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This paper proposes a reinterpretation of Arendt's political thought from the ecological perspective in the context of the crisis that arose from the emergence of the modern world. Firstly, this crisis is described as stemming from the following reasons: the great transformation of the human condition by technology, the displacement of common sense and sensitive knowledge by science, and the possibility of annihilation of life on Earth. Secondly, the paper points out the way in which Arendt redirects this situation towards a phenomenology of public space. Finally, the work shows how the foundations for looking after the Earth in the public sphere can be found in our sensitive roots to the Earth and in its way of appearing. [ABSTRACT FROM AUTHOR]

Western thought assumes the existence of a unitary and solid Self that plays a key role in value creation and provides the basis of freedom, self-knowledge, and authenticity. However, is there really a unitary Self that only refers to itself? Is the Self responsible for controlling what happens inside it? Or does it miss something? Can self-exploration reveal puzzling elements of its inner configuration? Is it possible to nullify and ultimately extinguish the Self? The aim of this paper is to provide possible answers to these and other questions that arise from the analysis of some of the most significant contributions of both the Western and Buddhist traditions regarding the study of the Self. [ABSTRACT FROM AUTHOR]

In this paper I aim to analyze Guerrero's position as a reader of Heidegger, particularly the conceptual continuities and discontinuities between the Argentine philosopher's methodological proposal of an "operative aesthetic" and the German thinker's essay on art. We will focus on the first volume, Estética operatoria en tres direcciones. Revelación y acogimiento de la obra de arte, and the essay "The Origin of the Work of Art". Our hypothesis is that Guerrero is an anthropophagic reader: while he agrees with some of Heidegger's ideas on art, the Argentine philosopher is also critical and, through his reading of "The Origin of the Work of Art", he elaborates an original proposal. Specifically, Guerrero takes, I affirm, the phenomenological-hermeneutical methodology and applies it in an original way to the analysis of works of art. [ABSTRACT FROM AUTHOR]