Abstract

The purpose of this article is to analyze some subjective issues for understanding why the killing of workers in the School Domingo Santa María de Iquique, is one of the milestones that inaugurates a new era on the nature of pain and horror in contemporary Chile. Owners of an Enlightenment vision about life, present and future, the cognitive distance that Chilean workers woven in relation to the death in the early twentieth century didn’t allow them to anticipate the complex and contradictory social universe that the modernization involved. Characterized by violent death, severe pain and moral injustice, the slaughter perpetrated in 1907 turned this educational institution in historic cleaving to the advent of contemporary political massacres and in a symbol of the contradictions that constitute modernity and modernization processes in the twentieth century.

Abstract

El presente texto trata sobre el encuentro, tanto anecdótico como teórico, de Cristina Campo, María Zambrano y Marius Schneider La autora remite a los indicios del contacto entre los tres (la colaboración en las revistas Sur y Conos-cenza religiosa, la frecuentación de Campo y Schneider, la correspondencia entre ella y Zambrano), no obstante, también señala el interés compartido por el órgano del oído, además de similitudes en el pensamiento desde sus respectivas disciplinas: el acercamiento simbólico al órgano auditivo, su superioridad sobre la visión, las asociaciones entre música y palabra, la antítesis entre música y piedra, la complementación entre oído interno y destino, así como la necesidad de una audición atenta para escuchar la voz interior y el propio destino. En el caso de Cristina Campo, también se discute la musicalidad de su estilo de escritura.

Abstract

The complementary parts of Calderón’s La hija del aire represent the disastrous consequences provoked by bad government, corruption, and lust for power and is a prime example of the crises that occur as a result of such vices.The play’s lessons are projected beyond the stage onto the political arena of 17th Century Spain. The First Part’s central figure, Semíramis, is controlled by her lust for power and tyranny and governs accordingly. The model of government her imprudent son, Ninías, represents in the Second Part is equally harmful to the nation. His inexperience and indolence regarding matters of state lead to political and social instability. Both leaders, then, are equally incapable of controlling the passions that cloud reason (jealousy, vengeance, resentment) and of following the middle path that leads to virtue, the so-called via mediocritas.The corrupt and licentious regent that is controlled by court favorites and by his primitive instincts provokes the degeneration of the state and places its very existence at stake. By staging the behaviors of nefarious monarchs, both parts of the play promote the need for leaders to control their basic instincts and to follow the teachings of good government, as reflected in the speculum principis genre. In this sense, La hija del aire emerges as a poetic and dramatic representation that situates itself with other dramas that allegorically represent the crises of power occurring within Early Modern Spain.