El imaginario en la génesis del proyecto arquitectónico: La construcción de la realidad a través del mito, la utopía y la cibercultura

El término imaginario, nombra el principio y el tema central de una investigación del mundo arquitectónico, necesaria para entender las condiciones alrededor de un proceso proyectual íntimo, cargado de significaciones ideológicas y simbólicas. En diferentes interpretaciones, el inconsciente colectivo y personal, científico o social, aparece en el origen de cada pensamiento y comportamiento humano, constituyendo un universo cerrado y caótico, donde todas las ideas están en constante tensión y contradicción. Por esta razón existen nociones y construcciones lógicas y coherentes que estructuran el marco de la verisimilitud y por tanto el régimen de la realidad, mediante la verdad y la verificación. Para el proyecto arquitectónico estas configuraciones se expresan en la situación del espacio, el tiempo y el cuerpo, como elementos básicos de jerarquización de la habitabilidad y de la cohabitabilidad humana. Esta tesis pretende acotar y definir un ámbito de procesos verosímiles instalados dentro del imaginario mediante el patrimonio intangible del pensamiento mítico o utópico, donde no solamente se crean envolventes del pensamiento, de iconografía o de sociedades, sino de donde también se derivan modelos rígidos y excluyentes, desde teorías basadas en la heteronormatividad y la segregación según el sexo, el género, la clase y la capacidad dentro de la diversidad funcional. La experiencia del espacio arquitectónico ha sido tradicionalmente descrita mediante palabras e imágenes: el lógos y el símbolo han sido los grandes intermediadores entre los sujetos y el habitar. Los ámbitos cotidiano y urbano se han regido por modelos y normas absolutas aplicadas universalmente y el mundo arquitectónico se ha visto estancado en la polaridad dual, entre lo público y lo privado, el dentro y el fuera, el movimiento y el reposo, el hombre y la mujer. Si el espacio-tiempo, el cuerpo y sus interpretaciones son la base para los modelos absolutistas, universalistas y perfeccionistas que han dominado el pensamiento occidental y elaborado la noción de lo “normal” en su totalidad, restando complejidad y diversidad, en la era hipermoderna ya no tiene sentido hablar en términos que no contemplen la superposición y la contradicción de la multiplicidad caótica en igualdad y en equilibrio instable. La realidad se ha visto reinventada a través de situaciones intermedias, los lugares inbetween en los espacios, tiempos, identidades y nociones presupuestas, donde se ha tergiversado el orden establecido, afectando al imaginario. La cotidianidad ha superado la arquitectura y el tiempo ha aniquilado el espacio. La conectividad, las redes y el libre acceso a la información – allá donde los haya – componen el marco que ha permitido a los sujetos subalternos emerger y empezar a consolidarse en el discurso teórico y práctico. Nuevos referentes están apareciendo en el hiper-espacio/tiempo aumentado, infringiendo todas aquellas leyes e interpretaciones impuestas para controlar los hábitos, las conductas y las personas. La casa, la ciudad y la metrópolis al vaciarse de contenidos, han dejado de cumplir funciones morales y simbólicas. Los no-lugares, los no-space, los no-time (Amann, 2011) son las condiciones radicalmente fenoménicas que reemplazan la realidad de lo vivido y activan de forma directa a los sentidos; son lugares que excitan el cuerpo como termótopos (Sloterdijk, 2002), que impulsan el crecimiento de la economía y en gran medida la multinormatividad. Sin duda alguna, aquí y ahora se requiere un nuevo modo de emplear la palabra, la imagen y la tecnología, dentro de una temporalidad efímera y eterna simultáneamente. ABSTRACT The term imaginary marks the beginning and the main topic of this research into the architectural world, presented as the necessary condition to understand the design process in its intimate layers, loaded with ideological and symbolic meanings. Through different interpretations, the unconscious, personal and collective, scientific or social, is found in the origin of every human thought and behaviour, constituting a closed chaotic universe, where all ideas are in constant tension and contradiction. This is why there are logical and coherent notions or discursive constructions which organise the context of verisimilitude and therefore the regime of reality through truth and its verification. For the architectural project, these specific configurations are associated with space, time and body as basic elements of management and hierarchization of human habitability and co-habitability. This thesis aims to demarcate and define a field of verisimilar processes installed in the imaginary, through the intangible heritage of mythical or utopian thinking, where not only enclosures of thought, iconography or utopian ideals are created, but from where rigid and exclusive models are derived as well, from theories based on heteronormativity and segregation by sex, gender, class and functional diversity. The experience of the architectural space has been described traditionally through words and images: the language and the symbol have been intermediating between the user and his habitat. Everyday life and urban interactions have been governed by absolute, universally applied, models or standards, therefore the architectural world has been stalled in a constant dual polarity between the public and the private, the inside and the outside, the movement and the repose, the man and the woman. Certainly, if the space-time notion, along with the theorization of the body, are the basis for absolutist, universalist and perfectionist models that have dominated western thought and developed the concept of “normal” in its totality, deducting all complexity and diversity, in the hypermodern era it makes no longer sense to speak in terms that ignore the overlap and contradiction of the chaotic multiplicity that characterises equality and unstable balance. Reality has been reinvented through intermediate situations, the in-between spaces, time, identities, or other presupposed notions. The order of truth has been distorted, affecting and transforming the contemporary imaginary. Everyday practices have surpassed the architectural design and time has annihilated space. Connectivity, networks, free access to information -wherever it exists-, compose the framework that has allowed subaltern subjectivity to emerge and begin to consolidate into main theoretical and practical discourses. New models are appearing in the augmented hyper-space/ time, transgressing any rule and interpretation imposed to control habits, behaviours and people. The house, the city and the metropolis are empty of content; they no longer fulfil moral and symbolic functions. The non-places, non-space, non-time (Amann, 2011) are radically phenomenal conditions that replace the reality of the lived experience and activate the senses as places that excite the body, thermotopos (Sloterdijk, 2002), which boost economic growth and to a considerable extent the multinormativity. Undoubtedly, what is required here and now is a new way of employing the word, the image and the technology within an ephemeral yet eternal temporality.

El dibujo como herramienta en el proceso creativo del cine y la arquitectura

El director de cine y el arquitecto, exploran las posibilidades que les ofrece la imagen, en el sentido de la visualización de ciertas relaciones que son catalizadoras de las emociones. La obra cinematográfica y la obra arquitectónica son producto del pensamiento y contienen todos los procesos que las idearon, así como aquellos mecanismos necesarios para generar el espacio y la secuencia. El objetivo general de la tesis consiste en conocer las analogías existentes en el modo en que el arquitecto y el cineasta afrontan el proceso de creación de sus proyectos desde la acción gráfica. Si consideramos el medio gráfico como un recurso creativo en el proyecto arquitectónico y cinematográfico, el boceto, croquis o “storyboard” se convierten en documentos fundamentales, objeto de estudio, para extraer las claves y la manera en que se desarrolla dicho proceso. El pensamiento gráfico se encuentra íntimamente unido a su modo de expresión. El estudio de ese proceso de pensamiento basado principalmente en imágenes, permite establecer analogías en la manera en que ambos autores hacen uso del dibujo para imaginar acontecimientos evocadores de emociones que definan el carácter dramático de sus ideas. La conexión y yuxtaposición de imágenes mentales, como operaciones de montaje que alientan la construcción de ideas, conceptos y sensaciones, son claves en el curso de la concepción arquitectónica y cinematográfica, y el dibujo, una herramienta que permite a ambos autores su desarrollo. La aproximación al modo en que el arquitecto y el cineasta emprenden el proceso de ideación de sus proyectos a través del dibujo, se aborda desde las estrategias gráficas de cuatro autores: Sergei Eisenstein, Le Corbusier, Akira Kurosawa y Rem Koolhaas. La estructura del trabajo se desarrolla en dos bloques. El primero, compuesto por los primeros cuatro capítulos, afronta desde un punto de vista general, la potencialidad de la imagen en el pensamiento gráfico y el papel de la acción gráfica en el curso proyectual que realiza el arquitecto, por un lado, y el director de cine por otro, tratando de extraer las analogías y los puntos de encuentro de ambos autores durante el proceso. El segundo bloque, correspondiente a los cuatro últimos capítulos, aborda el uso del medio gráfico de manera más concreta, en la figura de dos de los arquitectos y dos de los cineastas más influyentes del pasado y del presente siglo, tratando de comprender el papel del dibujo en el desarrollo conceptual de su obra. ABSTRACT Both the movie director and the architect explore the potential offered by the image, as the visualization of certain relations that are catalyst of emotions. Cinematography and architecture works are a result of a thought and they include all the processes that created them, as much as the essential tools to generate the space and the sequence. This thesis aims to get an understanding of the analogies underlying in which architects and movie directors face the creation process of theirs projects from the graphic action. If we consider graphic media as a creative resource in the architectural and the cinematographic project, the sketch or storyboard becomes the fundamental documents, the study object, to decode the clues and the way in which the process unfolds. Graphic thinking comes across its way of expression. The study of this thinking, based mainly in images, let set up analogies in a way in which both authors use a drawing to imagine events of emotions that define the dramatic nature of their ideas. The connection and juxtaposition of mental images, as editing or montages that encourage the creation of ideas, concepts and sensations, are key in the course of the architectural and the cinematographic conception, and the drawing, a tool that allows both authors their development. The approach to the way the architect and the movie director get to the process of the creation of their projects through the drawing is addressed from the graphic strategies of these four authors: Sergei Eisenstein, Le Corbusier, Akira Kurosawa and Rem Koolhaas. The structure of the work is developed in two blocks. The first one, the first four chapters, face up, from a general point of view, the potential of the image in the graphic thinking and the role of the graphic action in the course of the project, that architects, as well as movie directors, are making trying to find the analogies and common points during the process. The second block, the last four chapters, deal with the use of the graphic media in a more detail manner, taking as example two of the architects and two of the movie directors more influential of the past and the present centuries, trying to understand the role of the drawing in the conceptual development of the their work.

Lo intermedio como lugar : lo intersticial, lo fronterizo y lo impreciso en la arquitectura contemporánea

1. Nuestra investigación se centra en el estudio de los “ámbitos o espacios intermedios” en momentos de la arquitectura contemporánea, en un período de transición entre finales de los años 80 y nuestros días. Pretendemos analizar cómo se presenta el ámbito intermedio en el objeto o lugar arquitectónico y su función o relación con el entorno cercano, desde el proyecto hasta su repercusión en la experiencia vivida. 2. El concepto de intermedio entendido como ámbito o espacio intersticial, fronterizo y ambivalente (o multivalente), atraviesa en la presente investigación el campo de la etimología, de la ciencia, del pensamiento y del arte, para detenerse en la arquitectura actual, llevándose a cabo una indagación concreta en el proceso de concepción, en la propuesta formal, espacial y funcional, así como en la percepción y demás experiencias o vivencias en el lugar arquitectónico. 3. En primer lugar nos proponemos estudiar y explorar el concepto de “intermedio” en sus características, funciones y ubicaciones dentro de la cultura contemporánea, detectando sus antecedentes culturales más importantes, para a continuación aplicarlo reflexivamente a obras significativas de arquitectura. La investigación se enfoca en la modalidad figural (imprecisa) de lo intermedio (en alusión al “figural” deleuziano), cuyas metáforas base son lo translúcido, la penumbra y la espuma, vinculadas al actual paradigma cultural de la complejidad (C. Jencks). A continuación se analizan las relaciones o implicaciones de dicha modalidad figural en obras de arquitectos como Eisenman, Holl, Tschumi, Ito, Fujimoto, Van Berkel y Bos, y Siza, comprobando su valor operativo y poniendo de manifiesto su sentido e importancia en la actualidad y en la disciplina. El estudio tiene como trasfondo el concepto de in-between de la obra de Eisenman, y utiliza conceptos de la filosofía del límite de Trías como algunos de sus principales fundamentos. 4. En cada una de las obras de arquitectura presentadas esta modalidad imprecisa se traduce en un ámbito o espacio intermedio figural específico. Son obras en las que real y virtual, matricial y objetual, arquitectura y territorio, existente y nuevo, colectivo e individual, social e íntimo, interior y exterior, y demás usos y funciones se entrelazan o funden. Son arquitecturas cuya geometría ya no se encuentra tan determinada por aspectos bi o tridimensionales del dibujo o de la construcción. A través de la manipulación de estas geometrías más o menos complejas, dinámicas e intersticiales, estas obras reflejan (o intuyen) las premisas del actual Zeitgeist: un cambio de esquemas de objetos a relaciones basado en un pensamiento más holístico, transdisciplinar, sistémico o complejo (E. Morin), y una nueva conciencia colectiva sobre la realidad que anuncia la crisis de la percepción, el cambio de paradigma y nuevos valores (F. Capra). Emerge otra forma de sentir y percibir el mundo, los lugares y los espacios, que poco a poco está cambiando el modo de pensar y dibujar la arquitectura, y consecuentemente de interaccionar con ella. 5. El sentido del espacio intermedio figural, emerge en las cada vez más complejas cualidades morfológico-espaciales y funcionales de una parte importante de la arquitectura actual. Arquitectura, geometría y tecnología informática están más entrelazadas que nunca, y de un modo más libre, para así poder indagar en nuevas formas de pensar y crear lugares en que los “espacios intermedios” que investigamos son un testimonio. El espacio arquitectónico se vuelve afectivo e interactivo, un lugar intermedio figural, formalizado por espacialidades intersticiales que parecen aludir a lo líquido, donde la forma es más matriz que configuración, el espacio más espacialidad que compartimiento, la función más versátil y multivalente que específica o autónoma, y la perplejidad, la imaginación y la evocación se entrecruzan y vuelven patentes. 6. La arquitectura de los lugares intermedios valora no solamente el “plano”, la “configuración” y la “transparencia”, sino sobre todo el “espacio” y la “relación” en sus interrelaciones con los usuarios y demás contextos. De la identidad a la relacionalidad, de la representación a la presentación, es una arquitectura que propone “otros espacios” que más que espacios son topografías y espacialidades intersticiales, de tensión, transición, transformación, relación, intercambio e interacción. Son lugares intermedios reales y virtuales, que se sirven tanto de la morfología como de la topología para conquistar nuevas espacialidades, pretendiendo salir de la estricta operación de “forming”/”morphing”/formación/”conformación” para explorar la de “spacing”/espaciamiento. Son lugares que se basan en conceptos como la zona de indiscernibilidad de Deleuze, la imagen- flujo de Buci-Glucksmann, la suspensión-entre de Sloterdijk, o el espacio no-objetivo al que se refiere José Gil, plasmándose en la arquitectura contemporánea como tropos de lo intersticial. 7. Son los lugares intermedios de la arquitectura actual, de espacialidad háptica, más “afectiva”, generativa e interactiva, donde ese ámbito intermedio transforma y es transformado, “afecta”, “con-mueve” (nos hace mover/accionar) y evoca otros lugares, otras posibilidades de espacio habitable u ocupable. Emerge lo intermedio como lugar, algo que anuncia y exhibe, de manera paradigmática y manifiesta, el monumento de Eisenman en Berlín. ABSTRACT 1. Our research focuses on the study of “in-between spaces or environments” at particular times in contemporary architecture, in a transition period from the end of the 1980’s through to today. We aim to analyse how in-between environments are presented in the architectural object or place and their function or their relationship with the nearby surroundings, from the project through to the experience had. 2. In this research, the in-between concept, understood as an interstitial, border and ambivalent (or multi-purpose) environment or space, is assessed from the viewpoint of etymology, science, thought and art, to conclude in current architecture, with specific exploration of the conception process, of the formal, spatial and functional proposal, together with the perception and other experiences in the architectural place. 3. Firstly, we aim to study and explore the “in-between” concept as regards its features, functions and locations within contemporary culture, revealing its most important cultural background, to then apply it reflexively to important works of architecture. The research focuses on the figural (imprecise) mode of in-between (in allusion to Deleuze’s “figural” approach) whose base metaphors are the translucent, semi-darkness and foam, linked to the current cultural paradigm of complexity (C. Jenks). We then go on to assess the relationships or implications of said figural mode in architectural works by Eisenman, Holl, Tschumi, Ito, Fujimoto, Van Berkel and Bos, and Siza, verifying their operational worth and revealing their meaning and importance today and in this discipline. The backdrop of the study is the in-between concept of Eisenman’s work and it also uses concepts from the philosophy of the limit of Trías as its main underpinnings. 4. In each of the architectural works presented, this imprecise mode is translated into a specific in-between environment or space. They are works in which real and virtual, matricial and objectual, architecture and territory, existing and new, collective and individual, social and intimate, interior and exterior and other uses and functions all intertwine or blend together. They are architectures the geometry of which is not so much determined by bi- or tri-dimensional aspects of the drawing or construction. Through the manipulation of these more or less complex, dynamic and interstitial geometries, these works reflect (or insinuate) the premises of the current Zeitgeist: A change in the scheme of objects to relationships towards a more holistic, transdisciplinary, systemic or complex thought (E. Morin), and a new collective conscience about the reality which announces the crisis of perception, the change in paradigm and new values (F. Capra). Another way of feeling and perceiving the world, places and spaces, which little by little is changing the way of thinking and drawing architecture and hence of interacting with it. 5. The meaning of figural in-between space emerges in the increasingly complex, morphological-spatial and functional qualities of a large part of architecture today. Architecture, geometry and computer technology are more than ever intertwined in a freer way to inquire into other ways of thinking and making places, where the “in-between” spaces we research are a testimony. Architectural space becomes affective and interactive, a figural in-between place, formed by interstitial spatiality which seems to allude to something liquid, where shape is more matrix than configuration, space more spatiality than compartment, its function more versatile and multi-purpose than specific or autonomous, and perplexity, imagination and evocation criss-cross each other, becoming obvious. 6. The architecture of in-between places values not only “flat”, “configuration” and “transparency”, but above all “space” and the “relationship” in its interrelations with users and other contexts. From identity to relationality, from representation to presentation, it is an architecture that proposes “other spaces”, which more than spaces are topographies and interstitial spatialities, of tension, transition, transformation, relation, exchange and interaction. They are real and virtual in-between places, that take in both morphology and topology to conquer new spatialities, aiming to depart from the strict “forming”/”morphing” operation in order to explore “spacing”. They are places that derive both from Deleuze’s indiscernibility zone concept, from Buci-Glucksmann´s image-flow concept, from Sloterdijk’s suspension-between, and from the non-objective space referred to by José Gil, and they are embodied in contemporary architecture as tropes of the interstitial. 7. They are the in-between places in architecture today, of haptic spatiality, more “affective”, generative and interactive, where that in-between environment transforms and is transformed, “affects”, “moves” (it makes us move/act) and evokes other places, other possibilities of habitable or occupiable space. The in-between emerges as a place, which paradigmatically and declaredly, Eisenman´s monument in Berlin announces and exhibits. RESUMO 1. A investigação centra-se no estudo dos “âmbitos ou espaços intermédios” em momentos da arquitectura contemporânea, no período de transição entre os finais dos anos 80 e os nossos dias. Pretende-se analisar como se apresenta o âmbito intermédio no objecto ou lugar arquitectónico e sua função ou relação com o meio envolvente, desde o projecto até à sua repercussão na experiencia vivenciada. 2. O conceito de intermédio entendido como âmbito ou espaço intersticial, fronteiriço e ambivalente (ou multivalente), atravessa na presente investigação o campo da etimologia, da ciência, do pensamento e da arte, para deter-se na arquitectura actual, realizando-se uma indagação concreta no processo de concepção, na proposta formal, espacial e funcional, assim como na percepção e demais experiencias ou vivencias no lugar arquitectónico. 3. Em primeiro lugar, explora-se o conceito de “intermédio” nas suas características, funções e concretizações na cultura contemporânea, detectando os seus antecedentes culturais mais importantes, para em seguida aplicá-lo reflexivamente a obras significativas de arquitectura. A investigação centra-se na modalidade figural (imprecisa) do intermédio (alusão ao figural deleuziano) cujas metáforas base são o translúcido, a penumbra e a espuma, relacionadas com o actual paradigma da complexidade (C. Jencks). Em seguida analisam-se as relações ou implicações da referida modalidade figural em obras de arquitectos como Eisenman, Holl, Tschumi, Ito, Fujimoto, Van Berkel e Bos, e Siza, como modo de comprovar o seu valor operativo e revelar o seu sentido e importância na actualidade e na disciplina. O estudo tem como referencia o conceito de in-between da obra de Eisenman, e utiliza conceitos da filosofia do limite de Trias como alguns dos seus principais fundamentos. 4. Em cada uma das obras de arquitectura apresentadas esta modalidade imprecisa traduz-se num âmbito ou espaço intermédia figural especifico. São obras nas quais real e virtual, matricial e objectual, arquitectura e território, existente e novo, colectivo e individual, social e intimo, interior e exterior, e outros usos e funções se entrelaçam ou fundem. São arquitecturas cuja geometria já não está tão determinada por aspectos bi ou tridimensionais do desenho ou da construção. Através do uso destas geometrias mais ou menos complexas, dinâmicas e intersticiais, estas obras reflectem (ou intuem) as premissas do actual zeitgeist: uma mudança de esquemas de objectos a relações para um pensamento mais holístico, transdisciplinar, sistémico ou complexo (E. Morin) e uma nova consciência colectiva sobre a realidade, que anuncia a crise da percepção, a mudança de paradigma e novos valores (F. Capra). Emerge uma outra forma de sentir e perceber o mundo, os lugares e os espaços, que gradualmente vai alterando o modo de pensar e desenhar a arquitectura, e consequentemente de interagir com ela. 5. O sentido do espaço intermédio figural, emerge nas cada vez mais complexas qualidades morfológico-espaciais e funcionais de uma parte importante da arquitectura actual. Cada vez mais, arquitectura, geometria e tecnologia informática, relacionam-se de um modo mais livre para indagar outras formas de pensar e fazer lugares, onde os espaços intermédios que investigamos são um testemunho. O espaço arquitectónico torna-se afectivo e interactivo, um lugar intermédio figural, formalizado por espacialidades intersticiais que parecem aludir ao estado liquido, onde a forma é mais matriz que configuração, o espaço mais espacialidade que compartimento, a função mais versátil e multivalente que especifica ou autónoma, e a perplexidade, a imaginação e a evocação entrecruzam-se e tornam-se patentes. 6. A arquitectura dos lugares intermédios valoriza não só o “plano”, a “configuração” e a “transparência”, mas sobretudo o” espaço” e a ”relação” nas suas inter-relações com os utentes e restante contextos. Da identidade à relacionalidade, da representação à apresentação, é uma arquitectura que propõe “outros espaços”, que além de espaços são topografias e espacialidades intersticiais, de tensão, transição, transformação, relação, intercambio e interacção. São lugares intermédios reais e virtuais que utilizam tanto a morfologia como a topologia para conquistar novas espacialidades, pretendendo ultrapassar a estrita operação de “forming”/“morphing”/formação para explorar a de “spacing”/espaçamento. São lugares que se apoiam tanto no conceito de zona de indescernibilidade de Deleuze, como na de imagem-fluxo de Buci-Glucksmann como no de suspensão–entre de Sloterdijk ou de espaço-não objectivo que refere José Gil, e se plasmam na arquitectura contemporânea como tropos do intersticial. 7. São os lugares intermédios da arquitectura actual, de espacialidade háptica, mais “afectiva”, generativa e interactiva, onde esse âmbito intermédio transforma e é transformado, “afecta”, ”co-move “(nos faz mover/agir) e evoca outros lugares, outras possibilidades de espaço habitável ou ocupável. Emerge o intermédio como lugar que, paradigmática e manifestamente, o monumento de Eisenmann em Berlim, anuncia e exibe.

“O CRISTO AFOGADO: UMA NÃO-CRISTOLOGIA” RELIGIÃO, LITERATURA E PÓS-COLONIALISMO

O objetivo dessa tese é aprofundar, a partir do discurso pós-colonial, uma crise na perspectiva teológica da libertação. Esta promoveu, na década de 1970, uma reviravolta nos estudos teológicos no terceiro mundo. Para tanto, leremos um conto de Gabriel García Márquez chamado “El ahogado más hermosodel mundo” (1968) analizando e avaliando as estratégias políticas e culturais ali inscritas. Para levar a frente tal avaliação é preciso ampliar o escopo de uma visão que divide o mundo em secular/religioso, ou em ideias/práticas religiosas e não religiosas, para dar passo a uma visão unificada que compreende a mundanalidade, tanto do que é catalogado como ‘religioso’ quanto do que se pretende ‘não religioso’. A teologia/ciências da religião, como discurso científico sobre a economia das trocas que lidam com visões, compreensões e práticas de mundo marcadas pelo reconhecimento do mistério que lhes é inerente, possuem um papel fundamental na compreensão, explicitação, articulação e disponibilização de tais forças culturais. A percepção de existirem elementos no conto que se relacionam com os símbolos sobre Jesus/Cristo nos ofereceu um vetor de análise; entretanto, não nos deixamos limitar pelos grilhões disciplinares que essa simbologia implica. Ao mesmo tempo, esse vínculo, compreendido desde a relação imperial/colonial inerente aos discursos e imagens sobre Jesus-Cristo, embora sem centralizar a análise, não poderia ficar intocado. Partimos para a construção de uma estrutura teórica que explicitasse os valores, gestos, e horizontes mundanos do conto, cristológicos e não-cristológicos, contribuindo assim para uma desestabilização dos quadros tradicionais a partir dos quais se concebem a teologia e as ciências da religião, a obra de García Márquez como literatura, e a geografia imperial/colonial que postula o realismo ficcional de territórios como “América Latina”. Abrimos, assim, um espaço de significação que lê o conto como uma “não-cristologia”, deslocando o aprisionamento disciplinar e classificatório dos elementos envolvidos na análise. O discurso crítico de Edward Said, Homi Bhabha e GayatriSpivak soma-se à prática teórica de teólogas críticas feministas da Ásia, da África e da América Latina para formular o cenário político emancipatório que denominaremos teologia crítica secular.

Stratigraphic and geochemical study of the organic-rich black shales in the Tarcău Nappe of the Moldavidian Domain (Carpathian Chain, Romania)

An integrated stratigraphic analysis has been made of the Tarcău Nappe (Moldavidian Domain, Eastern Romanian Carpathians), coupled with a geochemical study of organic-rich beds. Two Main Sequence Boundaries (Early Oligocene and near to the Oligocene–Aquitanian boundary, respectively) divide the sedimentary record into three depositional sequences. The sedimentation occurred in the central area of a basin supplied by different and opposite sources. The high amount of siliciclastics at the beginning of the Miocene marks the activation of the “foredeep stage”. The successions studied are younger than previously thought and they more accurately date the deformation of the different Miocene phases affecting the Moldavidian Basin. The intervals with black shales identified are related to two main separate anoxic episodes with an age not older than Late Rupelian and not before Late Chattian. The most important organic-rich beds correspond to the Lower Menilites, Bituminous Marls and Lower Dysodilic Shales Members (Interval 2). These constitute a good potential source rock for petroleum, with homogeneous Type II oil-prone organic matter, highly lipidic and thermally immature. The deposition of black shales has been interpreted as occurring within a deep, periodically isolated and tectonically controlled basin.

Geographic Scope Under Conditions Of Confined And Connected Change: The Case Of Telefónica (Spain). ACES Working Papers, 2012

Traditional explanations of MNE geographic scope formation fit somewhat uncomfortably with recent empirical and theoretical work in IB that suggests (1) that wholesale (not just gradual) changes in MNE geographic scope may be more frequent than previously thought, and (2) that managers’ responses to a world increasingly characterized by random, unpredictable change are more experimental and less optimizing in nature than assumed in most models of international expansion. In this paper we draw from studies portraying industries as dynamic networks, and from the literature on managerial cognition to provide a complementary explanation of the evolution of MNE geographic scope that reconciles the insights of traditional IB models with the questions raised by more recent studies in this field. We illustrate the proposed model through a detailed account of the internationalization process of Telefonica, the Spanish telecommunications company.

Explicación histórica, socialismo y democracia : La trayectoria de Juan Carlos Portantiero

Uno de los objetivos de este artículo es reconstruir la trayectoria intelectual de Juan Carlos Portantiero en torno a un conjunto limitado de sus intereses: el socialismo y la democracia, en su relación, no por separado, a la vez que ello se vincula con la articulación de una estrategia de explicación histórica y sociológica. La otra veta del artículo analiza las relaciones entre culturas políticas y ciencia social, en particular la cultura de izquierdas y el desarrollo de las ciencias sociales en América Latina. Ello se ha realizado sobre la base de una lectura de casi toda su producción intelectual, tratando de rastrear y mostrar algunas continuidades y cambios o desplazamientos en sus ideas y preocupaciones. Se muestra que Portantiero elabora una estrategia de explicación social sobre la base de Marx, Lenin, Gramsci, Mao hasta fines de los setenta, preocupado por la socialización del poder y, entonces, de la economía. Las dos últimas décadas se concentra en la construcción de las condiciones de consolidación de la democracia, pensada como un régimen que incluya reconocimiento de minorías y funcione para reducir los monopolios económicos y políticos.

Essays on life, art, and science /

Introduction.--Quis desiderio ...?--Ramblings in Cheapside.--The aunt, the mieces and the dog.--How to make the best of life.--The sanctuary of Montrigone.--A medieval girl school.--Art in the valley of Saas.--Thought and language.--The deadlock in Darwinism.

Serious thoughts, generated by perusing Lord Brougham's Discourse of Natural Theology; with a few broad hints on education and politics.

The titles of parts 2 and 3 differ somewhat from that of part 1; the cover has the half-title:- "New Sanctuary of Progressive Thought and Science".

Form and content in the Christian tradition : a friendly discussion between W. Sanday and N.P. Williams.

"The present discussion arose out of an article ['Continuity of thought and relativity of expression'] contributed by me to the Modern churchman for June 1915."--Pref., signed W. Sanday.

The humour of Homer, and other essays,

The humour of Homer.--Quis desiderio ...?--Ramblings in Cheapside.--The aunt, the nieces, and the dog.--How to make the best of life.--The sanctuary of Montrigone.--A medieval girl school.--Art in the valley of Saas.--Thought and language.--The deadlock in Darwinism.

Presentation for engineers and industrialists,

"Designed for use with three companion books: Fair thought and speech, Corporate correspondence, and Letter writing in action."

“Behind a Best Seller: Kabbalah, Science, and Loving One’s Neighbor in Pinhas Hurwitz’s Sefer ha-Brit”

This manuscript is a literary history of The Book of Covenant, an encyclopedic work of science, philosophy, and ethics written in the late-eighteenth century by Jewish philosopher and polymath Pinhas Hurwitz. Ruderman explores the reasons for the book's huge popularity--it has been republished in forty editions in the last century--as well as its lasting influence on Jewish and kabbalistic thought, and its important place in Jewish society's confrontation with modernity.

“Behind a Best Seller: Kabbalah, Science, and Loving One’s Neighbor in Pinhas Hurwitz’s Sefer ha-Brit”

This manuscript is a literary history of The Book of Covenant, an encyclopedic work of science, philosophy, and ethics written in the late-eighteenth century by Jewish philosopher and polymath Pinhas Hurwitz. Ruderman explores the reasons for the book's huge popularity--it has been republished in forty editions in the last century--as well as its lasting influence on Jewish and kabbalistic thought, and its important place in Jewish society's confrontation with modernity.

The Quaternary pyroclastic succession of southeast Tenerife, Canary Islands: Explosive eruptions, related caldera subsidence, and sector collapse

A much-revised Quaternary stratigraphy is presented for ignimbrites and pumice fall deposits of the Bandas del Sur, in southern Tenerife. New Ar-41/Ar-39 data obtained for the Arico, Granadilla, Fasnia, Poris, La Caleta and Abrigo formations are presented, allowing correlation with previously dated offshore marine ashfall layers and volcaniclastic sediments. We also provide a minimum age of 287 +/- 7 ka for a major sector collapse event at the Gaimar valley. The Bandas del Sur succession includes more than seven widespread ignimbrite sheets that have similar characteristics, including widespread basal Plinian layers, predominantly phonolite composition, ignimbrites with similar extensive geographic distributions, thin condensed veneers with abundant diffuse bedding and complex lateral and vertical grading patterns, lateral gradations into localized massive facies within palaeo-wadis, and widespread lithic breccia layers that probably record caldera-forming eruptions. Each ignimbrite sheet records substantial bypassing of pyroclastic material into the ocean. The succession indicates that Las Canadas volcano underwent a series of major explosive eruptions, each starting with a Plinian phase followed by emplacement of ignimbrites and thin ash layers, some of coignimbrite origin. Several of the ignimbrite sheets are compositionally zoned and contain subordinate mafic pumices and banded pumices indicative of magma mingling immediately prior to eruption. Because passage of each pyroclastic density current was characterized by phases of non-deposition and erosion, the entire course of each eruption is incompletely recorded at any one location, accounting for some previously perceived differences between the units. Because each current passed into the ocean, estimating eruption volumes is virtually impossible. Nevertheless, the consistent widespread distributions and the presence of lithic breccias within most of the ignimbrite sheets suggest that at least seven caldera collapse eruptions are recorded in the Bandas del Sur succession and probably formed a complex, nested collapse structure. Detailed field relationships show that extensive ignimbrite sheets (e.g. the Arico, Poris and La Caleta formations) relate to previously unrecognized caldera collapse events. We envisage that the evolution of the nested Las Cahadas caldera is more complex than previously thought and involved a protracted history of successive ignimbrite-related caldera collapse events, and large sector collapse events, interspersed with edifice-building phases.