Search

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Este artículo busca caracterizar el uso del lenguaje algebraico por estudiantes de noveno grado, en cuanto a estrategias, significados y dificultades. Discutimos producciones resultantes de la realización de una tarea algebraica por parte de seis alumnos. Los resultados muestran el uso de estrategias simbólicas y estrategias basadas en la reflexión informal y la atribución de significados apropiados a los símbolos, más una disposición limitada para buscar y revisar los significados de las expresiones. Se destacan como principales dificultades de los estudiantes el uso de paréntesis, la multiplicación de monomios y la expresión de relaciones presentes en el contexto del problema.

The aim of this article is to characterize the use of algebraic language by grade 9 students, with regard to strategies, meanings and difficulties. For that, we discuss the productions resulting from solving an algebraic task by six students. The results show the use of symbolic strategies and strategies based on informal reflection and the attribution of appropriate meanings to symbols, but a limited willingness to search and revise the meanings of algebraic expressions. Using parentheses, multiplying monomials and expressing relationships present in the context of the problem stand out as the students' main difficulties. [ABSTRACT FROM AUTHOR]

Copyright of Materiales para la Historia del Deporte is the property of Polytechnic University of 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 Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del 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.)

Copyright of MATRIZes is the property of Universidade de Sao Paulo, Programa de Pos Graduacao em Ciencias da Comunicacao 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 Imagofagia is the property of Imagofagia - AsAECA 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 Synesis is the property of Synesis 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Este artigo é resultado parcial de pesquisa desenvolvida no CNPq, em que se investiga a conceituação e as lógicas que operam a memória do futuro na cultura. Com base nas concepções de Iúri Lotman, o artigo objetiva compreender a memória do futuro como fenômeno de imprevisibilidade. A fundamentação teórico-metodológica contempla: pesquisa bibliográfica em escritos do pensador russo e, pontualmente, em outros autores das Ciências Humanas e Sociais; pesquisa documental e análise empírica das traduções semióticas da fotografia produzida por Régis Bossu, O Beijo. Espera-se demonstrar que, como fenômeno imprevisível, a memória se faz no ir e vir de símbolos, reminiscências e de textos culturais capazes de criar futuros.

Este artigo se dedica a uma discussão teórica em relação à imaginação como um elemento lúdico intrínseco ao imaginário. Para isso, explora os conceitos de símbolo, imagem e imaginação, situando o ato imaginativo em um contexto mais amplo e destacando suas dimensões poéticas e fantásticas. Além disso, reflete sobre a importância da atividade lúdica nos estudos do imaginário, enfatizando a ligação do jogo e da criatividade à imaginação, promovendo a exploração de novas perspectivas, a experimentação de diferentes realidades e a expansão de mundos ficcionais. Essa abordagem não só enriquece o entendimento lúdico do imaginário, mas ressalta seu papel fundamental na promoção de uma retórica focada na brincadeira, fornecendo novos significados à vida humana.

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation 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 symbol of the stone has been a constant in the Peruvian poetic tradition of the 20th century, with a development in which different symbolic constructions can be appreciated. Among them, the identification or relationship of the stone with the mother is found in several authors with different formulations and derivations: from the stone as a constant symbol in the work of César Vallejo, identified with the grave and the cradle and therefore linked to the mother (with birth and death), mother stone and stone-pillow on which to lay the head that also appears, with a different formulation, in César Moro, to the new stone-pillow by José Watanabe, in whose work we can find the image of the winged stone that receives life and turns it into a grave. This article analyzes these symbolic constructions of the stone in order to outline a common thread and a reflection on the relationship of the three authors around the symbol. [ABSTRACT FROM AUTHOR]

Modernist symbols are frequent in Lorca’s works. In this article we analyze the representations related to water that we have found in Libro de poemas (1921), de F. G. Lorca. In this investigation we consider that the symbols related to water are feelings of the poet and also universal meanings of human existence. To carry out the study, we have applied the methodology based on the Poetics of the Imaginary (Durand, Bachelard), the universal symbolic cataloging system relates meanings to the search for the meaning of life– The analysis indicates that the meanings of the symbols (sea, river, rain...) offer a system of relationships that unites the feelings of the poet and the anthropological reality. We conclude this investigation and consider that the symbolic world –folkloric sources and Symbolism– contributes to the expression of sadness in the collection of poems. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Románicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Arte & Ensaio is the property of Arte & Ensaio 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 ambiguity of traditional sexual roles would have burst into the art of the beginning of the twentieth century, passing it down to our days through changed and confusing roles that are interpreted numerous times by creative men capable of interpreting their female counterpart through the symbols of the unconscious. This new approach to the male sexual role would constitute an important part of its nature, while at the social level it would constitute a transformative force where the feminine begins to have renewed power, putting an entrenched patriarchy in crisis. In this article, we will see how in the art of male artists the union of opposites would condense into unity presenting itself as a bisexual and totalizing being that reveals to us a new man, capable of manifesting his feminine side as a critical alternative that breaks with conventions social, linking with our evolutionary past, but also with our future. [ABSTRACT FROM AUTHOR]

The article analyzes the differences and similarities in the concepts of symbol and symbolization between Freud, Durkheim, and Mauss. While Freud focuses on the individual unconscious and sexual desire as the basis for unconscious representation activity, Durkheim and Mauss emphasize the collective and social dimension of symbolism. Although there are differences between them, there are also points of convergence, such as the universality of the symbol. The article highlights the complexity of human reality and the need to consider different perspectives. [Extracted from the article]

This article analyzes the construction of childhood in the novels El mercurio (1968), El río de la luna (1981) and Esta pared de hielo (2005), by José María Guelbenzu, in the light of the mythical-symbolic concepts of Bachelard and Durand to demonstrate that it functions as a primitive absolute to which it is sought to return constantly, since it protects the characters until the imminent clash with adult reality. This to conclude that in their adulthood the characters observe childhood with the desire to return there, this has a palliative function through memory and word, therefore, Guelbenzu's narrative proposes the return to the child environment trough literary images to preserve that world of fantasy. [ABSTRACT FROM AUTHOR]

Copyright of Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche 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.)

La presencia de símbolos de huella modernista es una constante en la obra F. G. Lorca. En este artículo se analizan dichas representaciones vinculadas al agua recogidas en su primer poemario publicado, Libro de poemas (1921). Se parte en esta investigación de que los símbolos asociados al agua translucen sentimientos del poeta que, a su vez, responden a sentidos universales de la existencia humana. Para abordar el estudio, se aplica la metodología interpretativa basada en la Poética del Imaginario (Durand, Bachelard) cuyo sistema de catalogación simbólica universal relaciona los significados con una perspectiva más amplia que responde a la búsqueda del sentido de la vida. El análisis efectuado revela, efectivamente, que los valores de los diversos símbolos (mar, río, lluvia…) ofrecen un sistema de relaciones que vinculan el sentir del poeta al más general de la realidad antropológica. Se concluye que el mundo simbólico que recrea -nutrido principalmente en fuentes folklóricas y en el simbolismo- coadyuva a la expresión de tristeza que recorre el poemario.

Este artículo analiza la obra "Disease Thrower #2" de Guadalupe Maravilla a través de los conceptos de juego, símbolo y fiesta de Hans-Georg Gadamer. Maravilla, un artista salvadoreño, fusiona sus experiencias migratorias y de padecimiento corporal, especialmente su batalla contra el cáncer, en una expresión artística interactiva y terapéutica. La obra, centrada en un santuario con gongs y objetos rituales, busca la participación del espectador, convirtiéndolo en co-creador. Gadamer argumenta que el juego es esencial en la experiencia artística, y la fiesta representa la comunidad en su forma más completa. La función simbólica de la obra, la interactividad lúdica y la creación de una temporalidad plena destacan su carácter como evento social y transformador. En conjunto, la obra desafía las categorías tradicionales del arte al fusionar lo simbólico, lúdico y festivo en una experiencia multisensorial.

La narrativa de Grazia Deledda (1871-1936), caracterizada por un psicologismo de fuerte impronta romántico-idealista en el que la cultura sarda y el paisaje cobran un protagonismo especial, se construye en torno a dos componentes esenciales: el sustrato de las civilizaciones primitivas y la función expresiva del medio natural, que se plasman mediante una poderosa estructura simbólica. En el presente artículo se analiza el valor significante del viento en la novela La madre (1920), lo que nos permite profundizar en el conocimiento de los procedimientos compositivos que la autora utiliza habitualmente. Nuestro estudio recurre a las herramientas que tanto la filosofía del lenguaje como la lingüística ―y, de forma más concreta, la semántica― ofrecen al investigador con el fin de acercarnos al conocimiento del símbolo, así como a su valor referencial y dinamizador.

El presente artículo trata de reflexionar acerca de algunas formas de aproximarse a la fotografía. Así como sucede con el texto, la fotografía es también un medio que favorece la creación, el descubrimiento de mundos o situaciones imaginadas. El acto de fotografiar conduce a distintas formas de pensar, de observar, de mirar y también de expresar simbólicamente. Su realización no debería centrarse únicamente en el resultado final, es decir, la imagen deseada, sino también en el proceso, los pasos previos que permiten descubrir otras representaciones, nuevos pensamientos que favorecen la selección de unas u otras imágenes de formas diversas. También las repeticiones, eliminaciones, búsquedas o hallazgos a veces imprevistos son sustancias del pensamiento fotográfico. Se destaca la importancia de descubrir en la fotografía aquello que queda implícito, aquello que no se aprecia visualmente, no sólo para quien realiza la fotografía sino también para quien la contempla. Finalmente se presentan cuatro pares de fotografías sin título alguno, cuya posible relación dos a dos invita a ser contempladas de forma simbólica.

Resumo Este artigo reflete sobre o impacto que o mundo digital tem no quotidiano dos indivíduos, procurando identificar caminhos que promovam a capacidade de viver com sabedoria, pensar em profundidade e amar com generosidade (cf. Laudato Si’, 47). Parte de uma reflexão epistemológica que permita abordar este assunto na perspetiva teológica, vendo até que ponto o discurso religioso pode contribuir para uma ecologia sustentável. A resposta a este desafio é possibilitada pela abordagem simbólica da mediasfera digital, refletida a partir do pensamento de Marshal McLuhan e Roland Barthes, onde o “meio” e o “mito” são vistos como o suporte da comunicação. Resumen Este artículo reflexiona sobre el impacto que el mundo digital tiene en la vida cotidiana de las personas, tratando de identificar formas de promover la capacidad de vivir con sabiduría, pensar profundamente y amar con generosidad (cf. Laudato Si', 47). Parte de una reflexión epistemológica que permite abordar este tema desde una perspectiva teológica, viendo en qué medida el discurso religioso puede contribuir a una ecología sostenible. La respuesta a este reto es posible gracias al enfoque simbólico de la mediateca digital, reflejado en el pensamiento de Marshal McLuhan y Roland Barthes, donde el "medio" y el "mito" se consideran el soporte de la comunicación.

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.

The meme is an everyday metaphorical realization. Although its virtual presence is currently inescapable, its creation requires astuteness and poetic skill. The objective of the following article is to explore the metaphorical property of the meme and its existence as poetics of the 21st century through a documentary methodology and from a philosophical-sociological perspective. It begins with the importance of similarity in metaphorical composition. The unreflective copula (implicit as if) and its role in the existential generation of experiences and objects are explored. Next, the representative power of the meme is addressed through the philosophy of Nelson Goodman in The Languages of Art. The relationship of the meme with the reference, the denotation and the possibility of informing and communicating through emotion are examined. Lastly, and by the hand of Paul Ricoeur in The living metaphor and Hermeneutics and action, the semantic innovation that the meme entails is proposed: A way of carrying out the adaptation of language to a world in constant expansion. [ABSTRACT FROM AUTHOR]

This article aims to analyze tasks developed by multipurpose teachers within the scope of a study that involved continuing education, to work on elementary algebraic concepts. The study is located at the intersection of Early Algebra, Blended Learning and Teacher Education. A continuing education course was developed for nine teachers who teach Mathematics, in the Elementary School, enrolled in a discipline of a Master's course in Education at a public university in the state of Bahia. For the purpose of this article, the discussion focused on a fundamental concept for the study of Algebra: the symbol. Data were produced in two environments (AVA REPARE and classroom) and consisted of: forums, discussion in the elaboration of problem situations and expositions of situations. The results point to the reflections carried out by the course-teachers, which led to a (trans)formation in their pedagogical practices. The interactivity of AVA REPARE provided a plurality of data, exchanges of experiences and rich information among the course-professors. Also, the study shows that the course carried out proved to be a rich and innovative model for in-service training of teachers who work at this level of education.

Nada ha vuelto a ser igual desde que, en 1934, Marcel Mauss pronunció la conferencia Les techniques du corps ante la Société de Psychologie y dos años más tarde se publicó en el Journal de Psychologie. Desde entonces, el cuerpo signo no cesa de expresar, traducir y de constituirse en vehículo de cambio e intercambio. Este número de Alteridades Pensar los cuerpos se pregunta ¿Qué clase de categoría es hoy el cuerpo? El cuerpo como lenguaje, el cuerpo como medida a través de la cual se ubica la presencia del ser humano en el espacio, el cuerpo locus, esquema, modelo, interfaz, pantalla, superficie operatoria… ¿Qué recorridos ha debido transitar?

The study of religion from a Jungian perspective has been expanding in Brazil. The Jungian hermeneutic method is still little known. Thus, the article is characterized as theoretical, gathering important concepts in Jungian psychology, explaining how the symbolic hermeneutic method works, and discussing new methodological perspectives in Jungian research in dialogue with the contemporary world. The study also deals with the theme of religion, providing key concepts about the sacred. The results/analysis are related to the method of symbolic amplification of the narratives of São João do Guarani, a popular saint of the forest, worshipped in the Chico Mendes extractive reserve in Xapuri, Acre state. Mythical and symbolic metaphors are then applied to the narratives, considering the conceptual issue of archetype and collective unconscious, evoking the primary analogies and images that the tales produce. [ABSTRACT FROM AUTHOR]

Copyright of Palobra is the property of Universidad de Cartagena 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 Agora (0211-6642) is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones 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 RHS: Revista Humanismo y Sociedad is the property of Corporacion Universitaria Remington 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 Itinerarios (1507-7241) is the property of University of Warsaw 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 Revista de la Facultad de Derecho y Ciencias Políticas is the property of Revista Faculdad de Derecho y Ciencias Politicas 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

El artículo quiere avistar líneas fecundas de desarrollo de la sacramentología. Para ello comienza mostrando cómo nuestra época busca lo transcendente en el espacio del cuerpo y en el interrogante sobre la configuración del tiempo de la vida, temas muy cercanos a la lógica sacramental. Se analiza entonces la reflexión reciente sobre los sacramentos y las respuestas que ofrece a estas inquietudes. Se pueden describir, a esta luz, varias trayectorias de investigación: el nexo del septenario con la Eucaristía; el desarrollo de una cristología eucarística; la relación entre lógica sacramental y lenguaje del cuerpo; la capacidad del septenario para configurar el tiempo y la historia; la mirada sacramental sobre la Iglesia y su misión. Se concluye, en fin, que a más de un objeto de la teología por cuyo futuro nos preguntamos, los sacramentos son el lugar donde emplazarnos para descubrir y generar las posibilidades de futuro de toda cuestión teológica.

Este artículo examina la serie de animación (Des)encanto, de Matt Groening para Netflix en 2018, realizando su análisis cultural a partir del modelo cultural establecido para la generación milénica en la tesis doctoral de Carolina Delamorclaz (Universidad de Castilla-La Mancha, 2020). El acercamiento teórico a este producto permite percibir la complejidad del mundo contemporáneo, en cuanto a la otredad, el racismo, los debates sobre el género, el sexo y la deconstrucción de los metarrelatos, como lo son los cuentos de hadas.

Copyright of Revista Hidalguía is the property of Revista Hidalguia 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Human Review is the property of Eagora Science 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 questo contributo si analizza la riflessione filosofica di Gabriel Marcel nota come pneumatologia, anzitutto facendo riferimento alla questione dell’esistenza e al mistero ontologico. L’esistenza, dal momento che è sempre esistenza vivente, si pone in relazione al mistero attraverso il sentimento. La pneumatologia o filosofia dell’anima che è ispirata da questo sentimento (espresso attraverso un linguaggio simbolico e seguendo l’intuizione originaria), esprime altresì il carattere spirituale di ogni attività esistenziale, così come è possibile ritrovare nella dimensione religiosa cristiana e nella religione orfica. Questo, secondo Ricœur, è ben visibile nella lettura che Marcel fa di Rilke, il quale apre alla possibilità di una metamorfosi e di una ricerca filosofica che investe l’anima del poeta. Nonostante Ricœur affermi che Marcel non consideri e non affronti seriamente la questione del male, Ricœur sembra tuttavia integrare nel suo pensiero la riflessione di Marcel per due motivi. In primo luogo, per l’importanza che gioca il pensiero simbolico nello sviluppo dell’antropologia filosofica e, in secondo luogo, per le conclusioni che Ricœur trae intorno alla volontà.

In questo articolo considereremo la metafora come un fenomeno a cavallo tra linguaggio e immaginazione e, concentrandoci sul suo funzionamento, proveremo a gettare luce sul simbolo. In particolare, dopo aver analizzato il legame tra metafora e simbolo, per lasciare emergere le principali affinità e differenze, analizzeremo il funzionamento della metafora con particolare riferimento al pensiero di Paul Ricœur. Evidenzieremo soprattutto il ruolo che il pensatore francese attribuisce all’immaginazione per la costruzione del senso di una metafora. Infine, dopo aver messo in luce il legame tra immagini e parole, tra dimensione linguistica e dimensione dell’aisthesis nella metafora, proveremo a valutare quali conseguenze sia possibile derivare per una teoria del simbolo e, in generale, per una teoria del linguaggio.

Il saggio, partendo dal rapporto tra fenomenologia ed ermeneutica in due momenti temporalmente diversi dell’opera di Ricœur, avanza l’ipotesi di un passaggio dal sacro come mistero, realtà indisponibile che ci interpella, in termini più vicini alla fenomenologia della religione del Novecento, al sacro come riferimento degli atteggiamenti religiosi umani da minimizzare nella sua consistenza ontologica, anche per aprirsi alla pluralità delle ermeneutiche legate ai diversi orizzonti del credere. In una prima parte, il saggio affronta l’interpretazione di Ricœur in Lectures 3 del momento rappresentativo delle filosofie della religione di Kant e Hegel. Emerge qui un orientamento che enfatizza la struttura referenziale dell’ecclesiologia kantiana e la circolarità di rappresentazione e concetto in Hegel, e guadagna la preminenza del momento simbolico nella sua capacità di rendere visibile l’invisibile. Nella seconda parte, soprattutto attraverso il saggio Phénoménologie de la religion, anch’esso contenuto in Lectures 3, mostriamo come di fronte al problema del pluralismo religioso Ricœur persegua un’idea di ermeneutica che minimizza i presupposti ontologici delle narrazioni di base e cerca di ottenere una comprensione universale del fenomeno religioso per approssimazione a partire dall’ermeneutica della propria tradizione religiosa.

La teoria della metafora che Ricœur elabora prendendo le mosse dalle sue analisi sul simbolo è tra le più rilevanti del pensiero del Novecento. Opponendosi alla riduzione della metafora a mero orpello linguistico, Ricœur privilegia lo studio della metafora viva, vale a dire creativa e originale, definendola come “un errore di categoria calcolato”. Questo contributo intende elucidare il passaggio dal simbolo alla metafora prendendo in esame un caso peculiare ma emblematico: la lettura che Ricœur fa di Nietzsche. L’analisi fornisce così l’occasione per approfondire il tentativo ricœuriano di superare la riduzione tropologica di cui sarebbe permeata la Genealogia della morale facendo leva sull’idea che la coscienza è il luogo di una forma originale di dialettica fra ipseità e alterità che si esplicherebbe nella metafora della voce e della chiamata, cioè nella cosiddetta “voce della coscienza”.

Copyright of Cauriensia: Revista Anual de Ciencias Eclesiásticas is the property of Instituto Teologico San Pedro de Alcantara de Caceres 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 Cauriensia: Revista Anual de Ciencias Eclesiásticas is the property of Instituto Teologico San Pedro de Alcantara de Caceres 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 Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-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 Revista de Filosofía UIS is the property of Universidad Industrial de Santander 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.)