Espacio, sociedad y afectos en tres novelas de Valparaíso: Salvador Reyes, Manuel Rojas y Armando Méndez Carrasco

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2021-08-19 DOI:10.7764/69.7

Ximena Figueroa Flores, F. Alfonso

引用次数: 0

Abstract

The three chosen novels respond to the economic decline of Valparaíso in the mid-20th century by representing space and society, as well as the predominant affections: Valparaíso, Puerto de nostalgia ([1936] 1955) by Salvador Reyes, is located in the Plan of the city and fluctuates between the nostalgic idealization of the English bourgeoisie and the bohemian one of the present; Hijo de ladrón (1951) by Manuel Rojas and El mundo herido (1955) by Armando Méndez Carrasco, instead privilege the space of the hills and move towards a period of mourning in the face of lost time, updating, respectively, the Enlightenment values and the traditional community.

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valparaiso三部小说中的空间、社会和情感:萨尔瓦多·雷耶斯、曼努埃尔·罗哈斯和阿曼多mendez卡拉斯科

所选的三部小说通过表现空间和社会以及主流情感来回应20世纪中期Valparaíso的经济衰退:Valparaíso，萨尔瓦多·雷耶斯(Salvador Reyes)的《怀旧港》([1936]1955)，位于城市规划中，在英国资产阶级的怀旧理想化和现在的波西米亚之间波动;曼努埃尔·罗哈斯的《地狱ladrón》(1951年)和阿曼多·姆萨恩德斯·卡拉斯科的《世界报》(1955年)，反而赋予了山丘的空间特权，面对失去的时间，走向了一段哀悼的时期，分别更新了启蒙运动的价值观和传统社区。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.