La música práctica en san Agustín: "vestigium" y "signum"

En distintos momentos de su producción intelectual, Agustín se refirió al asunto de la música. En este artículo mostraremos que Agustín uso dos esquemas conceptuales distintos para describir el fenómeno de la música práctica en su relación con el mundo espiritual, el esquema de las Artes Liberales y el de la teoría del signo, y que en virtud de ello la música sería concebida de dos modos diferentes: como vestigium y como signum del mundo espiritual, respectivamente. Al final del artículo analizaremos la diferencia entre las dos concepciones considerando tres elementos: la naturaleza de la relación entre mundo material y espiritual, el contenido espiritual al que remite y la noción de belleza que implica.

Anthropology, Socialist Prediction and William Morris’s Commonweal

In the late nineteenth century, a number of writers turned to anthropology to predict a socialist future. They included prominent revolutionary socialists: Friedrich Engels, William Morris and members of the Socialist League. Contextualising the appropriation of the anthropologist Lewis Henry Morgan by such readers, this article also pays particular attention to socialist popularisations of anthropology, particularly those by Morris and his fellow writers in his penny weekly, the Commonweal. Focusing on Morris’s articles on ancient society helps to illuminate his own understanding of history, art and socialism. It also sheds new light on his predictive fiction News from Nowhere, which was originally read alongside Commonweal non-fiction. Both, I will argue, encouraged readers to see the future in the struggles of the ancient past.

Eclectic Dialectics: William Klein's Documentary Method

This article examines the relations between documentary aesthetics and the political sensibility of William Klein. Structured around the cultural phenomena that have remained integral to his career as a photographer and filmmaker - fashion, sport, and music - it discusses his enduring attachment to notions of freedom and creativity still associated with 1960s counter-culture, and the Vietnam War. In particular, it examines how how his films disrupt conventional categories, and subvert the familiar rhetoric of mainstream documentary film, especially that associated with cinéma vérité. A erstwhile protege of Dada, Klein has always valued the expressive potential of improbable juxtapositions, of intercutting between times and places, and subverting mainstream journalistic modes and intentions. The article argues that this attitude is increasingly rare among contemporary documentary filmmakers, and yet it is the very thing that gives his work a distinctive aesthetic texture, and relevance to any history of cinema.