1,720,959 research outputs found
Anica Savic Rebac: la erotología platónica y la estética de la ‘interconexión universal’
No full textPensadora, erudita y poeta serbia, Anica Savic Rebac (1892-1953) se mueve con ligereza en medio de grandes temas y movimientos humanísticos: la Antigüedad clásica griega, la filosofía medieval, la cultura renacentista o del romanticismo exasperado, que se proyectan al pasado y al futuro de la cultura universal. La concepción del eros platónico es su referencia más continua, desde sus primeras poesías, hasta los ensayos escritos en el último periodo, en los que conecta el pensamiento griego con Dante, Shakespeare, Spinoza, Shelley, Goethe. Como autora del siglo XX, le parece fundamental el cambio de paradigma que este siglo plantea en el campo de la historia de la cultura: el hecho de que la época contemporánea plantea de manera indiscutible que en el campo de la filosofía, literatura y arte no hay que buscar divergencias, sino profundas similitudes internas entre diferentes períodos de su desarrollo. Su obra ha sido calificada de ser ‘tan buena que parece ser escrita por un hombre escrita por un hombre’1 - un comentario que no necesita gran hermenéutica para ilustrar el destino del pensamiento filosófico femenino hasta la actualidad. Sus escritos han sido reeditados y estudiados de manera intensa en las últimas décadas en su país de origen. El presente trabajo presenta su pensamiento por primera vez en el ámbito de habla hispana. A Serbian thinker, poet and scholar, Anica Savic Rebac (1892-1953) moves through the different themes and movements of the Western cultural tradition – from the Greek classical philosophy to the Medieval philosophy, from the Renaissance culture to the Romanticism, projecting the past and the future of the universal culture. Plato’s conception of Eros is a constant of her oeuvre, and can be found from her early poetry works to her late essays. In them, she connects the Greek thought with Dante, Shakespeare, Spinoza, Shelley, Goethe. As the author of the twentieth century , she insists in the importance to understand how change the paradigm change in the field of cultural history in our era: the fact that in the field of philosophy , literature and art we don’t to have to search for the differences, but for the deep internal similarities between different periods of development. Her work has been described as “being so good that it seems to be written by a man”2 – a comment that does not need much of hermeneutics to illustrate the fate of female philosophical thought until today. Her writings have been reprinted and studied intensively in the last decades in Serbia. This paper presents for the first time the thought of Anica Savic Rebas in Spanish language
El icono medieval ruso
No full textLos iconos, las imágenes sagradas “escritas” encima de la madera, son prácticamente la única expresión artística en Rusia hasta bien entrado el siglo XVIII. Herencia del Imperio bizantino, este arte cristiano tiene su continuidad más importante en Rusia una vez caído Constantinopla en manos turcas (1453). La filosofía del icono, donde lo más importante es la idea que hay que expresar, marca de manera esencial el arte y la estética rusas posteriores. El texto propone recorrer nueve siglos de arte medieval ruso a través de algunos iconos emblemáticos que pertenecen a diferentes escuelas regionales: La escuela de Vladimir, de Nóvgorod, de Pskov y la de Moscovia. Es con esta última, representada en la figura de Andréi Rublev, cuando el arte del icono medieval ruso vive su máximo esplendor, en el siglo XV
Estética de Dostoyevski y Tarkovski: la creatividad como visión del hombre, del apocalipsis y de la posibilidad de salvación
Get PDFThe poetics and aesthetics of Andrei Tarkovski (1932-1986) coincide with Dostoyevsky’s understanding of artistic creativity: art as an ideal, art as a salvation and the transfiguring power of art. The Russian writer, whose work is full of the contradictions of life, sees that for him, creating - to write in his case - was the only life possible. Just as Tarkovsky says, that art has to give us strength against a monstrously cruel world that rubs on us, in its nonsense, the absurd. This vision of artistic creation as a redemptive and saving illusion has threads that branch out across European culture, and is particularly strong in a cultural tradition such as the Russian, in which art becomes some kind of teacher of the soul. The work of both authors also illustrates how, in Russian tradition, the artist has always been a figure in which the philosopher and the poet or the philosopher and the artist are superimposed. This article proposes to illustrate how the concept of art as a magician who saves, and as an educator of the soul revert both in the literature of Dostoyevski, and in the Tarkovski cinema.La poética de Andréi Tarkovski (1932-1986) coincide con la aproximación que tenía Dostoyevski a la hora de entender la actividad creadora: el arte como ideal, el arte como salvación y el poder transfigurador del arte. El escritor ruso, cuya obra está llena de la contradicción de la vida, ve que para él, crear, - escribir en su caso- era la única vida posible. Lo mismo que luego afirma Tarkovski, que considera que el arte nos tiene que dar fuerza ante un mundo monstruosamente cruel que roza, en sus sinsentido, el absurdo.Esta visión de la creación artística como ilusión redentora y salvadora tiene hilos que se ramifican en toda la cultura europea, y es particularmente fuerte en una tradición cultural como la rusa, en la cual el arte se constituye como una especie de educador del alma. La obra de ambos autores ilustra además como, en la tradición rusa, el artista siempre ha sido una figura en la que se superponen el filósofo y el poeta o el filósofo y el artista. Este artículo propone ilustrar cómo la concepción del arte como mago que salva y como educador del alma revierten tanto en la literatura de Dostoyevski, como en el cine Tarkovski
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
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
- …
