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Marx y Freud en América Latina. Entrevista a Bruno Bosteels
Get PDFMarx and Freud in Latin America. Interview with Bruno Bosteels.Marx y Freud en América Latina. Entrevista a Bruno Bosteels
Alain Badiou, “Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner”, Verso, London, New York 2013, 174 stron, miękka oprawa. Publikacja anglojęzyczna
Get PDFRecenzja książki Alaina Badiou “Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner”, Verso, London, New York 2013, 174 stron, miękka oprawa
Marx y Freud en América Latina : Entrevista a Bruno Bosteels
Get PDFBruno Bosteels es Profesor de Romance Studies de la Universidad de Cornell y Profesor visitante en la Universidad de Columbia. Es autor de Badiou o el recomienzo del materialismo dialéctico (Palinodia, 2007), Badiou and Politics (Duke University Press, 2011) y The Actuality of Communism (Verso, 2011). Ha traducido al inglés numerosos textos de Badiou, como Teoría del sujeto, Rapsodia por el teatro, Filosofía para militantes, La aventura de la filosofía francesa, y La antifilosofía de Wittgenstein. Asimismo, es autor de numerosos trabajos sobre literatura y cultura latinoamericana. Su último libro es Marx and Freud in Latin America. Politics, Psychoanalysis and Religion in Times of Terror (Verso, 2012), traducido al castellano como Marx y Freud en América Latina: Política, psicoanálisis y religión en tiempos de terror (Akal, 2016), en el cual realiza una lectura a contrapelo de diversas figuras del pensamiento crítico latinoamericano, como José Revueltas, León Rozitchner, Ricardo Piglia, Sabina Berman y Paco Ignacio Taibo II. Actualmente se encuentra preparando dos libros: Filosofías de la derrota: la jerga de la finitud y La comuna mexicana.Facultad de Trabajo Socia
Noty o książkach
No full textCritical notes on: (1) Alain Badiou, Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner (London, New York: Verso, 2013), pp. 174; (2) Griselda Pollock, After-affects / After-images: Trauma and aesthetic transformation in the virtual feminist museum (Manchester: Manchester University Press, 2013), pp. 384.Noty krytyczne poświęcone następującym książkom: (1) Alain Badiou, Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner (London, New York: Verso, 2013), ss. 174; (2) Griselda Pollock, After-affects / After-images: Trauma and aesthetic transformation in the virtual feminist museum (Manchester: Manchester University Press, 2013), ss. 384
Notes on books
No full textCritical notes on: (1) Alain Badiou, Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner (London, New York: Verso, 2013), pp. 174; (2) Griselda Pollock, After-affects / After-images: Trauma and aesthetic transformation in the virtual feminist museum (Manchester: Manchester University Press, 2013), pp. 384.Noty krytyczne poświęcone następującym książkom: (1) Alain Badiou, Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner (London, New York: Verso, 2013), ss. 174; (2) Griselda Pollock, After-affects / After-images: Trauma and aesthetic transformation in the virtual feminist museum (Manchester: Manchester University Press, 2013), ss. 384
Bruno Bosteels. La comuna mexicana
Get PDFEl texto da cuenta de la importancia de los saltos, de la necesidad de explorar otras formas de lectura que escapen de los cánones estáticos implementados por los tiempos; llama también a construir abordajes y miradas hacia los pasados, que no sucumban a las búsquedas historiográficas tradicionales. Se vuelve, entonces, una trinchera que exhibe rupturas, obras olvidadas de autores como Marx, y bocetos que se van dibujando porque cuestionan y reelaboran discusiones que los estudios académicos han mantenido inertes.El texto da cuenta de la importancia de los saltos, de la necesidad de explorar otras formas de lectura que escapen de los cánones estáticos implementados por los tiempos; llama también a construir abordajes y miradas hacia los pasados, que no sucumban a las búsquedas historiográficas tradicionales. Se vuelve, entonces, una trinchera que exhibe rupturas, obras olvidadas de autores como Marx, y bocetos que se van dibujando porque cuestionan y reelaboran discusiones que los estudios académicos han mantenido inertes
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
On the Critique of Secular Ethics: An Essay with Flannery O'Connor and Hannah Arendt
No full textReferring to Hannah Arendt's book Eichmann in Jerusalem, the Southern US fiction writer Flannery O'Connor expressed the effect of the revelations about the horrors of Nazi Germany as "haunting". Taking this comment and her admiration of Arendt as a cue, this article rereads Flannery O'Connor's fictional depiction of secular characters. Usually lauded or critiqued for her entanglement in 'otherworldly' concerns, here these concerns become comprehensible as much as political intervention as motivated by 'religious' belief. O'Connor's frequently humorous use of her fiction as a retort to the secular world was inflected by her reading of Eric Voegelin's contemporary secularization thesis with its criticism of all 'isms'. In this context, O'Connor's admiration for Arendt becomes all the more intriguing (since Arendt's interpretations of the human condition clashed with Voegelin's), and allows one to stage a theoretical meeting in order to explore O'Connor's depiction of the secular in relation to a speculative exploration of how Arendt might have responded to the fiction of O'Connor. Such a staging is accomplished here via a reading of O'Connor's short story 'The Lame Shall Enter First' read against Arendt's concerns, principally those expressed in The Human Condition
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