In this research, we will start by exposing the paradox of ‘surplus enjoyment’ (the Lacanian plus-de-jouir), showing that its parallax structure of lack and excess is also applicable to the phenomenon of (surplus) repression. Linking his concept with the Hegelian Aufhebung, understood as a ‘failed negation of negation’ or a ‘negation of negation’ as failure, we will focus in detail on the central example illustrating our theoretical positions, which is Iciar Bollain’s film Tambien la Lluvia (Even the Rain). In analyzing its narrative structures that address the neocolonial reality, we will tend to approach indirectly, by reading the medium of cinematic narration, the ‘neocolonial question.’

Marx's critique of political economy describes the expanded reproduction of the capital as the basic reality of our societies, and it may seem that Marx ignores two main externalities of the social reproduction of the capital, the domain of symbolic fictions and nature, the presupposed habitat of every social activity. This impression is wrong. marx's capital discovers fiction in the very heart of the circulation of capital: what he calls "commodity fetishism" is a symbolic fiction which is not just an ideology . it structures the very social reality of the capitalist process. Plus ecology was in the very center of Marx's preoccupation in the last decade of his life: he clearly saw how the expanded capitalist production leads to a rift between society and nature, a rift which threatens the very survival of human species. For Marx already, socialism was eco´-socialism.

Within the last fifteen years there has been somewhat of a mini-renaissance of the philosophical concept of the absolute found in Quentin Meillassoux’s 2008 work After Finitude1 but also found in the Speculative Realism movement in general2. In this paper I will start by briefly describing the various mutations of this absolute in contemporary philosophy. I will then suggest some political implications associated with these notions of the absolute and then move onto an analysis of the absolute ‘whole’ (Hegel et’al) and the absolute (non-relative) independence of the discrete unit or individual object in the work of Graham Harman.

David Graeber and David Wengrow’s The Dawn of Everything offers a salutary corrective to modern political theory, with its choice between two forms of the “state of nature”: Hobbes’s negative vision of bloodthirsty humans held in check only by the violent power of the sovereign, and Rousseau’s apparently more positive vision of naturally equal humans corrupted by the introduction of agriculture and metallurgy. However, the alternative Graeber and Wengrow offer –a world of imaginative and experimental humans freely choosing different forms of society– excessively downplays the political mediating role of non-human things. This move, in turn, is overly dependent on a modernist ontology that opposes free human thought to mechanically deterministic things. Drawing on the insights of Actor-Network Theory in particular, this article argues for the central role of inanimate objects in the political sphere.

This essay rethinks the concept of biocommunism by rearticulating it via a sensitivity towards individual suffering rather than the human species as a whole. The essay is divided into three parts. The first part outlines Marx’s concept of alienation because of the central role that the fourth kind of alienation plays in Dyer-Witheford’s original conception of biocommunism. The second part briefly elaborates on the discussion of species in the Kyoto School. These two parts lead to the third part, where a novel interpretation of biocommunism is outlined, focusing on individual suffering rather than the human species.

After a brief reflection on the characteristics of the historiography of psychoanalysis in recent decades, this article aims to show certain dilemmas and/or debates that cross the psychoanalytic field both in the region and in the contemporary world. To this end, the focus will be placed on the campaign organized by Nina Krajnik in favor of the psychoanalytic clinic and against the theoretical psychoanalysis of Slavoj Žižek, Alenka Zupan?i? and Mladen Dolar. It is of particular interest to examine how Krajnik’s arguments are embedded in a broader project aiming both at an expansion of the World Association of Psychoanalysis (WAP) headed by Jacques- Alain Miller, and at obtaining a monopoly over psychoanalytic theory and its political effects. It will be shown that it is possible to find the first manifestations of this process in Latin America even before the WAP project. In this sense, based on the productions of Dolar, Zupancic and Žižek, some current contributions of the Slovenian school will be shown, which are taken up here in the light of the Latin American context, seeking to illuminate the theoretical, institutional, political, ideological and cultural implications of the domination and hegemony of the Millerian current in the psychoanalytic field. This logic of power, as will be seen, has not prevented the emergence and development of some radical and irreverent approaches which, nevertheless, seem to have failed: in some Latin American countries, such as Argentina, Millerian psychoanalysis managed to impose itself even more intensely than in France itself. This poses a challenge and a dilemma worthy of consideration and which must be taken up.

The article addresses the strange relationship between politics and philosophy, a relationship that is determined by peculiar asymmetries, by critically discussing the work of French anthropologist, Sylvan Lazarus. It demonstrates from a Hegelian perspective that philosophy is able to think that and what “politics thinks” in a historically singular way and thereby does not fall prey to the criticisms raised against it from the “thinking of politics in its interiority” (Lazarus).

Two literary works of the outstanding Chilean intellectual Amanda Labarca are analyzed from a philosophical and political point of view. The first work, Impressions of Youth, positions Labarca as a critical reader of Spanish-American authors and makes visible her interest in Emilia Pardo Bazán, whose feminism she adheres to. In Unveilings at Dawn, her Nietzscheanism is revealed, through which she demands a kind of resistance to the nihilism produced by war and the absolute relativity of values. Both works allow us to recognize the keys of her new philosophy in the first half of the twentieth century.

Drawing on Vladimir I. Vernadsky, Lynn Margulis, Alfred N. Whitehead, Karen Barad, and relevant immunological studies, this paper proposes a trans-species noösphere, embracing the zoe-techne of innumerable nonhuman lifeforms, especially infinitesimal microscale agents, viruses included. In doing so, I also articulate the coevolutionary perspective of diffractive mattering on planetary life, map several diffraction patterns of immunity, and present a possibility of political life as a heterogeneous co-constitution.

Few philosophical subjects raise sucha controversial issue than the history ofWestern music. Is there a history of music?Does Western music have a history?What kind of story or stories has beenwritten? It is hoped that the multi-facetedapproach proposed here will contributeto a greater understanding of theotologic paradigms of Early Music andthe philosophical understanding of thehistory of Western music.