable a continuation of the study by the authors of this School, a bibliographic selection of the most important works of all the members of the School, and another selection of general and monographic studies on relevant theoretical, historical and cultural issues.In short, this work succeeds in refuting one of the most important historical and intellectual fallacies of our time: the absence of a Spanish Enlightenment Period, and consequently, proves the existence of an original and consistent modern Hispanic thought. In this way, it opens up a field of study that demands new research that will bring to light better-informed reinterpretations of both Spanish and Hispanic America pasts in general, which will lead to a search for unity, not in political and economic terms, as seems to be the objective of economic globalization, but on the basis of the concept of universality. For this purpose, the Research Group Humanismo-Europa has affiliated itself with the Instituto Juan Andrés de Comparatística y Globalización, as well created links to its online network Biblioteca HumanismoEuropa, where all the information about the authors of the School and their texts has been gathered and made available to the general public.

El objetivo general de esta Tesis doctoral es estudiar el territorio del Reino de Murcia en el siglo XVII, esencialmente entre los años 1630 a 1680, desde la percepción del mismo que tenía la sociedad local del Barroco y que después, tras un largo recorrido, daría paso a la de la Ilustración. No se pretende describir cómo era ese territorio y cómo evolucionó a lo largo de la Centuria, ya hay trabajos que han insistido en los procesos de conformación geográfica y económica, en su formación política o en su estructuración fiscal; trabajos que han indagado sobre todo por la evolución histórica de un espacio limitado que se ha caracterizado por su paulatina reducción desde el emirato a la actual Comunidad autónoma. Lo que se busca es intentar captar cómo la sociedad murciana del Seiscientos percibía el espacio en el que vivía y cómo a partir de esa percepción intentó adaptarse al medio y modificarlo en su provecho. La metodología empleada gira en torno a tres grandes apartados: una aproximación conceptual, una aproximación historiográfica y el análisis propio de la información conservada en las fuentes. En cuanto al primer apartado se realiza un estudio de la definición que se daba en los diccionarios del siglo XVII a determinados conceptos como: naturaleza, paisaje, medio geográfico, territorio, etc. En el segundo apartado se analiza cómo la historiografía ha abordado esta cuestión. Hasta ahora los historiadores sólo han confrontado de forma parcial el estudio sobre la percepción del territorio que han tenido las diversas sociedades y sobre la influencia que dicha percepción tiene en su actuación sobre el mismo; por lo que el ejemplo murciano puede servir de estímulo para investigaciones en este sentido. Y en el tercer apartado se busca la información que contienen las fuentes. Se intenta probar documentalmente cómo veían los murcianos del seiscientos el medio geográfico sobre el que vivían, cómo actuaban sobre el mismo para suplir sus defectos y protegerse de sus excesos; siempre asumiendo que la diversidad de los agentes, los interlocutores a quienes va destinado y la coyuntura condiciona el discurso movilizado, que desde luego no puede ser visto como objetivo. Las argumentaciones, los planes de protección y las descripciones de la naturaleza se van sumando de forma acumulativa de manera cada vez más densa a lo largo de todo el siglo. No sólo se van refinando y haciendo más técnicos, sino que se fundan en una afirmación radical de la posibilidad práctica de un conocimiento objetivo sobre la naturaleza y de la posibilidad de predecir sus reglas, unas reglas que empezaban a tomar forma de leyes. Siempre dentro del propio ámbito de los técnicos, el pensamiento de los administradores se estaba abriendo paso rápidamente, hasta el extremo que incluso parece evidente que influenciaba incluso a quienes en teoría fundaban su propia primacía en el discurso providencial. ¿Se trata de un pensamiento moderno? En realidad no, ya que la subordinación aunque fuera formal hacia el pensamiento religioso marcaba unos límites efectivos para su evolución. ¿Significa esto que nada había cambiado? En realidad no, la simple acumulación y la legitimidad que estaba adquiriendo la nueva forma de pensar había creado una base sólida sobre la que evolucionar una reflexión aún más autónoma. La imagen del mundo que se crearon los murcianos en el XVII, el siglo de la duda, les permitió compaginar sus miedos y sus desgracias con su fe y su voluntad de saber. Al hacerlo lograron superar un tiempo terrible y haciéndolo cambiaron su forma de ver el mundo, sin renunciar a nada de su antigua visión. ABSTRACT. Our objective behind this doctoral dissertation is to study the territory of the Kingdom of Murcia in the 17th Century –especially between the years 1630 to 1680- through the perception that local Baroque society had of it, just before the Enlightenment period. We do not intend to describe the territory nor how it evolved along the century: there are already several works around the process of its geographical and economic conformation, of its political formation and its fiscal organization. These works have especially enquired into the historical evolution of a limited space, typified by its gradual evolution from the ancient emirate to the actual autonomous community. Our intention was then to trace how the Murcian society in the 17th Century perceived the space they lived in and how they tried, from that very perception, to adapt to their environment and change it for their own profit. The methodology employed hinges on three sections: a conceptual approach, a historiographical approach and the analysis of the information in the sources. In the first part we endeavor a study of the definition of certain concepts in the dictionaries of the 17th century: nature, landscape, environment, territory, etc. In a second part, we analyze how historiography has accosted this matter. Until now, historians have only partially confronted the study of perception of the territory in different societies and the influence of that perception over it; therefore, the example of Murcia can set the incentive for further research in this field. The third section analyzes the information derived from the sources to trace how the Murcians of the 17th Century defined their environment, how they acted to adapt to changes and protect themselves from its excesses. The circumstances have conditioned the discourse, as well as the diversity of the agents and the interlocutors to whom discourse is directed, so it can hardly be considered an objective fact. The arguments, the protection plans and the descriptions of nature begin to accumulate along the century: in contact with them, knowledge is refined and not only there are more technicians, but these agents even aspire to have the practical possibility of reaching an objective knowledge over nature, and to be able to predict its rules. Under the same influence, administrators were changing their way of thinking, affecting even those that centered their own certainties in the providential discourse. Can this be considered modern thought? Not really, since dependence to religious thought marked very clear limits to its development. Did it mean that nothing actually changed? Not really, since the simple accumulation of facts and the legitimacy that this new way of thinking was acquiring had set the basis to a more autonomous reflection. The image that the Murcians created of their world in the 17th Century –the century of doubt- allowed them to unite their fears and misfortunes to their faith and their will to know. This way they could surmount their difficulties and change the way they saw their world, without having to leave behind their previous vision of things.

The dynamics of directing of the modern folk festivals, their drama, set design, as well as the specifics of the entire director's production group are studied. Folk festivals in Ukraine are very popular and constantly gather an audience of thousands. Today, in the era of globalization such folk forums facilitate cultural exchange between nations, ethnic groups and social organizations. Wide range of information about different cultures contribute peace between nationalities and the reduction of antagonism and aggression between them. However, globalization is also associated with the progressive unification of the many aspects of national cultures that gives rise to the opposite trend when the aggressive imposition of "leveling" of the cultural space causes the opposite reaction – an interest in their own cultural traditions and in folk traditions of other nations, and the desire to protect their own cultural values. In Ukraine, the interest in folk culture has its own characteristics. In terms of permanent forbiddance on Ukrainian language and national identity only folk tradition was the constant foundation that contributed to the revival of Ukrainian culture as an independent phenomenon in European cultural context. Therefore, in Ukraine, folk festivals are very popular as a way of the own cultural identity. Ukrainian folk culture does not lead just only to the rustic culture, but it includes also the culture of other social stratums, such as the Cossacks, handicraft, as well as gentry and knightly traditions of Ukrainian cultural and political elite. This cultural stratum has a huge potential for dramatic theatrical festival shows.A distinctive feature of the folk festivals is the maximum concentration around national cultural tradition that at such events is relayed into the theatrical and entertainment forms. The main task of the director is the organic combination of traditional culture, unprofessional, variability, which is a priori of folk culture, with certain rules and laws of the performing arts as a professional skill . One should avoid mechanical transfer of traditional ceremonies , songs, games on the festival scene , and tends with the artistic methods to convey the atmosphere of festive folk culture. The director faces the task of an organic combination of the past and present, as well as the construction of the festival action in such way as to motivate and inspire a contemporary with folk tradition, to light and present in the aesthetic language of modernity.Another important factor in today's director of folk festivals, is the commercialization of the festival movement, as a part of the tourism infrastructure. A modern folk festival director faces the task to pay the maximum attention to the commercial part of the event, which affects on the director's vision of the overall festival picture, and on the selection of its members, expressive artistic methods and directing techniques. So, folk festival director often combines his work with the administrative work of the director, art director, producer.First of all, before the director is the task to develop a spectacular artistic explication, the original format of the festival, to consider the through action that should tie into a coherent, logical sequence the performances of the festival participants; to offer an original set design, sound and lighting design of the stage platforms, to develop the director's explication of the opening and closing ceremonies, as well as the main event of the festival. Typically, theatrical spectacle of the festival becomes the central festival event, that expresses the main idea of the festival.Today, folk festivals have different formats, that depend on the status of financial opportunities, concepts, themes of the event. The format of folk festival, aesthetics and style are also dependent on whether it is dedicated to folk culture of a particular ethnic group or has the genre direction, or demonstrates the tradition of a small area (village, district, local) or the tradition of the specific historical time (the prince, Cossack times, the era of Baroque and others).Global trend of folk festivals is the active usage of landscape and architectural attractions as the venue of folklore activities, that contributes to the attractiveness of visitors, enhances the aesthetic appreciation of folk activities, expand their cultural and educational program. In the other turn, the venue of the festival dictates the choice of artistic media and the formation of the artistic design of the theatrical spectacle. This is due to the general tendency of visualization and entertainment of cultural events of all levels. The folk festival, as well as any other festival, it is a complex, synthetic and multifunctional phenomenon, not just the sum of several theatrical shares. By definition, on the festival it should be general encouraged atmosphere of the fest, like a holiday, where all participants are competent.One of the main tasks for the director of the folklore festival is the creation of the conceptual drama and director plan of the full event, taking into account the features of the traditional genre of folk art. Today shooting script (implemented as a common scheme or libretto) of the folk festival has the several canonical constants: opening ceremony, parade, procession of participants, concerts and individual performances, improvised performances, competitions, culminating action and grand final (Gala).In the structure of folklore programs, that have spectacular type, it is recommended to follow the principle of contrast , alternating different performances by: a) the genre (choral, dance, instrumental), and b) the age composition (children, adults, the elderly) , and c) regional characteristics. So you can achieve the variety of programs, raise the interest for action as the monotonous performances tire and depress the emotional mood of the audience. Special emphasis is directed to the interactive participation in all the actions the maximum number of those who are on our folklore.Having reviewed the basic principles, forms of folk festivals direction, it can be summarized that the main current trend is to use new, original approach for playing, reconstruction and representation of traditional folk culture.Direction skill at such festivals consists of creation the fascinating spectacle and unique atmosphere f the national holiday with the help of the organic, thematically unified fusion of different types of art. ; Исследуются виды современных фольклорных фестивалей и их драматургия. Рассматривается динамика режиссуры фольклорного фестиваля, анализируется специфика работы режиссера фестиваля, сочетающая традиционные и современные методы для воплощения заданий, которые стоят перед режиссерской группой (создание концепции, формата, сквозного действия, основного фестивального события, сценографии, звукового и светового оформления площадок, постановка открытия и закрытия фестиваля и т.д.). ; Досліджуютьсявидовіформифольклорнихфорумів, їхдраматургія, сценографія, промоція. Розглядаєтьсядинамікарежисурисучаснихфольклорнихфестивалів. Аналізується специфіка й особливості роботи режисера фестивалю, в якій поєднуються традиційні й сучасні методи для втілення завдань, що стоять перед режисерською групою (створення концепції, формату, наскрізної дії, основної події фестивалю, сценографії, звукового й світлового оформлення майданчиків, постановка відкриття й фінальної частини фестивалю).

The artistic project of the Mexican Teresa Margolles is one of the most vast, complex and coherent in the international scene, although there is not a complete catalog, monograph or rigorous study of it. Her focus of interest, her radical post-minimalist aesthetic, her display of ethical conflicts and the political implications that locate her within a post-autonomy art, give her work the highest validity and raise her as one of the leading figures in contemporary art. All her production is crossed by death and violence issues, addressed in a Baroque and visceral way at the beginning of her career in the hands of the artists' collective SEMEFO, with whom she produced eminently performative works in which the instinctive, the ritual and the sacrificial were essential. Later on, during her solo career, the obsession for the life of the corpse, the fauna that originates in the putrefaction is replaced by a less aesthetically aggressive speech, erected on what she calls the periphery of the body, where she uses the remains of the body to represent death. Her work as a forensic technician at the Mexico City's morgue leads her to make of this her studio and to consider it as a social thermometer, capable of reflecting the prevailing impunity and injustice. When the levels of violence reached their peak, Margolles moves outside, to the streets and begins to formally clean up her work, as the corpse is understood as a social body, collective. The necrophilia of her beginnings undergoes a displacement to necropolitics, focused on social traces of violence, its urban and demographic consequences. The general aims of this thesis have been to reveal how both philosophy and image emerge as a result of human kind's concerns over death. In the same way, it is shown that representations of death have been a constant throughout the history of art, and that precisely at the time when the general attitude toward death began to be its denial, a strong trend emerged in contemporary art that insisted upon claiming it. The specific aims of this thesis consist of the outline of the historical, political, social and artistic context in which Teresa Margolles's project emerges, as well as the conduction of a thorough mapping of its production, analyzing her interests and the different phases, aesthetic and stylistic shifts of her work. My intention is to unravel the complexity of its rhetoric language in order to understand how the tension between ethics and aesthetics, between reality and fiction, between denunciation and reproduction of violence, between emotion and reason; between art and politics are the keys to her project. My methodology is transdisciplinary, because despite placing this thesis within the field of art history, I rely on philosophical, anthropological, sociological, cultural, aesthetic and even political teachings. The conclusions of this study posit that the representation of death is impossible, and that the most appropriate way is through void or absence; that in the contrast of opposites, the tension between form and content – the impossible suture between the beautiful and the sinister, is the essence of Margolles's project; and that art is a form of philosophy and politics. El proyecto artístico de la mexicana Teresa Margolles es uno de los más vastos, complejos y coherentes del panorama internacional, del que sin embargo no existe ningún catálogo completo, monografía o estudio realmente riguroso. Sus focos de interés, su estética radical posminimalista, los conflictos éticos que despliega, y las implicaciones políticas que la ubican dentro de un arte postautónomo, dotan a su obra de una máxima vigencia y la erigen como una de las figuras más destacadas del arte contemporáneo. Toda su obra está atravesada por la muerte y la violencia, temas que son abordados de una manera barroca y visceral en los comienzos de su carrera artística de la mano del colectivo SEMEFO, con el que produjo obras de carácter eminentemente performativo en las que lo instintivo, lo ritual y lo sacrificial eran imprescindibles. Más tarde, ya en solitario, la fijación por la vida del cadáver, esa fauna que se origina en la putrefacción, va siendo sustituida por un discurso menos agresivo estéticamente, erigido sobre lo que ella denomina la periferia del cadáver, momento en el que se sirve de los restos del cuerpo para representar la muerte. Su labor como técnico forense en la morgue de México D.F. le lleva a hacer de ésta su estudio y a considerarla como un termómetro social, capaz de reflejar la impunidad e injusticia reinantes. Cuando los niveles de violencia alcanzan sus máximas cotas Margolles se traslada al exterior, a la calle, y comienza a depurar formalmente su trabajo, a la vez que el cadáver es entendido como un cuerpo social, colectivo. La necrofilia de sus comienzos sufre un desplazamiento hasta posicionarse en una necropolítica, centrada en las huellas sociales de la violencia, sus consecuencias urbanísticas y demográficas. Los objetivos generales de esta tesis han consistido en revelar cómo tanto la Filosofía como la imagen surgen como resultado de las preocupaciones del hombre por la muerte. Del mismo modo se demuestra que las representaciones de la muerte han sido una constante a lo largo de la historia del arte, y que precisamente en el momento en el que la actitud generalizada hacia la muerte comenzaba a ser la de negarla, surgió una fuerte tendencia dentro del arte contemporáneo que insistía en reivindicarla. Los objetivos específicos han supuesto el esbozo del contexto histórico, político, social y artístico en el que surge el proyecto de Teresa Margolles, así como la realización de una exhaustiva cartografía de su producción, analizando la deriva de sus intereses, las diferentes fases de su trabajo y sus fluctuaciones estéticas y estilísticas. La intención aquí ha sido desentrañar la complejidad retórica de su lenguaje para entender cómo la tensión entre ética y estética, entre realidad y ficción, entre denuncia y reproducción de la violencia, entre emoción y razón; entre arte y política son las claves de su proyecto. La metodología empleada es de carácter transdisciplinar, pues aún ubicando este tesis dentro del ámbito de la historia del arte, me apoyo en enseñanzas filosóficas, antropológicas, sociológicas, culturales, estéticas e incluso políticas. Las conclusiones de este estudio se concretan en que la representación de la muerte es un imposible, y que la forma más apropiada de hacerlo es mediante el vacío o la ausencia; que en el contraste de opuestos, la tensión entre forma y contenido –la sutura imposible entre lo bello y lo siniestro–, está la esencia del proyecto de Margolles; y que el arte es una forma de filosofar y de hacer política.

Relevance of the study. The field of musical performance, as probably the most sensitive to the relevance of ancient art, over the last century it communicates more and more closely with the antiquity of music. "Musical archeology" personalized in art critics and performers-historians actively studies the world's musical heritage, revives on the modern stage authentic sounds in all the richness of their expression, variety of styles and forms. It is also important and justified to study the integral components of succeeding in the creation and execution of certain works, the recognition of creative personalities. It is hardly possible to find a better example in this direction than the musical theater of mature Baroque and gallant Rococo. But even in the then opera "industry" success (in the sense of mastering impeccable professional and artistic qualities, achieving a high level of demand, professional reputation, status, material well-being) was determined by a set of characteristics, among which integration into the historical context, social and political relations did not play the last role. Therefore, today it is necessary to apply a comprehensive approach to study the experience of highly professional, talented, active, and passionate artists of the late 17 — first third of the 18 century, to apply the tools hermeneutic analyze for reading their creative heritage. Main objective(s) — to reveal the historical context in which work by J. A. Hasse was created, to comprehensively consider the musical and poetic texts of the serenata "Mark'Antonio and Cleopatra" for the successful implementation of its performing reconstruction and stage production in the approach of modern Historical informed performance.Methodology based on an interdisciplinary approach at the intersection of musicology, theater studies, and historical science, using the cultural-historical method, the method of hermeneutic analysis of the text and the method of historical reconstruction, which allows us to consider the process of creating a musical-dramatic work in the unity of the subject, functional and historical aspects, expanded by in-depth analysis historical and political context.Results/findings and Conclusions. An important component of successful creativity in the field of musical theater and, more broadly, the success of works of art — the response of the audience, the ability of a piece of art to evoke empathy, a sense of belonging, and personal involvement — has been investigated. Bearing in mind the exemplary historical experience of the development and spread of Italian opera, the art of the first third of the 18 cent. was chosen as the area of study of these issues. As an example, considered one of the first works of I. A. Hasse — the serenate "Mark Antonio and Cleopatra", written and presented by him in Naples, in 1725.The musical form of the serenata is analyzed, the stylistic and genre features of its elements, which determine the musical language of the young Saxon composer, are characterized. The libretto text is considered using the tools of hermeneutic content analysis.The historical and political aspect of the life of the Kingdom of Naples in the late 17th — early 18 centuries is researched. Based on archival materials, information about the customer of the work by Carlo Carmignano and the librettist Francesco Ricciardo have been clarified. An attempt was made to the historical reconstruction of the circumstances of the composition, the details of the stage design of the performance, assumptions were made about the personalities of the audience present. The hidden content layer of a musical and dramatic work, born of its connection with the history of everyday life, cultural and political context, is discovered. The effectiveness of using the semantic potential of plots from the life of historical personalities is emphasized, their main property is revealed — the ability to allegorical personifications, symbolic artistic "gestures", disguised similarities ; Актуальность исследования. Музыкальное исполнительство как искусство, наиболее чувствительное к вопросам релевантности произведений прошлого, последние сто лет все плотнее коммуницирует со старинной музыкой. «Музыкальная археология» в лице искусствоведов и исполнителей-истористов активно изучает мировое музыкальное наследие, возрождает на современной сцене аутентичные звучания во всем их богатстве, разнообразии стилей и форм.Важным и оправданным является также изучение неотъемлемых составляющих успешности в создании и исполнении определенных сочинений, признании творческих личностей. В этом направлении вряд ли возможно найти лучший пример, чем музыкальный театр зрелого Барокко и галантного Рококо. Но даже в тогдашней оперной «индустрии» успех (в значении овладения безупречными профессиональными и артистическими качествами, достижения высокого уровня востребованности, профессиональной репутации, статуса, материального благосостояния) определялся комплексом характеристик, среди которых интегрированность в исторический контекст, общественные и политические отношения играли отнюдь не последнюю роль. Следовательно, сегодня следует использовать комплексный подход в изучении опыта высокопрофессиональных, талантливых, увлеченных своим делом художников конца XVII — первой трети XVIII века, применить инструменты герменевтического анализа для максимально полного прочтения их творческого наследия.Цель статьи — раскрыть исторический контекст, в котором создавалась серената «Марк Антонио и Клеопатра» И. А. Хассе, всесторонне рассмотреть музыкальный и поэтический текст произведения для успешной реализации его исполнительской реконструкции и сценической постановки в русле современного исторически информированного исполнительства.Методология исследования основана на междисциплинарном подходе на пересечении музыковедения, театроведения и исторической науки, с применением культурноисторического метода, метода герменевтического анализа текста и метода исторической реконструкции, что позволяет рассмотреть процесс создания музыкально-драматического произведения в единстве предметного, функционального и исторического аспектов, расширенного углубленным анализом историко-политического контекста.Основные результаты и выводы исследования. Исследована важная составляющая успешного творчества в сфере музыкального театра и, шире, успешности произведений искусства — отклик аудитории, способность художественного произведения вызвать сопереживание, ощущение причастности, персональной ангажированности. Памятуя об образцовом историческом опыте развития и распространения итальянской оперы, областью изучения указанных вопросов избрано искусство первой трети XVIII века. В качестве примера рассмотрено одно из первых сочинений И. А. Хассе — серената «Марк Антонио и Клеопатра», представленная им в Неаполе в 1725 году.Проанализирована музыкальная форма серенаты, охарактеризованы стилевые и жанровые черты её элементов, определяющие музыкальный язык молодого саксонского композитора. Текст либретто осмыслен с помощью инструментов герменевтического анализа содержания.Рассмотрен историко-политический аспект жизни Неаполитанского королевства в конце XVII — начале XVIII века. На базе архивных материалов уточнены сведения о заказчике произведения Карло Карминьяно и либреттисте Франческо Риччардо. Предпринята попытка исторической реконструкции обстоятельств сочинения, подробностей сценического оформления спектакля, высказаны предположения о персоналиях присутствовавших слушателей. Выявлен скрытый содержательный слой музыкально-драматического произведения, рожденный его связью с историей повседневности, культурным и политическим контекстом. Подчеркнута эффективность использования смыслового потенциала сюжетов из жизни исторических личностей, выявлено их главное свойство — способность к аллегорическим олицетворениям, символическим художественным «жестам», замаскированным уподоблениям. ; Розглянуто важливу складову успішної творчості у сфері музичного театру і, в широкому плані, успішності творів мистецтва — наявність відгуку аудиторії, здатність художнього твору викликати співпереживання, відчуття причетності, персональної ангажованості. Зважаючи на показовий історичний досвід розвитку та поширення італійської опери, полем для вивчення шляхів до позитивного сприйняття та затребуваності творчості в жанрах музичного театру обрано мистецтво першої третини XVIII століття. Як приклад розглянуто один із перших творів Й. А. Хассе — серенату «Марк Антоніо і Клеопатра», презентовану 1725 року в Неаполі. Проаналізовано побудову серенати, охарактеризовано її стильові та жанрові риси, що визначають музичну мову молодого саксонського композитора. Здійснено спробу історичної реконструкції обставин написання твору та подробиць сценічного оформлення вистави, зроблено припущення щодо ймовірного складу її слухачів. Текст лібрето осмислено з точки зору прихованого змістового потенціалу сюжетів із життя історичних особистостей; виявлено його головну властивість — здатність до алегоричних уособлень, символічних художніх «жестів», замаскованих уподібнень. Висвітлено історико-політичний аспект життя Неаполітанського королівства в кінці XVII — на початку XVIII століття. На базі архівних матеріалів уточнено відомості про замовника твору Карло Карміньяно (Аквавіва) та лібретиста Франческо Річчардо. Запропоновано версію подій, під впливом яких було написано серенату «Марк Антоніо і Клеопатра». Підкреслено, що успішність в сфері музичнодраматичної творчості спирається на ширші засади, ніж індивідуальні якості талантів композиторів, лібретистів, співаків, їхньої майстерності та самобутності.

Relevance of the study. The field of musical performance, as probably the most sensitive to the relevance of ancient art, over the last century it communicates more and more closely with the antiquity of music. "Musical archeology" personalized in art critics and performers-historians actively studies the world's musical heritage, revives on the modern stage authentic sounds in all the richness of their expression, variety of styles and forms. It is also important and justified to study the integral components of succeeding in the creation and execution of certain works, the recognition of creative personalities. It is hardly possible to find a better example in this direction than the musical theater of mature Baroque and gallant Rococo. But even in the then opera "industry" success (in the sense of mastering impeccable professional and artistic qualities, achieving a high level of demand, professional reputation, status, material well-being) was determined by a set of characteristics, among which integration into the historical context, social and political relations did not play the last role. Therefore, today it is necessary to apply a comprehensive approach to study the experience of highly professional, talented, active, and passionate artists of the late 17 — first third of the 18 century, to apply the tools hermeneutic analyze for reading their creative heritage. Main objective(s) — to reveal the historical context in which work by J. A. Hasse was created, to comprehensively consider the musical and poetic texts of the serenata "Mark'Antonio and Cleopatra" for the successful implementation of its performing reconstruction and stage production in the approach of modern Historical informed performance.Methodology based on an interdisciplinary approach at the intersection of musicology, theater studies, and historical science, using the cultural-historical method, the method of hermeneutic analysis of the text and the method of historical reconstruction, which allows us to consider the process of creating a musical-dramatic work in the unity of the subject, functional and historical aspects, expanded by in-depth analysis historical and political context.Results/findings and Conclusions. An important component of successful creativity in the field of musical theater and, more broadly, the success of works of art — the response of the audience, the ability of a piece of art to evoke empathy, a sense of belonging, and personal involvement — has been investigated. Bearing in mind the exemplary historical experience of the development and spread of Italian opera, the art of the first third of the 18 cent. was chosen as the area of study of these issues. As an example, considered one of the first works of I. A. Hasse — the serenate "Mark Antonio and Cleopatra", written and presented by him in Naples, in 1725.The musical form of the serenata is analyzed, the stylistic and genre features of its elements, which determine the musical language of the young Saxon composer, are characterized. The libretto text is considered using the tools of hermeneutic content analysis.The historical and political aspect of the life of the Kingdom of Naples in the late 17th — early 18 centuries is researched. Based on archival materials, information about the customer of the work by Carlo Carmignano and the librettist Francesco Ricciardo have been clarified. An attempt was made to the historical reconstruction of the circumstances of the composition, the details of the stage design of the performance, assumptions were made about the personalities of the audience present. The hidden content layer of a musical and dramatic work, born of its connection with the history of everyday life, cultural and political context, is discovered. The effectiveness of using the semantic potential of plots from the life of historical personalities is emphasized, their main property is revealed — the ability to allegorical personifications, symbolic artistic "gestures", disguised similarities ; Актуальность исследования. Музыкальное исполнительство как искусство, наиболее чувствительное к вопросам релевантности произведений прошлого, последние сто лет все плотнее коммуницирует со старинной музыкой. «Музыкальная археология» в лице искусствоведов и исполнителей-истористов активно изучает мировое музыкальное наследие, возрождает на современной сцене аутентичные звучания во всем их богатстве, разнообразии стилей и форм.Важным и оправданным является также изучение неотъемлемых составляющих успешности в создании и исполнении определенных сочинений, признании творческих личностей. В этом направлении вряд ли возможно найти лучший пример, чем музыкальный театр зрелого Барокко и галантного Рококо. Но даже в тогдашней оперной «индустрии» успех (в значении овладения безупречными профессиональными и артистическими качествами, достижения высокого уровня востребованности, профессиональной репутации, статуса, материального благосостояния) определялся комплексом характеристик, среди которых интегрированность в исторический контекст, общественные и политические отношения играли отнюдь не последнюю роль. Следовательно, сегодня следует использовать комплексный подход в изучении опыта высокопрофессиональных, талантливых, увлеченных своим делом художников конца XVII — первой трети XVIII века, применить инструменты герменевтического анализа для максимально полного прочтения их творческого наследия.Цель статьи — раскрыть исторический контекст, в котором создавалась серената «Марк Антонио и Клеопатра» И. А. Хассе, всесторонне рассмотреть музыкальный и поэтический текст произведения для успешной реализации его исполнительской реконструкции и сценической постановки в русле современного исторически информированного исполнительства.Методология исследования основана на междисциплинарном подходе на пересечении музыковедения, театроведения и исторической науки, с применением культурноисторического метода, метода герменевтического анализа текста и метода исторической реконструкции, что позволяет рассмотреть процесс создания музыкально-драматического произведения в единстве предметного, функционального и исторического аспектов, расширенного углубленным анализом историко-политического контекста.Основные результаты и выводы исследования. Исследована важная составляющая успешного творчества в сфере музыкального театра и, шире, успешности произведений искусства — отклик аудитории, способность художественного произведения вызвать сопереживание, ощущение причастности, персональной ангажированности. Памятуя об образцовом историческом опыте развития и распространения итальянской оперы, областью изучения указанных вопросов избрано искусство первой трети XVIII века. В качестве примера рассмотрено одно из первых сочинений И. А. Хассе — серената «Марк Антонио и Клеопатра», представленная им в Неаполе в 1725 году.Проанализирована музыкальная форма серенаты, охарактеризованы стилевые и жанровые черты её элементов, определяющие музыкальный язык молодого саксонского композитора. Текст либретто осмыслен с помощью инструментов герменевтического анализа содержания.Рассмотрен историко-политический аспект жизни Неаполитанского королевства в конце XVII — начале XVIII века. На базе архивных материалов уточнены сведения о заказчике произведения Карло Карминьяно и либреттисте Франческо Риччардо. Предпринята попытка исторической реконструкции обстоятельств сочинения, подробностей сценического оформления спектакля, высказаны предположения о персоналиях присутствовавших слушателей. Выявлен скрытый содержательный слой музыкально-драматического произведения, рожденный его связью с историей повседневности, культурным и политическим контекстом. Подчеркнута эффективность использования смыслового потенциала сюжетов из жизни исторических личностей, выявлено их главное свойство — способность к аллегорическим олицетворениям, символическим художественным «жестам», замаскированным уподоблениям. ; Розглянуто важливу складову успішної творчості у сфері музичного театру і, в широкому плані, успішності творів мистецтва — наявність відгуку аудиторії, здатність художнього твору викликати співпереживання, відчуття причетності, персональної ангажованості. Зважаючи на показовий історичний досвід розвитку та поширення італійської опери, полем для вивчення шляхів до позитивного сприйняття та затребуваності творчості в жанрах музичного театру обрано мистецтво першої третини XVIII століття. Як приклад розглянуто один із перших творів Й. А. Хассе — серенату «Марк Антоніо і Клеопатра», презентовану 1725 року в Неаполі. Проаналізовано побудову серенати, охарактеризовано її стильові та жанрові риси, що визначають музичну мову молодого саксонського композитора. Здійснено спробу історичної реконструкції обставин написання твору та подробиць сценічного оформлення вистави, зроблено припущення щодо ймовірного складу її слухачів. Текст лібрето осмислено з точки зору прихованого змістового потенціалу сюжетів із життя історичних особистостей; виявлено його головну властивість — здатність до алегоричних уособлень, символічних художніх «жестів», замаскованих уподібнень. Висвітлено історико-політичний аспект життя Неаполітанського королівства в кінці XVII — на початку XVIII століття. На базі архівних матеріалів уточнено відомості про замовника твору Карло Карміньяно (Аквавіва) та лібретиста Франческо Річчардо. Запропоновано версію подій, під впливом яких було написано серенату «Марк Антоніо і Клеопатра». Підкреслено, що успішність в сфері музичнодраматичної творчості спирається на ширші засади, ніж індивідуальні якості талантів композиторів, лібретистів, співаків, їхньої майстерності та самобутності.

Esta obra se enmarca en el estudio de la Historia Social de la Familia a través del análisis de una élite local del sur de Castilla, concretamente en la localidad murciana de Cieza durante el s. XVII, intentando dar respuesta a su configuración y a su tipología en relación a la definición de su patrimonio material, inmaterial y relacional dentro de un contexto marcado por el fenómeno de luchas de bandos, atendiéndose a la resolución de sus objetivos, su articulación y, en definitiva, a las características de los que se han definido como bandos de linajes clientelares. Finalmente, en la búsqueda de la paz se considera el papel interpretado por la propia comunidad ciezana, los prohombres de la época cercanos al marco cortesano o comarcal, así como la necesidad de conocer cuándo y en qué grado actuaron los miembros del clero, el aparato institucional monárquico y el propio rey. Así pues, este planteamiento se centra en la institución familiar, ya que en ella se desarrollan toda una serie de estrategias matrimoniales, de transmisión patrimonial y honorífica, de sistemas de parentesco y de relaciones de amistad y dependencia tendentes a la consolidación y reproducción social, es decir, la vida en sociedad a través de las familias. Familia, élites y bandos. Estos son los tres pilares de la argumentación de la presente investigación, en la que el estudio de las banderías ciezanas, su conflicto y pacificación, se plantea en los niveles institucional, en los vínculos socio-económicos, en lo privado y ritual o de manifestación simbólica, lo que a su vez genera la unión de parientes contra adversarios, escisiones en los linajes y en el propio bando y, en última instancia, la movilización de recursos y redes de alianzas. En este planteamiento se enmarca el estudio de una élite local en construcción en el antiguo Reino de Murcia, donde la aparición del fenómeno de luchas de bandos atiende a la resolución de sus objetivos, su articulación y, en definitiva, a las características de las banderías durante el siglo barroco en una triple vertiente: la perpetuación de bandos en las áreas marginales del reino castellano, su articulación en determinados linajes que a diferencia de épocas pasadas se redefinen sobre diferentes lazos clientelares caracterizados por la nueva realidad socio-económica y política de la Castilla del s. XVII basada en la limpieza de sangre y en su sanción legal a través de la ejecutoría, el control de los oficios municipales, el control de una amplia red social clientelar y el domino de los medios económicos de la localidad. En su desarrollo temporal (1613-1705) se alcanzará un alto grado de violencia que será resuelto por las propias iniciativas de los habitantes de la villa, además de la intervención de notables personajes foráneos como el obispo de Cartagena o el marqués de los Vélez, único miembro durante el s. XVII perteneciente a la nobleza titulada murciana. Y con todo, a los poderes terrenales, incluida la propia intervención real a través del perdón del rey Carlos II, también se desarrolló una notable actividad clerical de la mano de la orden franciscana, cuyo mejor ejemplo será la edificación del convento de San Joaquín, lo que contribuirá a una paulatina nupcialidad pacifista o de unión matrimonial de las familias enfrentadas, así como el intento de sustituir los enfrentamiento linajudos y banderizos por el servicio administrativo al Rey a partir del s. XVIII, si bien pocos de los hidalgos ciezanos alcanzarán puestos de mérito por su escaso potencial político-económico y, especialmente, a su reducida red de relaciones sociales que posibilitaran el acceso a los favores de la Corte real. En definitiva, se trata del estudio de varias familias de la élite local de Cieza en un período de construcción de su poder en el marco local del s. XVII, desarrollándose los enfrentamientos de bandos como respuesta a la defensa y construcción de un poder local que les facultara un mayor control de la villa y la posibilidad de alcanzar mayores honores por parte de la Corona. SUMMARY This work belongs to the study of Family Social History through the analysis of a local elite from the south of Castile, specifically in Cieza, a town in Murcia, during the XVII century, trying to give an answer to its configuration and its typology in relation to the definition of its material, inmaterial and relational patrimony inside a context marked by the phenomenon of the factions´fights, paying attention to the resolution of its objectives, its articulation and, in short, to the characteristics of those ones who have described themselves as factions of depending lineages. Finally, in the search of peace it is taken into consideration the role played by Cieza community, the outstanding men of the age closed to the court or regional frame, as well as the necessity of knowing when and at which level the members of the clergy, the monarchical institution and the King himself. So, this proposal is centered in the familiar institution, since in it a series of matrimonial strategies are developed, of patrimonial transmission and honorary, of systems of relationship and friendship and dependency tendind towards the consolidation and social reproduction, that is to say, life in society through families. Families, elites and factions. These are the three pillars of the argument of the present investigation, in which the study of the factions in Cieza, its conflict and pacification it is proposed in the institutional levels, in the socio-economic links, in the private and ritual or of a symbolic manifestation, what generates the union of relatives against adversaries, Split in the lineage and in the faction itself, and ultimately the mobilisation of resources and alliances networks. In this proposal the study of a local elite in process in the ancient kingdom of Murcia is defined, where the appareance of the phenomenon of fights among factions attends to the resolution of it objectives, its articulation, in short, to the charcteristics of the factions during the Baroque period in a triple direction: the perpetuation of factions in the marginal áreas of the Castilian kingdom, its articulation in certain lineages which different from last ages are defined for different depending ties characterized by the new socio-economic and political reality of Castile in the XVII century base don the blood cleaning and on its approval, through the final judgement, the control of a wide social depending network and the dominion of the economic means of the locality. During its temporary development (1613-1705) a high degree of violence which will be sorted out by the inhabitans´initiatives apart from the intervention of outstanding foreign personalities like the Bishop of Cartagena or the Marquis of Velez, the only member who belonged to the Murcia aristocrazy during the XVII century. Also, to the earthly powers, including the royal intervention through the King Carlos II´s forgiveness, a remarkable clerical activity was developed by the Franciscan order, whose best example will be the construction of Saint Joaquin monastery, which will contribute to a gradual pacifist marriage statistics among the confronted families, as well as the attempt to substitute the confrontation between the highborn and the factions because of the administrative service to the King since the XVII century, few of the noblemen in Cieza will reach posts of meri for the scarce political-economical potential ans, specially, to its reducednetwork of social relationships that will make posible the access to the royal court´s favours. To sum up, it is about the study of several families of the local elite in Cieza in a period of construction of its power in the local setting of the XVII century, where the confrontation among factions as a response of defence were being developed and the constrution of a local power which authorised them with a higger control of the village and the possibility of reaching higher honours from the Cown.

Latin America is a source of cultural content for many writers. On several occasions writers have managed to capture aspects of Latin American reality in their texts. Among those aspects is the violence that has been experienced in all Latin American countries. To mention some, examples we can mention the novel One Hundred Years of Solitude by Gabriel García Marquez and the story The Slaughterhouse by Esteban Echevarría. For that reason, this year the core topic of our journal is literature and violence in Latin America.The thematic core section is composed by two articles. The first one is a contribution by Jorge Andrés Cárdenas Santamaría and is entitled: "Overview of the literature on Colombian armed conflict during the 20th and 21st centuries. Considerations about its development and narrative evolution". This article seeks to recognize how war has been narrated and depicted in literary texts and what has been the role of the characters who directly suffer the violent act in such productions. The second article is a product of Yesid Niño Arteaga which is entitled: " Violence in rural town and the modern city: Blood and street in the literary works by Álvaro Cepeda Samudio and Rafael Chaparro Madiedo". This paper expresses how the sociocultural context can be problematized by the words of literature.The perspective research section opens with two philosophical articles. The first article deals with spirituality in a secularized world. The article is entitled: "Emotional integrity. How to be spiritual in a skeptical world " and its authors are José Edwin Cuéllar Saavedra, Alejandra Molano Bustacara and Miguel Ángel Pérez Jiménez. In the next article entitled: "The imaginative narrative as a way of accessing to solidarity. An educational proposal from pragmatism and neopragmatism", author Martha Patiño raises the need to recognize the forms of narrative present in educational processes, and presents the need for integration in a more subtle and education-oriented sensitivity for solidarity.Subsequently, there are two articles that focus on art addressed from its relationship with the political. On one hand since the post-dictatorship period in Chile, the arrival of Latin American communities has generated a progressive transformation in the migration pattern. In the article "Latin American migrant musics in Chile: diasporic identities and cultural mixing", authors Marisol Facuse Muñoz and Rodrigo Torres Alvarado propose to understand the impact of the cultural production of immigrants in our identities, sociabilities and imaginaries. On the other hand the author Marina Adamini in her work "Artistic activism as a new trade union tool of young precarious workers in Argentina" intends to reflect on the new forms of collective action established by the young precarious workers in Argentina against the limitations of traditional trade unionism to channel their struggles; as is artistic activism.To close, we have three articles that have a socio-political focus. The first on the community, the second on the political participation of women and the last one on the evolution of literature. The first article is a contribution by Javier Alexander Molina Correa. This one is titled: "Geese flying in a V shape: community building, defensible space and collective efficacy in a neighborhood of Cali, Colombia". This paper seeks to explore the experience of the neighborhood "Marco Fidel Suarez", one of the communities with fewer deaths in the city thanks to strategies such as voluntary enclosure through the installation of fences in strategic points, regulation of entry and exit of residents in addition to activities designed and implemented by the Community Action Board in order to manage a peaceful coexistence. The second article is entitled: " Between gender quotas and political violence: progress and setbacks in political representation of women in Mexico". The authors, Karolina M. Gilas and Alma Verónica Méndez Pacheco aim to explain, on the one hand, the positive impact of the judicialization of politics in Mexico on the political representation of women and, at the same time, the relationship between these measures and political violence against women. Finally, Rubén José Pérez Redondo proposes his article "Evolution of western literature from a sociological context. From Classical Greece to Baroque", in which he intends to make a sociological analysis of the evolution of western literature until the 17th century, before the events of modern literature. ; América Latina es una fuente de contenido cultural para muchos escritores. En repetidas ocasiones varios de ellos han logrado capturar aspectos de la realida propia latinoamericana en sus textos. Entre esos aspectos se encuentra la violencia que se ha vivido a flor de piel en todos los países que componen América Latina. Por mencionar algunos ejemplos, podemos nombrar la novela Cien años de soledad de Gabriel García Márquez y el cuento El Matadero de Esteban Echevarría. Por esa razón, para este año el núcleo temático de nuestra revista es literatura y violencia en América Latina.La sección del núcleo temático está compuesta por dos artículos; el primero, es una contribución de Jorge Andrés Cárdenas Santamaría y se titula: "Panorama de la literatura sobre el conflicto armado en Colombia, siglos XIX y XX. Consideraciones sobre su desarrollo y evolución narrativa". En este, se busca reconocer cómo se ha narrado y representado la guerra en textos literarios y cuál ha sido el papel de los personajes que sufren directamente el acto violento en tales producciones. El segundo artículo, es un producto de Carlos Enrique Mosquera y María Nelsy Rodríguez que lleva por título: "Tematizar la memoria del conflicto armado desde la literatura, la música y la narrativa para formar la subjetividad política, la compasión y la ética responsiva". En este escrito, se expresa cómo el contexto sociocultural puede ser problematizado por el decir de la literatura.La sección de investigación en perspectiva, abre con dos artículos de corte filosófico. El primer artículo trata sobre la espiritualidad en un mundo secularizado. El artículo se titula: "Integridad emocional. Sobre cómo ser espiritual en un mundo escéptico", y sus autores son José Edwin Cuéllar Saavedra, Alejandra Molano Bustacara y Miguel Ángel Pérez Jiménez. A este le sigue un artículo titulado: "La narrativa imaginativa como vía de acceso a la solidaridad. Una propuesta educativa desde el pragmatismo y el neopragmatismo". La autora, Martha Patiño, plantea la necesidad de reconocer las formas de narrativa presentes en los procesos educativos y formula la búsqueda de integración de otra forma más sutil y orientada a la educación de la sensibilidad para la solidaridad.Posteriormente, figuran dos artículos cuyo foco es el arte, abordado desde su relación con lo político. Por un lado, desde el período de posdictadura en Chile, la llegada de comunidades latinoamericanas ha generado una progresiva transformación en el patrón migratorio. En este contexto, en el artículo "Las músicas migrantes latinoamericanas en Chile: identidades diaspóricas y mestizajes culturales", los autores Marisol Facuse Muñoz y Rodrigo Torres Alvarado proponen comprender la incidencia de la producción cultural de los inmigrantes en nuestras identidades, sociabilidades e imaginarios. Por otra parte, la autora Marina Adamini en su trabajo "Activismo artístico como nueva herramienta sindical de jóvenes trabajadores precarizados en Argentina", se propone reflexionar sobre las nuevas formas de acción colectiva que establecen los jóvenes trabajadores precarizados en Argentina frente a las limitaciones del sindicalismo tradicional para canalizar sus luchas, como lo es el activismo artístico.Para cerrar, contamos con tres artículos que tienen un enfoque sociopolítico. El primero, sobre la comunidad, el segundo, sobre la participación política de las mujeres, y el último, de la evolución de la literatura. El primer artículo es una contribución por parte de Javier Alexander Molina Correa. Este se titula: "Gansos volando en forma de V: construcción de comunidad, eficacia colectiva y espacio defendible en un barrio de Cali, Colombia". Este trabajo busca explorar la experiencia del barrio Marco Fidel Suárez, una de las comunidades con menos muertes de la ciudad, gracias a estrategias como el encerramiento voluntario a través de la instalación de enrejados en puntos estratégicos y la regulación de entrada y salida de residentes, adicionalmente a actividades diseñadas e implementadas desde la Junta de Acción Comunal, en aras de la gestión de una convivencia pacífica. El segundo artículo se titula: "Entre cuotas y violencia de género: avances y retrocesos en la participación política de las mujeres en México". Las autoras, Karolina M. Gilas y Alma Verónica Méndez Pacheco, tienen como objetivo exponer, por una parte, el impacto positivo de la judicialización de la política en México en la representación política de las mujeres y, al mismo tiempo, explicar la relación entre estas medidas y la violencia política contra las mujeres. Por último, Rubén José Pérez Redondo propone su artículo: "Evolución de la literatura occidental desde un contexto sociológico. De la Grecia clásica al Barroco", en el cual se pretende hacer un análisis sociológico de la evolución de la literatura occidental hasta el siglo XVII, antes del acontecer de la literatura moderna.

Latin America is a source of cultural content for many writers. On several occasions writers have managed to capture aspects of Latin American reality in their texts. Among those aspects is the violence that has been experienced in all Latin American countries. To mention some, examples we can mention the novel One Hundred Years of Solitude by Gabriel García Marquez and the story The Slaughterhouse by Esteban Echevarría. For that reason, this year the core topic of our journal is literature and violence in Latin America.The thematic core section is composed by two articles. The first one is a contribution by Jorge Andrés Cárdenas Santamaría and is entitled: "Overview of the literature on Colombian armed conflict during the 20th and 21st centuries. Considerations about its development and narrative evolution". This article seeks to recognize how war has been narrated and depicted in literary texts and what has been the role of the characters who directly suffer the violent act in such productions. The second article is a product of Yesid Niño Arteaga which is entitled: " Violence in rural town and the modern city: Blood and street in the literary works by Álvaro Cepeda Samudio and Rafael Chaparro Madiedo". This paper expresses how the sociocultural context can be problematized by the words of literature.The perspective research section opens with two philosophical articles. The first article deals with spirituality in a secularized world. The article is entitled: "Emotional integrity. How to be spiritual in a skeptical world " and its authors are José Edwin Cuéllar Saavedra, Alejandra Molano Bustacara and Miguel Ángel Pérez Jiménez. In the next article entitled: "The imaginative narrative as a way of accessing to solidarity. An educational proposal from pragmatism and neopragmatism", author Martha Patiño raises the need to recognize the forms of narrative present in educational processes, and presents the need for integration in a more subtle and education-oriented sensitivity for solidarity.Subsequently, there are two articles that focus on art addressed from its relationship with the political. On one hand since the post-dictatorship period in Chile, the arrival of Latin American communities has generated a progressive transformation in the migration pattern. In the article "Latin American migrant musics in Chile: diasporic identities and cultural mixing", authors Marisol Facuse Muñoz and Rodrigo Torres Alvarado propose to understand the impact of the cultural production of immigrants in our identities, sociabilities and imaginaries. On the other hand the author Marina Adamini in her work "Artistic activism as a new trade union tool of young precarious workers in Argentina" intends to reflect on the new forms of collective action established by the young precarious workers in Argentina against the limitations of traditional trade unionism to channel their struggles; as is artistic activism.To close, we have three articles that have a socio-political focus. The first on the community, the second on the political participation of women and the last one on the evolution of literature. The first article is a contribution by Javier Alexander Molina Correa. This one is titled: "Geese flying in a V shape: community building, defensible space and collective efficacy in a neighborhood of Cali, Colombia". This paper seeks to explore the experience of the neighborhood "Marco Fidel Suarez", one of the communities with fewer deaths in the city thanks to strategies such as voluntary enclosure through the installation of fences in strategic points, regulation of entry and exit of residents in addition to activities designed and implemented by the Community Action Board in order to manage a peaceful coexistence. The second article is entitled: " Between gender quotas and political violence: progress and setbacks in political representation of women in Mexico". The authors, Karolina M. Gilas and Alma Verónica Méndez Pacheco aim to explain, on the one hand, the positive impact of the judicialization of politics in Mexico on the political representation of women and, at the same time, the relationship between these measures and political violence against women. Finally, Rubén José Pérez Redondo proposes his article "Evolution of western literature from a sociological context. From Classical Greece to Baroque", in which he intends to make a sociological analysis of the evolution of western literature until the 17th century, before the events of modern literature. ; América Latina es una fuente de contenido cultural para muchos escritores. En repetidas ocasiones varios de ellos han logrado capturar aspectos de la realida propia latinoamericana en sus textos. Entre esos aspectos se encuentra la violencia que se ha vivido a flor de piel en todos los países que componen América Latina. Por mencionar algunos ejemplos, podemos nombrar la novela Cien años de soledad de Gabriel García Márquez y el cuento El Matadero de Esteban Echevarría. Por esa razón, para este año el núcleo temático de nuestra revista es literatura y violencia en América Latina.La sección del núcleo temático está compuesta por dos artículos; el primero, es una contribución de Jorge Andrés Cárdenas Santamaría y se titula: "Panorama de la literatura sobre el conflicto armado en Colombia, siglos XIX y XX. Consideraciones sobre su desarrollo y evolución narrativa". En este, se busca reconocer cómo se ha narrado y representado la guerra en textos literarios y cuál ha sido el papel de los personajes que sufren directamente el acto violento en tales producciones. El segundo artículo, es un producto de Carlos Enrique Mosquera y María Nelsy Rodríguez que lleva por título: "Tematizar la memoria del conflicto armado desde la literatura, la música y la narrativa para formar la subjetividad política, la compasión y la ética responsiva". En este escrito, se expresa cómo el contexto sociocultural puede ser problematizado por el decir de la literatura.La sección de investigación en perspectiva, abre con dos artículos de corte filosófico. El primer artículo trata sobre la espiritualidad en un mundo secularizado. El artículo se titula: "Integridad emocional. Sobre cómo ser espiritual en un mundo escéptico", y sus autores son José Edwin Cuéllar Saavedra, Alejandra Molano Bustacara y Miguel Ángel Pérez Jiménez. A este le sigue un artículo titulado: "La narrativa imaginativa como vía de acceso a la solidaridad. Una propuesta educativa desde el pragmatismo y el neopragmatismo". La autora, Martha Patiño, plantea la necesidad de reconocer las formas de narrativa presentes en los procesos educativos y formula la búsqueda de integración de otra forma más sutil y orientada a la educación de la sensibilidad para la solidaridad.Posteriormente, figuran dos artículos cuyo foco es el arte, abordado desde su relación con lo político. Por un lado, desde el período de posdictadura en Chile, la llegada de comunidades latinoamericanas ha generado una progresiva transformación en el patrón migratorio. En este contexto, en el artículo "Las músicas migrantes latinoamericanas en Chile: identidades diaspóricas y mestizajes culturales", los autores Marisol Facuse Muñoz y Rodrigo Torres Alvarado proponen comprender la incidencia de la producción cultural de los inmigrantes en nuestras identidades, sociabilidades e imaginarios. Por otra parte, la autora Marina Adamini en su trabajo "Activismo artístico como nueva herramienta sindical de jóvenes trabajadores precarizados en Argentina", se propone reflexionar sobre las nuevas formas de acción colectiva que establecen los jóvenes trabajadores precarizados en Argentina frente a las limitaciones del sindicalismo tradicional para canalizar sus luchas, como lo es el activismo artístico.Para cerrar, contamos con tres artículos que tienen un enfoque sociopolítico. El primero, sobre la comunidad, el segundo, sobre la participación política de las mujeres, y el último, de la evolución de la literatura. El primer artículo es una contribución por parte de Javier Alexander Molina Correa. Este se titula: "Gansos volando en forma de V: construcción de comunidad, eficacia colectiva y espacio defendible en un barrio de Cali, Colombia". Este trabajo busca explorar la experiencia del barrio Marco Fidel Suárez, una de las comunidades con menos muertes de la ciudad, gracias a estrategias como el encerramiento voluntario a través de la instalación de enrejados en puntos estratégicos y la regulación de entrada y salida de residentes, adicionalmente a actividades diseñadas e implementadas desde la Junta de Acción Comunal, en aras de la gestión de una convivencia pacífica. El segundo artículo se titula: "Entre cuotas y violencia de género: avances y retrocesos en la participación política de las mujeres en México". Las autoras, Karolina M. Gilas y Alma Verónica Méndez Pacheco, tienen como objetivo exponer, por una parte, el impacto positivo de la judicialización de la política en México en la representación política de las mujeres y, al mismo tiempo, explicar la relación entre estas medidas y la violencia política contra las mujeres. Por último, Rubén José Pérez Redondo propone su artículo: "Evolución de la literatura occidental desde un contexto sociológico. De la Grecia clásica al Barroco", en el cual se pretende hacer un análisis sociológico de la evolución de la literatura occidental hasta el siglo XVII, antes del acontecer de la literatura moderna.

One of the most pernicious effects of the Marxist schema of base and superstructure is that it posits the economy and ideology as two separate and distinct levels. The base is where the economy does its work, silently and materially, and the superstructure does its work reproducing the relations of production by remaining entirely separate and distinct from the economy, by addressing morals, religion, the nation, everything but economic necessity. This rigid division makes it difficult to think of the ideological dimension of the economy and the economic dimension of ideology. I have written before on what I could call the ideological dimension of the economy, the way that work, wealth, and capital function not just as economic relations but are coded are moralized, made into statements of virtue and worth. I am not taking credit for this idea, it can be found in Hegel, and, more critically, in Marx's discussion of primitive accumulation. I have a whole book coming out which discusses the way that work does a "double shift" as both a fundamental aspect of economic life under capitalism and a central term in capitalist ideology. Beyond that, I think that it might be useful to think of similar double shifts, where the economy functions as ideology, and ideology works in the economy. First example, in analyzing the much discussed, and hopefully fiercely fought cuts at West Virginia University one point comes up repeatedly. Which is that humanities courses like languages and literature, generally bring in more money than they cost. Humanities professors are cheaper than faculty in other departments, such as business, and generally courses involve less costly technology than courses in STEM. There have also been suggestions that other aspects of the university, like its football team, are not only more expensive, with something like fourteen assistant coaches, but cost more than they bring in. I am not sure about that last point, however, and am honestly not going that deep into the matter. There are also larger points about the general decline in state funding for higher education. I am not suggesting that one make an argument defending education primarily in terms of costs and returns--far from it. My main point here is that eliminating language programs is not the result of a simple cost/benefit analysis, a comparison of revenue in and out, but from what could be considered the ideology of economic rationality. Languages, culture, and even puppetry just seem to be extravagant even if they are not. While an instrumental calculation tells us that courses in such departments bring in more revenue, more students, our idea of what is economically rational tells us that they are expensive and not essential to whatever we think a university is, increasingly a job training center. Economical is often a representation of calculation, an idea of what is worthwhile or expensive, rather than an actual calculation based on costs and revenue. Second example: and this comes from Adam Kotsko's post about streaming, streaming services, like other app based transformations such as Uber and Airbnb, seem to be the very model of market efficiency. They have effectively eliminated the middle man, the cable provider, television network, or video store, bringing more profits directly to the studio and more choice to the audience. I am not going to get into the failure of the latter (better reserved for another post), but the truth of the matter is that streaming has not been profitable with most services working at a loss for years. Nonetheless, streaming seems profitable and a model of what it means to be successful capitalist enterprise. So much so that when my university was cutting programs a few years ago a member of the board said that he wanted the university to be like Netflix not Blockbuster, by which I assume that he meant efficient, new. and online. It is the idea, or ideal of disruption, of change and obsolescence that, explains the interest in streaming services and not their actual profitability. Of course it is possible to say that part of the fetishization of apps has more to do with the long game, with the role they play in deskilling work and making working conditions more precarious in order to replace employees with workers with even less security and lower wages. The long game, the overall social effect, is something that capitalist from Adam Smith to Milton Freeman have argued companies are not supposed to not consider--their only concern should be immediate self-interest (or in Freeman's case shareholder interest). Third example, by now you have probably heard of the viral online hit "Rich Men North of Richmond" by Oliver Anthony. I am not going recommend the song as a song, but I have copied some of the lyrics below to discuss it as a cultural moment (albeit one probably forgotten by the time you read this). Livin' in the new worldWith an old soulThese rich men north of RichmondLord knows they all just wanna have total controlWanna know what you think, wanna know what you doAnd they don't think you know, but I know that you do'Cause your dollar ain't shit and it's taxed to no end'Cause of rich men north of RichmondI wish politicians would look out for minersAnd not just minors on an island somewhereLord, we got folks in the street, ain't got nothin' to eatAnd the obese milkin' welfareWell, God, if you're 5-foot-3 and you're 300 poundsTaxes ought not to pay for your bags of fudge roundsYoung men are puttin' themselves six feet in the ground'Cause all this damn country does is keep on kickin' them downI am going to skip right over the Qanon part about islands of minors and go straight to the representation of the economy. First, we get the usual demon of the right, the welfare queen or king, the song doesn't give us gender just height and weight. That this fiction persists long after the end of "welfare as we know it" is a testament to its power as a myth. To quote Jeff Sharlet, "You can't fact check a myth." Along with this myth that welfare is an incredibly easy life we get one of the other persistent themes of the right, the strange obsession with exactly what poor people consume, in this case fudge rounds, the Little Debbie snackcake that retails for less than three bucks for a nine ounce package. A cheap vice, all things considered. The song seems to suggest that at some particular body mass ratio it would be acceptable for the state to provide these snack cakes, but it is unclear where the cut off is. If you ask me we would be better worrying about the consumption habits of the wealthy than the poor: the former are going to private jet the planet to death while we are drawing cut off lines for snack cake consumption, but I digress.The real line that strikes me in this passage is "Cause your dollar ain't shit and it's taxed to no end." This passage is often cited as the real working class pain that is at the heart of this song. It is hard to deny the first part, the past few years of inflation have driven the buying power of the dollar down. The second part, however, is more dubious. There is no tax increase that explains that decrease. Rates have gone down nationally, but that varies by income bracket, and Virginia (where I assume this is coming from) has remained in the middle range of state income tax with a top rate of 5.75%, West Virginia is slightly higher at 6.50%. However, I would argue that as much as taxes cannot be the true cause of the economic anger at the core of this song, they are its necessary false cause. (To cite Spinoza, "inadequate ideas follow from the same necessity as adequate ideas)To discuss inflation, wages, and so on as causes of the decline of the dollar, of working class conditions, is to criticize capitalism, albeit obliquely. Capitalism, the economy, is not something one can critique, not because it is beyond reproach, held sacred, but because it is seen as a fact of life, the way of the world. To criticize capitalism would be to acknowledge it as an institution, as a human creation. Instead the critical force is reserved for politicians, for those rich men North of Richmond, who have imposed taxes.  Of course it is unclear why they would do this, the profit motive is a fairly clear motivating force for exploitation, taking it off of the table often means coming up with even more baroque explanations as to why the rich men are doing what they are doing. To some up briefly, my point here is not that there is nothing like economic determination, or material conditions and causes, but just that even material causes cannot be separated from their representation, how we grasp or image them. The economy, the other scene of politics, has effects only in and through that scene, and vice versa. 

[spa] La presente investigación tiene por objetivo exponer la estructura Epistemocrítica de la escritura filosófica benjaminiana. A partir de aquí y del montaje de determinadas obras y formas de expresión se intentará construir una determinada imagen [Bild] de la experiencia histórica de las dictaduras de España y Chile. Todo esto en medio de un despliegue dialéctico sui generis, propio de todo fenómeno de Ursprung, tanto para una idea como para una originaria forma histórica, tal como se da en los proyectos sobre la idea del Trauerspiel alemán y de los pasajes parisinos de Passagen-Werk. En principio, los dos primeros capítulos muestran el recorrido benjaminiano que va desde la Schriftbild de la alegoría barroca a la dialektische Bild de su materialismo histórico, la construcción de los marcos cognoscitivo y ontológico en medio de la tensión entre verdad y conocimiento, entre Idea, Urphänomen y concepto. Sobrevuela esta tensión la oposición entre la idea de forma y el contenido ideal en la obra de arte, especialmente la contraposición teórica de los primeros románticos y Goethe (Idee y Urbild). Desde aquí se llega a la interpretación de la imagen en la poética de Baudelaire, donde la tensión entre alegorías y correspondencias finaliza en una prosa que expone la vivencia del shock como real experiencia moderna provocada por el fetiche de la mercancía industrial, la autoalienación en la gran urbe la trasparenta en la imagen del paria y la prostituta en defensa del capital. De tal forma, la destrucción de la experiencia de la narración a manos de la información y la novela anuncia la destrucción de un mundo perceptivo artesanal que desaparece con la reproducción técnica, y definitivamente con la gran guerra; se vislumbra la decadencia de la burguesía europea y el posterior genocidio del pueblo judío en los Lagers nazis. El París que ve Benjamin como capital del siglo XIX lo hace legible como fantasmagoría, la forma originaria de su Urgeschichte. Para esto muestra el proceso económico de este siglo como Urphänomen, a partir del despliegue de una serie concreta de formas históricas de los pasajes parisinos, desde su inicio a su ocaso, como obra arquitectónica y como forma de expresión de la representación del progreso del capital. En este contexto, la expresión de las primeras ferias internacionales, las primeras construcciones de acero y vidrio, completarán esta constelación figurativa que conformarían las ideas de progreso y catástrofe, fundadas en una representación cosista y positivista de ese pensar burgués. Para finalizar, el tercer capítulo complementa la estructura epistemológica benjaminiana en medio de las ideas de verdad y justicia, articuladas ontológicamente a partir de la exposición de una diversidad de conceptos como acción política, testimonio, testificación, imagen dialéctica, memoria y su articulación en una configuración imaginal de obras y formas históricas. El interés como investigador recae en las experiencias históricas olvidadas de las dictaduras de España y Chile, especialmente las vividas por los trabajadores izquierdistas y anarquistas en sus respectivas luchas sociales y políticas, que han quedado impresas en una materialidad maltrecha, como desechos técnicos, ruinas arquitectónicas y obras de artes. Así, desde la exposición de variados documentos, fotografías, normas, leyes de amnistía, informes y entrevistas que testifican la vida y muerte de estos trabajadores, también se recogen los testimonios de sus familiares directos, antes y después de sus detenciones y desapariciones. Por ejemplo, el esfuerzo de Angel Piedras por no olvidar es expuesto, una y otra vez, en la confección de las listas de los represaliados de Nava del rey, acercándolo a la incansable búsqueda de las madres e hijas de los trabajadores chilenos detenidos y desaparecidos políticos en la dictadura de Pinochet. Las investigaciones históricas de Pedro Piedras Monroy, Pere López Sánchez y Miquel Fernández González como expresiones de diferentes experiencias en medio del golpe de Estado franquista, de la guerra civil, de la derrota republicana y posterior dictadura, difieren sólo en las localizaciones espaciales: Nava del Rey, Can Tunis o Prat Vermell y el barrio chino del Raval de Barcelona. Sin embargo, como experiencias límites de resistencia no se diferencian mayormente de las expuestas por Mario Amorós como testimonios de los familiares de detenidos y desaparecidos chilenos, muchos de ellos campesinos que apoyaron la Unidad Popular del Presidente Salvador Allende. Todos ellos conforman una misma constelación saturada de fuerzas reaccionarias, latifundistas y conservadoras que destruyen el tejido social y político ganado hasta ese entonces, construido desde los primeros movimientos de reivindicación por los derechos de los trabajadores. Presentamos las fotografías de las ruinas de la mina de cal de Lonquén, Chile, sus mapas cartografiados como antiguo mayorazgo colonial de la familia Ruiz de Tagle, donde en septiembre de 1973 quince trabajadores son asesinados, antes torturados, por carabineros de la localidad, quienes hacen desaparecer los cuerpos al arrojarlos vivos en esas ruinas. Años después la mina es destruida por sus nuevos dueños, familiares del presidente demócrata-cristiano Eduardo Frei Ruiz-Tagle. Sólo en el transcurso del año 2017 serán detenidos y enjuiciados los ex-policías, dejando fuera a los instigadores civiles de los delitos. Si para Benjamin las ideas cobran vida cuando los extremos se juntan a su alrededor y la imagen dialéctica es como un relámpago esférico [Kugelblitz] que atraviesa el horizonte de lo pretérito, nuestra imagen se ha configurado frente a determinadas ideas [Idee] y en medio de diversas formas históricas; aquí no sólo contamos con el olvido impuesto por ese progreso y esa catástrofe decimonónica que aún sigue en curso, sino que cruzamos en medio de las ideas de justicia y verdad, pero también entre memoria histórica e historia genuina, donde la materia que la compone guarda la huella, la marca de la experiencia, sobre todo en la configuración de la imagen escritural [Schriftbild] de un pasado, que bajo este esfuerzo e interés doctoral, trata de vislumbrar la Eingedenken (remembranza) de estos luchadores proletarios, la brizna de paja de la que pende el ahogado, el Angel (eje) entre el ahora de lo que ha sido, el Jetztsein (ser-ahora) de su cognoscibilidad. Ahí, en ese instante en que la imagen le salta al sujeto de la historia, cuando la clase oprimida lucha en su situación más expuesta, se hace justicia a lo conocido, entramos por un instante en su verdad y salvamos sus experiencias olvidadas. ; [eng] The objective of the research is to expose the Epistemocritic structure of Benjaminian philosophical writing. With this purpose, this research will try to build a certain image [Bild] of the historical experience of the Spanish and Chilean dictatorships from the assembly of certain works and forms of expression. All this in the middle of a sui generis dialectical display, typical of all Ursprung phenomena, both for an idea and for an original historical form, as it occurs in the projects about the idea of the German Trauerspiel and the Parisian passages of Passagen-Werk. The first two chapters show the Benjaminian journey from the Schriftbild of the baroque allegory to the dialektische Bild of its historical materialism, the construction of the cognitive and ontological frameworks in the middle of the tension between truth and knowledge, between Idea, Urphänomen and concept. The opposition between the idea of form and the ideal content in the work of art overcomes this tension, especially the theoretical opposition of the early Romantics and Goethe. From here, it arrives the interpretation of the image in Baudelaire's poetics, where the tension between allegories and correspondences ends in a prose that exposes the experience of shock as a real modern experience, caused by the fetish of industrial merchandise, and self-alienation in the great city is shown trough the image of the outcast and the prostitute in defense of capital. The third chapter complements the Benjaminian epistemological structure in the midst of some ideas articulated ontologically from the exposition of a diversity of concepts such as political action, testimony, testification, dialectical image, memory and its articulation in an imaginal configuration of works and historical forms. The interest as a researcher lies in the forgotten historical experiences of these dictatorships, especially those experienced by leftist and anarchist workers in their respective social and political struggles, which have been imprinted in a battered materiality, such as technical waste, architectural ruins and works of art. Thus, from the exhibition of various documents, photographs, norms, amnesty laws, reports and interviews that testify the life and death of these workers, the testimonies of their direct relatives are also collected, before and after their arrests and disappearances. If the ideas [Idee] come to life for Benjamin when the extremes are gathered around them and the dialectical image is like a spherical lightning [Kugelblitz] that crosses the horizon of the past, our image has been set against certain ideas and in the midst of different historical forms. We cross in the middle of the ideas of justice and truth, but also between historical memory and a genuine history, where the matter that composes it keeps the mark, the mark of experience, especially in the configuration of the scriptural image [Schriftbild] from a past, that under this effort and doctoral interest, tries to glimpse the Eingedenken (remembrance) of these proletarian fighters, the straw that hangs from the drowned, the Angel (axis) between the Jetztsein (be-now) of his knowability. There, in that moment in which the image jumps to the subject of history, when the oppressed class fights in its most exposed situation, justice is done to the known, we enter for a moment into its truth and we save its forgotten experiences.