Este artículo analiza la posibilidad de atribuir juicio moral a la inteligencia artificial (IA) desde la perspectiva kantiana. Se sostiene que, aunque los sistemas de IA pueden simular conductas éticas mediante algoritmos y reglas preprogramadas, carecen de libertad trascendental y de una voluntad autónoma, condiciones esenciales en la moralidad kantiana. El estudio integra conceptos fundamentales de la filosofía práctica –como el deber y el imperativo categórico– con experimentos exploratorios que ilustran las respuestas de sistemas de IA en dilemas morales. Los hallazgos muestran que las acciones de las máquinas son amorales, pues se limitan a fines externos determinados por sus programadores. Se concluye que la ética kantiana constituye un marco crítico para subrayar los límites del juicio moral artificial y resalta la necesidad de mantener un enfoque humano-céntrico en el desarrollo de estas tecnologías.

This article considers the reading of Gabriel García Márquez's ‘The Handsomest Drowned Man in the World’ as a transtextual hermeneutic from the perspective of Gerard Genett. This means that the writing of the work is not only a kind of imitation of a previous text to produce a new one, but it is the product of a creative process on the part of the author. Accordingly, this paper relies on three referents for the writing of the story, which together can also contribute to a more comprehensive reading of the symbolic, cultural and poetic universe narrated in the story. These are transtextualities, writing techniques and the author's lived experiences. These elements constitute the body of the text in which idiosyncratic, literary and mythical interpretations are introduced, contrary to the ideological positions referring to the Spanish conquest or the folkloric peculiarities of the local order. This gives an image of Gabriel García Márquez not only as an author, but also as a diachronic reader who writes what he has lived from the reinterpretation of the referents of literature, history and culture. Thus, some critics consider that the author's context, his formation as a human being and writer, bring him closer to his sensibility and provide resources to find possible meanings for his work.

El artículo inicia reflexionando sobre el lugar que comparten el fenomenólogo, el artista y el diarista, a saber, la omisión de una postura existencial frente a la realidad. El recorrido teórico continúa estableciendo algunas consideraciones de carácter general sobre el diario y la atención, entendida esta última a la luz de los planteos fenomenológicos de Edmund Husserl y sus precursores. Luego, vinculamos la facultad de la atención al quehacer del diarista en dos aspectos fundamentales. Por una parte, la focalización de la atención le ofrece al diarista temas sobre los cuales escribir. Por otro lado, la escritura representa un segundo momento atencional, donde la atención se posa reflexivamente sobre los actos atentos de la conciencia y sobre el acto de escritura. La simultaneidad de este volverse de la atención posibilita la escritura del diario, que representa una mirada estética sobre el mundo circundante e interior del sujeto. Los objetos intencionales son aprehendidos sobre la base de un placer que irradia de ellos. El interés considera a los objetos como algo más y algo diferente de lo que son, se vuelven objetos de sentimiento. Este mirar es equiparable a una forma de contemplación, es decir, a una consideración estética del mundo. Finalizamos comentando la función del mentar y sus vínculos lingüísticos. Esta reflexión nos permite desarrollar cómo el diarista nombra de nuevo aquello que menciona y concluir que este nombrar nuevo y segundo resulta un acto poético.

Este artículo parte de la pregunta de cómo el concepto de tradición podría obrar en el rock alternativo a partir de una lectura hermenéutica desde la propuesta filosófica de Hans-Georg Gadamer, es decir, se pretende reconocer cómo la tradición ha estado presente y sigue estando vigentes en cada década hasta ahora en el rock alternativo. Desde esta concepción, se proponen tres maneras de hacer una interpretación de dicho concepto. En primer lugar, se toma el concepto de tradición, elaborado por Gadamer, para descubrir su posible relación (la tradición) en la historia del rock alternativo y la contemporaneidad. El segundo acápite tiene que ver con la manera en la cual este concepto opera y cobra vigencia en el presente a través de la historia del rock alternativo y sigue estando vigente en la contemporaneidad. Por último, se observa al rockero, el protagonista de toda esta historia, quien es capaz de denunciar las supuestas normalidades, es el que cuestiona, es quien deambula de espaldas hacia el presente sin perder la panorámica del pasado. La tarea del hombre contemporáneo es intentar rescatar el pensamiento que le haya precedido y a partir de ahí fijar la mirada hacia el futuro, sin que sea esta mirada al pasado interpretada como retroceso, sino más bien como un comprender, un entender a hombros de gigantes.

En este artículo se analizan las estrategias autofigurativas de La travesía de Luisa Valenzuela en términos de las narrativas del yo, la dictadura argentina y el feminismo, encontrándose una correspondencia entre la desautorización de la voz y la estructura del relato autobiográfico y el retrato de la experiencia de la violencia del régimen militar y de género. Inicialmente, se sitúa a la novela en el auge de las narrativas del yo que, con recursos literarios que se separan de los escritos autobiográficos más conservadores, denuncian la imposibilidad de entender al sujeto como unívoco, a la vez que fundan diferentes aproximaciones al recuento de la experiencia. Dicha localización permite explorar los experimentos formales que Valenzuela lleva a cabo en torno al ejercicio autobiográfico y que ponen de relieve la crisis de la construcción de la memoria y la exposición de la subjetividad contemporánea. Además, se demuestra cómo tales estrategias sirven de vehículo a la reflexión sobre el feminismo y la dictadura que permean la totalidad de su obra. Para esto, se acude a la noción de escritura femenina de Valenzuela, la cual antepone la multiplicidad de perspectivas a la univocidad de la voz autobiográfica, lo ambiguo a lo preciso, y lo colectivo a lo autoritario. La travesía es, entonces, leída como parte de las obras que acuden a la narración de la propia experiencia en un marco del recuento de la memoria colectiva, con juegos narrativos que señalan la futilidad deíctica del yo y la dificultad de relatar el tiempo pasado, sin, por ello, abandonar el llamado a su reconstrucción como garantía de no repetición.

This article aims to establish a relationship between Merleau-Ponty’s phenomenology and literary expression. This proposal relies on the importance that Merleau-Ponty acknowledges to the expressive ability of literature. In order to achieve this objective, first of all, literary expression will be elucidated using the tools of Merleau-Ponty’s phenomenology and the need to use literary expressions to achieve a true description of the phenomenon. In this first section, we will describe the importance of literature and its particular mode of expression of the lived world. Then we will show how literary language can express the mute world of perception by analysing some passages from Merleau-Ponty’s work in which the mode of presentation of Marcel Proust’s novel is elucidated. The second part of the article will aim to carry out a brief analysis of Baricco’s novel Ocean Sea in order to illustrate the first part. In this section, we will make explicit the capacity of literary language to express the world, seeking to show how a literary work makes possible the expression of essences, in this particular case, that of the sea. In our conclusion, we will argue that Merleau-Ponty considers the task of the writer and that of the philosopher to be almost analogous in that both are called upon to say the world through a language that allows us a more original approach to the wild being, that of literature, that arises in the sensible and entails the relations that have seen it come into being.

The paper seeks to establish the conditions of possibility of invention through the analysis of the different models with which Husserl accounts for the constitution of intentional experiences. The first section analyzes the perceptive hylomorphic model or the apprehension-content of apprehension schema that explains the constitution of the originally new experiences. The second section shows how Husserl initially unravels the structure of imagination and the possibility of immersing oneself in fictional worlds displayed in images with a variation of the perceptual model, which we call analogical hylomorphism. However, further analysis of image-consciousness reveals that the possibility of inventing fictional worlds depends on another kind of experience, free phantasy, which, for its part, resists being explained with a variation of the content-forma scheme because it can act without a sensual base. For this reason, the third section presents the reproductive modification model developed by Husserl in response to the paradoxes that arise from applying the hylomorphic scheme to presentifications such as phantasy and memory. However, since a variation of the reproductive model is not enough to genuinely account of the productive nature of phantasy, the fourth section defines invention as the excess of meaning introduced by acts of phantasy according to three conditions: self-neutralization of one’s own flow of experiences; a duplication of consciousness; and the unusual association of partial intentions in a phantasized configuration.

This article seeks to provide a reflection based on philosophy and sociology around the occupation, if any, of the humanities. According to the hermeneutics of founding texts on the question “What is man?” and on various perspectives on it, a reflection is configured that aims to sustain what, in the author's view, corresponds to be the basic and determining occupation of the humanities. For this, five sections will be developed in which an introduction to some basic ideas about the humanities, foundations of a philosophical anthropology, what is man from the study of sociology, what is man from the study of biology and neurosciences, and the humanities as a whole are exposed. The article aims to contribute to the understanding that cultivating the humanities and developing them requires an intention to make them a conceptual and unfinished representation of the world, not a piece of ductile clay in the image and likeness of those who see in them the stage of praxis by excellence. It is mainly concluded that the relevance, the very nature of the humanities, lies in broadening the spectrum of questions about what is man, before attempting to provide complete answers, so that, at the very moment in which the crucial question “What is man?” is found a finished answer and it becomes law, not only is a resolved question left, but also a meaningless life.

The article presents a comparative analysis of the theories of capitalism of Gilles Deleuze and Felix Guattari's Anti-Oedipus and Moishe Postone's Time, Labor, and Social Domination. What Postone calls abstract domination is similar to the capitalist axiomatic of the French philosophers. These works introduce theories concerning the historical specificity of capitalism, which, at the same time, make possible an immanent critique of this particular social form. The authors of these works agree on highlighting the historically specific aspects of capitalism that make the latter different from other social forms. Likewise, they maintain a partially affirmative relation to this social form, in which contradictory historical emancipatory possibilities are developed. Therefore, the article draws a parallel (unexplored in the secondary sources) between Postone's idea of abstract social domination and Deleuze and Guattari's capitalist axiomatic. It also aims at showing that the three authors introduce a critique of capitalism, which is based on their own historical and social developments, and which work in an immanent way and not with abstract normative standards.

By offering a historical overview of the problem of universals and by focusing in the contributions of the medieval philosopher John Duns Scotus and the founder of American Pragmatism, Charles Peirce, the article introduces Peirce’s insight on the problem. Such insight is tracked by explaining the connections between Aristotle, Duns Scotus, and Peirce. Peirce’s account was named by himself ‘Scholastic Realism’, and such Realism of universals aims to provide a feasible account for contemporary Scientific Realism. The problem of universals, after such a reading, appears as a continuous and vibrant issue that defines both traditional and contemporary philosophical problems.