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"There is no such Revival. Around the Philosophical Disquisitions on Alienation in the late Twentieth Century". The following paper proposes to give arguments to relativize the extensive account that the concept of alienation lost theoretical attention in the field of philosophy during the eighties of the last century, and that a revival of the study of the concept occurred in the nineties. The conclusion is that there was no such loss of attention, but that furthermore, the presumed premises in the discussion concerning alienation from the nineties up to the present were delineated during the eighties. This conclusion has two supporters: the type of approach regarding alienation carried out by analytical Marxism and the philosophical incursions into the concept in the context of North American sociology. Based on this, the text offers a systematization of the history of the philosophical study of the concept in two sections or stages. And it concerns itself with two -and not three- stages because, for what was argued, philosophy did not stop talking about alienation in the eighties, although it did so to a much lesser extent than before (specifically, during the sixties and seventies, considered the boom in the philosophical treatment of alienation). [ABSTRACT FROM AUTHOR]

In the 19th century, the rapprochement between music and philosophy was so intense that it became noteworthy. This paper explores the influence of Arthur Schopenhauer's philosophy on Richard Wagner's musical composition Tristan and Isolde. It takes as starting point Wagner's texts where he claims to know Schopenhauer's philosophy, and endorses its influence in his life and his artistic labour. This article suggests that Wagner tried to represent Schopenhauer's metaphysics in his music. [ABSTRACT FROM AUTHOR]

Berkeley's immaterialist philosophy has been frequently underestimated as a result of the misunderstanding of his ontological proposal, specifically because of the complexity of his concept of idea. The aim of this paper is then to clarify and explain that concept because from it depends the correct understanding of Berkeley's ontological and immaterialist proposal. To do this, 1) I will show some examples of the misunderstanding that the berkeleian proposal has had, mainly due to his concept of idea; 2) I will track how this notion was being developed in Berkeley's early notes, known as Philosophical Commentaries; 3) I will analyze and explain the concept of idea from the published work of Berkeley, that is, from the Principles and Dialogues. [ABSTRACT FROM AUTHOR]

How are we to understand the contradiction of a philosophy that claims to be a legitimate heir of the phenomenological tradition but, at the same time, intends to break free from its limits to allow an unconditioned manifestation? Should we comprehend Jean-Luc Marion's work as a true renovation of phenomenology -as he and his followers do-, or should we instead consider it as a pure theology independent from the phenomenological movement? Why would the theological way be the only possible way out of the crisis of contemporary metaphysics denounced by Marion and, even more, a necessary way? To answer these and other questions, this paper develops some of the paradoxes that arise from the Marionian theological turn, distinguishing two possible ways of understanding its Kehre: either as a deviation that allows extending phenomenology to new fields, or as a return to and abandonment of the phenomenological project. Finally, we wonder if Marion's proposal of a gradual ontology does not encourage a third possible way, which would lead us to think of his thought not as phenomenology anymore, but as a gradualist-theological fansiology. [ABSTRACT FROM AUTHOR]