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Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The following article aims to analyze some epistemic keys in the way in which indigenous Diaguita intellectuals approach the writing of history. These writings put into play, on the one hand, the ethnic identity of the indigenous intellectual and the question about the subject and the place of enunciation from which his epistemic-political positioning is constructed. On the other hand, they propose a project of criticism and decolonization of history, to the extent that their writings propose a direct and open confrontation with the hegemonic (colonial) versions of history. From these two dimensions, we are interested in reflecting on the possibility that these writings configure a native episteme for the rewriting and rereading of indigenous history. [ABSTRACT FROM AUTHOR]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From its beginnings, the tango song configured certain characters and modulated different voices. In this context, during the 20s in the 20th century, flourished a set of compositions known as “tangos of reproach”, inheritors of the challenge tone of the gaucho literature. This work outlines this transfer and then deals with the subject who assumes the enunciation and the rhetoric deployed by the tangos of reproach, considering their conditions of circulation. The hypothesis is that tango did not reflect preexisting social identities, but instead played an active role in its production and presented them in a problematic way, in a cultural framework crossed by social, identity and political contradictions. We maintain that songs are intermedial and complex discursive objects, whose study cannot be reduced to textual analysis, since it must contemplate its performance and its circumstances of circulation. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The book "Nobody speaks. Artificial intelligence and the death of man" by Felipe Muller addresses the relationship between language and human existence, focusing on extensive language models such as ChatGPT. The author draws on Foucault's philosophy to analyze the proliferation of these models and how they affect language enunciation. Muller highlights the artificiality of these models and raises reflections on writing and human identity in a world where increasingly "nobody speaks". [Extracted from the article]

From a position as students, disciples, and collaborators of María Bertely, we reflect on her contributions to the gestation and development process of the project "Milpas Educativas: Socionatural Laboratories for good living". After specifying the locus of enunciation and the sources that support the analysis, the political and epistemological referents that are essential to understanding the essence of an educational project with a clear ethnopolitical and alter-globalization position are made explicit. These, in addition, allow us to appreciate the contributions of Bertely as coordinator and caretaker of the Intercultural Inductive Method and committed academic who felt mandated by the community educators of the Union of Teachers of the New Education for Mexico (UNEM) and the indigenous communities that appointed them. Subsequently, Bertely's contributions to the gestation phase of the project are analyzed, emphasizing her efforts before the financing body and the resulting achievements. Next, we reflect on her contributions to the development process of Milpas Educativas, highlighting the political, epistemic, axiological, and pedagogical dimensions that characterized them. We conclude by presenting some of his most important legacies to Mexican and Latin American educational anthropology, emphasizing her political commitment to the indigenous cause. [ABSTRACT FROM AUTHOR]

This text uses the concept of "place of enunciation" to explore the diverse sites of enunciation from which Anna Maria Guasch has discussed Visual Studies. Firstly, the article addresses Guasch's work from the standpoint of translation, providing a discussion of her "Los Estudios Visuales: un estado de la cuestión" through the prism of an expanded translation. Secondly, Guasch's work is analysed from an archaeocartographical stance, addressing her text "Doce reglas para una Nueva Academia" as an example of her capacity to produce coordinates to navigate the discourse of Visual Studies. Lastly, Guasch's work is analysed in terms of a Foucauldian genealogy. In this closing section, two more recent texts are discussed from a genealogical perspective. [ABSTRACT FROM AUTHOR]

The article highlights the dangers of conducting research without being aware of the place of enunciation. It reviews the deformation of the American reality by European science in the 17th and 18th centuries. Subsequently, it illustrates with examples the attempts to overcome this problem in the American eighteenth century, a period that gave rise to a marked interest in investigating the American reality, an endeavor that reached its climax with the emergence of the so-called Social Sciences in the mid-twentieth century. Finally, we reflect on some of the implications of situated and localized thinking. René Zavaleta's concept of variegation is used for this purpose. It is found that thinking and researching situationally, by attending to specific contexts, avoids losing sight of the heterogeneity and complexity of situated realities. It is something that can also contribute to create emancipatory possibilities. [ABSTRACT FROM AUTHOR]

Latin American marxism, understood as a category, phenomena and process hasn’t been studied broadly, despite how fruitful the Marxist tradition has been in our region. It is proposed in the next pages a series of theoretical-methodological approaches and coordinates to push out into its analysis, respecting the analytical plurality and heterogeneity that characterizes it, describing its enunciation origins and development and outlining the essential ingredients that separate it from other approaches giving its specificity within Latin American critical social thought. The purpose of the article is to provide the researcher a basic framework to dive into deeper inquiries that concern the different topics circumscribed to the marxisms in Latin America. [ABSTRACT FROM AUTHOR]

In this text I propose a philosophical method for approaching contemporary art. I formulate a philosophical strategy that responds to the need to say something about artistic pluralism and about a certain idea of crisis that today's art is thought to be suffering. Through the creation of basic principles, I want to offer a critical way of approaching contemporary art, of judging it and appreciating it correctly. I point out that we discuss art and when we do so we believe that what we say is true; the aesthetic community is realistic and therefore we can appeal to the objectivity of the enunciations we make about works of art. The word criticism, however, does not refer here to what one would think of as professional criticism, but to a critical thinking about art based on reasons justified through their positioning in categories. [ABSTRACT FROM AUTHOR]

This article analyzes how the poetry collection Susy, secretos del corazón (1989) by the Argentinian poet, playwright and cultural manager Susana Villalba (Buenos Aires, 1956) establishes a critical dialogue with the comic strip of the same name, published in the sixties and seventies in Latin America. The collection of poems also engages in dialogue with other cultural references through an enunciative process that reveals the social constructs aiming to define and establish femininity. The critical stance of the text becomes evident as it illuminates how the experience of romantic love in women is codified. At the discursive level, from the use of textual mechanisms related to collage and pastiche, an open, mobile, multiple, playful poetic voice is generated-it unfolds to reveal the role of social factors in the construction of subjectivity. [ABSTRACT FROM AUTHOR]

Parentheticals are utterances which appear inserted in others introducing an additional or clarifying information. This paper analyses the prosodic behaviour of parentheticals to study in more detail their discursive functioning. As features of these kind of utterances it is possible to notice a decrease in intensity and tone, and an acceleration in the speech rate. In respect to enunciation and modality, the exam of the parameters that determine the perception of these utterances by the interlocutors allows establishing a correlation between the two discursive planes that are compared and the phonetic procedures that characterise their acoustic emission, linked to the parameters that present more accentuated differences: tone and speech rate. The variations recorded reflect an adaptation between the prosodic form of parentheticals and the strategic functions that these constructions carry out in the discourse as argumentative resources. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Escena: Revista de las Artes is the property of ESCENA. Revista de las Artes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this essay, a reflective analysis is carried out on the hermeneutics of devices in educational intervention, based on documentary research and its analogical integration in a philosophical, epistemological and methodological construct, achieved from the works of Beuchot (2018) and Deleuze (1999). The article begins by discussing the need to update approaches to intervention, to place them in a phronetic or prudent place with current events and educational emergencies, among which the post-pandemic, the Fourth Industrial Revolution, the urgency of respecting human rights stand out, the best interests of children and adolescents, the change in social roles and the crisis in multiple sectors, including the teaching profession. It continues with a critique of the old intervention models and their approaches, to propose a procedure from the analogical hermeneusis of devices. To achieve this, the conceptions of intervention and devices are analyzed from Remedi (2004), Yurén (2005); to Deleuze (1999), along with the conceptualization of analogical hermeneutics created by Beuchot (2018). From this, the proposal is built in its elements, namely: hermeneutical analysis of devices and the following are discussed: analogy of proportion (metonymy - metaphor), attribution (primary - secondary degrees), phónesis (rigor - flexibility ), which is articulated with the conceptualization offered in relation to the lines of the devices (visibility, enunciation, force, objectification). The article closes with some arguments about the relevance of what was offered; as well as the reflection in relation to some ethical elements of the intervention in its phases (reference, design, reconstruction), this to emphasize the collectivist, social and planetary ethical character that any process of change or action on educational conditions must have [ABSTRACT FROM AUTHOR]

The phenomenon of disinformation is characterized by being a way of telling the facts in a distorted way that modifies the perception of what is «real». In this sense, it deserves the attention of being analyzed by semiotics, since its look makes it possible to approach the problem of truth from a strategic point of view. For this discipline, the concept «truth» is not understood as a correspondence between what is said and the facts, but as an effect of meaning that is created in the discourse. In this regard, it is proposed that one way to deal with fake news is to revalue the figure of the journalist, as long as his job is to produce information that, in addition to being truthful, is credible. Likewise, the need to train the journalist to be able to master different enunciation and persuasion strategies present in any discursive configuration is emphasized. [ABSTRACT FROM AUTHOR]

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article I propose a reading of the novel Changó, El Gran Putas by the Afro-Colombian writer Manuel Zapata Olivella, in the light of the notion of fissure exposed by Nelly Richard and used in literary criticism by Silvia Molloy. It is problematized how this novel would be cracking the historical account of the device of Western history on the stories related to the African diaspora that took place in the sixteenth century. Initially, the notion of fissure is conceptualized, and then the notion of "device of Western history" is raised through the approaches expressed by Walter Mignolo. Finally, the myth of the curse of Changó is raised as the edge that generates the fissure within said device. [ABSTRACT FROM AUTHOR]

The article titled "The causes of saying. Contributions of the dialogical approach to argumentation and polyphony to discourse analysis" analyzes the interest in polyphony in the field of discourse analysis. The book, coordinated by María Marta García Negroni, focuses on the causes that motivate the appearance of the statement in different discursive fields. The dialogical approach to argumentation and polyphony (EDAP) is used to delve into the study of the phenomenon, using categories such as points of view, discourse frame, and subjective positioning. The book is organized into eleven chapters that address different fields and types of statements. The text analyzes the causes that generate polemical discourses and evidential, allusive, and nominative points of view. The discussion between the Argentine government and the Clarín group over the Media Law is addressed, as well as the controversy over the denomination of the Malvinas/Falklands Islands. The use of preventive points of view in instructions and the analysis of utterances that reproduce the voice "se" are also investigated. The book offers a theoretical contribution to the study of discourse and is aimed at students and researchers interested in argumentation, semantics, enunciation, and polyphony. [Extracted from the article]

The creative process in design in general is a fundamental part of this. Inside, it includes phases, particular protocols, diagnoses, conceptual developments and, therefore, the integration of information that collects aspects associated with particular experiences, diverse contexts and the conditions of enunciation of the creators and their products. In this process, error and the possibility of anticipating a result or response are the input to creatively solve a problem and formulate the answer from the extraordinary, the different or the novel. It is from these adjectives that we aim to study the construction of meaning as the fundamental part of the creative process and strengthen it from the first moment of the design process. This article aims to raise some possibilities for interpreting the creative process from a semiotic and philosophical perspective, taking a tour of a conceptual repertoire provided by Peircean pragmatism and semiotic theories. To this end, the first part exposes the importance of sensory-perceptual experience and the need to recognize error and allotope as fundamental concepts to break uniformity as a universal law. Secondly, it seeks to establish the moment of connection between physical and psychic laws from three semiotic perspectives to understand the place that experience has in the construction of meaning. And, finally, the idea of anticipation is developed as part of a temporal structure that naturally underlies the creative process. [ABSTRACT FROM AUTHOR]

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Copyright of Pragmalingüística is the property of Facultad de Filosofia y Letras, Universidad de Cadiz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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I will try to outline some considerations about literary enunciation, in terms of its versatile emergence on the discursive stage. It is an emergence traversed by the node (ideological/imaginary -- political/symbolic -- economic/real) that signifies it, determining meanings and controlling its affective functioning. I intend to highlight that literature, as part of the commercial apparatus, does nothing more than make subjects see and emerge readers, authors, characters, editors, consumers, integration, and realization. Next, I will present my analysis of Philip K. Dick's literary statement The Governing Machine, for what it makes me see and makes me state in its complex meaning that, although not a priori, it can have directions impregnated in the form-subject in the one I recognize. That said, I need to anticipate what that statement makes me see and makes me say: the functioning of Bolsonarism as a technical machine of capital, from the drone in the cutting of the sex-gender system, which here I called the cis-heterosexist drone. I am interested in understanding the enunciative functioning (making people see/making people say) as an ideological, political, and economic paradigm, as a technical machine of the war machine of capital, that is, as a paradigm that goes beyond the Brazilian social formation, but that, At the same time, it carries certain singularities from the periphery of the world-system. [ABSTRACT FROM AUTHOR]

Copyright of Universum is the property of Instituto de Estudios Humanisticos Juan Ignacio Molina, Universidad de Talca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)