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La meta principal de este estudio fue investigar el efecto combinado de región y géneroen la lenición del fonema /tʃ/, así como el posible efecto de la lenición en la duración dela fricación. Se eligió dos noticieros, uno de Sevilla y uno de Panamá. Se analizó un totalde 12 reporteros, 6 de Sevilla y 6 de Panamá. Para cada reportero, se analizó 20 palabrasque contenían el fonema /tʃ/ entre vocales. Se analizaron 240 muestras de audiosutilizando el Praat (Boersma Weenink, 2022). Se encontró que la duración de lafricación de [ʃ] era similar a la duración de la oclusión más la fricación en [tʃ]. Además,el efecto de género en Panamá es significativo para la lenición. Los reporteros en losnoticieros de Panamá produjeron más el fenómeno de lenición en comparación a losreporteros en los noticieros de Sevilla. Específicamente, las reporteras de Panamáprodujeron los únicos casos de lenición. Sin embargo, no se encontraron resultadosestadísticamente significativos entre regiones.

This article focuses on objectivity and duration as main features of the realistic understanding of cinema defended by André Bazin. In so doing, it establishes a dialogue between Bazin’s ideas and those of contemporary theorists such as Gunning, Rosen and Carruthers. It is thus observed that the “essential objectivity” of the photographic image, which Bazin associates with its “automatic” or mechanical origins, demands a central position for the subject, who recognises the images projected as evidence of the world. Cinema adds duration, the “mummification of change”, which Bazin understands in a Bergsonian sense. Cinema thus snatches reality from the flow of time, halts the inherent decay of that flow, and incorporates it into a moment—the moment of its projection— that is not its original time and that can be revisited ad infinitum.

The aim of this work consists in offering, from the bergsonian concept of duration, a new lecture of his articulated work according to time moments: present, past, future and eternity. The method includes an exposition that rather than following a systematic chain, it is put together in a chronological way. The reason is based on the fact that, even though Bergson didn’t see each of his books as a foreseeable and direct consequence of the previous ones, his philosophy is the result of his primary intuition, the duration. The work will use as central concept all of his most relevant works. Therefore the work has been structured in three contents blocks. The first one, named as “psychological time”, focuses principally in the study of the present and past; the second one, called “ontological time”, shows the origin of Bergson´s metaphysical psychologism when extending duration from the psychological field to the ontological; in addition we analyse the ways through which we can sympathize with the evolutionary development, that is to say, intuition and mystic. In the last block we will study those aspects which in my opinion present more difficulties inside his philosophy. All of them can be summarised in the failed attempt of harmonizing the continuity of the past that is conserved in the discontinuity of an absolutely unpredictable and opened future. The final part consists of analysing if bergsonism could be understood in a monist way or instead, as I actually maintain, the fundament in a transcendent principle is the most plausible hypothesis. To conclude, a brief synopsis of his spiritual itinerary to Catholicism will be offered.

Este artículo contiene los capítulos cuarto y quinto de la tesis de doctorado La filosofía poética de Antonio Machado. Expone la visión crítica de Antonio Machado sobre tres corrientes poéticas, como son el conceptismo, el simbolismo y el esteticismo y desarrolla la definición machadiana de poesía como «palabra en el tiempo» fundada en las nociones bergsonianas de intuición y tiempo psicológico.-------------------This article contains the chapters four and five of «La filosofía poética de Antonio Machado», thesis of doctorate read in may 2011. It explains the critical thought of Machado about three poetical schools: conceptism, symbolism, aestheticism; and developes the definition according to what poetry is «word in the time» given by Machado on the basis of the bergsonian notions of «intuition» and «psicollogical time».