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This study investigates how governance and infrastructure moderate the effect of natural resource rents on economic growth using a sample of 110 countries from 2000 to 2018. The empirical evidence is based on panel smooth transition regressions (PSTR). The nexus between economic growth and natural resources is not linear and the underlying non‐linearity is contingent on existing infrastructural and governance levels. Evidence of a "natural resource curse" is apparent in countries with extremely low levels of governance and infrastructural development. The favorable effect of natural resources on economic growth requires a governance threshold of −1.210 and an infrastructure threshold of 2.583, indicating that countries with governance and infrastructure levels higher than these values tend to benefit much more from the wealth of natural resources. Countries identified below the established thresholds are mainly from Africa. Policy implications are discussed with specific emphasis on African countries. Related Articles: Ali, Hamid E., and Shahjahan Bhuiyan. 2022. "Governance, Natural Resources Rent, and Infrastructure Development: Evidence from the Middle East and North Africa." Politics & Policy 50(2): 408–40. https://doi.org/10.1111/polp.12451. Asiegbu, Martin F., Okey Marcellus Ikeanyibe, Pius Otu Abang, Okwudili Chukwuma Nwosu, and Chuka Eugene Ugwu. 2024. "Natural Resource Fund Governance and the Institutionalization of Rent Seeking in Nigeria's Oil Sector." Politics & Policy 52(1): 169–95. https://doi.org/10.1111/polp.12579. Ikeanyibe, Okechukwu M. 2018. "Bureaucratic Politics and the Implementation of Liberalization Reforms in Nigeria: A Study of the Unbundling and Reorganization of the Nigerian National Petroleum Corporation." Politics & Policy 46(2): 263–94. https://doi.org/10.1111/polp.12249. [ABSTRACT FROM AUTHOR]

This text was written to disseminate a proposal of the Study Group on Calculus in Secondary and Higher Education, headed by researchers Dr. Pierre Job (ICHEBrussels Management School-Belgium) and Dr. Luiz Márcio Santos Farias (UFBA-Brazil), whose objective is to create a joint work Brazil-Belgium in search of a reference epistemological model for calculus and analysis teaching. In 2023, at the Integrated Studies Seminar-Calculus in Secondary and Higher Education at PUC/SP, Professor Job presented aspects of the research carried out in Belgium based on a reference epistemological model, the theory of didactical situations and the anthropological theory of the didactic regarding the limit concept. To motivate calculus teachers to engage in this research, it summarizes the events of two of the three-day seminars. The first part reports the questions proposed on the first day, followed by a reflection on some. Those questions served as a model for the initial survey of difficulties that could provide answers to three open questions: Are the premises used in Belgium valid in the Brazilian context? Is it possible to build a shared theoretical framework that allows us to question the status of epistemological obstacles and the main difficulty encountered in teaching the concepts of limits, derivatives, and integrals? What kind of experiment can we plan to test this model? The second part summarizes Prof. Job's presentation on the second day about the research carried out in Belgium. [ABSTRACT FROM AUTHOR]

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Este trabajo realiza un estudio metafísico sobre la noción de contacto en términos de límites a partir de una ontología de objetos materiales. Dos cosas están en contacto cuando sus límites (o partes de ellos) se topan espacialmente. Las tesis relacionista y la substantivista sobre la naturaleza del espacio son evaluadas en sus compromisos respecto a la idea de contacto. Sin embargo, puesto que considerando algunos descubrimientos de la física cuántica es posible descartar la idea de contacto físico, la discusión requiere ser trasladada a un espacio topológicamente continuo. Aquí la idea de contacto requiere solucionar la compatibilidad entre la existencia de un espacio continuo y la existencia de límites como un tipo de discontinuidad. Cuatro tesis son evaluadas: clásica, superposición, brecha, y coincidencia. Esta última es defendida puesto que, a diferencia de las otras, no renuncia a características ontológicas fundamentales de un límite y es la menos arbitraria sobre su pertenencia.

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La diffusione della comunicazione attraverso canali non convenzionali, in primo luogo i social network, sta alimentando una serie di preoccupazioni relative all’emersione della cosiddetta narrazione cospirativa. Il saggio cerca di comprendere la struttura di tale tipologia narrativa evidenziando come la società occidentale presenti i sintomi di quella che Girard chiamava «crisi sacrificale» (ricerca spasmodica di un capro espiatorio e spirito profetico diffuso). Tuttavia, lo storytelling emergente non riesce ad approdare a uno schema narrativo tragico, che potrebbe dischiudere la possibilità di una catarsi per i fruitori, ma resta intrappolato in una narrazione fortemente polarizzata. Questo tipo di struttura caratterizza sia le interpretazioni della realtà dette comunemente complottiste sia le contro-spiegazioni a difesa dell’establishment che si auto-definiscono scientifiche e demistificatorie. Questa narrazione riflette la nostra regressione immaginativa dovuta all’impossibilità di pensare un futuro al di fuori del sistema capitalista, i cui squilibri vengono percepiti come naturali e inevitabili.

El proceso de formalización y aritmetización de la noción de límite tuvo lugar esencialmente durante el siglo xix. Durante esa época, la actividad matemática en España estuvo muy orientada a la producción de libros de texto. Así, en este trabajo se estudia la presencia de dicha noción en las obras de segunda enseñanza utilizadas en España a lo largo del siglo xix y se identifican los distintos fenómenos intuitivos y formales que aparecen en ellas. Se aborda una investigación documental de carácter exploratorio y descriptivo, según el método histórico. A partir del análisis exhaustivo de 27 obras, se aprecia una clara tendencia a incluir el límite en obras dedicadas al álgebra y la aritmética, frecuentemente vinculado a las sucesiones y utilizando un sistema de representación verbal. Entre los fenómenos organizados a partir de los diferentes límites predominan los de un enfoque formal.

We of the modern world tell stories about being modern, becoming modern. We ask where modernity is going. Two metaphorical complexes dominate these stories: We favour metaphors of life and growth; modernity has a life of its own. Or we prefer metaphors of motion and direction; modernity is a journey that takes many paths. The two complexes coexist uneasily even as they feed on each other; together they mark the modern conceit that modernity has left tradition behind. Those whom modern society has victimized, uprooted or abandoned may resist both complexes, often seeking to retrieve the metaphors of a lost, broken, misremembered or invented past. Most beneficiaries of modernity favour the metaphorical complex of life and growth--or merely take it for granted. Scholars with a critical attitude toward modernity often favour many paths and thus the metaphorical complex of motion and direction--without realizing it. Seven metaphors reveal these tendencies: boundary, break, juncture, limit, rupture, stage, transition. They also hint at a third, distinctively modern metaphorical complex. In our stories about modernity, we deploy plural versions of spatial metaphors sequenced in time: frames, boxes, compartments, or containers, and mark the sequence with metaphorical signposts: age, stage, wave, or period. [ABSTRACT FROM AUTHOR]

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Entre los múltiples temas arquitectónicos abordados por el artista Donald Judd en su trayectoria, fue la noción de límite espacial uno de sus mayores intereses en la década de los setenta, tras el auge del movimiento minimalista. Es por ello que este estudio se propone arrojar luz sobre esta cuestión, desarrollada por el autor estadounidense desde un trabajo simultáneo en arte y arquitectura. Un hecho que pone de relieve su labor interdisciplinar con el espacio, en un trasvase continuado entre áreas de creación que evidenció a lo largo de toda su carrera. En el análisis de esta idea espacial, se examinan cronológicamente sus realizaciones en ambas disciplinas, que comienzan con la exploración elemental de sus objetos caja y avanzan con proyectos más ambiciosos, como lo realizado en su complejo de La Mansana de Chinati en Marfa, Texas. Una singular intervención con la que trasladaba a la arquitectura los principios espaciales testados con sus objetos, haciendo habitable el espacio contenido en los límites. En definitiva, se descubren unas propuestas en las que ese límite es el mediador de un espacio, específicamente diseñado para promover el interés de espectador o habitante, en la experiencia perceptiva integradora defendida por Donald Judd.

La escisión que presenta la "filosofía del límite" de Eugenio Trías nos remite a un movimiento triádico de influencia hegeliana, en el que el hombre aparece como un ser en la frontera (realidad límite) exiliado de su fundamento espiritual. La manifestación del Misterio del Espíritu en la realidad sensible e histórica se realiza a través de la mediación de la razón simbólica de dos maneras: en la configuración estética del mundo, realizada por el arte; en la revelación de lo sagrado, realizada por la religión.

La recherche du sens a été le souci majeur du questionnement humain. Que dire des sens de l’ultime ? Question totalement épineuse car elle touche à une pensée de l’extrême. Où se décideraient les champs de réflexion sur la question de l’ultime : dans la pensée métaphysique, religieuse, dans la pensée scientifique ? Ou bien parce que touchant à une limite extrême ouvre sur un espace nouveau ? Poétique celui-là ne tenant compte ni de la réalité des faits, ni de la véracité des convictions, ni de l’exactitude de ce qu’on affirme, ni de la justesse de ce qu’on croit être ou ne pas être. Tout est balayé pour faire place à une autre réflexion. Nouvelle celle-là, du moins différente.

RESUMO Num exercício de revisita a Limite (Mário Peixoto, 1931) por ocasião das discussões sobre o modernismo brasileiro travadas no centenário da Semana de Arte Moderna, o artigo questiona o postulado historiográfico segundo o qual o filme não teve precursores nem sucessores no Brasil. Concentrando-nos no caso dos sucessores, apontaremos três dimensões da posteridade de Limite no cinema brasileiro: 1) a apropriação de imagens do longa por filmes de caráter historiográfico; 2) a iconografia que reforça o leitmotif da decadência e da morte em situações de precariedade material; 3) o trabalho de autonomização visual da câmera e a narrativa estruturada pelo retrospecto agônico dos personagens.

Se analizan los alcances de la noción de libertad desarrollada por Sartre en El ser y la nada. Se propone mostrar que la libertad sartreana no es absoluta, sino que tiene límites para su ejercicio. Con este fin nos preguntaremos, ¿cuál es el fin último de la libertad?, en otras palabras, ¿para qué la acción? Se examinará el problema en dos niveles: los proyectos y acciones concretas del para-sí y el proyecto fundamental de ser en-sí-para-sí. Se incorporan también breves referencias a la literatura sartreana, La náusea, y a ensayos de Simone de Beauvoir (1944) y Albert Camus (1942) del mismo período.

O presente artigo apresenta a concepção de democracia, discutindo sua origem e trajetória até a contemporaneidade. A democracia é entendida como uma forma de governo que possibilita não apenas a tomada de decisões, mas também a elaboração de regras e discussões coletivas envolvendo os representantes eleitos pelo povo, com a participação ativa desses representantes nas decisões e na prevenção de um regime autocrático. São destacados dois tipos de democracia: a democracia direta, na qual a participação em massa ocorre sem a presença de representantes nas discussões e tomadas de decisão, e a democracia representativa, na qual o povo elege seus representantes para decidirem questões que dizem respeito à coletividade. Também são ressaltadas algumas características e limitações da democracia. A democracia pressupõe como ponto central o estabelecimento de regras, uma vez que, sem regras em um processo democrático, a democracia não pode existir ou sobreviver, pelo menos no que se refere ao processo de tomada de decisões e participação.

There is a place of suspension and pause; a place of detachment and double existence between the hic et nunc and somewhere else, indefinite in time and space; a place where meanings can be overturned, rearranged, renewed; a place where it is possible to retitle both events and experiences, which may need to be reordered, renamed and resewed, if ripped or frayed. This place is the liminal space of tales. A place developed from and for the limited nature of human beings, that takes care of its limit, its existential wound and its weakness. Mirroring, identification, recognition, departure, denial, denunciation, unmasking, discovery, knowledge, wonder, contemplation, revolution... to anyone who lives the dimensions of narration and storytelling, these dynamics can lead to a light and silent, intimate and hidden path towards deep respect of personal emptiness and kind self-care. [ABSTRACT FROM AUTHOR]

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In Les mots et les choses Foucault presenta il personaggio di Don Chisciotte come limite epistemico tra Rinascimento e Âge classique. Nell’articolo proposto ci si incarica di descrivere in questi stessi termini l’evoluzione del genere epico nella forma romanzo, avvicinando la lettura foucaultiana a quella fornita dalla Teoria del romanzo di Lukács, dove il Don Chisciotte viene presentato come primo romanzo moderno. Si farà dunque richiamo alla descrizione del Seicento come momento di transizione epistemica e sociale, per individuare tanto nell’emergenza della forma romanzo, quanto nella follia di Don Chisciotte, il sintomo della crisi del sistema simbolico, sociale e politico che aveva giustificato il genere epico. Tale paradigma di lettura verrà applicato all’analisi dei frammenti del Don Chisciotte dedicati all’episodio del teatrino del Mastro Pedro (II, cap. XXV-XXVI).

In 1988, in the second edition of El arte de narrar, Juan José Saer incorporated the extensive section “Secret News”, with poems written between 1976 and 1982, years that coincide with the period in which the writer was unable to return to Argentina during the last civic-military dictatorship. Among the poems that allude to famous travelers and those that refer in a fragmentary way to an itinerary through European landscapes, it will be observed what new resonances the trip acquires as a permanent inquiry in Saer's work and here, in particular, as an impersonal displacement that sharpens the misplacement and loss. On the one hand, some of the poems will make it possible to recompose a fragmented journey through the cities of Finisterre and the north of Spain, although their development disarticulates the referential expectations that the titles augured. A second series of texts will offer portraits of famous travelers from which Saer will investigate the notion of geographical “limit” and will record the decline of the different variants of the voyage of exploration: the artistic journey at the end of the 19th century, the voyage of conquest and the mystical pilgrimage of the Holy Grail.

Las relaciones de Liberia y Rivas entre los siglos XVIII y XIX son un ejemplo de los contactos que se desarrollan en las fronteras de las provincias y los Estados centroamericanos. En este artículo se intentan introducir una serie de temas que puedan servir como base para profundizar en la vida cotidiana de la región que representan los lazos desarrollados por esas comunidades. Aspectos como las características del espacio, el origen de los poblados, las haciendas de campo, las familias, la religión y las pugnas estatales demuestran como a pesar de las delimitaciones Liberia y Rivas mantuvieron sus vínculos abiertos conjugándose como región transfronteriza.

Since the French Law No. 2013-595 of 8 July 2013, on the direction and planning for reforming the school in the Republic, the use of the term kindness has increased in institutional texts and speeches without allowing professionals to subjectively embrace it. The analysis of clinical research interviews conducted with teachers on this term shows that the issue of real, symbolic or psychological boundaries within the relationship with pupils and their parents arises repeatedly. Drawing on material from these interviews, this article, which follows a psychoanalyticallyoriented clinical approach in education sciences, aims to demonstrate the relevance of questioning boundaries in order to reflect on educational relationships before offering group settings that could enable a peaceful and constructive relationship with pupils while respecting "the right distance". [ABSTRACT FROM AUTHOR]

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According to the main thesis of this article, in order to articulate the scope and interest of Wittgenstein's family resemblances topic, we should see into it not an answer to the question what concepts in general are, but a methodological proposal. Two questions guide the central part of the text: (1) What does "family-resemblances concepts" mean? (2) What concepts fall within the corresponding class? Regarding (1) I try to show that "family-resemblances concepts" is not an unequivocal term: a first sense has to do with the dictum of "similarities overlapping and criss-crossing" (IF 67) and is to be distinguished from a second sense associated with the topic of "blurred edges" (IF 71). This distinction lies behind the answer I offer to (2): in the first sense of the term, there is no family concept at all, while according to the second sense all concepts are of this kind. In the final part I propose a reinterpretation of the issue from a methodological perspective. To say that concepts like language, understanding, thinking, etc. are family concepts means that the philosophical reflection on them should not centre on the praxis of looking for definitions. As important --maybe more important-- as that it's the careful description of paradigmatic examples, as "centers of variation" (EPB 190). [ABSTRACT FROM AUTHOR]

Berlín ha pasado a la historia por la construcción de un límite físico interno que, lejos de proteger a la población de agentes externos, protegía a los habitantes de la ciudad de sí mismos. El presente artículo analiza cómo relata Wim Wenders la ciudad dividida en su película El cielo sobre Berlín (1987), estudiando qué mirada ejerce sobre el límite que construye la coexistencia forzada de dos ciudades, cómo nos traslada la realidad de una ciudad dividida por una frontera física e ideológica, qué localizaciones de la ciudad selecciona, qué actores escoge como vehículo para narrar su historia, y qué relaciones mantienen los mismos con el espacio urbano. Utiliza como vehículo la mirada de los ángeles, para los cuales un límite físico no existe. Estos poseen una mirada desprejuiciada e intensa, capaz de aproximarse al alma de las personas, que les permite ver “cómo cada uno de nosotros vive.” Wenders construye una narrativa de la ciudad que se articula a partir de dos ejes: la memoria como experiencia colectiva y la percepción como acto vital e individual. Las reflexiones contenidas en este artículo pretenden ahondar en los mecanismos que nos permiten conocer y vivir las ciudades.

The culture of our time has removed the concept of the limit. Death is more and more a matter of others; spectacularization, or thanatology. Yet its cancellation is impossible. Farewell halls and funeral homes are neutral zones designed more to minimise than to comfort. They represent the extreme attempt to anaesthetise the pain of loss, to remove death. Anaesthetic architecture for an a-mortal society that has to reduce its sensitivity. Whereas death itself is the limit that humanises us. John Hejduk, in spite of his time, puts death back at the centre of his work, revealing to us the only way not to succumb: to celebrate it. His work proves nothing, it celebrates everything. Through pain, his architecture recovers the sensitivity of form, its empathy.

La categoria del confine, rielaborata da Bachtin a partire dalle scienze naturali, se da un lato è funzionale per fare luce sulle esperienze biografiche così come sul pensiero del teorico russo, è strumento privilegiato per analizzare le opere di Virginia Woolf e Ingeborg Bachmann, due autrici che, anche se in modi e tempi diversi, hanno contribuito a trasformare il volto della letteratura novecentesca, sviluppando una poetica delle zone liminali e tracciando sentieri letterari unici. Il confine, potente luogo cronotopico, si esprime così in un complesso insieme di immagini letterarie. Se nel capolavoro modernista di Woolf To the Lighthouse confini e soglie, porte e finestre dialogano e l’esperienza della morte si sviluppa in un rito liminale tra il passato e il futuro della famiglia Ramsey, nelle opere di Bachmann, autrice che proviene dal confine, si rintraccia un fecondo universo di elementi liminali tra cui il ponte, il fiume, la partenza, il viaggio nelle prime raccolte di poesie, ma soprattutto la figura di Undine, creatura acquatica che tra terra e mare pronuncia il suo accorato addio.

This article analyzes the poem "Exilios", by Ida Vitale, as an aesthetic expression of the notion of fictional non-place, which is proposed here as an alternative to Marc Augé's anthropological and non-places notions. Exploring the poem's images, this article dialogues with William T. J. Mitchell's notion of image, and talks with other theorists, such as Antonio Candido, Heidegger, Luiz Costa-Lima, James Hilman, and with specialized studies on the author, such as those by Pablo Rocca, Bruña Bragado, Eduardo Milan, among others. [ABSTRACT FROM AUTHOR]

El término “umbral” nombra la parte inferior o el escalón, por lo común de piedra –y contrapuesta al dintel–, situado en la puerta o entrada de un edificio. Pero a su vez, evoca un lugar de la casa, un ámbito en torno a una abertura que comunica lo interior y lo exterior. Esta diferencia entre lo nombrado y lo evocado da pie a una reflexión. Se parte de ejemplos aparentemente lejanos entre sí y se buscan similitudes entre ellos: conexiones que van más allá de lo formal, y que nos acercan tanto al origen de la palabra como al trasfondo o potencial arquitectónico del umbral.

Il arrive parfois que la danse rejoigne la philosophie, car l’une et l’autre sont des mouvements et des pensées du corps. Et elles ont en commun de ne se déployer que dans et par la limite. Vivre « aux confins », c’est atteindre les limites et ne jamais les dépasser. Et quiconque voudrait s’envoler s’écrasera d’une pesanteur qu’il aura eu le tort de refuser. Ce texte, mise en scène par les élèves du conservatoire de danse contemporaine de Tours (sous la direction de Valerie de Mortillet, professeur de danse) figure ce que la pensée depuis si longtemps voulait montrer. On associera ainsi l’image à la réflexion, pour voir précisément ce qu’il en est du poids de notre humanité : https://www.youtube.com/watch?v=s8NIvz24YBU

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El artículo examina el sentido de la metafísica a partir de Kant. El objetivo no es desmenuzar cada una de las determinaciones que el filósofo ofrece, toda vez que describe tanto el quehacer de la tradición como el suyo propio, sino revisar en qué consiste la posibilidad de esa diferencia —y unidad— entre la metafísica tradicional y la kantiana. El énfasis yace, por tanto, en la historicidad de la filo- sofía kantiana de acuerdo con algunos conceptos fundamentales.

Si bien toda la filosofía de la imaginación bachelardiana está afectada por un materialismo simbólico y este puede ejercer las funciones de mediación o acompañamiento en el viaje de la ensoñación, también es cierto que la finalidad del arte –en este caso, de la poesía– es el relámpago, la búsqueda de la verdad, la aprehensión profunda del ser de las cosas; experiencia esta que difícilmente se puede dar si mediamos, entre el ser de la cosa y el ser del hombre, conceptos o categorías que, al buscar una mayor comprensión de los fenómenos operativos que allí se están dando, acaban por ahogar el propio decir de lo que tenuemente se nos muestra. La imagen poética debe ser el vehículo capaz de simbolizar la realidad conectándola con el imaginario, siendo a la vez aquella fuerza a-causal que traiga la novedad ontológica capaz de construir un nuevo antropocosmos. Palabras clave: imagen poética; límite; símbolo; ética; belleza

Este artículo estudia las estrategias de escritura de un corpus de narrativas colombianas recientes, interesadas en recuperar la realidad intangible ocasionada por la guerra. Es evidente que la infelicidad política sigue siendo un tema de interés para las letras del país, situación que reclama a los escritores y escritoras la innovación del lenguaje poético al momento de nombrar el horror. Recurrir a la creación de un espacio intersticial donde confluye lo real e irreal, lo corpóreo intangible y tangible, la identidad propia y la identidad múltiple, dice de un interés en recuperar a los muertos y los desaparecidos, para nombrar con ellos la experiencia traumática del conflicto armado. Consideramos que las novelas en cuestión proponen una “estética de lo imposible”, capaz de permear los límites de lo evidente y lo palpable, para descubrir umbrales etéreos donde habita la verdad agónica de una sociedad marcada por décadas de infortunio político.

In this work, I propose the hypothesis that the beyond is not a place beyond a limit of time and space, but rather a dimension, an intuition, an experience that transpires in everyday life and that we see when we live with passion. This experience is supported by a creative nostalgia, which is based on the dimension of total belonging experienced in the womb and which drives us to actively seek and find it in life and in everyday life. Even in the infinity towards which we aim this experience is already present. It is what has not yet been completed and to which, even without knowing it, we can make our creative contribution, as happens in the prenatal period, when container and content mutually modify each other according to development and life. This condition is also found in the external, complex, and globalized world, to whose development we can actively and responsibly contribute through living together, living our history, immersed in an invisible whole. This can only happen through the acceptance of the limit of one's finitude and the elaboration of mourning for one's own death, which prevents us from projecting it to the outside, allowing us to contribute with creativity and responsibility to move forward and beyond the lives of all. [ABSTRACT FROM AUTHOR]

Copyright of Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy 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 Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy 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 VLC Arquitectura is the property of VLC Arquitectura 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.)

Although Bachelard's entire philosophy of imagination is affected by a symbolic materialism which can play a mediating role in reverie's path, it is also true that the purpose of art, especially in poetry, is the search for truth, the lightning flash of insight, the deep apprehension of being itself, an experience that can hardly be given if we interpose, between the being of the thing/object and human subject, concepts or categories that seek a higher comprehension of the operational phenomena at stake, but which ultimately drown the saying of what is being shown to us. The poetic image must be a vehicle capable of symbolizing reality by connecting it with the imaginary, while being at the same time that uncaused force which brings about the ontological novelty capable of building a new anthropocosmos. [ABSTRACT FROM AUTHOR]

Sensible objects and the human beings, that make up the changing world, have a structure, an order and a dynamic of their own, by which the presence of causes or generating principles that endow them with such attributes is perceived. Hence, limit and measure represent conditions of an order that is established in the ideal world, an order that acts as a cause of the harmony and proportion that shape the visible world. This ontological and cosmic order also projects ethical consequences for the anthropological realm, which arise from an attempt to explain reality in its totality and that the present text will try to elucidate. [ABSTRACT FROM AUTHOR]