1. Oxalidi latifoliae-Veronicetum persicae Br.-Bl. 1967 corr. Loidi, nombre correcto en contra del CNF

Loidi (Lazaroa 4:74. 1983) corrigió en contra del CNF el nombre de la asociación "Chenopodio-Oxalidetum violaceae Br-Rl. 1967", basándose en la determinacion errónea de la especie de Oxalis presente en la comunidad, ya que se trata de Oxalis latifolia Kunth y no de O. violacea L., según experiencia directa y referencias anteriores (cf. LAINZ, Collect. Bot. Barcelona 5 (3): 684, y DÍAZ GONZÁLEZ. Rev. Fac. Cienc. Oviedo, 15 (2): 482). Subsiguientemente, propuso el nombre Oxalidi latifoliae-Veronicetum persicae Br-Rl. 1967 corr. Loidi.

The Afroporteña press and Afro-Argentine’s thought in the late nineteenth century

The journalistic boom that occurred in Argentina from the second half of the nineteenth century saw the emergence of an active afroporteña press that defend the interests of the black community. This paper, in addition to reviewing the history of the Afro-Argentines newspapers, emphasizes the role played by the elite of African descent in the promotion of modernity among his brothers, while exploring the possible bases for an identity in the ideas spread.

Hybrid philosophy and rational vitalism in Canguilhem and Ortega y Gasset

This paper explores the problem of the synthesis between vitalism and rationalism, in contemporary philosophy. With this aim, we compare the intellectual careers of Georges Canguilhem (1904-1995) and José Ortega y Gasset (1883-1955). We contrast their conceptions of philosophy as “hybrid” knowledge, closely related to science, as well as their points of view on Vitalism, anthropology, the technique and the perspectivism. To avoid that comparison is purely abstract and ahistorical, we use the method of the sociology of philosophy. This forces us to locate both paths in their respective philosophical fields and generational units, also according to his social background and professional career.

Women artists of the international avant-garde: the case of "Abstraction-Création" (1931-1936)

Women’s contribution to abstract art in the interwar period is a subject that, to date, has received very little attention. In this article we deal with the untold story of the participation of women artists in Abstraction-Création, the foremost international group dedicated to abstract art in the 1930s. Founded in Paris in 1931, the group took on the work of two previous collectives to become a platform for the dissemination and promotion of abstract art and consisted of around a hundred members. Twelve of these were women, whose writings and works were published in the group’s annual magazine, abstraction creátion art non figuratif (1932-1936), and who participated in a number of the group’s exhibitions. Compared to what had occurred in previous groups, the participation of women, although reduced in number, was comparable to that of the male artists and being members of the group had a generally positive impact on the women’s careers. However, all this came at the expense of relinquishing any gender specificity in their work and the public presentation of it, and demonstrates that the normalization of women’s contributions to the avant-garde could only be brought about alongside a questioning of the more dogmatic views of modernity.