PHILOSOPHY, 2

Author: Mut Garcia Juan Miguel.
Year: 2005.
University: ISLAS BALEARES.
Place of defense: Facultad de Filosofía y Letras.
Place of preparation: Facultad de Filosofía y Letras.

Summary: I Mascaró Joan Fornés was philologist (1897-1987), poet, orientalist, a professor at Cambridge University and, above all, translator of the Bhagavad Gita, the Upanishads i the Dhammapada from Sanskrit and Pali into English. The thesis is focused on a thesis acknowledged the work of Mascaró and systematizes in one document wide variety of works scattered and some of them unpublished. It aims to give an overview of his thought and its relationship with Eastern philosophy and especially with works that resulted. The interest of the thesis focuses on the vital Mascaró attitude toward spirituality and yoga as a tool for accessing the apprehension of the spiritual Truth. The taxonomy using Mascaró in his works is based on the words: Light, Love and Life and the thesis aims to demonstrate their equivalence with the terms Jñana, Bhakti and Karma Yogas. In the thesis addresses also from the perspective of Mascaró, topics such as Buddhism, the unity of religion, education, the concept of Karma, Dharma and other

Author: SUSAETA MONTOYA FERNANDO.
Year: 2005.
University: PONTIFICIA DE SALAMANCA.
Place of defense: UNIVERSIDAD PONTIFICIA DE SALAMANCA.
Place of preparation: FACULTAD DE FILOSOFÍA.

Summary: The objective of this thesis is to try to penetrate a logic without which you can not know or understand the whole philosophy Spanish (and Europe), in the last decades: the revitalization of the tragic experience. The tragedy is not and can not be a more: this is a transverse axis and determining which acts more strongly what at first glance seems: classes as reality, truth, good and beauty, pleasure, solidarity. They buy a new understanding regarding depend on these tragic awareness that we expose. This belief is the key and guide for analyzing Fernando Savater and Jose Antonio Navy. Knowledgeable that if the claim is to show awareness of the tragic Spanish contemporary thought, the choice of these authors is not accidental. The inclusion of Savater offers no doubts (all his work is an explicit recognition of the assumption of the tragedy). The case of Navy is different. A quick reading of his work reveals a thinker optimistic and enthusiastic with its draft constitution of the Happy City. However  Is it the traffic in the City Happy? We believe that a correct interpretation of his work allows us to conclude its inconsistency. City Happy Navy is defined by the totality of genetic improvement in traffic, thanks to the wise use of intelligence. However, a detailed analysis of his work allows us to discover that there are forces in man unconscious archaic and distorting rational project of the Navy, so that the same structure of the tragic reality implies that the City happy to be just a dream of Pictorial reason. The thesis, in short, shows the pervasiveness of tragedy in the Spanish thinking of the last decades. Presence explicitly recognized in authors like Savater, and presence ignored or, if you prefer, not as developed in other Navy

Author: MANTOVANI MAURO.
Year: 2005.
University: PONTIFICIA DE SALAMANCA.
Place of defense: UNIVERSIDAD PONTIFICIA DE SALAMANCA.
Place of preparation: FACULTAD DE FILOSOFÍA.

Summary: Task body of work has been searching, analysis and study of the sources which are on the commentary to the question of Part II of the Summa Teologiae of St. Thomas Aquinas produced by the Masters of the University of Salamanca before 1561, during the years 1530-1560. So far not been made yet one study, a publication, even a mere transcript of the portion of the manuscripts that are discussed in this issue. The thesis considers all sources of Teachers Francisco de Vitoria (1539, 6 texts), Domingo de Soto (1535, 4), Melchor Cano (4, three of them in 1548); Pedro de Sotomayor (1553, 3); Ambrose Salazar (1554-1559, 1). It transcribes and analyzes the whole range of these sources, evaluating its importance. The thesis also choose which seem more interesting and useful to develop thoughts on their contents. The first part has 5 chapters: each is devoted to one of the Dominican Teachers and includes the transcript of the text recognized and chosen as the most significant. The second part reflects changes in all other texts read and studied, hitherto unpublished, by the same authors. At the conclusion summarizes the main results of the investigation, recalling the unique characteristics of genetic most significant comments and trying to ascertain whether there are peculiarities within the "tomismo" of the authors examined, at least on its way to comment on the content and expressing on the topic.

Author: MARTINEZ VILLANUEVA LYDIA.
Year: 2005.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE FILOSOFÍA.
Place of preparation: FACULTAD DE FILOSOFÍA.

Summary: Sastre says a great thematic boldness, without hesitation denouncing social injustices. It captures the anxiety, guilt, their rebellion against tyranny, cruelty and injustice; above all, the continuing struggle to regain the lost freedom. In scenes of deep drama, the author succeeds in making the grief and pain from reaching the reader, making it feel part of the plot. Not only was devoted to writing stage plays, but cultivated, in turn, the theory of theater. Because of theatrical innovation proposed by Sastre, it is difficult not only a critical study of his work uniform, but also the classification of it. Several academics and scholars have proposed different classifications. And it is this author demonstrates his creative ingenuity presenting various topics, atmospheres, using various resources and stylistic innovations in its theater. But while this seems quite different and subjects as diverse works of this playwright have a great unity among themselves because each of them is the central issue that unites: tyranny, revolt, social withdrawal, the need for revolution. It reflects the problems that afflict human beings as poverty, hunger, torture, exploitation of man, moral degradation, the horror of a third world war or the anguish of an atomic explosion. The characters sastrenianos live in a continuous agony, is the tragic sense of life. They are human beings who are at an impasse. The early works are like the seed that has been germinating to offer a juicy and ripe fruit, breaking the tradition of historical drama conventional Spanish, which was limited to the interception faithful to the chronicle. It uses documents, characters, historical speeches and sermons, breaks with the historical level from the beginning. At the same time the technique of anachronism can see the viewer alienation among their own time and their characters, as in the case of Servetus. Its language selected, cultured and elegant sometimes contrasts with the idioms, and even such popular words soeces. It has also evolved its concept of theater as a tool for social unrest. That's why he's going to strengthen the contact between what happens on stage and the audience, making them part of the scene, creating an atmosphere well close between actors and spectators. Now is the time for action, to stop philosophizing, if only a passive fan.

Author: CARRION MALDONADO ILEANA.
Year: 2005.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE FILOSOFÍA.

Summary: The Puerto Rican society is in a time of change was accelerating. There are many challenges that these changes submitted to the training of social workers: the dimensions of time, the concept of progress, change as a result of a natural evolution or reflection, the use of deep criticism for social change. All are approaches that affect the conceptualization that is the role of social work for these times. The critique is presented to the principles of social work, the need to transcend the linear approaches of cause and effect and seek epistemologies and methodologies mutlidimensionales, including chaos and complexity. What theoretical perspectives from which deals with the discussion of multiculturalism in social work at universities in Puerto Rico, "Are there differences in the way that education in social work addresses the themes of identity and multiculturalism, minorities, diversity cultural, cultural pluralism and its implications for education in social work in Puerto Rico?. The answer to those questions that guide the investigation leading to meet the following objectives: Develar the exclusionary nature of some perspectives on cultural diversity and other related concepts in Social Work, know the theories and practices prevailing in the curriculum of Social Work at Puerto Rico related to the themes of identity and multuclturalismo, knowing the valuation on how these issues are addressed in the curriculum of social work through graduates of social work programs, and enables analysis of official documents of baccalaureate programs at the university level. The methodology used was a multimétodo in which converge qualitative and quantitative techniques in a multidimensional perspective of the subjects studied. We used focus groups, questionnaires to practicing social workers, study sociobibliométrico, text analysis program officers university. According to the findings presented a series of recommendations to be included in the curriculum involved the following topics: the search for new epistemologies, theoretical frameworks relevant to the contemporary social complexity, "teaching transgress" in a practical meaning for power innovate, criticism deep as the engine of social change, the elements of culture as part of the process of social change and professional intervention, recognition of globalization as part of social change, to go beyond description to incorporate the study the historical patterns, a new ethic for a new society, to learn for a career tied to social reality, a vision multidisciplinary incorporate technology, the need for social research at half continually changing social and affirmation the Puerto Rican values.

Author: GOMEZ BERETTA NESTOR JUAR.
Year: 2005.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE FILOSOFÍA.
Place of preparation: FACULTAD DE FILOSOFÍA.

Summary: Difficult is the task of synthesizing in a few words the content of this thesis that reflects one of the angles and lens of a philosophical thinker daring and revolutionary as it was a son of Röcken, Frederick Nietzsche. His company was tilting and risky that even his own sister Elisabeth Forster tried to hide part of their sentences anti-Christian, and luckily were rescued by one of his best friends (F. Overbeck) who really knew thoroughly the aims and objectives of philologist from Freidrich. This, using the methodology Hegelian, Thesis, antithesis and synthesis, proposed deshistorizar for historize, ie, a transmutation of the old values of history anticuaria to history criticism over the memento vivere memento died, the death spiritual resurrection body (Chapter I). We will see the transition from a supposed belief in absolute truth, a truth based on the doubt and the eternal devenier. It expresses atheism Nietzsche in his judgment that must be taken to create faith, and faith not to believe. He attacked those who embody the anti-belief to believe, as opposed to those who preach to create the belief, which regards them as companions en route atheism and followers of Zarathustra, Dionisos and Antichrist (chapter II). Go Nietzsche a devaluation to a recovery, proposes a new optical axiological of religion in a way in which they face the truth philosophical and moral truth in a victory or annihilation of one of them .. Only by a new incarnation or series hypostases (Camello-león and child) of new values, it is feasible to the redemption of man. We proposed a new concept of God, fighting fiction and the role desvalorizadora of religion, with a keen sense of affirmation of the earth (chapters III and IV). It makes this a critical reflection on the man, moral values and the cult's ideals. Alternative man among a lesson or Apollo or Dionisos in sulucah by demolishing old idols or gods (CI). Using models axiológicos of Greek tragedy, a man of middle age, appears as a rebel for the truth and as a true believer again (Chapter V). O God or against God, this is the goal of the rebels. Man rebels against the destructive power of religion. Objective of the battle, the passage of the disease from the chains, revenge, to a liberation, to a new moral and a new religion. It is not fear death, but love the destination (love fatil), an eternal affirmation of self. OBJECTIVE Overcoming of Nihilism towards Vitalism (Chapter VI). Face the Truth vs. Nietzsche., The will power to believe Is truth or to live? (Chapter VIII). Presents Nietzsche parallelism between conscience and religion, conscience and guilt. It echoes Freud action causative of guilt, disease engendered towards religious dogma. It is necessary to eliminate the concept of sin and guilt through a demystification of religious values. (Caps. VIII-IX). Pregona art as transvalorador and as one half of expression and authentic human liberation against the existential pessimism. It gives a hypostases between art and being (Ch. X). Finally using as a source to Ecce Homo and the Anticritos, preaches to Superhombre as contrafigura of controversial and enigmatic Christ of the Gospels. The figure of the priest is no stranger to stiff Nietzschean critique in the struggle for a new conception of man (Chapter XI). This is a huge transvaloración and metanoia between religiosity Nietzsche's childhood in De my life (1977-Valdemar-Madrid) and his new autobiography of maturity in Ecce Homo.

Author: SALAS GUERRA MARÍA CECILIA.
Year: 2005.
University: AUTÓNOMA DE MADRID.
Place of defense: DEPARTAMENTO DE FILOSOFÍA.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS.

Summary: This work, inspired by the Book of unrest by Fernando Pessoa, by Bernardo Soares, is dedicated to investigate and reveal, first, the correspondence between object without affection, which in ancient times was intended as a melancholy, as in the Middle Ages acedía, in the Renaissance again as melancholy, in modernity as spleen and ennui, and more recently, with Heidegger, as boredom deep in that key emotional tone, and writing fragmentary. And secondly, it looks about the implications of such correspondence, among others: the dissolution of the privileges of copyright subject, reconstruction of the ideal of the great stories, and the disruption of writing when it ceases to be a strategy which is imposed and how to report it becomes tendency to report what even fairly.

Author: JARABO CARBONELL FERNANDO.
Year: 2006.
University: PONTIFICIA DE SALAMANCA.
Place of defense: UNIVERSIDAD PONTIFICIA DE SALAMANCA.
Place of preparation: FACULTAD DE FILOSOFÍA.

Summary: This thesis entitled effects on ethics and virtues of Dietrich von Hildebrand, focuses on the study on the affects and the virtues mentioned performs author. We readings of his work, taking into account the uniqueness of dealing with the emotions and virtues in it. It takes phenomenology to the current debate on the ethics of virtue. To that end we introduce the triple division of the important thing that makes our author, namely as subjectively satisfactory, courage and good goal. We focus, as a novelty in the thought in the ontological value. Subsequently, we paid particular importance to emotivismo theory as to fight. Recuperamos affections focusing on three theories on the psychological and psychiatric same: Logoterapia, Creative Intelligence and Emotional Intelligence; affections have their space in the anthropological and ethical reflection, we can not evade the treatment in other fields of thought how those mentioned. And just from that point, asserting the centrality of the virtues in ethics. It should be emphasized, too, what he calls previrtudes, ie virtues needed to be virtuous: reverence, fidelity, responsibility, honesty, kindness, gratitude, communion and hope. In each of the most important points we Hildebrand in discussion with MacIntyre. Thus we see similarities in their criticism of the emotivismo and their differences on the concept of virtue as well as the list of previrtudes. But we also see as a possible supplement if both views are analyzed their starting points and assumptions.

Author: UGARTE CALLEJA SEVERO EMILIO.
Year: 2006.
University: AUTÓNOMA DE BARCELONA.
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS UAB.

Summary: Any manifestation plastic, despite its projection temporary emanates from the direct contact and imperceptible's own time. A birth both to the traditional historiography as intended for the general public articulate the speeches of some artistic utopia as a mere anecdote in their own narrow space of temporality. These constraints ephemeral, at times, make the information in a building that has little or nothing to do with the works and much less with their interests discursive. One of the most obvious examples is available in the vanguards of the early xx. Acotadas the complexity and specific local time, always tried to overcome their own context, being able to build situations and visions towards globalization and timelessness. The discourse of photography, either from their own practice and from their theoretical tends, in general, rely on this exploration of cliché that is the pretérito-presente-futuro. The photograph is time and as such is an elusive construct. Speaking of photography from inside seems a rather complicated, first because it requires an understanding of the speeches and technical plastics, and second because much of the photographic works clearly is not too into account the constraints of a production device, the image , which is largely debt as a more systemic is the Arte.Tratar near a photographic artist who practices what allows understand how one permeabiliza with the rest of the world. This approach involves a negotiation between his images and our imagination. In this regard, the work presented is not intended anything other than a meaningful dialogue between a work and its movement within our perceptual system. It is no coincidence that they are the eyes of someone outside that we discover images that only appear to pass in our own space dream. Worlds known as to whether we are capable of imagining, but almost always marginamos of our present and imaginary patent. Thus, when talking about the work of Joel-Peter Witkin and more specifically to get closer to a possible definition of what abject not want more than ratificarnos as nautas in a drift that little or much - as mire- tiene que ver con los intereses general inventory corrosive visual contemporáneo.La power of the photographic image is not new. On being born directly from the table keeps its wake a sense of threat and even rejection, in 1859 Charles Baudelaire pronounced some words that reflect the uncertainty in the later years we have been involved: "If allowed to replace the photograph art in some of its functions, or soon will be supplanted or corrupted entirely thanks to the natural alliance located at the ignorance of the crowd. (â |) "The evolution of painting and photography have led to misunderstandings and meetings between the two have been interpreted by the end of the last century from a perspective of peace is not always understandable. If you look at the photographic work of Witkin we realize that it is partly liable for the painting but it escapes since practiced a territory elusive: the bill for the technical procedure as a rapprochement towards religious. The practice witkiniana is not a mere technical operation anchored in the pictorial relating but has been and is capable of generating a narrative form itself, as are many of the demonstrations plastic around the contemporary image. We know that this idea can be contradictory but we are also aware that the summons and apropiacionismo more academic practiced in the eighties and nineties is nothing more than a call seeking uprooted, on many occasions, this burden of servitude to mean that before. Walter Benjamin sees in the words of conservative Baudelaire 8 justamen 1ff8 you otherwise, so difficult to recognize the revolutionary potential of photography in the same training to emanate from the technical novelty, generating narrative and making the language used is itself precisely that his property. It is a truism to point out that the discourse of the image is closely linked to the criticism of the proposed representation along modernity. Mechanization to which Benjamin refers, in their sharp points on photography, leave no doubt that the photographic far from serving as tools can be, in itself, seen as an end. An attack on everything that comes to represent the uniqueness of the painting, because it puts us in a situation reflexive about original reference to the origin of the unique, the only thing. Witkin transits the difficult path of these premises assuming a role border between pictorial and operating their work. And what does and who works as a painter anachronistic in a sense, living what pictórico-fotográfico as a traumatic process. On the other hand, Witkin uses time in history to wander for a present past. A past that deserves attention on two counts: 1 eighth by placing inheritance, and related sources to be able to go, and 2 fourth to serve as a space for critical of the same premises. If you think for a moment think that the Arts in general has always been used in its construction this kind of process re-invención. Inevitably think of the Renaissance as an episode of summons of ancient Greece or in the Neoclassicism as a late revival from the same sources. Even those plastic or aesthetic manifestations that have been classified as innovative, incurred in the game against all opposition posed with the story. That is why non-commercial argument, we can say that it found Witkin or some of the speeches of the last century photography is, to some extent, a direct consequence of the foregoing sources. Adorno tells us in his Aesthetic Theory precisely how art requires an inescapable presence of the past activating unequivocally that makes it possible to search the re-lectura and re-interpretación of tradition. Similarly, Hegel spoke of conservation atisbando permeability of the past as if it were an instrument exemplary. If Hegel sentenced death Art  How is it possible justification in the statement of work, like that of Witkin, where the past is present as well as the past tense? We understand that it is possible by a re-nombración what happens as real, ie a past that must be brought to the contemporary being able to understand and deal with this from the very language of art. Under the presence of history, Nietzsche believed that, "Too much history has weakened the force of life and practice it and do not know of the past use as food." Art for him is the solution to this historical anesthesia, adjudicándole ability to appear as an element ahistórico, eternal and immutable. Not that Nietzsche deteste as historic but expresses an objective understanding of this. This desire selective ago that the idea nietszcheniena what purpose can be seen as useful and necessary, ie serves to apprehend the past in a practical way. Both Hegel and Nietzsche us with a dichotomy importantly, one that sees in the past interpreted unconditionally from a present and future capable of understanding, through art, as something that past ductile and alterable. The eternal return, this idea in the past that we do this again in a repetitive and cyclic has a lot to do with Witkin. For him, the past and history are two parameters with which re-interpretar rite. In this regard, the rite is not constructed as an original process but as a place of remembrance under the nostalgic perspective in which the catharsis and repetition exert a crucial role. That status would superiority because that Witkin connects your ritual with the re-presentation of the religious transcendental space. Through this story repetitive ruin becomes the main component in the production us together, and it is, because it puts us in touch with both the original amount of permeability to the space of religion. The piece, the piece, this detritus with which Witkin calls to deploy its aesthetics of what is a horrific subject, -parafraseando to Benjamín- noble within the baroque building, and it is equally as important part of this great puzzle that it is the imaginary witkiniano. Comprendida well, the aesthetics of Witkin is a manifestation prone, as I said Malraux, the resurrection, a recycling of the past that is consciously or unconsciously used as a raw material by the artist. The photograph on his condition copy of immediacy and reality, suggests the overwhelming loss of aura, something that seems discomfort to Witkin. Some authors have argued that by acting directly in the process of vigilance of the image, Witkin used pictorial records that would displace the asepsis and the mechanization of the photographic, but we believe that this operation is not in another sense that the rescue through its mark this loss aurática to which we have referred. This is largely due to the interest Witkin is manifested in religious form through his work. If the religious origins in the art had been governed largely by the experience of the pictorial arts, it seems logical to point out that the author was uncomfortable to see the sense of transformation that is experienced through the photographic medium itself. It Witkin who processed the images, authenticating via revealed, painted and scratched the surface of the paper a kind of almost mystical experience, in which the process focuses all the attention and energies of the author. Account in an interview that the prosecution of vigilance, ie revealed, it is more important than the actual shooting of the picture since in the process, in solitude, a ritual body acting focuses on the positive manner in which a sculptor or a painter creates his works. Witkin sees this as a process of primitivism and will be passed to a state of catharsis in which the idea of creating syndrome occurs under religious and transcendental. If the picture makes the art thing in this world, -son words of José Luis Brea- no doubt that Witkin looking for a transformation of the artistic experience and experiential where religion no longer belong to it understandable. It is precisely at this level where photographic witkiniano leads us to think of a more intense movement of the artistic experience. Witkin transit and seeks catharsis transforming religious experience in a plastic decurso vehement. We are talking about the nature of mimesis, and what makes the picture so since amending channel perception exercising one of the parameters that has most troubled photography, its ability to notify the referenced as truthful. However, we all know that the image introduces too many elements of distortion to be a faithful ally of the truth, and thus on Witkin find sham performance as one of its main arguments discursive. Thus, the order of representation is subverted in a fluid space, the budget of metaphysical presence. The photograph Witkin not only re-presenta but beyond its staging, happens caressing the outer surface of the appearance. The eye manifests itself as a translator who left their mark, which defines the event, adjusting and revealing something that is unattainable for the language conscious. As pointed Benjamin, unconscious Optical operates from the representation and the sense making images expand and desvelen an 8 aconteci 1ff8 ment that would otherwise unnoticed. In this regard, Witkin we are not talking about ghosts in the way barthesiana, but human beings who are apprehended on the other side of the mirror where only photography can asirlos in image. It must be recognized that the use made by the author of the photographic medium is regulated through the assembly and the apropiacionismo. The genesis of the same image foreshadows a cut temporary space of the real. This is where the embodiment of what becomes fragmented presence within the production witkiniana. It takes photographic reality as a readymade, a cut from the experience captured in a non-biased totalizable. A piece that as we have seen in the second part of our written charges an fisicidad painful hardly bearable. In this regard, Witkin transits an area of relationship in disarray able to dismantle our most intimate reception system. His images not only re-presentan but that develop imagination. At the same time are able to uncover the hidden architecture of the system which supposedly organized as correct. The impropriety witkiniana is not new, exposure of abnormal either, but it is new that is the photograph of the late twentieth century which appropriates the parameters of science and spectacular to generate his speech. While medical and documentary photography had inspected the other side of the mirror, it was not until well into the twentieth century when photography breaks as a tool in exercising mostración as marginal or abnormal previously been hidden. Witkin put on the table for dissection an enigma without hiding, saturated with taboos, sexualidades, excesses and dissonance. What abject materializes overflowing as credible, and his purported pictorialismo makes their images beyond the limits of what canonical. The anticanon here is an extension of polymorphic collage of who we are, what is beautiful, what is rational and what is established. The play us together today is a construct repulsive to the extent that it does not appear in acotarse limits kantianos of the aesthetic and not aesthetic. "Only one kind of ugliness," wrote Kant- can not be represented in accordance with nature without shatter any satisfaction is aesthetics, which arouses disgust. " Witkin wakes precisely with many of his photographs disgust, but not a way to the disgust of the Chapman Brothers or as Cindy Sherman, but a latent disgust, ornado baroque downloading on the level of the sublime, the grotesque or pathetic as a whole corollary imaging culturally assumed by the collective imagination. Mario Praz said that the romantic beauty appears to increase precisely through those things that should contradict what horrendous, and it is precisely on this path where we are to Witkin. The tumult of what makes ugly regarding the conflict with the overall staff, making us share the beauty of the real ugly. So much so that the disruption of the system of speaking Julia Kristeva in branches of horror, it is from the book witkiniana a definition of weight to understand what we are talking about here. Witkin transits as mixed, ambiguous, deconstructing boundaries, place and what policy, and does so in a manner rare in our contemporary culture, arguing that ugliness can and should be understood as an important part in the definition of human beings. Witkin looking as despicable, like many other artists, a foundation, a tool that is none other than meat. Argument essential to understand the loss, deadly and carnal it happens as an excellent way in which to deploy many of our ghosts. It is a vehicle that transports us into a cathartic exercise and globalizing, while marginal. Witkin found in informidad what carnal an emotional, not only as a matter of course as a pleasant but what desapacible. In this sense, what heinous witkiniano forces and disrupts the way we look. The subject becomes fetish and cosificarse prevents our perception is immersed in the free play of the aesthetic faculties. The end is represented able to question not only as individuals, but that breaks down boundaries between what is credible and the imaginary. Decadente, symbolic, allegorical or extravagant, the imaginary witkiniano projected riddles around and through the body, sex, the chimeras of nature and religion. In not a few occasions practices surrealism sobresaltado, obscene, it does not leave us indifferent and calls on all our consciences by flickering on the thin edge of the real. His informidad continues to affirm what Rosalind Krauss pointed to Lo report. Usage: "(â |) report what is nothing in itself, only its existence is being operativoâ | report it is an operation." Witkin uses the report as a way of abyección repulsive. It is not even threatening, but pertubardora not endanger our existence, but unveils the other hand, why not try to destroy it, but evitarla.En a sense, Witkin active dynamism that we produce restlessness, anxiety and uncertainty. We recognize manifestándonos within this normalcy we made as superior, while by comparison passing the difficult territory of segregation. Not only realize our expression of exclusion makes us monsters predators. The ambivalence of our exercise of defense is a provocation in itself, a miserable way to understand that our definition is closely linked to our ability to sacrifice another. That sacrifice is ambiguous and as Bataille said: abyecciones and how miserable "is the amount which was founded a religious thought only possible from a religious, even one religion without religion." Under this new paradigm meat would objeto same sacrifice, and it is in this sense, where Witkin requires us to a position, perhaps a incertidumbre.En Witkin the photographic image melts dramatically with incitement to desire. A desire that seems contrary to the abject, but that emanates from our own state of necessity to win the mistrust. That's why, at times, the strangeness of our observation leads us to think about what casualty of the operation witkiniana. But it is also true that these images, rather than revulsion or disgust, cause us concern. The dream becomes a nightmare and we imagined becomes ugly. That would be because of an operating eroticization of death as well as a process for tanatizar experience life. Two opposite directions, contrary, makes us love what we recognize as hateful, rejecting what they secretly want. Witkin looking for a confrontation with his demons by having their images to be seen as Eucharistic spaces where prayer and the transcendent leave no doubt of their intentions. If it succeeds or not is one of the arguments that we have tried to demonstrate in our writing. The truth is that even so, the work of Witkin emits a strange beauty. Its content ranges from horror magnified, the overcoming of evil or good taste, and the moral resonances developed and clean up presences forms dense and baroque scenarios, where everything happens accurate and miraculously related. In Witkin, obsession and phantasmagoric become reality. The beauty of the monsters produced by the dream of reasonableness and the aesthetic culture of cruelty could add that the conclusion by the exaltation of an awkward beauty as a means of achieving what inconfesable.

Author: RUJANO MALDONADO LEONARDO.
Year: 2006.
University: AUTÓNOMA DE BARCELONA.
Place of defense: UNIVERSIDAD AUTONOMA DE BARCELONA.
Place of preparation: UNIVERSIDAD AUTONOMA DE BARCELONA.

Summary: OUR WORK IS IN A STUDY ON THE THEORY OF SCIENCE EXPUESTA IN SECONDS ANALYTICAL (ANALYTICA BACK) ARISTOTELES. THE INVESTIGATION IS CENTRADA IN THE THEORY OF THE DEMONSTRATION AND IN THE MATTER OF USE OF SILOGISMO IN SCIENCE. RETOMANDO THE THESIS OF KAPP (1931/1975) PROPOSE THAT FLUCTUACION OF SILOGISMO SCIENTIFIC OR NOT VA DEMONSTRATION OF THE PREMISES BUT THE CONCLUSION OF THE CONCLUSION AND THE FIRST PREMISA TO SECOND PREMISA. IN THIS PREMISA SE EXPONE THE EXPLANATION OF THE CAUSE OR DONE DESCRIBED IN THE CONCLUSION. ILUSTRADO AS WE HAVE WAY OF OPERATION OF SILOGSIMO THROUGH THE OUTLINE OF CARNAP (1966/1996) FOR THE CAUSAL RELATIONSHIP. PART IN THE FINAL INTENTAMOS SAVING THE PROBLEM OF INCONSISTENCIA BETWEEN THE THEORY OF AN. POST. SCIENTIFIC AND THE TREATY OF ARISTOTELES, TRYING FOR DRAWN FROM AQUEL A STRUCTURE OF SCIENCE TO ADJUST TO THE TREATIES AND SHOWING SOME EXAMPLES EXTRAIDOS OF THE SAME RAISED AT WHICH LOGIC TO FIND THE STRUCTURE HAS BEEN PROPOSED FOR SILOGISMO SCIENTIFIC Or DEMONSTRATION .

Author: BUENO PIMENTA FRANCISCO JOSÉ.
Year: 2006.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE FILOSOFÍA.
Place of preparation: FACULTAD DE FILOSOFÍA.

Summary: The objective of this thesis is to deepen and substantiate philosophically two human experience, mystical and aesthetic, as suggested by Camón Aznar, as one of the possible ways to bridge the yearning for a sense of every human being. This has relaizado a critical analysis of the texts of the Aragonese thinker as well as a deep philosophical investigation into its main concepts. The thesis is structured in four chapters. In the first of them have been fixed interpretative key of our author from an exhaustive biographical approach to it, desatancado a humanism that permeates her to make fundamental as art critic. From this basis there has been progress in the investigation of the concepts that we hold; expertise and experience, mysticism and aesthetics. In chapter 2, it has covered the meaning of the term "experience" and an refundamentación philosophical thereof, exceeding the proposal camoniana, from the recovery of the tradition of philosophy experience. Similarities and diferencies between mystical experience and aesthetic culminate this chapter. In the next chapter, the term has been working experience, as one cardinal concept of thought and the whole theory of art and criticism of our author. From the articulation of what has been called "experiencia-vivencia" will understand the relationship místico-estética. In relation to this, the last chapter has delved into the sources of mystical thinker Aragonese, contributing especially Augustinian tradition of the concern of man as search for the truth. Since teocentrismo camoniano and from conception relational God-man becomes, finally, to love as a fundamental expression of "experiencia-vivencia" mystique. The art and aesthetics are configured as a channel for expression of this mystical mystery of love and, particularly, and as fundamental conclusion of our proposal, the Christian love expressed in the mystery of redemption.

Author: Silva de Souza Ila Maria.
Year: 2006.
University: SANTIAGO DE COMPOSTELA.
Place of defense: Facultad de Filosofia.
Place of preparation: Facultad de Filosofia.

Summary: SUMMARY This Doctoral Thesis whose title Os fundamentals Antropofilosóficos gives Epistemologia of Gaston Bachelard, researches and interprets the thinking of this author in search of the grounds antropofilosóficos underlying its epistemologia. To achieve this goal we rely on the methodology of research anchored in the Textual Hermeneutics of Paul Ricoeur. The understanding of the work bachelardiana is under the following working hypothesis: The epistemologia of Gaston Bachelard also is a proposal antropofilosófica. Based on this hypothesis work with the following objectives: To investigate into thinking epistemo-filosófico of Gaston Bachelard in the context of contemporary philosophy; 1 -Construir a comprehensive philosophy of Gaston Bachelard horizon taking as its foundation antropofilosóficos; 2 - Analyzing epistemology bachelardiana taking as regards the pursuit of its contents antropofilosófico; 3-Search and signs indicative of elements with a sense antropofilosóficos the legacy of Gaston Bachelard epistemological; 4-Consider the legacy epistemo-filosófico bachelardiano with the aim of understanding their proposals for further scientific work today. Thus, in this context, and to meet the targets named above, the following works bachelardianas are crucial to our study: Essai sur la connaissance approchée, Le nouvel esprit scientifique, L'engagement rationaliste, Le materialisme Rational and Le rationalisme appliqué. In addition to the works purely epistemological this French philosopher, we study also some works considered filosófico-literarias therefore understand, according to scholars of his work, this division is in many ways inadequate and that the production should be located Bachelard and understood as a continuum, but each work has its peculiarities. He also studied other authors and scholars related to the work bachelardiana basis for our investigation. From our studies, we highlight some findings and conclusions of our work: the thought of Bachelard is based on a dialectical perspective and provocative relationship with the then existing positivism in the Philosophy of Science that mainland Bachelard defends along their works permanent knowledge as approximation, therefore tentative and incomplete, this French philosopher based his reflections on the course and in the controversy as a method of work; recovers the place of the subject, instead of rationality par excellence located in the context of life and work therefore a subject of meat and bone located histórico-socialmente. The concept of scientific city used by Bachelard suggests the role of subject, which goes beyond a purely rational subject in his idealidad. Affirming and the existence of a antropofilosofia in epistemology bachelardiana.

Author: DE HARO HONRUBIA ALEJANDRO.
Year: 2006.
University: CASTILLA-LA MANCHA.
Place of defense: FACULTAD DE LETRAS.
Place of preparation: FACULTAD DE LETRAS.

Summary: This research Ortega is first and foremost a reading of his work that seeks to clarify the content of his philosophical thinking globally, and especially about his aristocratism. We conducted a thorough analysis of Ortega's own thinking, their configuration and the logic of it. The ultimate goal has been to assert a line of continuity in its philosophy from the start of production until the end of the same. We have placed special emphasis on the philosophical thread that feat in his early work and how they are living in many places, and above all, we have reflected how is developed and enriched with the passage of time. A philosophical framework that accuses the aristocracism his rich and complex thought. The nature of this research is mainly from reconstructive nature. Look clarify and explain a thought and coherent force in many aspects it addresses, especially those aspects of social complaint. In this reconstruction there is undoubtedly a purpose interpretative or hermeneutics, aiming at discovering the meaning of the written philosophical orteguianos. Aside from the philosophical changes that undoubtedly expresses a thought that mature at times depending on the circumstances and a whole range of influences emanating from the most diverse authors believe that Ortega's thought remains broadly in a certain continuity as the main themes and concerns, especially with regard to the political concerns and vital thinker Spanish. This paper attempts to demonstrate that there is this continuity that I speak. However, in order to provide the reader with an understanding of the work of Ortega, I believe it is appropriate to divide the thought that in stages. I speak three stages response, in this case, his aristocracism under the changes that accuses his philosophy: a first stage rationalist and neokantiana a second period "phenomenological" and raciovitalista-perspectivista and a third stage dominated by metaphysics for human life as a vital and historic reason.

Author: BURGUERA LIGERO FÉLIX.
Year: 2006.
University: GIRONA.
Place of defense: DEPARTAMENT DE FILOLOGIA I FILOSOFIA.
Place of preparation: UNIVERSITAT DE GIRONA.