Humanism is a violence typical of the beasts. Philosozing with a Hammer, using Levinas and Derrida, the Measure of the Human and the Human as a measure

Levinas’s reflections arose as a critique of traditional philosophy which, since it was based on presence and identity, leads to the exclusion of the other. Instead of an onto-logical thought the Lithuanian proposes that the ipseity of the human being be constituted by alterity, and that it be so ethically, because the subject is sub-ject, that is, that which upholds, responsibility. In an attempt to take the obligatory attention to the otherness of the other even further, Derrida would develop a radical critique of the Levinasian posture. Deconstruction of every trace of ipseity and sovereignty in the relationship with the other, the reading that we have done of the work of Derrida opts for a no definable understanding of the human. That is why every de-limitation of an ethical field as a properly human implies a brutal violence that the levinasian humanism of the other tried to exceed.

Diabolical Witches or Sinful Princes? “Political” Foundations of Demonological Skepticism in the Early Modern Period

Skepticism regarding witchcraft, characteristic (but not exclusive) of the Spanish lands, corresponds with a particular view of evil’s etiology. Whereas paradigmatic texts of radical demonology, as the Malleus Maleficarum, gave a conclusive step towards the demonization of natural evil (as they put the blame on the devil and the witches for calamities and plagues), texts of Castilian origin, as Alonso de Espina’s Fortalitium fidei, embraced the traditional position: they considered the devil as a promoter of moral evil in the world, meanwhile natural evil is seen as a result of the wrath of God for the sins of His people –particularly, the sin of Christian princes. I argue that the distinction between these two ways of thinking the causality of the world’s misfortunes can be read in political terms.

Ruxia i Ruxianos w romansach rycerskich autorstwa Feliciano de Silva

W niniejszym artykule przeanalizowany został sposób wykorzystania przez Feliciano de Silva autentycznego toponimu Ruxia (Ruś) przy konstruowaniu świata przedstawionego w romansie rycerskim. Jak zostaje wykazane, Feliciano de Silva jedynie częściowo wpisuje się w tendencję zaobserwowaną wcześniej m.in. u Garci Rodrigueza de Montalvo, który w swoich dziełach nakreśla jasną opozycję pomiędzy chrześcijańskim światem błędnego rycerstwa a złym i nikczemnym pogaństwem. Autor z Ciudad Rodrigo, chcąc nawiązać do chwały średniowiecznego Konstantynopola, powraca do czasów konfliktu bizantyńsko-ruskiego, który twórczo wykorzystuje w aż trzech księgach Florisel de Niquea. Ruxia, jeden z głównych przeciwników greckiego rodu, przedstawiona zostaje jako pogańska potęga militarna, której przewodzą władcy odważni, lecz zarazem owładnięci żądzą, niemoralni i okrutni.

Tifones y gigantes en el mundo macedonio: el rey como símbolo del orden cósmico

Este artículo analiza la existencia de un posible ritual en la antigua Macedonia que fuese similar al Akîtu babilonio. Pensamos que la victoria de Zeus sobre sus enemigos en la gigantomaquia y tifonomaquia fue celebrada por los reyes macedonios para fortalecer su posición en el poder. Aunque no hay evidencias directas de ello, tenemos una serie de diferentes fuentes en las cuales los macedonios están relacionados directa o indirectamente con Tifón y los gigantes. Además, la estratégica importancia del monte Olimpo para los macedonios nos hace pensar que la victoria de Zeus sobre las fuerzas del mal fue conmemorada de alguna forma por ellos.

El discernimiento de espíritus en las periferias cristianas: gozo, pactos y poderosos entre aborígenes evangélicos del Chaco Argentino

El discernimiento de espíritus ha sido a lo largo de la historia del cristianismo un mecanismo fundamental para el control del acceso al carisma. Su desarrollo ha estado profundamente ligado a los cambios en la estructura social de las iglesias. Por ello buscamos aportar nuevas miradas sobre este dispositivo, analizándolo en el contexto de las periferias cristianas. Específicamente centraremos nuestro análisis en las iglesias evangélicas aborígenes mocoví del suroeste de la provincia del Chaco en Argentina. Nos aproximaremos a estas cuestiones a partir del análisis a la estructura social de estas iglesias, sus concepciones sobre los vínculos con las potencias no-humanas, la gestión de salud y enfermedad y la experiencia del culto.

Las edades de Hitler. De Satán a un ser de carne y hueso, y su representación en clave paródica

Adolf Hitler suscitó desde su entrada en la escena política alemana una fascinación perversa, un sentimiento que, con el tiempo, ha dado lugar a numerosas representaciones culturales sobre el Führer. La muestra, rica y variada tanto en el fondo como en la forma, nos permitirá trazar tres estadios en lo referente al proceso de construcción historiográfica del hitlerismo, iniciado con la caída del Tercer Reich. Estos responden en buena medida al devenir sociopolítico y cultural de la sociedad a escala global desde el final de la guerra y hasta nuestros días y pueden resumirse en tres: primero, la satanización; segundo, la humanización; tercero, el retrato caricaturesco. Proponemos un recorrido histórico por diversos productos culturales del dictador alemán cuyo propósito es desentrañar el retrato psicológico poliédrico que se ha construido en torno a la figura de Hitler.

La presencia del "flâneur" en "Tetralogie der Erinnerung" de Dieter Forte

Reflejando la ciudad moderna, el flâneur se encuentra atrapado entre dos tiempos: el presente, que se transforma continuamente, y el pasado, que permanece en forma de vestigios materiales. Desde su aparición en la literatura, la trayectoria del flâneur va ligada a los principales cambios históricos, sociales y culturales, que se plasman en distintas texturas urbanas. En todas ellas ejerce una función de nexo entre la ciudad antigua y la nueva que se superpone. El objeto del presente artículo es analizar la evolución de esta figura histórico y literaria como punto de partida para interpretar la obra en prosa Tetralogie der Erinnerung (1992-2004) de Dieter Forte.

Fiction and reality in "The Kindly Ones" of Jonathan Littell

This paper studies the novel The Kindly Ones, whose main plot charts the anguished memories of a Nazi officer. The reader of this novel is plunged into the harshest atrocities of the Holocaust and WWII, as these are recounted by a perverse conscience who is unmoved by the most terrible actions. Fiction and reality are contrasted in the novel against the framework of history writing and the subsequent debates sparked by historical elaboration. This novel perceptively captures historical truth, thus calling for critical attention upon the collective responsibility which will prevent the repetition of events.

La felicidad del mal

En el presente artículo se aspira a poner de relieve cómo Tucídides, al describir la guerra de Corcira y extraer las consecuencias morales de la misma, pone bajo el foco de su análisis incluso los bajos fondos de naturaleza humana, esa dimensión de la psique que permanece oculta o es negada cuando las sociedades viven en paz y con cierto grado de prosperidad. El resultado es la aparición del mal en toda su apoteosis existencial. Es decir, no ya el mal que infligimos unas veces sin querer y otras por necesidad, o por seguridad, o por miedo, etc. El mal que ahí aparece como constitutivo del ser humano es el que se inflige cuando han desaparecido todas las condiciones que lo volvían explicable y hasta necesario, el mal gratuito, el mal que ha aislado a su ejecutor de todo contexto, que ha transformado la voluntad del mismo en siervo suyo y que, a cambio, le procura éxtasis de felicidad que sólo él procura.

‘Why are there always three?’: The Gothic Occult in Dario Argento’s Three Mothers Trilogy

Thomas De Quincey’s essay ‘Levana and Our Ladies of Sorrow’ provided Dario Argento with the spark of an idea, which was further ignited by tales from his then wife, Daria Nicolodi, who told him of her grandmother’s stay at a music school which was run by a coven of witches. From these sources Argento came up with the mythology of The Three Mothers, which were to feature in three of his films: Suspiria (1977), Inferno (1980) and La terza madre/The Mother of Tears (2007). This article will examine the occult and esoteric sources of The Three Mothers trilogy, and explore how these references work to create a series of films that may superficially appear to use the supernatural and occult to create scares, but actually incorporate elements of Western Esotericism rather than traditional Christian images of evil. By doing this, these films transcend their apparent flaws (in terms of shallow plot and character development, a common complaint directed toward many Italian horror films) and instead imbue the mise-enscene itself with meaning, character and narrative. Although the films are situated within the Gothic genre, and in many respects follow traditional Gothic lines with witchcraft and the occult becoming synonymous with evil, I will argue that the films actually belong to the long tradition of art forms that have attempted to investigate the allure and the danger of occult exploration.

Severus Snape : The Complexity and Unconventional Heroism of Severus Snape in the Harry Potter Books

Being an evildoer and being evil is not always the same thing; author J.K Rowling’s character Professor Severus Snape from the Harry Potter series is balancing on that very line. Although being unfair and mean to the protagonist Harry Potter all through the series, Professor Snape is revealed as a hero in the seventh book Harry Potter and the Deathly Hallows (2007). This essay focuses on some of the complex psychological reasons as to why Snape acts the way he does towards Harry and why many readers consider him to be just as great a hero as the protagonist. It argues that his difficult upbringing is the cause of his complexity and the series of books are analyzed from a structuralist perspective, using A.J Greimas’ actantial model and Frank Kermode’s theories about endings and plot twists. Snape’s hate for Harry’s father, caused by years of bullying, is examined as well as his love for Harry’s mother. This essay also discusses in what ways Snape’s change of allegiance, brought on by his eternal love for Harry’s mother, is a great aid in defeating the Dark Lord.

Espirito de catimbo: a moral magico-religiosa da jurema

This participative research interested in the social praxis attempts to understand the moral principles that set the magic rituals and the places of worship of three jurema centers of the potiguar region of Canguaretama. Among other inner particularly aspects of each focused catimbó-jurema center, it is being discussed the collective standards involved in the reliance and fellowship values assumed in the private magical gatherings by the juremeiras leaders and their partners, in contrast to the prestige seeking and the individualism that influence both the symbolic competitions and the witchcraft works that link these agents to the broader catimbozeiro universe of this region. Finally, the moral practices which make part of the juremeiro left-right dualism are investigated based on the understanding that the referred native pantheonic-ritual dichotomy does not necessarily express two moralities substantially adversed in terms of benefits or harms, but a series of moral actions subject to the specular logic of the tit-for tat. Thus, this research seeks to prove that this moral structure of symbolic reciprocity, as well as the witchcraft centrality in the catimbozeiro world, finds a certain causal link in a world view which guiding principle is the ontological evil of the catholic cosmology

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

Poetyckie dialogi Czesława Miłosza i Tadeusza Różewicza

Wydział Filologii Polskiej i Klasycznej

Colour in English: from metonymy to metaphor

Colour words abound with figurative meanings, expressing much more than visual signals. Some of these figurative properties are well known; in English, for example, black is associated with EVIL and blue with DEPRESSION. Colours themselves are also described in metaphorical terms using lexis from other domains of experience, such as when we talk of deep blue, drawing on the domain of spatial position. Both metaphor and colour are of central concern to semantic theory; moreover, colour is recognised as a highly productive metaphoric field. Despite this, comparatively few works have dealt with these topics in unison, and even those few have tended to focus on Basic Colour Terms (BCTs) rather than including non-BCTs. This thesis addresses the need for an integrated study of both BCTs and non-BCTs, and provides an overview of metaphor and metonymy within the semantic area of colour. Conducted as part of the Mapping Metaphor project, this research uses the unique data source of the Historical Thesaurus of English (HT) to identify areas of meaning that share vocabulary with colour and thus point to figurative uses. The lexicographic evidence is then compared to current language use, found in the British National Corpus (BNC) and the Corpus of Contemporary American (COCA), to test for currency and further developments or changes in meaning. First, terms for saturation, tone and brightness are discussed. This lexis often functions as hue modifiers and is found to transfer into COLOUR from areas such as LIFE, EMOTION, TRUTH and MORALITY. The evidence for cross-modal links between COLOUR with SOUND, TOUCH and DIMENSION is then presented. Each BCT is discussed in turn, along with a selection of non-BCTs, where it is revealed how frequently hue terms engage in figurative meanings. This includes the secondary BCTs, with the only exception being orange, and a number of non-BCTs. All of the evidence discussed confirms that figurative uses of colour originate through a process of metonymy, although these are often extended into metaphor.