The Worldhood of the Cinematic Image

A close analysis of the specifically cinematographic procedure in Akira Kurosawa’s ‘Dream’ Crows reveals it as an articulated and insightful philosophical statement, endowed with general relevance concerning ‘natural’ perception, phenomenological Erlebnis, mechanical image and aesthetic rapture. The antagonism between the Benjaminian lineage of a mechanical irreducibility of the cinematic image to anthropocentric categories, and the Cartesian tradition of a film-philosophy still relying on the equally irreducible structure of the intentional act, be it the one of a deeply embodied and enworlded counsciousness, in accounting for the essential structure of film and spectator (and their relation), i.e., the antagonism between the decentering primacy of the image and the self-centered primacy of perception, cannot be settled through a simple Phenomenological shift from occularcentric, intentional counsciousness to its embodyment ‘in-the-world’ as yet another carrier of intentionality. Still it remains to be explained what is it in the mechanical image that is able to so deeply affect the human flesh, and conversely, to what features in the human bodily experience is its mechanical other, the fascinating image, so successfuly adressing? It should be expected from the anti-Cartesianism of both the early and the late Merleau-Ponty the textual support for an approach to the essential condition of passivity in movie watching, that would be convergent with Benjamin. The Chapter ‘Le sentir’, in Phénoménologie de la perception, will offer us the proper guide to elucidate what we are already perceiving and conceiving in Kurosawa’s film, where the ex-static phenomenological body of the aesthetical contemplator ‘enters the frame’ like the Benjaminian surgeon enters the body and like the painter - and always already like our deepest level of ‘sensing’, previously to any act of cousciousness - ‘just looses himself in the scene before him’. The Polichinello secret of cinema watching is nonetheless too evident to be seen, and that is where Phenomenological description and reduction are still required.

The marriage of João de Alarcão and Margarida Soares and the creation of a transnational Portuguese-Spanish nobility

The main aim of this chapter is to analyze the social and political effects of dynastic marriages between the Portuguese and Castilian-Aragonese crowns on the configuration of transnational, aristocratic families during the sixteenth and seventeenth centuries. To illustrate these questions we have chosen to follow the Soares de Alarcão family (known in Spain as Suárez de Alarcón) and the paths it took between the royal houses of Portugal and Castile for seven generations. The working hypothesis of the chapter is that the identity of the Iberian nobility during this era was characterized by a shared noble culture rather than by any particular features derived from the family’s land of origin. That assumption allows us to discuss whether the use of a particular language or culture indicates ties or political loyalties based on criteria of nationality, or, at the very least, place of birth. Therefore, this essay discusses the miscegenation of Iberian nobilities derived from dynastic marriages. It articulates the structural characteristics of this group and its political impact with the individual trajectories and historical contexts in which they developed. While these topics can be of interest for the comprehension of Portuguese early modern history, they can also help us to reflect more broadly on processes of identity construction.