The Great Fear of 1919 on a Global Scale: Argentina's Tragic Week and the North American Archives by Lvovich, Daniel

“…In this article we inscribe the events of the Tragic Week of 1919 in a transnational perspective, considering the ways in which U.S. diplomacy and intelligence services analyzed and interpreted it and linked it to a set of contemporary events and processes. …”
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Spies, russians and maximalists in the summer of 1919. The Tragic Week revisited from the diplomatic and journalistic sources by Koppmann, Walter Ludovico, Asquini, Sabrina

“…The aim of this paper is to revisit the Tragic Week of 1919 in Buenos Aires, analyzing new sources that belong from the foreign diplomacy and the espionage. …”
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Kierkegaard and Woody Allen: Humor as the ethical condition of the existential becoming of the individual by García Pavón, Rafael

“…This specific contradiction is humor, as the tension of the tragic and the comic in existence and in Kierkegaard’s subjective thinker, for which the tragic occurs when the infinite claims are not delimited in the specific contradiction of individual existence and the comic is given as a relativization of the same, in this way the becoming takes place when in the tragic there is a comic balance and in the comic the pathos of the tragic is denoted, giving rise to that condition of constant opening of new possibilities, that allows considering the choice of oneself, like wanting to believe that a bond of meaning is possible again despite the nonsense of the facts. …”
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The Scene of Fear: Possibility of an Aristotelian Reception of Contemporary Terrorism by Tillería Aqueveque, Leopoldo

“…For this, the interpretation of "tragic fear" presented by Aristotle is followed, particularly in his Poetics, and the formulations on fear given by Kant and Burke, mainly.…”
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Syphilitic aortitis (Continued) by Miravet, Horacio

“…After the attack, which has irremediably come to an end, the patient, who has seen death so closely, creates for himself an inner world in which the "angor animi" assumes its tragic hegemony.…”
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Alfredo Canavese Intellectual Memory by Chisari, Omar, Gerchunoff, Pablo

“…We economists knew at once that this was not just another loss. The shock that his tragic death generated among us indicated this. It was not only the affection he unanimously aroused as an exceptional, intelligent and generous human being; we were also moved by his example, which became a legacy and a demanding yardstick by which to measure ourselves. …”
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Just the end of the world by Broda, Vladimir, Benhaim, Michèle

“…Steve and Louis are tragic heroes of the present times, confronted with the “reality as it is”, this illness that poet Gérard De Nerval calls melancholy. …”
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The Surviving Love of Marguerite Duras by Suárez, Claudia

“…To do so, the film describes a love story out of the ordinary: the leading lady will remember her first love and its tragic ending. The writer highlights the experience of not dying of love, showing in detail a path that goes from shadows to light and links reflections on Hiroshima (death) to love (life). …”
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Psychoanalysis in Cinema and Theater: The Reverse of the Message Between the Director and the Viewer as the Antithesis of Scientific Discourse by Cabrera Kahuazango, Carlos Alexis

“…On the contrary, the spectator or film buff goes in another direction, since he does not carry out a catharsis or sublimation, but rather a complementary psychic work that consists of identification, embodied in the consumption and interpretation of the films he watches, because unconsciously the subject is a vector that is represented with many tragic and dramatic activities projected on the screen or in theaters.…”
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Notes on Alain Badiou and the cinema by Laso, Eduardo

“…The writing is organized in twelve sections: 1) cinema is a new art that was born in the 20th century; 2) cinema is a mass art; 3) cinema is an ontological art; 4) the cinema makes time visible; 5) cinema as the most-one of the other arts; 6) cinema is an impure art; 7) each film is a singular real object, which exposes the passage of an idea according to the shot and the montage; 8) the art of cinema as a visitation of an idea; 9) cinema as an ethical setting; 10) the three ways of talking about a film; 11) a film is a point-subject of an artistic configuration; 12) from tragic cinema to cinema as a moving image of eternity. …”
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Science, technique and ideology in the 21st century: between the weakness of democratic public opinion and the power of the new forces of destruction by Ipar, Ezequiel

“…Both the political dilemma, which encompasses the tragic dislocation of science between freedom and subjection for the subject, and the theoretical dilemma, in which science oscillates between the opening and closing of the cultural world, create a series of problems that continue to demand to us a theoretical and practical research. …”
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