Abstract From the second half of the twentieth century onwards, Latin American literature evidences a vast number of texts that are based on a critical reflection on the role imposed on women and, in turn, the multiple consequences of patriarchal discourse in the region. Within this aspect, the production of Rosario Castellanos is interpreted as a discursive space where the satirical humor represents a destabilizing mechanism of the social order to evidence its multiple contradictions. Based on this, “Vals «Capricho»”, from Los convidados de agosto (1964), is analyzed with the aim of reflecting on how satire constructs a cosmos where female characters, prisoners of an oppressive society, are only accepted under an ideal feminine model.

Resumen A partir, sobre todo, de la segunda mitad del siglo XX, la literatura latinoamericana evidencia una cantidad vasta de textos que parten de una reflexión crítica sobre el papel impuesto a la mujer y, a su vez, las múltiples consecuencias del discurso patriarcal en la región. Dentro de este aspecto, la producción de Rosario Castellanos se interpreta como un espacio discursivo donde el humor satírico representa un mecanismo desestabilizador del orden social para evidenciar sus múltiples contradicciones. A partir de esto, se analiza “Vals «Capricho»”, perteneciente a Los convidados de agosto (1964), con el objetivo de reflexionar cómo la sátira construye un cosmos donde los personajes femeninos, prisioneros de una sociedad agobiante, solo son aceptadas bajo un modelo femenino ideal.

RESUMEN El objetivo esta investigación es realizar un mapeo científico basado en la teoría de grafos y efectuar un análisis crítico de la producción científica relacionada con la temática de transhumanismo y agroecología. Metodológicamente se hizo una búsqueda del tema en la plataforma Scopus, las referencias extraídas se procesaron mediante la herramienta Bibliometrix. Posteriormente, se hizo un análisis crítico que contrastara la perspectiva del cuerpo desde el transhumanismo y desde la agroecología. Los resultados muestran que los países con mayor producción científica en el área son China, Estados Unidos y Francia. También señalan que hay un interés creciente de la comunidad científica en el tema de transhumanismo y agroecología, que se evidencia en una marcada producción académica en los últimos cinco años. El artículo contrasta dos visiones del cuerpo: una visión reduccionista e instrumental impuesta por el Occidente hegemónico y una perspectiva agroecológica, que considera el cuerpo como un territorio profundo e inconmensurable, conectado con la tierra, el agua, el aire, el fuego, las plantas, los minerales, los animales, y el cosmos.

RESUMO O objetivo desta pesquisa é realizar um mapeamento científico com base na teoria dos grafos e fazer uma análise crítica da produção científica relacionada aos temas do transhumanismo e da agroecologia. Metodologicamente, foi realizada uma busca sobre o tema na plataforma Scopus, e as referências extraídas foram processadas por meio da ferramenta Bibliometrix. Posteriormente, foi feita uma análise crítica para contrastar a perspectiva do corpo a partir do transhumanismo e da agroecologia. Os resultados mostram que os países com maior produção científica na área são China, Estados Unidos e França. Apontam também que há um crescente interesse da comunidade científica pelo tema do transhumanismo e da agroecologia, o que é evidenciado por uma acentuada produção acadêmica nos últimos cinco anos. O artigo contrapõe duas visões do corpo: uma visão reducionista e instrumental imposta pelo Ocidente hegemônico e uma perspectiva agroecológica, que considera o corpo como um território profundo e imensurável, conectado à terra, à água, ao ar, ao fogo, às plantas, aos minerais, aos animais e ao cosmos.

ABSTRACT This research aims to carry out a scientific mapping based on graph theory and conduct a critical analysis of the scientific production related to transhumanism and agroecology Methodologically, a search for the topic was carried out on the Scopus platform, the extracted references were processed using the Bibliometrix tool. Subsequently, a critical analysis was made that contrasted the perspective of the body from transhumanism and agroecology The results show that the countries with the greatest scientific production in the area are China, the United States, and France. They also point out a growing interest from the scientific community in the topic of transhumanism and agroecology which is evident in a marked academic production in the last five years. The article contrasts two visions of the body: a reductionist and instrumental vision imposed by the hegemonic West and an agroecological perspective, which considers the body as a deep and immeasurable territory connected with the earth, water air, fire, and plants. , minerals, animals, and the cosmos.

Abstract. This paper analyses the concept and significance of the fundamental phenomenon of eros in Eugen Fink’s thought. First, it makes eros explicit as a supra-individual phenomenon that makes freedom eccentric. Then it presents sexual love as a cosmic determination of existence that fuses the lovers with the impulse of renewal and perpetuation of life that runs through the whole world. Next, it exposes the religious significance of eros as an experience of the divine and the sacredness of life. Finally, it makes explicit the fundamental ethical questioning that the analysis of the cosmological meaning of eros poses to today’s society.

Resumen. Este artículo analiza el concepto y la significación del fenómeno fundamental del eros en el pensamiento de Eugen Fink. Primero, explicita el eros como fenómeno supraindividual que vuelve excéntrica la libertad. Posteriormente, muestra el amor sexual como una determinación cósmica de la existencia que fusiona a los amantes con el impulso de renovación y perpetuación de la vida que atraviesa al mundo entero. Después expone la significación religiosa del eros como experiencia de lo divino y de la sacralidad de la vida. Finalmente, explicita el cuestionamiento ético fundamental que el análisis cosmológico del sentido del eros plantea a la sociedad actual.

Resumen: El agua fue un elemento primordial en el sistema religioso andino pues, por su carácter liminar, enlazaba los ámbitos celeste, terrestre y el interior de la tierra, así como el mundo de los vivos con el de los muertos, además de destacarse por su carácter purificador. La hipótesis que guía este trabajo es la existencia de un axis mundi constituido simbólicamente por el agua, la cual fue personificada en deidades que establecían una interacción entre los tres sectores del cosmos. Para ello, con un enfoque desde la antropología simbólica y la historia de las religiones, se analizaron documentos coloniales que consignaron las creencias que estuvieron vigentes en el periodo prehispánico. De esta manera, se pretende ofrecer una nueva perspectiva sobre el agua en tanto elemento sagrado en la cosmovisión andina.

Abstract: Water was a primordial element in the Andean religious system because, due to its liminal nature, it connected the celestial, terrestrial, and interior realms of the earth, as well as the world of the living with that of the dead, while also standing out for its purifying nature. The hypothesis that guides this work is the existence of an axis mundi symbolically constituted by water, which was personified in deities that established an interaction among the three sectors of the cosmos. To do this, with a focus on Symbolic Anthropology and the History of Religions, colonial documents that recorded the beliefs that were in effect during the pre-Hispanic period were analyzed. In this way, the intent is to offer a new perspective on water as a sacred element in the Andean cosmovision.

In a time where approximately one-third of the world Spopulation identify as Christian, while the percentage of individuals rejecting the idea of a divine being remains relatively low, it is striking that proponents of the latter category attempt to silence research and findings from the former group. A recent example of this is the reaction to four articles published in 2023 in the Tydskrif vir Geesteswetenskappe (Journal of Humanities). These articles discuss recent scientific research, indicating highly intelligent and precise design in both macrocosm and microcosm, leading researchers to logically conclude that there must be a designer who cannot be a part of the cosmos itself. This conclusion causes significant discomfort among atheistically inclined thinkers, as evidenced by the fierce response to these articles. It appears that there is even pressure on academic journals to employ censorship and refrain from publishing such research. This article is a reaction to such criticism. Spangenberg (2023) takes issue with the assumption of the researchers of the four articles that humans are rational beings, by emphasising the irrationality of certain human behaviour. He has a significant problem with the researchers' suggestion that the order found in nature and humans' rational thinking abilities cannot be seen as coincidental but are ordained by God. He also attempts to create a contradiction between a merciful God and a God who punishes sin. But all these arguments can be dismissed based on basic logic. Spangenberg accuses the authors of misinformation when discussing Genesis. Referring to Genesis 1:26, he asserts that when God says, "let us make man," it implies multiple gods. Spangenberg's idea of polytheism in Genesis is further emphasised by his reference to the garden in Genesis 2 as the garden of gods, because it was located in the east. According to him, that would have referred to the place where heaven and earth meet, allowing gods residing in heaven to enter the earth. This conclusion based on the garden's eastern location resembles a slippery slope form of reasoning. Even when considering only the Pentateuch, the introduction of the so-called assembly of gods and garden of gods in Genesis 1 and 2 by Spangenberg cannot be considered a plausible interpretation. The focus in the Pentateuch, as in the rest of the Bible, is on the fact that God must be known and acknowledged as the only God, contrary to the pagan nations' concept of multiple gods. Spangenberg based his ideas on the documentary hypothesis - a theory that claims that the first five books of the Bible emerged over a long period of time and that they are a compilation of various and contradictory documents. He uses this to discredit the research in the four articles, despite the fact that even supporters of the documentary hypothesis admit to problems in this hypothesis. Contemporary research suggests that it is crucial to consider the truth claims of the Pentateuch itself and move away from hypothetical source documents. Arguments by people such as Spangenberg, that authors who do not accept this document hypothesis or give reference to it should be censured, cannot bear any weight. In fact, recent research returns to the idea that the Pentateuch is a single work, written according to a plan and largely composed by one author. By accepting its unity and inspiration, as millions of Christians do, valuable insights can be gained, for instance by considering why specific names for God are used in particular contexts. Conversely, viewing it as merely different sources does not yield fruitful research. In a further attempt to discredit the four scientific articles in the TGW, Spangenberg points to the negative way in which the church had supposedly dealt with Galileo Galilei's heliocentric research some centuries ago. Contrary to Spangenberg's assertion, the reality is that Galileo's affair did not start as a conflict between science and the church. The church had initially encouraged Galileo to continue his work. It was particularly natural scientists who, partly justifiable and partly not, raised issues concerning the results of his research. As evidenced by the authors of the four articles mentioned above, it was especially Christian thinkers who had developed scientific knowledge throughout many centuries; moreover, they had established and funded several universities where research could be done. Upon examining the four articles opposed by Spangenberg and others, it becomes clear how crucial it is that science and its results should not be suppressed. The articles discuss research in natural sciences and cosmology that delves into the cause and fine-tuning of the universe, as well as the precision of cosmic constants that make life possible. Additionally, they explore the origins of encoded information within DNA, and its role in life itself. It is unacceptable to reject experimental observations and derived theories based on a negative view of Christian beliefs beforehand. Scientific inquiry necessitates an unbiased and open-minded approach, demonstrating the courage to interpret data honestly, in order to reach the most probable conclusion.

Dit klink ongehoord om sensuur op artikels te wil toepas, wanneer dié artikels op grond van natuurwetenskaplike navorsing aandui dat die bevindinge in ooreenstemming is met dit wat 'n groot deel van die wereldbevolking glo. Tog is 'n onlangse voorbeeld hiervan die reaksie op vier artikels wat in 2023 in die Tydskrif vir Geesteswetenskappe (TGW) gepubliseer is. In hierdie artikels is die resultaat van natuurwetenskaplike en kosmologiese navorsing wat op 'n hoogs intelligente en presiese ontwerp in beide makro- en mikrokosmos dui, bespreek. Die navorsingsresultate dui daarop dat daar 'n intelligente ontwerper van die kosmos moet wees. In sy reaksie op die vier artikels, erken Spangenberg die geldigheid van die navorsings-resultate, maar hy voer aan dat dit nie met die eerste vyf boeke van die Bybel vergelyk kan word nie, aangesien laasgenoemde nie betroubaar is nie. Gegrond op sy ewolusionistiese siening van godsdiens, beweer hy dat die Pentateug as 'n bloot menslike samestelling van verskeie en teenstrydige dokumente ontstaan het. Resente Bybelwetenskaplike navorsing dui egter heelwat probleme met hierdie bronnehipotese aan, met die gevolg dat navorsers terugkeer na die siening dat die Pentateug grootliks deur een outeur saamgestel is, 'n geheel vorm en as sodanig betroubaar is. Anders as wat Spangenberg met sy verwysing na Galileo beweer, staan die Christendom nie in die pad van goeie navorsing nie. Christen-denkers het deur die eeue heen kosbare wetenskaplike werk gedoen en boonop verskeie universiteite gestig en befonds. Wetenskaplike ondersoek vereis 'n onbevooroordeelde benadering, wat die geleentheid skep dat bevindinge eerlik geïnterpreteer kan word om tot die mees waarskynlike gevolgtrekkings te lei. In 'n era waar rofweg 'n derde van die mensdom hulleself as Christene beskou (Dyvik, 2023), terwyl die persentasie mense wat ateïsties die idee van 'n goddelike wese verwerp wêreldwyd baie laag is, is dit opvallend dat voorstanders van laasgenoemde kategorie, navorsers en navorsing uit eersgenoemde groepering probeer stilmaak. 'n Resente voorbeeld hiervan is die reaksie op vier artikels wat in 2023 in die Tydskrif vir Geesteswetenskappe (TGW) verskyn het. In hierdie artikels (Dreyer, Van der Walt & Denton, 2023; Dreyer & Van der Walt, 2023a, 2023b, 2023c) bespreek die skrywers nuwere wetenskaplike ontdekkings en hoe die ontdek-kings aanduiding van hoogs-intelligente en presiese ontwerp gee.

Abstract Determinism states that everything that happens in the world is previously established in the laws that govern the cosmos. Such a view conflicts with the existence of freedom and free will since every action, decision or human work would be subjected to the laws governing the cosmos, determined by them. This would also inescapably affect our conception of the human practices of judging the actions of others and assigning responsibilities. This conflict seems especially clear in the case of the secondary world of Tolkien, where Eä is explicitly designed by God and his will is set upon the world through the Music of the Ainur. This paper is but a modest review of these issues under the light of J.R.R. Tolkien’s works and aims to recover a contemporary conception of determinism so that it becomes a secondary problem.

Resumen: El determinismo es la tesis que sostiene que en el mundo todo cuanto ocurre está preestablecido por las leyes que gobiernan el cosmos. Tal visión entra en conflicto con la existencia de la libertad y el albedrío, pues toda acción, decisión u obra humana estaría sujeta a las leyes que gobiernan el cosmos y determinan su proceder. De forma ineludible, ello impacta las prácticas de juzgar las acciones de otros y atribuir responsabilidades. Este conflicto es especialmente patente en el caso del mundo secundario de Tolkien, donde Eä es el producto directo de los designios de Dios preestablecidos en la Música de los Ainur. Este trabajo es un modesto repaso de estas cuestiones a propósito de la obra de J.R.R. Tolkien, y aspira a rememorar una concepción contemporánea de la cuestión del determinismo de manera que pase a ser un problema secundario.

Abstract If we think about it, it is easy to find plenty of reasons to be humble. Life and human work are tiny and irrelevant compared to the grand scale of the cosmos. Human beings are fallible beings, full of flaws and errors. Forces and agencies other than our own (i.e., mentors, coaches, parents, friends, partners, etc.) are often involved in our achievements and the development of our qualities or talents. Moreover, lack of humility is a pernicious trait for it baulks self-improvement and prevents proper acknowledgement of other people’s potential. In the works J.R.R. Tolkien we learn that it was Melkor’s lack of humility before God what brought about his own downfall. And we also see how Sauron’s arrogance, as a myopia of sorts, prevented him from discovering the plans of his rivals and brought about his own destruction. This paper overviews the traditional conception of humility as a golden mean between arrogance and self-deprecation and shows how The Lord of the Rings - understood within its indissoluble bond with The Silmarillion - is a great tale about how humility overthrows arrogance.

Resumen Si pensamos en ello, abundan las razones para ser humildes. La vida y obra humana son pequeñas e irrelevantes frente a la gran escala del cosmos. Los seres humanos somos seres falibles, llenos de errores y defectos. Fuerzas y agencias distintas a las nuestras (i.e., nuestros mentores, padres, maestros, amigos, colegas, etc.) participan con frecuencia en la obtención de nuestros logros y el desarrollo de nuestras cualidades y talentos. Más aún, la falta de humildad es un rasgo pernicioso del carácter que dificulta la autosuperación y desincentiva el apropiado reconocimiento del potencial de las personas que nos rodean. En los trabajos de J.R.R. Tolkien descubrimos que fue la falta de humildad de Melkor ante Dios lo que causó su caída. Y también vemos como la arrogancia de Sauron, como una suerte de miopía, le impidió advertir los planes de sus rivales, dando lugar a su debacle. Este trabajo hace un repaso de la concepción tradicional de la humildad como justo medio entre el defecto de la arrogancia y el exceso del autodesprecio y muestra que El Señor de los Anillos - concebido desde su indisoluble unidad con El Silmarillion - es un gran relato acerca de cómo la humildad triunfa sobre la arrogancia.

Abstract In César Moro's poetry, we can identify a consistent endeavor towards cosmic communion and the revival of the mythical vision that typified the rituals and relationships with nature of the ancient Ame rindian cultures of Peru. This article elucidates these tendencies in the oeuvre of the Peruvian surrealist poet, specifically through the analysis of selected prose poems. These poems are primarily from the co llection titled Cartas (1939), and 'Biografía peruana', a part of the book Los anteojos de azufre (1958). The personal appropriation of the surrealist proposition carried out by Moro, along with its mythical, imaginative, and emotional connections to the Andean territories, will be highlighted. The ecopoetic and hermeneutics approach of Moro's work exhibit the possibilities and limits of the avant-garde and modern proposals to link the human being with the cosmic totality.

Resumen En la poesía de César Moro es rastreable un permanente intento de comunión cósmica y de rescate de la videncia mítica que caracterizó la ritualidad y la relación con la naturaleza de las antiguas culturas amerindias del Perú. Este artículo dará cuenta de estas tendencias en la obra del poeta surrealista peruano mediante la interpretación de algunos de sus poemas en prosa, específicamente los que están agrupados bajo el título de Cartas (1939), y "Biografía peruana", que hace parte del libro Los anteojos de azufre (1958). Se pondrá en evidencia la apropiación personal de la propuesta surrealista llevada a cabo por Moro, y sus vinculaciones míticas, imaginales y afectivas con los territorios andinos. La hermenéutica ecopoética de la obra de Moro manifestará, asimismo, las posibilidades y límites de las propuestas vanguardistas y modernas para conseguir religar al ser humano con la totalidad cósmica.

Resumo Na poesia de César Moro podemos traçar uma tentativa permanente de comunhão cósmica e um resgate da visão mítica que caracterizava a ritualidade e a relação com a natureza das antigas culturas ame ríndias do Peru. O presente artigo dará conta dessas tendências na obra do poeta surrealista peruano por meio da interpretação dos poemas em prosa, especificamente nos agrupados sob o título de Cartas (1939), bem como "Biografia Peruana", que faz parte do livro Los anteojos de azufre (1958). Será re velada a apropriação pessoal da abordagem surrealista de Moro e seus vínculos míticos, imaginários e afetivos com os territórios andinos. A hermenêutica ecopoética da obra de Moro também mostrará as possibilidades e os limites das propostas vanguardistas e modernas para alcançar as religações entre o ser humano e a totalidade cósmica.

Abstract: The literary ontology of Miguel de Unamuno is a hermeneutical proposal that evaluates existence considering the nivola. Literary characters are an essential part of this approach, a model on which fiction has a solid essence. For Unamuno, the existence of the world only occurs to the extent that an individual reader represents it as such. Through the fictional existence in the nivolas, Unamuno presents literary creatures who struggle to interpret their stories and who are animated by incarnated passions that define them as characters. In this literary cosmos, don Quixote has an important place, since he is the paradigm of a character that has been able to create his own reality through his praxis.

Resumen: La ontología literaria de Miguel de Unamuno es una propuesta hermenéutica que examina la existencia a la luz de la nivola. Los personajes literarios son una pieza esencial en este planteamiento, un modelo en el que la ficción goza de una entidad firme. Para Unamuno, la existencia del mundo solo se da en la medida en que un individuo lector lo representa como tal. A través de la existencia ficcional en las nivolas Unamuno presenta a unas criaturas literarias que luchan por interpretar sus historias, y que están animadas por pasiones encarnadas que las definen como personajes. En este cosmos literario, don Quijote ocupa un lugar señalado, pues es el paradigma de un personaje que a través de su praxis ha sido capaz de articular una realidad propia.

Abstract In this article we seek to outline a thought on the temporal character of the experience in capitalism through the concept of refrain, proposed by Guattari and Deleuze. To this end, we turn mainly to the Guattarian texts. The refrains are the rhythmic machines that temporalize the experience, components of passage that tend to autonomization and adaptability. From these qualities, the ritornelos in capitalism can be understood in three cores of temporalization: domestic-affective, labor-social and mutant-rhizomatic. We understand the first as a musically activated affective link that tends to control a small territory, while the second is activated by neoliberal flexibilization and the chronographic slavery that follows from it. The third core would be able to annul the other two in an opening to the cosmos, time and desire. Thinking about rhythmic innovations that go in that direction, we arrive at the idea of futurythmachine (Eshun) and its development in the Global ghettotech (Goodman), the fusion of folk elements with electronic music by marginalized populations around the world. two rhythms from this periphery break into the temporal structure of pop: the solidified syncopation of reggaeton and the inorganic collapse of trap. However, the algorithmic conditions that increasingly manage labor and consumption extend to the circulation of aesthetic refrains. Algorithms are complex refrains, so to recover the singularity of aesthetic processes it is also necessary to enter in the algorithmic plane of composition, intervening in a different level of creation. refrain Deleuze end texts adaptability qualities temporalization domesticaffective, domesticaffective domestic affective, domestic-affective laborsocial social mutantrhizomatic. mutantrhizomatic mutant rhizomatic. rhizomatic mutant-rhizomatic territory cosmos desire direction Eshun (Eshun Goodman, Goodman , (Goodman) world pop trap However composition creation (Goodman

Resumo Neste artigo buscamos delinear uma reflexão sobre a transitoriedade da experiência no capitalismo por meio do conceito de ritornelo, proposto por Guattari e Deleuze. Para isso, recorremos preferencialmente aos textos guattarianos. Os ritornelos são as máquinas rítmicas que temporalizam a experiência, os componentes da passagem tendem à autonomia e adaptabilidade. A partir dessas qualidades, os ritornelos no capitalismo podem ser compreendidos em três núcleos de temporalização: afetivo-doméstico, social-laboral e rizomático-mutante. Entendemos o primeiro como um vínculo afetivo ativado musicalmente que tende a controlar um pequeno território, enquanto o segundo é ativado pela flexibilidade neoliberal e a "escravidão cronográfica" que dela decorre. O terceiro núcleo seria capaz de anular os outros dois numa abertura ao cosmos, ao tempo e ao desejo. Pensando em inovações rítmicas que vão nessa direção, surgiu a ideia da futuritmáquina (Eshun) e seu desenvolvimento no Global ghettotech (Goodman), a fusão de elementos folk com música eletrônica por populações marginais ao redor do mundo. Dessa periferia surgem dois ritmos que rompem a estrutura temporal do pop: a síncope solidificada do reggaeton e o colapso inorgânico do trap. No entanto, as condições algorítmicas que gerem cada vez mais o trabalho e o consumo estendem-se à circulação de ritornelos estéticos. Os algoritmos são ritornelos complexos, pelo que para recuperar a singularidade dos processos estéticos é necessário entrar também num plano de composição algorítmica, intervindo num nível diferente de criação. ritornelo Deleuze isso guattarianos adaptabilidade qualidades temporalização afetivodoméstico, afetivodoméstico doméstico, doméstico afetivo-doméstico sociallaboral social laboral rizomáticomutante. rizomáticomutante rizomático mutante. mutante rizomático-mutante território escravidão cronográfica decorre cosmos desejo direção Eshun (Eshun Goodman, Goodman , (Goodman) mundo pop trap entanto estendemse estendem se complexos algorítmica criação (Goodman

Resumen En este artículo buscamos delinear un pensamiento sobre el carácter temporal de la experiencia en el capitalismo a través del concepto de ritornelo, propuesto por Guattari y Deleuze. Para ello, nos dirigimos preferentemente a los textos guattarianos. Los ritornelos son las máquinas rítmicas que temporalizan la experiencia, componentes de pasaje tienden a la autonomización y la adaptabilidad. A partir de estas cualidades, los ritornelos en el capitalismo se pueden comprender en tres núcleos de temporalización: doméstico-afectivo, laboral-social y mutante-rizomático. Entendemos el primero como un nexo afectivo activado musicalmente que tiende al control de un pequeño territorio, mientras que el segundo se activa por la flexibilización neoliberal y la esclavitud cronográfica que se sigue de ella. El tercer núcleo sería capaz de anular los otros dos en una apertura al cosmos, al tiempo y al deseo. Pensando en innovaciones rítmicas que vayan en ese sentido, llegamos a la idea de futuritmáquina (Eshun) y su desarrollo en el Global ghettotech (Goodman), la fusión de elementos folk con música electrónica por parte de poblaciones marginales en todo el mundo. De esta periferia vienen dos ritmos que irrumpen en la estructura temporal del pop: la síncopa solidificada del reggaetón y el colapso inorgánico del trap. Sin embargo, las condiciones algorítmicas que crecientemente administran el trabajo y el consumo se extienden a la circulación de los ritornelos estéticos. Los algoritmos son ritornelos complejos, por lo que para recuperar la singularidad de los procesos estéticos es preciso entrar también a un plano de composición algorítmica, interviniendo en un nivel distinto de creación. ritornelo Deleuze ello guattarianos adaptabilidad cualidades temporalización domésticoafectivo, domésticoafectivo doméstico afectivo, doméstico-afectivo laboralsocial laboral social mutanterizomático. mutanterizomático mutante rizomático. rizomático mutante-rizomático territorio ella cosmos deseo sentido Eshun (Eshun Goodman, Goodman , (Goodman) mundo pop trap embargo complejos algorítmica creación (Goodman

Justice and reconciliation are central concepts in the NT, in explicit and implicit ways, and the terms and their usage often betray their Jewish origins and setting. As the ultimate author of justice and reconciliation, God also expects as much from God's followers, and ultimately from and towards the cosmos. Mindful that their encompassing reach may lead to semantic inflation, justice, and reconciliation in themselves - but particularly as divine attributes - need to be plotted over a broader spectrum that may have been the case in the past, and with much more attention to these notions in their particular first century context.

This article endeavours to prove that there were creation myths of human beings or certain things, but there were seldom creation myths of ontological cosmology in ancient China. This will be warranted through the distinction between the concepts of 'to create' and 'to beget', the distinction between 'Cosmology I of creationism' and 'Cosmology II of begetting', and the relationship between the One and Many. The only exception is the myth of Nüwa äæ as the creator of human beings, but not the creator of the cosmos. Therefore, in ancient Chinese tradition, there were mainly myths of begetting rather than myths of complete creation in the sense similar to creatio ex nihilo. CONTRIBUTION: Previous research frequently underscores the profound differences between 'Cosmology I of creationism' and 'Cosmology II of begetting'. Based on the discussion of concepts of 'to create' [zao 造] and 'to beget' [sheng 生], this article argues that, there were mainly myths of begetting rather than myths of complete creation in the sense similar to creatio ex nihilo.

This article arose from the study of apophatic theology also known as the via-negativa. Apophatic theology, by definition, refrains from stating what and who God is instead of focusing on what God is not. It renders religious language as a sign-system inadequate in describing God, his nature, and human numinous experiences. Yet, language is the fundamental modelling system that stimulates our everyday phenomenological, spiritual, and religious developments. This article is demonstrating how the apophatic theological view attempted to solve or investigate the inadequacy of religious language or the lack of God's language. The research drew from contemporary scholarship on Augustine's use of apophatic theology in developing its hypothesis of the importance of music as a transcendental language. Moreover, through music and prayer, language becomes an intermediary beyond the physical to the metaphysical. In this instance, Augustine of Hippo, coming to terms with the inadequacy of religious language, considered music a succinct communicative tool in his theology and divine pedagogy. So, due to the challenges of language, the purpose of this article is using Augustine and his view of music within the Sitz im Leben of his spiritual development to solve a theological problem. In this article, the following will be discussed: (1) Augustine's Confessions as a dialogue where he speaks to God through Scriptures and hymns; (2) Augustine's earlier philosophical theory of music; (3) and Augustine's use of apophatic theology in our spiritual development. The importance of this research will help us understand God's immanence (over his ineffable) through our use and understanding of music as a harmonious language consisting of unchanging mathematical properties. Furthermore, the truthfulness of music as a harmonious language about God's mystery can be better understood. CONTRIBUTION: Through Augustine's apophatic theology, this study contributes to our understanding and revitalisation of spirituality using music as an alternative form of harmonious language of the spirit. Moreover, it considers music a universal language that transcends all senses and other modes of cognitive activities. By establishing a basic principle of what makes us spiritual, we can transform our cognitive abilities and become better spiritual beings. Furthermore, this study examined the harmonic nature of music in the seven liberal arts as a significant mathematical aspect of the cosmos.

Auschwitz had a profound impact on the theological landscape. It led to God's lordship, goodness and power being put on trial. If God exists and if he is a good and powerful God, why did he not intervene to stop the atrocities committed during the Holocaust? The theologies of the Jewish philosopher Hans Jonas and the Christian theologian Jürgen Moltmann were decisively structured by these questions. CONTRIBUTION: This article compares the theodicies of these two influential thinkers within the Jewish and Christian traditions by analysing their concepts of God, the nature of the cosmos and human history as well as their respective views on God's response to suffering. Despite showing appreciation for profound insights, this article points out impasses in their arguments. Drawing on a reformed approach to the question, the article concludes that the anthropodicy question is the real elephant in the room, not the theodicy question. Instead of asking questions about God's goodness, Reformed theology posits the incomprehensibility of human beings turning against God. We must ask: How does it happen that a self-conscious being possessing innate moral capacities, such as moral emotions and vicarious intersubjective capabilities, rebels against God and engage in atrocious acts? Seen from this perspective, the theodicy question seems to be undergirded by the human propensity to moral disengagement and blame-shifting. Perhaps, instead of putting God on trial, humans must resort to introspection