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Geopolítica, expansión y dominio del mar en la Belle époque: La guerra rusojaponesa (1904-1905)
No full textLa concepción estratégica del mar adquiere una creciente importancia en el periodo llamado de Belle époque, apoyada por la revolución industrial y la revolución en el armamento. Asistimos a la creación de los pre-Dreadnouhgt y Dreadnougths. En las universidades británicas, alemanas y estadounidenses la geopolítica adquiere un valor de dimensión global para el uso expansivo de la geografía como arma y la existencia de un nuevo derecho internacional, basado en la fuerza. Japón, Estados Unidos, Gran Bretaña, Alemania competirán por el dominio naval. En la entrada en el siglo XX Asistimos a grandes cambios, pero con una mentalidad decimonónica y provinciana. La guerra hispano-estadounidenses de 1898 o el conflicto ruso-japones 1904-1905 son pruebas de esta aplicación.The strategic conception of the sea acquires growing importance in the period called the Bèlle époque, supported by the industrial revolution and the revolution in the armament. We witnessed the creation of the pre-Dreadnouhgt and Dreadnougths. In British, German and American universities, geopolitics acquires a global dimension value for the expansive use of geography as a weapon and the existence of a new international law, based on force. Japan, the United States, Great Britain, Germany will compete for naval dominance. At the entrance to the 20th century we are witnessing great changes, but with a nineteenth-century and provincial mentality. The Spanish-American War of 1898 or the Russian-Japanese conflict of 1904-1905 are evidence of this application.
 
El poder de la imaginación: las metáforas conceptuales del léxico marinero gaditano
No full textLa lingüística cognitiva entiende el lenguaje como un fenómeno integrado dentro de las capacidades cognitivas humanas. Entre los diversos submodelos que la conforman, se encuentra la teoría de la metáfora y metonimia conceptuales, cuyo principio básico es que toda estructura conceptual se organiza en torno a la experiencia humana. En esta teoría lingüística, el concepto de imaginación es esencial, pues de ella surgen dos de los mecanismos cognitivos básicos: la metáfora y la metonimia conceptuales. Por este motivo, la finalidad de este trabajo es demostrar la importancia que tiene la imaginación en la expresión lingüística de los pescadores gaditanos, concretamente en la creación metafórica; especialmente, en la parcela léxica de la pesca y de los artes empleados para llevarla a cabo.Cognitive linguistics understands language as an integrated phenomenon within human cognitive capacities. Among its various sub-models is the theory of conceptual metaphor and metonymy, the basic principle of which is that all conceptual structure is organised around human experience. In this linguistic theory, the concept of imagination is essential, since two of the basic cognitive mechanisms arise from it: conceptual metaphor and metonymy. For this reason, the aim of this work is to demonstrate the importance of imagination in the linguistic expression of Cadiz fishermen, since metaphor occupy a very important place in their production, especially in the lexical plot of fishing and the gear used to carry it out
Juan Martínez Abades: pintor y compositor de mares
No full textJuan Martínez Abades fue un artista interdisciplinar y uno de los mejores pagados y considerados de las primeras décadas del siglo XX. Sus cuplés, aunque no llegan al centenar, aun hoy son recordados e interpretados. Sin embargo, su obra pictórica, mucho más numerosa, sigue estando sin estudiar debidamente, en tanto que gran parte de la colección permanece inédita. En este estudio pretendemos acercarnos a la producción artística de Martínez Abades (tanto musical como pictórica) más desconocida y analizar la importancia que tiene el mar como elemento central y cómo se describe y se utiliza como elemento expresivo y metafórico para transmitir al público toda la grandeza y la fuerza de un paisaje muy conectado con su Gijón natal.Juan Martínez Abades è stato un artista interdisciplinare e uno degli artisti più pagati e considerati dei primi decenni del XX secolo. I suoi cuplés, nonostante non raggiungano il centinaio, sono ricordati ed eseguiti ancora oggi. Tuttavia, la sua opera pittorica molto più ampia rimane non studiata, mentre gran parte della collezione rimane inedita. In questo studio si intende avvicinarsi alla produzione artistica più sconosciuta di Martínez Abades (sia musicale che pittorica) e analizzare l'importanza del mare come elemento centrale e come viene descritto e utilizzato come elemento espressivo e metaforico per trasmettere al pubblico tutta la grandezza e la forza di un paesaggio molto legato alla sua nativa Gijón
Le « droit à la ville » surréaliste : La quête lyrique entre appropriation urbaine et inconscient dans la prose des surréalistes français
No full textThis study examines the intersection between surrealist thought and urban sociology through Henri Lefebvre’s concept of the right to the city. We demonstrate how certain surrealist texts from the 1920s anticipate later sociological reflections on urban space. The article first establishes the connections between Lefebvre and the surrealist group, then explores the distinction between conceived space and lived space and the right to the city as creative appropriation. The analysis focuses particularly on four novels: Aragon’s Paris Peasant, Desnos’s Liberty or Love, Breton’s Nadja, and Soupault’s Last Nights of Paris. These works reveal how their protagonists practice a form of right to the city avant la lettre, transforming Paris into a terrain of poetic appropriation. Urban wandering functions both as a metaphor for surrealist writing and as resistance to capitalist rationalization. The article demonstrates surrealism’s influence on the human sciences and reveals surrealist geopoetics as an early form of militant urban critique.This study examines the intersection between surrealist thought and urban sociology through Henri Lefebvre’s concept of the right to the city. We demonstrate how certain surrealist texts from the 1920s anticipate later sociological reflections on urban space. The article first establishes the connections between Lefebvre and the surrealist group, then explores the distinction between conceived space and lived space and the right to the city as creative appropriation. The analysis focuses particularly on four novels: Aragon’s Paris Peasant, Desnos’s Liberty or Love, Breton’s Nadja, and Soupault’s Last Nights of Paris. These works reveal how their protagonists practice a form of right to the city avant la lettre, transforming Paris into a terrain of poetic appropriation. Urban wandering functions both as a metaphor for surrealist writing and as resistance to capitalist rationalization. The article demonstrates surrealism’s influence on the human sciences and reveals surrealist geopoetics as an early form of militant urban critique.This study examines the intersection between surrealist thought and urban sociology through Henri Lefebvre’s concept of the right to the city. We demonstrate how certain surrealist texts from the 1920s anticipate later sociological reflections on urban space. The article first establishes the connections between Lefebvre and the surrealist group, then explores the distinction between conceived space and lived space and the right to the city as creative appropriation. The analysis focuses particularly on four novels: Aragon’s Paris Peasant, Desnos’s Liberty or Love, Breton’s Nadja, and Soupault’s Last Nights of Paris. These works reveal how their protagonists practice a form of right to the city avant la lettre, transforming Paris into a terrain of poetic appropriation. Urban wandering functions both as a metaphor for surrealist writing and as resistance to capitalist rationalization. The article demonstrates surrealism’s influence on the human sciences and reveals surrealist geopoetics as an early form of militant urban critique
Who’s on the Pedestal? : Equestrian Monuments through the Eyes of French Surrealists and Italian Cartoonists in the 1930s
No full textThis essay explores how equestrian monuments were imaginatively contested in the 1930s by French Surrealists and Italian cartoonists. While Surrealist interventions relied on automatism and chance, Italian cartoons followed the principles of satire and turned the basic rules of constructing monuments upside down; yet both strategies achieved similar effects: they dismantled habitual thinking about monuments and questioned who deserves to be commemorated, how, and why. By comparing these practices, the essay highlights the role of humor and imagination in destabilizing authoritarian narratives and revisiting the cultural significance of public statuary.This essay explores how equestrian monuments were imaginatively contested in the 1930s by French Surrealists and Italian cartoonists. While Surrealist interventions relied on automatism and chance, Italian cartoons followed the principles of satire and turned the basic rules of constructing monuments upside down; yet both strategies achieved similar effects: they dismantled habitual thinking about monuments and questioned who deserves to be commemorated, how, and why. By comparing these practices, the essay highlights the role of humor and imagination in destabilizing authoritarian narratives and revisiting the cultural significance of public statuary.This essay explores how equestrian monuments were imaginatively contested in the 1930s by French Surrealists and Italian cartoonists. While Surrealist interventions relied on automatism and chance, Italian cartoons followed the principles of satire and turned the basic rules of constructing monuments upside down; yet both strategies achieved similar effects: they dismantled habitual thinking about monuments and questioned who deserves to be commemorated, how, and why. By comparing these practices, the essay highlights the role of humor and imagination in destabilizing authoritarian narratives and revisiting the cultural significance of public statuary
Surrealismo, avanguardia e rivoluzione
No full textWith Dada and then Surrealism, entering a new era, the avant-garde broke with modernity and its “system of references” (Valéry). A counter-modernity emerged which, through the XXth century, freed itself from the modern/anti-modern divide imposed by a certain ideology of history and its discursive models. The word “avant-garde”, which was (and still is) associated with modernity, became radically dissociated from it. Yesterday, today, tomorrow, which are modern categories, were re-evaluated and continue to be so. Then what “avant-garde” means? Not a movement forward (l’avant), but a step towards what comes next (l’après), a bifurcation that demands a change of civilization. Needless to say, it is by no means moribund.With Dada and then Surrealism, entering a new era, the avant-garde broke with modernity and its “system of references” (Valéry). A counter-modernity emerged which, through the XXth century, freed itself from the modern/anti-modern divide imposed by a certain ideology of history and its discursive models. The word “avant-garde”, which was (and still is) associated with modernity, became radically dissociated from it. Yesterday, today, tomorrow, which are modern categories, were re-evaluated and continue to be so. Then what “avant-garde” means? Not a movement forward (l’avant), but a step towards what comes next (l’après), a bifurcation that demands a change of civilization. Needless to say, it is by no means moribund.With Dada and then Surrealism, entering a new era, the avant-garde broke with modernity and its “system of references” (Valéry). A counter-modernity emerged which, through the XXth century, freed itself from the modern/anti-modern divide imposed by a certain ideology of history and its discursive models. The word “avant-garde”, which was (and still is) associated with modernity, became radically dissociated from it. Yesterday, today, tomorrow, which are modern categories, were re-evaluated and continue to be so. Then what “avant-garde” means? Not a movement forward (l’avant), but a step towards what comes next (l’après), a bifurcation that demands a change of civilization. Needless to say, it is by no means moribund
Estetica audiovisiva e alterità: Forme sensibili della differenza culturale
No full textBy framing the image as a performative and co-creative act capable of fostering forms of sensible knowledge and agency, this paper investigates the potential of specific aesthetic forms to mobilise processes of embodied mimesis and to promote relationality and intercultural understanding. These dynamics are analysed through the artistic documentaries of Ai Weiwei andYann-Arthus Bertrand – focused on ancestral cultural practices – which are employed here as case studies.By framing the image as a performative and co-creative act capable of fostering forms of sensible knowledge and agency, this paper investigates the potential of specific aesthetic forms to mobilise processes of embodied mimesis and to promote relationality and intercultural understanding. These dynamics are analysed through the artistic documentaries of Ai Weiwei andYann-Arthus Bertrand – focused on ancestral cultural practices – which are employed here as case studies
