<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0120-5323</journal-id>
<journal-title><![CDATA[Universitas Philosophica]]></journal-title>
<abbrev-journal-title><![CDATA[Univ. philos.]]></abbrev-journal-title>
<issn>0120-5323</issn>
<publisher>
<publisher-name><![CDATA[Pontificia Universidad Javeriana, Bogotá, D.C., Colombia.]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0120-53232018000200379</article-id>
<article-id pub-id-type="doi">10.11144/javeriana.uph35-71.deft</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[LA DOBLE ESCENA: USOS FILOSÓFICOS DEL TEATRO Y DISTINCIONES TEATRALES EN LA FILOSOFÍA FRANCESA CONTEMPORÁNEA]]></article-title>
<article-title xml:lang="en"><![CDATA[THE DOUBLE SCENE: PHILOSOPHICAL USES OF THEATRE AND THEATRICAL DISTINCTIONS IN CONTEMPORARY FRENCH PHILOSOPHY]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Alvarado Castillo]]></surname>
<given-names><![CDATA[Nicolás]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Pontificia Universidad Javeriana  ]]></institution>
<addr-line><![CDATA[Bogotá ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2018</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2018</year>
</pub-date>
<volume>35</volume>
<numero>71</numero>
<fpage>379</fpage>
<lpage>415</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0120-53232018000200379&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0120-53232018000200379&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0120-53232018000200379&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN El propósito de este artículo es mostrar cómo ciertos usos de términos del teatro para describir procedimientos o conceptos filosóficos revelan dos tipos diferentes de relaciones entre el discurso filosófico y las prác ticas artísticas: por un lado, el uso consciente, y por lo general metafóri co, que hacen algunos filósofos del vocabulario de las prácticas escénicas para describir sus propias operaciones; por el otro, la manera en que las determinaciones técnicas e históricas de esas prácticas, incluso si sin ser movilizadas por los autores con ese propósito explícito, permiten inter pretar de forma distinta una construcción conceptual. Para cumplir ese objetivo se analizarán algunos momentos significativos de la filosofía francesa contemporánea -en donde abundan expresiones como escena o dramaturgia- y de la genealogía de ese interés filosófico, así como ciertas descripciones de las prácticas y de la teoría del teatro clásico francés.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[ABSTRACT The purpose of this article is to show how the use of certain terms of theatre, that are employed to describe philosophical procedures or con cepts, reveals two different kinds of relations between philosophical dis course and artistic practices: On the one hand, some philosophers make a conscious and metaphorical use of the vocabulary of scenic practices to describe their own operations; on the other, the technical and historical determinations of these practices open up new interpretations of philo sophical constructs, even though, at first, they were not intended to do so by the authors that exploit them. To fulfil this purpose, this article analyzes significant moments of contemporary French thought-where there are frequent expressions such as scene and dramaturgy-, in order to trace the genealogy of that philosophical interest and explore a series of descriptions of the theory and practice of classical French theatre.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[filosofía francesa contemporánea]]></kwd>
<kwd lng="es"><![CDATA[filosofía y teatro]]></kwd>
<kwd lng="es"><![CDATA[escena]]></kwd>
<kwd lng="es"><![CDATA[Jacques Rancière]]></kwd>
<kwd lng="es"><![CDATA[teatro clásico francés]]></kwd>
<kwd lng="en"><![CDATA[contemporary French philosophy]]></kwd>
<kwd lng="en"><![CDATA[philosophy and theatre]]></kwd>
<kwd lng="en"><![CDATA[scene]]></kwd>
<kwd lng="en"><![CDATA[Jacques Rancière]]></kwd>
<kwd lng="en"><![CDATA[classical French theatre]]></kwd>
</kwd-group>
</article-meta>
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