Plato on Oblivion. About Memory and Forgetfullness in the Platonic Dialogues

The aim of this paper is to tackle the role of oblivion in the Plato’s dialogues. It takes as work texts the dialogues where the anamnesis doctrine is exposed, and from these writings, but also attending to several other ones, the connexions between oblivion and other Platonic issues, as, e. g., language, memory, experience or love are explored, in order to clarify their relations of mutual dependence. In this way, we attempt to find out in the Platonic oblivion a philosophical sense, which is not disdainful in comparison with the sense and the relevance that the readers of all times have granted to anamnesis; for anamnesis and oblivion are inseparable indeed.

Multilingualism and conceptual modelling

One of the leading motivations behind the multilingual semantic web is to make resources accessible digitally in an online global multilingual context. Consequently, it is fundamental for knowledge bases to find a way to manage multilingualism and thus be equipped with those procedures for its conceptual modelling. In this context, the goal of this paper is to discuss how common-sense knowledge and cultural knowledge are modelled in a multilingual framework. More particularly, multilingualism and conceptual modelling are dealt with from the perspective of FunGramKB, a lexico-conceptual knowledge base for natural language understanding. This project argues for a clear division between the lexical and the conceptual dimensions of knowledge. Moreover, the conceptual layer is organized into three modules, which result from a strong commitment towards capturing semantic knowledge (Ontology), procedural knowledge (Cognicon) and episodic knowledge (Onomasticon). Cultural mismatches are discussed and formally represented at the three conceptual levels of FunGramKB.

Death Aesthetization in Contemporary Artistic Practices

Starting from the famous and enigmatic quotation of the Aristotle’s Poetics, who argues that the human has a natural desire and pleasure to see corpses if mediated by art, is intended to show the relationship between the attraction for the horror and some contemporary art practices surrounding the depiction of death, particularly with regard to the ultimate use of the human corpse as an artistic resource. Avoiding any kind of ethical approach or questioning of the limits of the artistic production, is meant to highlight the phenomenon through the examples brought out by the work of some contemporary artists such as Andy Warhol, Eric Fischl, Damien Hirst, Von Hagens, Andres Serrano, Joel-Peter Witkin and Teresa Margolles: From those who use the corpse in and turn it in something aesthetically pleasant, to others who turn human corpses in sculptures of scientific value, and further other kind of artists who assume the morbid and dramatic life of the corpse in their art production as something structural.

Breves notas sobre un posible sentido común crítico ante los desafíos actuales

Basado en elementos de la filosofía clásica, el common sense británico y la Escuela de Frankfurt, el autor postula un sentido común guiado críticamente, que serviría para evaluar las tendencias históricas y los modelos de modernización en el Tercer Mundo. Evitando extremos, este teorema rechazaría tanto las pretensiones de verdad de muchos enfoques racionalistas como el relativismo epistemológico y ético. La existencia de leyes y etapas obligatorias de la historia es uno de esos extremos; otro es la opción teórica que afirma que los modelos culturales son incomparables e inconmensurables entre sí. La existencia de un solo paradigma normativo-positivo de desarrollo es insostenible, pero igualmente la posición que decreta la diversidad e incomparabilidad totales de los regímenes civilizatorios. Es conveniente adoptar una línea intermedia entre universalismo y particularismo y alcanzar una síntesis fructífera de ambos.

Lucrecio, "De rerum natura": Sentido y coherencia del prólogo

El prólogo del De rerum natura de Lucrecio (1.1-148) parece ser un tema gastado: ha sido tratado decenas de veces tanto por su excelente calidad como por los problemas que plantea. Pero esperamos poder dar un nuevo sentido y solución a ambos aspectos. En primer lugar, el himno a Venus no es una mera convención, sino que respira sentimiento religioso; Venus no personifica a la naturaleza, sino al placer y la felicidad y ni la hegemonía que se dice ejerce Venus, ni las plegarias que contiene el himno contradicen la teología epicúrea. Todavía más, nos parece que el himno constituye una auténtica epifanía religiosa muy propia de la teología epicúrea. En segundo lugar, suponiendo que el autor ha tomado como tema compartido los schemata o grados de dificultad de la intellectio retórica en el texto de 1.50-148, se intentan solucionar las dificultades de coherencia del texto.