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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Ítem Texto completo enlazado El sentido en Deleuze a partir de la fenomenología(Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2015-12-01) Chávez, Juan IgnacioThis paper intends to reflect on the genesis of the deleuzian notion of sense. I will start by demonstrating that Deleuze’s project, as well as Husserl’s, tries to revert Platonism by means of the concept of immanence. Secondly, I will criticise the concept of noema as exposed in Ideas I, in order to elucidate the features that Deleuze seeks to reformulate: good sense and common sense. Finally, based on the previous critique, I will carry out a description of sense as event.Ítem Texto completo enlazado De la imagen-transparente a la imagen-opaca. Hacia una taxonomía de la imagen fotográfica a partir de la filosofía de Gilles Deleuze(Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2016-12-01) León, AlejandroDeleuze’s work is certainly heterogeneous. Throughout his life he managedto deal with an amazing variety of subjects: history of philosophy, psychoanalysis, politics, literature, painting, cinema, among others. However, the author of A Thousand Plateaus did not address a particularly relevant area for the twentieth century configuration –photography. This absence is unsettling not only because of the cultural importance of photography, but also because his reflections concerning the concept of image are a recurrent theme throughout his work. This research will not seek to determine the reasons why Deleuze did not explore the field of photography, because we believe that a question like this is, to say the least, idle. On the contrary, we will try to prolong his reflections in order to unfold the intuitions found in his philosophy that may help us to address the issue of the photographic. In this sense, our objective will be to develop a taxonomy of the photographic image from the distinction of two main types: the transparent image and the opaque image.Ítem Texto completo enlazado La problemática de lo ético-político en Mille plateaux(Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2015-12-01) Díaz, Luis OmarThe present contribution aims to clarify the ethics involved in the notionof territory, coined by Deleuze and Guattari in Mille plateaux, whose philosophical notes are taken from Spinoza’s and Nietzsche’s works. We will see that this project is sufficiently consistent and united, according to its immanent and materialistic lines. However, this ethics finds its limits, not in its internal constitution but in its tacit iden- tification with politics. Our authors conceive the existential field as crossed by political effects, therefore, all ethical acts would be, by their accounts, a political act too. And these acts will be the more perfect –more ethical and more political– the less they deal with traditional state policy. This involves reducing policy to the political, which we believe is a mistake; because, what applies to the singular-collective existence cannotcount nor compete as a substitute of the collective institutional policy.Ítem Texto completo enlazado Genitalidad e (im)potencia del pensamiento: Heidegger, Deleuze, Agamben(Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2015-12-01) Pimentel, SebastiánThis paper reports how according to Heidegger, Deleuze, and Agamben, both the notion of thinking and of philosophical activity, far from meaning the same, involve fundamental differences. However, our reading of the three authors also proposes to discover a common affiliation related to the contrast between “doxa” and “thinking”; Heidegger’s, Deleuze’s and Agamben’s are three ways by which we can understand the “birth” or “emergence” of thinking as an experience or activity that should not be understood as stemming from the field of communication or re-presentation. All these considerations converge finally in the subtle quality of thought as liminal “pow-er” that, according to each author, must also be understood in its paradoxical quality of “impotence”, quality much closer to the experience of in-corporation as an event (Heidegger); to the pre-supposed, non-discursive moment –and simultaneously con- stituent– of either philosophical, artistic, or scientific “creation” (Deleuze); or to the pure enjoyment of power, as the experience of a type of “deprivation”, both positive and unlimited, as well as eluding any “function” (Agamben).Ítem Texto completo enlazado Gramáticas espectrales. Entre Wittgenstein, Deleuze y Derrida(Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2016-12-01) Krebs, Victor J.“Wittgenstein’s Ghosts. Between Deleuze and Derrida”. Both Derrida and Deleuze agree that with the advent of the moving image and the art of film, we need to articulate a new ontology or –in Wittgenstein’s terms–, a new grammar. Derrida suggests this much when he reflects on what he calls the return of ghosts, which he attributes to the advent of film and the communications media; Deleuze does the same in his studies of film, and in particular in what he calls the time-image. They both carve a grammatical space where room is opened for us to talk about an experience that fuses, paradoxically, problematically, the real and the virtual. Wittgenstein is tracing this grammar in his discussions on inner experience and in his observations about the phenomenon of aspect-seeing. Articulating a new grammar requires also a new way of seeing and this new seeing is the purpose of his methods; “clairvoyant” methods we can call them, following Deleuze’s term for what the time image propitiates in the viewer, in that they allow us to see beyond things to their aspects, beyond substances to processes; in other words, they train us to think in moving time. Philosophy is thus always a work of mourning and a commerce with ghosts. What this means is that Wittgenstein is –as Derrida and Deleuze are too–, what we might call a philosopher of becoming.Ítem Texto completo enlazado Gilles Deleuze y Jacques Rancière. Arte, montaje y acontecimiento(Pontificia Universidad Católica del Perú. Instituto Riva-Agüero, 2015-12-01) Landaeta Mardones, PatricioThe 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.