Estudios de Filosofía

URI permanente para esta comunidadhttps://hdl.handle.net/20.500.14657/175808

e-ISSN: 2409-1596

Estudios de Filosofía es una revista de periodicidad anual, editada por el Seminario de Filosofía del Instituto Riva-Agüero, escuela de altos estudios humanísticos de la Pontificia Universidad Católica del Perú, y elaborada con el esfuerzo conjunto de profesores y estudiantes de Filosofía de esta universidad. Se publica por primera vez en 1975; a partir de 2009, la revista se publica de forma exclusivamente electrónica.

Su objetivo es difundir textos originales e inéditos, principalmente -aunque no de modo exclusivo- de quienes se inician en la investigación. Se incluyen artículos, traducciones, estudios críticos, reseñas, entrevistas, notas bibliográficas y noticias de actividades filosóficas diversas.

Todos los artículos presentados a la revista son sometidos a un proceso de arbitraje doble ciego realizado por pares nacionales.

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2014 - 201932020 - 20222

Ajustes

Temasearch.filters.applied.operator.equals: search.filters.subject.Arte

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Mostrando 1 - 5 de 5
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    ¿En qué momento se jodió el arte? Entre el espectáculo y la invención en el arte actual
    (Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2022-12-05) Ramírez, Juan
    “When did art get fucked? Between spectacle and invention in contemporary art”. The monograph offers a reading of Mario Vargas Llosa’s The Spectacle Civilization (2012), with the intention of bringing to light the aesthetic prejudices upon which his criticism of contemporary art is based. For this, we will rely on the thesis stated by the American philosopher and art theorist Larry Shiner, who holds in The Invention of the Art (2001), that the notion we have of art is born from a historical process that defines and determines it, especially from the historical conditions of the economy and society of Europe in the 18th and 19th centuries. With this, we pave the way for a serious debate about the current condition of art and culture. Although Vargas Llosa triggered reviews, columns, and round tables in universities and different virtual publications we pretend here an understanding of his view from which he opposes current artistic manifestations. To do this, we will first explain the novelistic and aesthetic theories of the Peruvian author, which will allow us to understand his cultural criticism and, in the second part, dismantle the aesthetic prejudices from which he operates. Our conclusion is that the vision of the Peruvian Nobel laureate of an autonomous and free art that defies time has the irony of having a historical beginning, so trying to explain these temporal boundaries that border it allows us to understand it better.
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    Despertando el mentis oculus: una aproximación al conocimiento de sí mismo en De ludo globi de Nicolás de Cusa
    (Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2021-12-02) Román, Massiel
    The aim of this paper is to approach the way man knows himself through the curi-ous game of the ball posed in De ludo globi. The hypothesis of this work is that, if it is to be known, the human soul must first come out of itself. From an analysis of the elements involved in that game, we will see that artistic creation, as an explicatio of the notions that it carries within itself, provides the appropriate instance and tool for this purpose. Therefore, we will follow the trail of the vis inventiva to find the powers of the soul and accentuate an important aspect in which the human mens is imago Dei: the free creative force.
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    A propósito del problema del espacio en Hegel
    (Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2016-12-01) Vera, Santiago
    The paper aims to locate the concept of space within Hegel’s philosophy, interrogating the necessity of its subordination in relation to the concept of timewithin the framework of the Hegelian teleology of history. The first part considers the problem of the relation between (natural) space and (natural-spiritual) time, placing each concept in its corresponding systematic location. The second part illustrates how this problem operates within three scenarios: language, art and geography. In the context of a wider research regarding the historical devaluation that space suffered in relation to the categorical preeminence of time, this paper intends to identify one among many conceptual strategies whereby this preeminence acquires legitimation in Hegel´s philosophy.
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    Gilles Deleuze y Jacques Rancière. Arte, montaje y acontecimiento
    (Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2015-12-01) Landaeta Mardones, Patricio
    The critique of images is seen as a set-up’s critique for the emergency ofcritical thinking in the era of the proliferation of information and communication systems, imposed due to their apparent objectivity. This article discusses in seven paragraphs the link among montage, image and event according to the thoughts ofGilles Deleuze and Jacques Rancière.
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    El aparecer de lo sublime: la recuperación de lo sublime en la naturaleza a través del arte
    (Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2014-12-03) Pérez, Roger
    The Kantian interpretation of the sublime proposes in its assessment a predominant place to the contemplation of nature. Contemporary interpretations, on the other hand, focus their attention upon the capacity of art as a de-structuralizing element, in order to give an account of a historical development of the arts in the way of the sublime. The present paper holds that, since Martin Seel’s Aesthetics of Appearing, it is possible to link both approaches by means of an existential interpretation of the experience of the sublime that stresses the role of time, and thus recovers the experience of the natural sublime in the absence of a super-sensible foundation.