Vico en Eugenio Imaz

La recepción de Vico en el pensamiento y la obra del filósofo español Eugenio Imaz, exiliado en México, ha sido evidente. Vico, junto a Dilthey, Croce o Collingwood, ha sido uno de los autores "familiares" de Imaz, el cual ha influido notablemente en su humanismo integral y en su historicismo filosófico.Vico's reception in the thought and work of the Spanish philosopher Eugenio Imaz, exiled in México, was evident. Vico, along with Dilthey, Croce or Collingwood, has been one of the "familiar" authors of Imaz, which has notably influenced his integral humanism and his philosophical historicism

Filosofía de la razón viviente y hermenéutica dramática. Del drama de la razón a la razón del drama

In the light of a new “southern” style of thought (meridional or “mediterranean” philosophy) from the perspective of a “problematic and narrative reason”, this essay proposes a “meditation” about a vital and poetic “dramatic reason”. Such a perspective is in sharp contrast with the abstract, theoretical and contemplative one in which that same “poetical reason” is usually embedded. The goal of this essay is to show that, from a philosophical point of view, “dramatic reason” is the way “vital reason” (Ortega) exists inside “poetic reason” (Zambrano)

Pensamiento dramático y razón poética: La filosofía adentrada en el oscuro corazón del bosque

In the light of a new “southern” style of thought (meridional or mediterranean philosophy), this essay deepens into the concept of a “problematic and narrative reason”, and leads the meditation about “poetical reason” to a more concrete, practical and vital perspective: the work of dramatic art. The aim of this essay is to bring “poetical reason” closer to the dimension of “dramatic reason” and to the criticism that it raises, which is open to a true way of knowing. Authors such as Gracián, Vico, Ortega, Santayana or Zambrano and recurrent; but also poets and dramatists, who show us the poetic, vital and, eventually, dramatic aspect of reason. Special attention is paid to the Spanish dramatist José Luis Alonso de Santos and his dramatic work The Dark Heart of the Forest

Introducción. Presencia y ausencia de Vico

Estas páginas reproducen la “Introducción” realizada por José M. Sevilla en su volumen El espejo de la época. Capítulos sobre G. Vico en la cultura hispánica (1737-2005) (Edizioni La Città del Sole, Nápoles, 2007, pp. 676, ISBN 978-88- 8292-372-3), en las páginas 27-32. La “Introducción” se recoge en la revista, con autorización del autor, por la importancia y el interés que la obra presentada adquiere dentro de los estudios viquianos en España y en Latinoamérica, y por el valor que en sí misma tiene dicha “Introducción” para la historia de la crí- tica viquiana.Those pages reproduce José M. Sevilla’s “Introducción” to his book El espejo de la época. Capítulos sobre G. Vico en la cultura hispánica (1737-2005) (Edizioni La Città del Sole, Naples, 2007, pp. 676, ISBN 978-88-8292-372-3), pages 27-32. The Introduction is reprinted in this Journal with authorization of its author, both because of the importance and interest of the introduced work for Vichian studies in Spain and Latin America, and for the value that the “Introducción” itself has for the history of Vichian criticism

Mobilis in mobili. Vichianamente vichiano

El Autor realiza un ejercicio de razón narrativa y ofrece la imagen de un proceso de evolución y despliegue que parte desde antaño de su Tesis Doctoral sobre Vico y llega hasta su actual filosofía problematista. El Autor estructura su relato sobre tres columnas principales relacionadas con la arquitectura de los estudios viquianos: 1) Sus contribuciones a la interpretación historicista-problemática de la filosofía de Vico; 2) sus aportaciones a los estudios sobre Vico y la cultura hispánica; y 3) su propia recepción de Vico –junto con, principalmente, Ortega– como motivo en un proceso de teorización acerca de la “razón problemática”: viviente y narrativa (razón vital e histórica en concreto, no en abstracto) y de una “filosofía vivible”.The Author carries out an exercise of narrative reason and shows a process of evolution and unfolding that starts from his Doctoral Thesis on Vico and reaches his current problematist philosophy. The Author structures his story on three main axes, related to the architecture of Vichian studies: 1) His contributions to the historicistproblematic interpretation of Vico’s philosophy; 2) his contributions to the studies on Vico and Hispanic culture; and 3) his own reception of Vico –along with, mainly, Ortega– as a motive in a process of theorizing about “problematic reason” –i.e. living and narrative reason (vital and historical, in concrete, not in abstract)– and about a “livable philosophy”.L’Autore realizza un esercizio di ragione narrativa e offre l’immagine di un processo di evoluzione e sviluppo che parte dalla sua tesi dottorale su Vico per approdare alla sua attuale filosofia problematica. L’Autore struttura la sua storia su tre assi principali relazionati all’architettura degli studi vichiani: 1) i suoi contributi all’interpretazione storicistico-problematica della filosofia di Vico; 2) i suoi contributi agli studi su Vico e la cultura ispanica; e 3) la sua personale ricezione di Vico – unita, principalmente, a Ortega – come motivo all’interno di un processo di teorizzazione della “ragione problematica”, ovvero vivente e narrativa (ragione vitale e storica in concreto, non in astratto), e di una “filosofia vivibile”

"La lingua con cui parla la storia ideal eterna". El decir de la historia: razón narrativa-histórica.

El concepto de razón que emerge con Vico, y que será análogo al propuesto por Ortega, no es ya el de la razón física y pura, natural y abstracta, sino el de una razón vital e histórica, la cual viene a ejercitarse y expresarse como razón narrativa: aquélla única capaz de comprender “la lingua con cui parla la storia”.The concept of reason that emerges with Vico, and that is analogous to the one proposed by Ortega, is not only the one of physical and pure, natural and abstract reason, but rather the one of vital and historic reason, which comes to exercise itself and express itself as narrative reason: that only capacity of comprehension, “la lingua con cui parla la storia”

History as Ideology: the Shaping of National Identities in the Historical Plays of Shakespeare and Calderón

Estudio comparativo del drama histórico de Shakespeare y Calderón