miércoles, 26 de noviembre de 2014

KEPLER 186F - Alien planets revealed

En mi área

También aparece mi bibliografía entre los recursos de mi área de conocimiento —en mi propia universidad. Para que luego digan que uno no es profeta en su tierra, si es que ésta es mi tierra. Que también soy yo un poco noman of noland.

BMM

Y oigan, no estoy en mala compañía—con la Cambridge History of English and American Literature, con la bibliografía de la MLA. Ésta, por cierto, acumuló entre 1926 y 1962 menos registros que mi bibliografía. Ahora es un poquito más voluminosa—pero no la ponen de acceso libre, miren cómo son.




martes, 25 de noviembre de 2014

Becoming Human Documentary

Isaac Newton: The Last Magician


Isaac Newton The Last Magician Biography... por singaporegeek

Secret Life of Isaac Newton (HD) - New Full Documentary

Estoy en Philology

Figuro citado desde hace años, creo que como única fuente española, en el artículo "Philology" de la Wikipedia. Bueno, también remiten a una asociación de filólogos de la Complutense. Pero quiero decir que no está mal, aunque sea la Wikipedia. Cualquier día me dedican un artículo monográfico.

Ahora he encontrado ese artículo en Scribd, y me permito reinsertarlo aquí...

Vaya, va el dueño y lo borra. Pues saco pantallazo del artículo de la Wikipedia, sección enlaces externos.






lunes, 24 de noviembre de 2014

Surfacing to the sun

Surfacing to the sun

Drama from the beginning of the eighteenth century

—from the first edition of David Daiches' Critical History of English Literature:


As we have seen in Chapter 1, the Restoration dramatic works persisted for some time after the political and social conditions that bred it had disappeared before gradually giving way to a more moral and more sentimental kind of drama. The charting of the course of eighteenth-century drama is a tedious business, for, with a few exceptions, it is a drama of very little literary interest or quality. Indeed, this can be said for the great bulk of English drama between Congreve and Shaw. The drama was never to recover the central position it held in the Elizabethan and Jacobean periods. The rise of the novel was partly responsible for this, as was the growing power of the theatrical manager, who decided what plays were to be accepted and, by putting on only what he thought could be relied on to appeal to popular taste, put the hack entertainer above the man of letters, thus eventually creating a damaging divorce between the theater and the creative literary minds of the age. Theatrical history after the seventeenth century has no necessary connection with literary history. True, the eighteenth century was an age of great actors and actresses, but their very acting skill had a blighting effect on the drama as literature, for they depended more and more on their virtuosity and less and less on the material with which they were provided, exploiting their abilities and personalities rather than the potentialities of the plays: it was the beginning, in a sense of the star system, which has done so much harm in our own time. Several paradoxes resulted from this situation. Shakespeare was regularly performed and was immensely popular, but the Shakespearean repertoire of the eighteenth century was a theatrical rag-bag of patched and "improved"plays and parts of plays which would horrify a modern producer. The reaction among serious critics was to lead them to see the true Shakespeare as a writer of closet plays, and the ignoring of Shakespeare's theatrical skills by men of letter wen on through much of the nineteenth century. The dominance of the theater in the eighteenth century and the ignoring of the theatrical tradition in literary dramatic criticism in the nineteenth were equally harmful. It was all part of the divorce between art and entertainment which has been such a disturbing feature of modern culture. The dominance of the manager was part cause and part effect of the dominance of the audience; the audience dominated because a playwright was now dependent on the audience, rather than on aristocratic or royal patronage, for his success. The same can be said of the public for novels and other literature, but the effects here were not harmful in the same way, partly because the audience for literature was wide and more varied and at its best more intelligent than the audience for acted drama. There was a real drop in the intelligence of theater audiences in the eighteenth century, for reasons which are complex and not easily formulated.

Jeremy Collier's Short View of the Immorality and Profaneness of the English Stage (1698) was effective as an attack on the immorality of the drama because it coincided with a rising tide of bourgeois opinion. Restoration drmaa was written for a homogeneous audience of court wits who looked with equal contempt on London merchants and country squires. But the homogeneity of theatrical audiences was rapidly giving way to something much more mixed; the rising middle classes, who have featured so often in the preceding chapters, were buying their way into the squirearchy and the aristocracy, and the same situation which led Addison and Steele to write essays to provide a cultural surface for Londoners seeking to move with some assurance in society led to the theaters being filled by people who did not quite know whether to be titillated or shocked by the Restoration ethos.The drama reflected this uncertainty. Instead of the witty play between the sexes in which the conflicting claims of security, reputation, and sensual appetite were balanced against each other in a fundamentally amoral manner, we find indecency and innuendo in the first four acts being replaced by repentance and moral sententiousness in the fifth, which was a way of having one's cake and eating it. This transitional and hybrid kind of comedy soon gave way to a kind more thoroughly sentimental and moral. These terms can be variously defined, but in this context "sentimental" implies the mixing and even interrupting of action with frequent displays and expressions of pity and other emotions indicating a tender mind and a heart easily moved, while "moral" means the equally frequent expression of edifying generalization, sometimes self-congratulatory, sometimes reproving, as well as a plot calculated to show virtue rewarded and vice frustrated. It is easy to be condescending about the influence of bourgeois morality on the drama, but we must remember that all great literature has a true moral pattern and the amorality of Restoration comedy, however brilliantly it might show, was based on a shallow and cruel view of life on which no truly great art coul be founded. Our condescension is inevitable, however, becaus the morality in so many early eighteenth-century plays is laid on so crudely and thickly and is not adequately realized in the texture of the work as a whole. Richard Steele, who made a genuine and praiseworthy effort to replace the hollow moral world of Restoration drama by something with more humanity and decency, produced four comedies (including The Tender Husband, 1705, and The Conscious Lovers, 1722) which are of interest because of the determined belief in the essential goodness of the human heart which they display, and the manner in which he manipulates the action to illustrate this belief, but though there are moments of tremulous emotion and intense pathos, as well as some lively dialogue and comic incidents, the plays are not true comedy in any acceptable sense of the term; they have not the wit of Congreve, the power of Ben Jonson, or the golden combination of humor and wonder we find in Shakespeare's "middle comedies"; they are of interest as indications of a trend rather than as fully realized works of dramatic art.

How strong the trend was, how deep-seated the popularity of sentimental drama in the eighteenth century, and to what an extent a strong moral and sentimental coloring with a plot contrived to reward the virtuous and punish the wicked would compensate in the eyes of contemporaries for literary quality, can be seen in the plays of Richard Cumberland, whose sentimental comedy The West Indian (1771) was immensely popular and is still mentioned respectfully by literary historians. The one good quality this play does have is speed of action: events bowl along at a great pace. But the dialogue, the situations, the characters, the plot, are all preposterous, all simply slick manipulations of what had by long become stock dramatic properties. The hero, a young man from the West indies of good heart but impulsive temperament (rather like Tom Jones) behaves with exaggerated and flamboyant generosity, gets himself involved in ridiculous misunderstandings with the other characters, who are either all equally goodhearted or else thorough villains, and in the end is proclaimed the long-concealed son of the goodhearted merchant in whose house the play opens. The following extract from Act V must serve as a sample of the dialogue:


Belcourt: Keep me no longer in suspense; my heart is softened for the affecting discovery, and nature fits me to receive his blessing.
Stockwell: I am your father.
Belcourt: My father! Do I live?
Stockwell:  I am your father.
Belcourt: It is too much; my happiness o'erpowers me; to gain a friend and find a father is too much; I blush to think how little I deserve you. (They embrace).
Dudley: See, children, how many new relations spring from this night's unforeseen events, to endear us to each other.

Writers of this kind of comedy never achieved a proper kind of stylization. Their plays were set in contemporary society, but the dialogue employed noeither the stylized with of the Restoration dramatists nor a language that was able to sustain any colloquial tone beyond a few intermittent sentences. As soon as the characters got under way they began expressing themselves in long, sententious speeches which are not artificial enough for a purely formal style and not natural enough for the illusion of realism.



—oOo—



Estoy en la Biblioteca Universitaria de Sevilla

Estoy en la Biblioteca Universitaria de Sevilla

domingo, 23 de noviembre de 2014

Handel: L'Allegro, il Penseroso ed il Moderato, HWV 55 | Paul McCreesh

Aquí en las Seychelles

Aquí en las Seychelles

En portada en el Philosophy of Science eJournal

Aquí estamos en portada con una nota sobre Stephen Hawking, en la revista electrónica sobre Filosofía de la Ciencia de la Red de Investigación en Ciencias Sociales (SSRN, Philosophy Network).  Y pronto en sus pantallas un artículo sobre El Gran Diseño de Hawking y Mlodinow.

SSRN-POS

Aquí puede bajarse mi artículo sobre "El principio del tiempo" de Hawking.





—oOo—

Händel: Coronation anthems | Harry Christophers

Gotye - Bronte - official video

Notes on Metafiction - 88p.

Iñigo Ongay, La unidad de España frente a los secesionismos




sábado, 22 de noviembre de 2014

My ORCID QR code

My Orcid QR code



My ORCID ID: http://orcid.org/0000-0001-7029-2174

Iñigo Ongay sobre la libertad de expresión



"El fuero interno viene del fuero externo, y no cabe entenderlo de otra manera." Cierto hasta cierto punto—y sin embargo los discursos e instituciones sociales, que vienen "de fuera", se combinan "dentro" a veces de maneras imprevisibles e incalculables, en un sujeto situado en una encrucijada particular de situaciones, instituciones y discuross. Lo cual es en sentido débil si se quiere una generación interna de contenidos. Y por allí se puede justificar esta idea metafísica como "no metafísica", y puede matizarse la tesis un tanto maximalista de esta conferencia—tan maxismalista a su manera como la posición que pretende refutar. Y conste que la he disfrutado mucho, si me sirve de eximente por la crítica.

Wish You Were Here...


Wish You Were Here from Jose Angel García Landa on Vimeo.

viernes, 21 de noviembre de 2014

La política espectacular de JULIO CÉSAR

Unos escritos sobre la tragedia de Shakespeare, ahora en un par de eJournals de la SSRN:


La política espectacular de 'Julio César'


Analizamos la convergencia de espectáculo teatral y política espectacular en la tragedia de Shakespeare Julio César, reseñando la contextualización política en la era isabelina descrita por James Shapiro, y atendiendo a la estética metateatral y reflexiva de Shakespeare. Aparece Julio César a la vez como una reflexión sobre la teatralidad en la política y sobre las posibilidades dramáticas que proporciona para una intensificación de la experiencia teatral.

English Abstract: Spectacular Politics in 'Julius Caesar':

 This paper provides an analysis of the convergence between theatrical spectacle and spectacular politics in Shakespeare's tragedy Julius Caesar. Starting from a review of James Shapiro's contextualization of the play in contemporary Elizabethan politics, the metatheatrical and reflexive aspects of the play are stressed. Julius Caesar is revealed as a reflection both on the theatricality of politics, and on the dramatic possibilities it provides for an intensification of the theatrical experience.


eJournal Classifications : Date posted: November 14, 2014  
CSN Subject Matter eJournals
    
        
            
LIT Subject Matter eJournals
    
        





—oOo—


Femme qui s'en va

Femme qui s'en va

The Hanging Tree


Jennifer Lawrence singing "The Hanging Tree", from The Hunger Games - Mockingjay (Part 1)

Edgar Morin: Introducción al pensamiento complejo

"Cold Song" (Armande Altaï vers.)

Purcell: King Arthur - The banquet (Ze Banquette)

Salgo en Political Theory

Como se dura poco tiempo en primera página, sic panta rei, le saco un pantallazo:
Salgo en Political Theory



—oOo—

jueves, 20 de noviembre de 2014

Laura Pausini - Strani Amori

Topsight en Sunzi


La perspectiva dominante en El Arte de la Guerra: Más aspectos de un clásico chino

Proporcionamos en este artículo un acercamiento narratológico al El Arte de la Guerra, clásico chino sobre estrategia militar atribuido a Sun Tzu (Sunzi). Esta lectura enfatiza las dimensiones cognitivas del texto, entendido como un tratado sobre la perspectiva y el punto de vista, y como una formulación temprana del concepto de perspectiva dominante o 'topsight'. También examinamos sus estructuras temorales implícitas, en especial en lo referente al papel de la retrospección. El texto de Sunzi tiene, en suma, una interesante dimensión como teoría de la perspectiva, de la acción, y de la representación intersubjetiva.

Topsight in The Art of Warart of war: Further Aspects of a Chinese Classic:

This paper provides a narratological perspective on The Art of War, a Chinese classic treatise of military strategy attributed to Sun Tzu. This reading foregrounds the cognitive aspects of the text as a treatise in perspective and point of view, and as an early formulation of the concept of topsight. It also examines its implicit temporal structures, especially as regards the role of retrospection. All in all, Sun Tzu's text has an interesting dimension as a theory of perspective, of action, and of intersubjective representation.

Note: Downloadable document is in Spanish.

Number of Pages in PDF File: 10

Keywords: Sun Tzu, Strategy, Topsight, Perspective, Knowledge, Information, War, Strategy, Models, Plans, Retrospection, Narratology, Theory of action, Chinese literature 

Reference Info: Ibercampus (May 5, 2014)


http://papers.ssrn.com/abstract=2520473

El artículo ha sido aceptado en estas revistas temáticas de la Social Science Research Network:

eJournal Classifications:
Date posted: November 09, 2014  
AARN Subject Matter eJournals
    
        
AARN Subject Matter eJournals
    
        
AARN Subject Matter eJournals
    
        
            
CSN Subject Matter eJournals
    
        
            
Conflict Studies eJournals
    
        
Conflict Studies eJournals
    
        
Political Behavior eJournals
    
        
Political Theory eJournals
    
        






—oOo—


Estoy en Conflict Studies

Prophètes de la SF - Mary Shelley

Mi fotoblog

Mi fotoblog
se puede ver haciendo clic en la foto ésta de Termineitor. Y hay más enlaces a cosas mías al pie de esta página.