Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The present essay has its starting pointin the project “Filosofía en prisión”. Weconducted some philosophy sessions inthe Penitentiary Center of Ocaña. Specifically,the session related to pain and sicknessoffers a framework for promotinga search for meaning process. The objectiveof this article is to discuss about thenature of pain and sickness and to carryout a brief exposition about the searchfor meaning construct. This is very importantfor the individual psychologicalgrowth. Besides, a brief reflection aboutsome ethical and technic considerationsare be exposed. Finally, limitations andfuture research suggestions are discussed.

The article examines the evolution inthe jurisprudential construction of theright to privacy, particularly the extensionof its scope of protection to includethe effective protection of one’s own personaldevelopment.In particular, it examines this evolutionin the case law of the ECtHR and itsimpact on Spanish constitutional jurisprudence.The article suggests some problemsto which this broad understandingof privacy may give rise. The confusionbetween desires and rights and the devaluationof the latter as a legal category arefundamental aspects of the analysis.

This work aims to show, by the onehand, the basic need of care to maintainlife and society; by the other, the unequaldistribution of care between those whoprovide it and those who receive it,mostly based on the sex-gender system.To achieve this goal, the theoretical frameworkof care ethics is applied, as wellas arguments and empirical data on theconsequences that some circumstances—such as motherhood, upbringing orcaring of dependent people— have onwomen.

Post-truth has become part of ourepistemic horizon, replacing the usualways of connecting with the truth andproposing a particular mode of relationshipwith individuals that, instead ofappealing to facts or arguments, privilegesthe sentimental bond. This sentimentallink with post-truth is based on a typeof relationship of the individual with societycrossed by discomfort. It is to thisdiscomfort that one must appeal to redirectthe negative effects of post-truth.

In this article we wish to establishthe main lines of criticism that the philosopherJean-Marie Schaeffer (1952),as a representative of a non-reductionistnaturalism, makes to the classic debatebetween the conceptions of autonomousArt (supposedly out of any ideology, andfor that reason considered ideological)and of emancipatory Art. To do this, aftera brief introduction, we will explainwhat he calls Speculative Theory of Art,which encourages both positions. Then,we will propose the path opened and exploredby “naturalistic aesthetics”.

Is it possible to produce a reflection aboutideology after the exhaustion of the interpretativeresources imposed by the Philosophy ofSuspicion? This essay answers affirmatively tothe former question. One assumes here thatthe two tasks that distinguish the philosophicalenterprise, building of Ideals and demolitionof Idols, cannot exist independently ofeach other. The Ideal and Idols are the headsand tails of the same concept. What I amgoing to analyze here is a falsification, an inversion,a distortion that makes possible thepractices linked to them. The inversion, falsification,distortion that I am going to analyzehere is linked to the ideal of literary autonomy,essential to the meaning of the modernwork of art. The task that I have proposed tomyself: to analyze a distortion that instead ofbeing an obstacle to a practice is essential toits function, places me before the problem ofideology in a very singular perspective. WhatI assert here has the following consequences:the idol, the distorted image of something,plays an essential role in its best performance.Between the many perspectives that one canuse to study the myth of literary autonomy Iprivilege the one that studies the different gestures—rhetorical, semantic, prosodic— thata work of art uses to detach itself from whatcomes before and outside it. In this essay, I explorethe relationship between the work of artand what comes outside and before it duringthe classic and the modern times.

This article analyzes the fundamentalideas of the practical application of thefrontier of reason, which Eugenio Tríasproposed as the recreation of philosophicalrationality. To begin with, it showshow ethics and the politics of limits representa systematic reflection on fourbasic ideas-values: freedom, happiness,justice and security. Secondly, it dealswith the perversion of “security” as thesource of “political failure”, and thus,would besiege the frontier of praxis, andfinally, this concept will lead to assess therole of art as a practical dimension thatwould help to avoid “political failure.

The present article focuses on theArendtian conception of concentrationcamps as an image of hell. It is explainedthat this image appears to the extentthat humans can build an image in termsof domination. Arendt assumes that themodern production of the image of hellrests on two assumptions: the immanenceof the secularized world and the phenomenologyof appearance. In this interpretativeframework, dependent on theHeideggerian ontology of totality, theconcentration camps were the image ofhell because the dehumanization of thevictims appeared as a possibility at hand.It is concluded by emphasizing, handin hand with Lévinas, that this Arendtianinterpretation of the concentrationcamps reveals her limitations in not beingable to think otherness beyond theimmanence of the world.

We will explore the poetics and theideology implied in Virginia Woolf’s Aroom of own’s one taking on account SlavojŽižek, Michel Foucault and RicardoPiglia approaches among others. We willalso pay attention to the spatial dimensionthat assembles that text and her horizonof reading.

What if we can be more creative thanwe think? What if we have the opportunitynot to let ourselves be carried awayby the current and to face the everydaylife situations in a different way thanwhat we have usually done? This text emphasizesthe possibility of facing the sentimentalitycreatively through the claimof a creative sentimental education that,at the same time, demands the power offeelings with all its strength.