domingo, 21 de diciembre de 2014

Ulysses

Federico el 10-N: "La doble epopeya delictiva del 9N"

Cataluña tras el 9N en Teatro Crítico

Crítica a la teoría literaria de Javier Cercas

Tiempo del relato

Mujer mira al oeste

Mujer mira el oeste

sábado, 20 de diciembre de 2014

Vérone (5)

La escritura como trabajo sobre los códigos semióticos (Samuel Beckett y la narración reflexiva, 10)


Jose Angel Garcia Landa


Universidad de Zaragoza


Samuel Beckett y la narración reflexiva. Zaragoza: Prensas Universitarias de Zaragoza, 1992.

Es este el último capítulo de Samuel Beckett y la Narración Reflexiva, un estudio en profundidad de la escritura experimental de Beckett, en especial de la trilogía novelística Molloy, Malone Dies, and The Unnamable, desde la perspectiva de la narratología estructuralista y las teorías estructuralistas sobre la enunciación. Resulta de allí no sólo una mejor comprensión de la técnica utilizada por Beckett para transmitir su peculiar visión de la realidad, sino también toda una nueva gama de significaciones en estos textos. La escritura de Beckett se revela como una escritura reflexiva, que juega deliberadamente con las convenciones de la representación para trascenderlas y transformarlas. Su sentido se construye en gran medida mediante la desconstrucción paródica de los procedimientos narrativos tradicionales. La metodología estructural desarrollada para el análisis narrativo resulta así ser especialmente adecuada para enfrentarse a la escritura metaficcional de Beckett: debido a la extremada reflexividad de esta obra, el poder explicativo del método va más allá de lo que tradicionalmente se considerarían cuestiones formales, ya que la forma se ha tematizado, ha pasado a a ser el contenido mismo de la obra de Beckett, la base de su articulación narrativa. En este capítulo concluimos con unas observaciones finales sobre la estética metaficcional y reflexiva de Beckett en tanto que supone un trabajo de reelaboración de las convenciones de la representación literaria y de las modalidades narrativas, y un trabajo sobre los códigos semióticos con los que interpretamos la realidad. Siguen a esta conclusión las secciones finales del libro: una sección de ejemplos de episodios de la Trilogía que admiten una lectura metaficcional, una bibliografía de las obras de Beckett, y una bibliografía crítica de obras citadas.


(Writing as Work on Semiotic Codes (Samuel Beckett and Reflexive Narrative, 10))

Abstract: This is the last chapter of Samuel Beckett and Reflexive Narrative, an in-depth study of Beckett's experimental writing, more specifically of the novelistic trilogy Molloy, Malone Dies and The Unnamable, from the standpoint of structuralist theories of narrative and of enunciation. An increased insight is thereby obtained into the technique used by Beckett to articulate his peculiar view of reality, and a new dimension of signification of these texts emerges. Beckett's writing is revealed as a reflexive writing, playing deliberately with the conventions of narrative representation in order to transcend and transform them. Its sense is largely built through the parodic deconstruction of traditional narrative procedures. The structural methodology deployed for narrative analysis is, then, most adequate to deal with Beckett's metafictional writing: because of the extreme reflexivity of these works, the explanatory power of this method extends beyond the traditionally formal aspects, given than form has become thematized and has become the subject matter of Beckett's writing, the basis of its narrative articulation. This chapter concludes the book with some final observations on Beckett's metafictional and reflexive aesthetics, understood here as a reworking of the conventions of literary representation and narrative modes, and a labour effected on the semiotic codes that are used to interpret reality. This conclusion is followed by the back matter of the book, including a section collecting examples from the Trilogy which admit a metafictional reading, a bibliography of Beckett's works, and a list of critical works cited.
 

Number of Pages in PDF File: 42
Accepted Paper Series 




 

Niña de Sorolla

Niña de Sorolla

viernes, 19 de diciembre de 2014

Federico les da un repaso a los jueces

Dios, el Universo y todo lo demás (Stephen Hawking, Carl Sagan, Arthur C...

La orilla blanca, la orilla negra (2)

Sobre la corrupción en la Universidad


 Un comunicado de ATU, Asociación para la Transparencia Universitaria:


La corrupción en la Universidad no es algo reciente sino que, por el contrario, goza de un notable pedigrí. De hecho, nunca se ha intentado acabar realmente con la corrupción. Las escasas veces que se han destapado algunos casos flagrantes no respondían a un planteamiento sistemático sino a reyertas internas entre reinos de taifas que libraban batallas entre sí y trataban de aprovechar la oportunidad de tener un competidor menos.

     Pero la corrupción no es el único problema de nuestra Universidad. La sistemática conversión de todas las instituciones públicas en negocios privados supone el mayor de los ataques de la historia.

     Por esto mismo pensamos que puede ser el momento idóneo para intentar acabar con la corrupción. Pero con rigor y determinación, sin dejar fuera ningún tipo de corrupción y estableciendo prioridades entre unas y otras.

     Denunciar los casos de corrupción requiere la colaboración de todos. No sirve mirar a otro lado. Es imprescindible recopilar los casos de corrupción que conozcáis, que nos enviéis la documentación correspondiente para sacarla a la luz, a la vista de todos y así aumentar la transparencia en la Universidad.   

     Por nuestra parte, nos comprometemos a atender todos los casos que recibamos, completar la documentación y hacerlos públicos cuando tengamos la información suficiente.

   En los próximos meses se va a celebrar el “VCongreso sobre la Corrupción y el Acoso en la Universidad Pública." Uno de los objetivos es establecer un calendario de actuaciones al que puedan incorporarse vuestras sugerencias.

     No cabe esperar más. Si no asumimos nuestra responsabilidad en denunciar y luchar contra la corrupción, no queda espacio para la esperanza en una Universidad que, mediante un ejercicio de transparencia y autocrítica, promueva una sociedad más justa.

Casos de corrupción en www.atuspain.es


Mail de contacto de ATU: adm.atuspain@gmail.com
 

Ralph Vaughan Williams: Riders to the Sea (1925/1932)

The Rivals - Bristol Old Vic Production (2004)

On Shared Universes

On "shared universes" it is always a question of more or less —just as in "real life" we share our universe to a certain extent, always partially so, but perhaps never in a complete way. In the case of fictional worlds, an explicit reference to characters or events in another novel is taken as a sign that the author wants to emphasize the continuity between both novel worlds, and this may be either central or anecdotal (perhaps just a mark of the author's personal affection for his own tiny "comédie humaine"). But in the last analysis, all human universes, fictional or not, are partially shared by the fact that we live in a common and interconnected semiosphere. If there were any universe which was completely autonomous or non-shared, not resting on a common ground with our universe, then that's an issue similar to the multiverses in cosmology. They are a mathematical or logical problem without any demonstrable physical connection to our own universe. That is, if we make abstraction of the fact that these problems have been thought out IN OUR UNIVERSE, and in that sense they are also subordinate hypothetical worlds resting on the common world of shared experience.
Or at least that's the way it looks if we see it from here.
A paper (in Spanish) on the multiverses of Stephen Hawking and Olaf Stapledon in The Great Design and Star Maker: http://papers.ssrn.com/abstract=2535379


 From a thread in the Narrative-L. David Richter adds:


Sometimes a writer creates a world which is largely coherent but with occasional inconsistencies, of which the most canonical is Faulkner's Yoknapatawpha novels.  Kirk and Klotz in Faulkner's People (1965) index all the characters, with special treatment for ones that are handled inconsistently.  One example of inconsistency involves Quentin Compson, who in The Sound and the Fury (1929) commits suicide while at Harvard at the age of 19--the Anderson Bridge over the Charles River actually has a plaque commemorating this fictional event; but Quentin also narrates the short story "That Evening Sun," from These Thirteen (1931), and he is 24 years old as narrator (9 years old at the time of the story which is timestamped "fifteen years ago").

Close readers can overread these inconsistencies through elaborate midrash that creates implausible storyworlds.  The Baker Street Irregulars, who read the Sherlock Holmes stories ("the canon") as though they represent a coherent and consistent world have presented theories that Watson (who marries Mary Morstan in The Sign of Four) was married three or four times because the dates of action of particular stories (as inferred from details in the stories) suggest that Watson was married, then unmarried, then married again, then unmarried....  Or that his middle name is Hamish (Scottish for James) because his name is John H. Watson and his wife, at one point, calls him "James."  I should mention that such research findings generally have their tongue firmly in their collective cheek.

Similar close reading in Biblical studies takes place without irony.  For example, Isaac has been determined to be 37 years old at the time of the aborted sacrifice in Genesis 22, though his age is never mentioned in that chapter and the dialogue with Abraham would suggest that he is a boy of ten or so.  The inflexible logic of 37 proceeds from Sarah's age at Isaac's birth (90), and her age at her death (127) at the beginning of Genesis 23.  Since Sarah is not mentioned at all in Genesis 22, it is inferred that the cause of her death was finding out--in some midrashim from an evil angel--that Abraham has gone off to sacrifice Isaac--and if that is so Isaac must be 37.  Similar midrash is created in New Testament studies to reconcile inconsistencies in the Gospels, e.g. who carries Jesus's cross to Golgotha: the Gospel of John says that Jesus carried it; the other three (synoptic) Gospels say it was carried by Simon of Cyrene.  To remove the inconsistency, the midrashic process creates an emplotted event (Jesus falls while carrying the cross, the Romans find a man in the crowd, Simon, and draft him to help) that is so vivid that it is often pictured in religious paintings (like Breughel's Way to Calvary) and has been filmed in practically every Jesus movie I know of.


And me:

Some aspects of this fictional-world-managing are dealt with by Marie-Laure Ryan under the heading of "transfictionality", e.g. in "Transfictionality Across Media." In Theorizing Narrativity. Ed. John Pier and José Ángel García Landa. (Narratologia, 12). Berlin and New York: Walter de Gruyter, 2008. 385-417. On the other hand, the mental or discursive operations involved in "fitting" a narrative within a larger narrative, historicizing it, or building an overal chronology out of disparate narratives, may be seen as an aspect of what I call "narrative anchoring." See e.g. here, "Harry Thompson, 'This Thing of Darkness': Narrative Anchoring" https://www.academia.edu/336349/Harry_Thompson_This_Thing_of_Darkness_Narrative_Anchoring

jueves, 18 de diciembre de 2014

Eagles - 'The Sad Café' (lyrics in description)

James Joyce's Ulysses Documentary

'El Gran Diseño' y 'Hacedor de Estrellas'





Exponemos y comentamos en este artículo la teoría cosmológica presentada en el libro de Stephen Hawking y Leonard Mlodinow El Gran Diseño (The Great Design, 2010), una perspectiva global sobre la física y el universo que pretende dar cuenta de la excepcionalidad aparente del mismo, y reducirla a parámetros racionales recurriendo al concepto del multiverso. Señalamos algunas analogías del multiverso de Hawking con las hiperficciones ergódicas, así como con las figuraciones del multiverso presentadas en la novela de ciencia-ficción especulativa de Olaf Stapledon Star Maker (1937). Situamos las concepciones de ambos libros en las tradiciones de la teodicea, viéndolas en concreto como una actualización de las teorías sobre la plenitud de la naturaleza. 


—oOo—

babelbiblio



The Grand Design and Star Maker: Speculations on the Multiverse and the Sole Reality

This paper expounds and comments the cosmological theory put forward in Stephen Hawking and Leonard Mlodinow's book The Great Design (2010), a global perspective on physics and the universe which tries to account for the apparent exceptionality of the physical universe and reduce it to rational parameters, by resorting to the concept of the multiverse. We point out some existing parallels between Hawking's multiverse and ergodic hyperfictions, as well as previous figurations of the multiverse presented in Olaf Stapledon's speculative science-fiction novel Star Maker (1937). We situate both books within the traditions of theodicy, more specifically as a bringing up to date of traditional conceptions on the plenitude of nature.

 


Date posted: December 09, 2014  

http://papers.ssrn.com/abstract=2535379

eJournal Classifications
AARN Subject Matter eJournals
   
        
            
CSN Subject Matter eJournals
    
        
LIT Subject Matter eJournals
    
        









—oOo—



martes, 16 de diciembre de 2014

Puente de Rande



Puente de Rande


Nicholas Hytner Lecture on How to do Shakespeare

Imágenes del lector (Samuel Beckett y la narración reflexiva, 9)


Imágenes del lector (Samuel Beckett y la narración reflexiva, 9)

"Samuel Beckett y la Narración Reflexiva" es un estudio en profundidad de la escritura experimental de Beckett, en especial de la trilogía novelística "Molloy," "Malone Dies," y "The Unnamable", desde la perspectiva de la narratología estructuralista y las teorías estructuralistas sobre la enunciación. Resulta de allí no sólo una mejor comprensión de la técnica utilizada por Beckett para transmitir su peculiar visión de la realidad, sino también toda una nueva gama de significaciones en estos textos. Este capítulo examina la transformación metaficcional a que se ven sometido el papel del receptor en la escritura de Beckett, con su uso de la figura del narratario y el papel del lector implícito o textual.

(Images of the Reader (Samuel Beckett and Reflexive Narrative, 9))

"Samuel Beckett and Reflexive Narrative" is an in-depth study of Beckett's experimental writing, more specifically of the novelistic trilogy "Molloy," "Malone Dies" and "The Unnamable," from the standpoint of structuralist theories of narrative and of enunciation. An increased insight is thereby obtained into the technique used by Beckett to articulate his peculiar view of reality, and a new dimension of signification of these texts emerges. This chapter examines Beckett's metafictional reworking of the role of the receiver, his use of narratees and the image of the textual or implied reader.

_


Reference Info: Samuel Beckett y la narración reflexiva. Zaragoza: Prensas Universitarias de Zaragoza, 1992. 229-36.

Date posted: December 03, 2014   

http://papers.ssrn.com/abstract=2532845 

eJournal Classifications


CSN Subject Matter eJournals
                          

LIT Subject Matter eJournals
             

LIT Subject Matter eJournals
    

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.