A propósito de los cien años de La Metamorfosis, de Franz Kafka

Preguntas a escritores, artistas, poetas y profesores sobre La metamorfosis, de Franz Kafka1. ¿Cuándo, cómo y por qué leyó inicialmente La metamorfosis de Kafka y que le causó en ese momento su lectura y por qué?2. Leería de nuevo usted La metamorfosis de Kafka: ¿Qué necesidad o interés tendría de hacerlo y desde donde la haría?

Le silence des Sirènes : Franz Kafka

La nouvelle de Kafka, une page écrite le 23 octobre 1917, est une réécriture du passage de l’Odyssée d’Homère1 dans lequel Circé avertit Ulysse qu’il va passer au large de l’île des Sirènes. Ces êtres hybrides, mifemmes mioiseaux, attirent irrésistiblement les marins par leur chant et provoquent leur naufrage ce dont témoigne le rivage couvert d’ossements. Circé indique aussi à Ulysse le moyen d’échapper à ce sort funeste: il devra boucher les oreilles de ses compagnons avec de la cire; lui seul, solidement attaché au mât, pourra jouir de la voix des Sirènes.

ENTREVISTA CON FRANZ HINKELAMMERT

El 05 de abril de 2001, en sesión ordinaria del Consejo Universitario de la Universidad Nacional, éste órgano de la UNA tomó el acuerdo de otorgar al Dr. Franz J. Hinkelammert, científico social alemán radicado en Costa Rica desde hace más de veinte años y uno de los fundadores del Departamento Ecuménico de Investigaciones(DEI); el Doctorado Honoris Causa, “por su excepcional aporte a las ciencias sociales contemporáneas”. El acto público para la entrega oficial de tal distinción se realizó un mes después, y en ese mismo acto, se le solicitó al Dr.Hinkelammert la entrega de una obra reciente o en preparación de su autoría, para que fuera publicada por la Editorial de la UNA, como parte del reconocimiento a su labor intelectual. El borrador final de esa obra fue entregada a la EUNA a finales de 2001, y tratándose de más de 500 páginas, tomó casi un año de prolijo trabajo la tarea de corrección y edición. Se trata del libro que comentamos en la presente entrevista, EL SUJETO Y LA LEY. El retorno del Sujeto reprimido, Editorial Universidad Nacional,Heredia, Costa Rica, 2003.

UNA REVISITA A LA OBRA Y EL PENSAMIENTO DE FRANZ HINKELAMMERT

Catalogado por el también connotado Enrique Dussel, como el filósofo más prominente en la actualidad en América Latina, Franz Hinkelammert es, en efecto, un pensador y crítico social de gran trayectoria en nuestro continente, desde su llegada a Chile en 1963. Autor de obras de gran relevancia en el campo de la economía, la filosofía y la teología de la liberación, Hinkelammert se desempeña actualmente como miembro del equipo de investigadores del Departamento Ecuménico de Investigaciones (DEI), con sede en San José de Costa Rica.Con Franz Hinkelammert nos une una amistad de varios años, lo mismo que un vínculo de colaboración con la Escuela de Economía de la UNA, donde asiduamente un grupo de académicos y estudiantes trabajamos y discutimos sus obras. Recordamos en especial sus tesis sobre el subdesarrollo, la teoría del valor, el fetichismo mercantil, y sobre la deuda externa. Su obra es realmente prolija y sugerente, al mismo tiempo que reúne la singular característica de la multidisciplinariedad en la mayoría de sus trabajos. Por estos, y muchos otros motivos, hemos considerado extraordinariamente valioso presentar a los lectores de Economía y Sociedad una síntesis de su pensamiento, a través de los resultados de esta entrevista que tuve el honor de realizar y editar. La misma está estructurada en quince preguntas, numeradas de forma consecutiva. No obstante, y dado que cada pregunta abarca en realidad un área temática, aparecen preguntas o comentarios adicionales de mi parte que se identifican en letra negrita y que son antecedidas por las siglas H.M. La entrevista se realizó a mediados de enero del 2000, y el trabajo de edición finalizó a finales de febrero.

A agonia do insecto: Abordagem psicológica à obra de Franz Kafka

Dissertação de Mestrado apresentada ao Instituto Superior de Psicologia Aplicada para obtenção de grau de Mestre na especialidade de Psicologia Clínica.

Work integrated learning for design : a scholarship of integration

Within an action research framework, this paper describes the conceptual basis for developing a crossdisciplinary pedagogical model of higher education/industry engagement for the built environment design disciplines including architecture, interior design, industrial design and landscape architecture. Aiming to holistically acknowledge and capitalize on the work environment as a place of authentic learning, problems arising in practice are understood as the impetus, focus and ‘space’ for a process of inquiry and discovery that, in the spirit of Boyer’s ‘Scholarship of Integration’, provides for generic as well as discipline-specific learning.

Calling Home

Through the exhibition implicit conceptions of home held by the participating artists and those viewing the exhibition were externalized. Represented as images, the conceptions conveyed different as well as shared understandings categorized as physical, cognitive, emotional, instrumental and existential. Unlike written papers on the meaning of home, the exhibition enabled access to a richer understanding of home as facilitating a way of being-in-the-world.

At-the-edge-of-the-forest

This exhibition was the outcome of a personal arts-based exploration of the meaning of interiority. Through the process it was found that existentially the architectural wall differentiating inside from outside does not exist but operates as a space of overlap, a groundless ground providing for dwelling in the real existential sense of the word.

Existential experience : the unfolding

This paper reports on a project concerned with the relationship between person and space in the context of achieving a contemplative state. The need for such a study originated with the desire to contribute to the design of multicultural spaces which could be used for a range of activities including prayer and meditation. Given that the words ‘prayer’ and ‘meditation’ are highly value-laden and potentially alienating for some people, it was decided to use the more accessible term ‘contemplative’. While the project is still underway,several findings have emerged that can be reported on and are of relevance to the conference both methodologically and substantively. Informed by phenomenological methodology, data were collected from a diverse group of people using photo-elicitation and interviewing. The technique of photo-elicitation proved to be highly effective in helping people to reveal their everyday lived experience of contemplative spaces. This methodological aspect of the project is described more fully in the paper. The initial stage of analysis produced two categories of data: varying conceptions of contemplation and contemplative space; and, common understandings of contemplation and contemplative space. From this it was found that achieving a state of contemplation involves both the person and the environment in a dialectic process of unfolding. The unfolding has various physical, psycho-social, and existential dimensions or qualities which operate sequentially and simultaneously. In the paper, these are labelled:the unfolding of the core; distinction; manifestation; cleansing; creation; and sharing, and have parallels with Mircea Eliade’s 1959 definition of sacred as 'something that manifests itself, shows itself, as something wholly different from the profane’. It also connects with the views of Nishida Kitaro from the Kyoto School of Philosophy on the theme of ‘absolute nothingness’: ‘the body-mind is dropped off and we are united with the consciousness of absolute nothingness’ (Kitaro in Heisig, 2001, p. 169). According to Marion (2005), ‘nothingness’ is defined by givenness. In the paper, this fold of givenness is interpreted in the context of the qualities of the environment that accomplish the act of coming forward into visibility through the dialectic relationship with a person. (Eliade, 1959, Heisig, 2001, Marion, 2002)

Art and the sublime : the paradox of indeterminacy unknowing and (dis)orientation in the presentation of the unpresentable

the (dis)orientation of thought in its encounter with art can be understood as the direct result of an encounter with indeterminacy as a lack in meaning. As an artist I am aware of how this indeterminacy impacts on the perceived value and authority of the artistic voice and in particular its value as a research voice. This paper explores this indeterminacy of meaning, as a profound and disturbing unknowing characteristic of the sublime and argues its value to advanced thought and for any methodological understanding of practice-led research. Lyotard described the sublime as an ‘understanding’ through which art and its associated practices may be able to resist an all too easy assimilation by the public as just a consumer commodity. His thought represents an attempt to both politically and philosophically understand art’s, and particularly abstract painting’s, affect as a state of profound and positive unknowing. To talk of the sublime in art is to speak of the suspension of any comfortable certainty in being and instead to engage with the real as a limit to meaning and knowing. It is to talk of the presentation of the unpresentable as a momentary but significant dissolution of representation. This understanding of the sublime is then further explored through the cultural phenomena of the monochrome painting and applied to the work of the two contemporary artists, Franz Erhard Walter and Günter Umberg. Initially the monochrome was understood as an attempt to go beyond traditional representation and present the unpresentable. In the one hundred years or so since that initial move this understanding has broadened. The monochrome now presents itself as a genre or even project within visual art but it still has much to teach us. In the concretely abstract and performative artworks of Franz Erhard Walter and Günter Umberg, traces of this ambition remain and their work can be seen to pose questions probing our understandings and experiences of artistic meaning, its value and the real.