sábado, 30 de noviembre de 2013

Guitar Guy 2

Guitar Guy 2 by JoseAngelGarciaLanda
Guitar Guy 2, a photo by JoseAngelGarciaLanda on Flickr.

The Truth About Personality

Shakespeare sessions



Hamlet – The Royal Shakespeare Company.
Dir. Gregory Doran. Cast: David Tennant, Patrick Stewart, Penny Downie, Oliver Ford Davies, Mariah Gale. 2009.
http://youtu.be/aHtacpVY8DY?list=PL7o630PAoRHWbFxkXU4qbTEJbZRg6GwPh




The Tempest.
Dir. Julie Taymor, based on Shakespeare's play. Helen Mirren as Prospera. Premiere at Venice Festival, 2010. Online at YouTube (MotionPicturez) 25 Sept. 2013.
    http://youtu.be/jXoNHs3WOgM



—and the sleepwalking scene from Verdi's Macbeth, with Paoletta Marrocu:





Aquí la misma escena con Montserrat Caballé, ahora que está de moda en escenas de terror.





viernes, 29 de noviembre de 2013

Retrato de mi guitarra en mi playa

Autoridad pública

No sé si soy autoridad pública o no. Otro día lo averiguo. Pero una ley que se presenta a sí misma como una nota a pie de página de otra... en fin; ni es clara ni produce claridad.

Hermenéutica española





A esta bibliografía parcial y trouvée habría que añadirle, como mínimo, mis propias publicaciones sobre hermenéutica... por ejemplo aquí van:


 


García Landa, José Ángel."Deconstructive Intentions: On the Critique of the Hermeneutics of Understanding." BELLS 5 (1994): 19-38.* http://www.ub.es/bells/1stseries.html#five
_____. "Tematización retroactiva, interacción e interpretación: La espiral hermenéutica de Schleiermacher a Goffman" Paper presented at the XXVI Congreso AEDEAN (Santiago de Compostela, Dec. 2002).
_____. "Tematización retroactiva, interacción e interpretación: La espiral hermenéutica de Schleiermacher a Goffman." In Hans-Georg Gadamer: Ontología estética y hermenéutica. Ed. Teresa Oñate y Zubía, Cristina García Santos and Miguel Ángel Quintana Paz. Madrid: Dykinson, 2005. 679-88.*
_____. "Retroactive Thematization, Interaction, and Interpretation: The Hermeneutic Spiral from Schleiermacher to Goffman / Tematización Retroactiva, Interacción e Interpretación: La espiral hermenéutica de Schleiermacher a Goffman (Spanish)." Online PDF at Social Science Research Network 17 June 2011.*
2011
_____. "The Hermeneutic Spiral from Schleiermacher to Goffman: Retroactive Thematization, Interaction, and Interpretation." BELL (Belgian English Language and Literature) ns 2 (2004):  155-66.*
_____. "Retroactive Thematization, Interaction, and Interpretation: The Hermeneutic Spiral from Schleiermacher to Goffman." In García Landa, Vanity Fea 29 Nov. 2006.
2006-11-29
_____. "Retroactive Thematization, Interaction, and Interpretation: The Hermeneutic Spiral from Schleiermacher to Goffman." iPaper at Academia.edu
2010
_____. "Retroactive Thematization, Interaction, and Interpretation: The Hermeneutic Spiral from Schleiermacher to Goffman." Online PDF in Zaguán 3 Feb. 2009.
2009
_____. "La espiral hermenéutica." In García Landa, Vanity Fea 13 July 2011.*
2011
_____. "Crítica acrítica, crítica crítica." In García Landa, Vanity Fea 18 Aug. 2006.
2006-09-03
_____. "Crítica acrítica, crítica crítica / Acritical Criticism, Critical Criticism." 2007. Online PDF at SSRN:
2007
_____. "Crítica acrítica, crítica crítica." Online PDF at Zaguán 4 April 2009
2009
_____. "Acritical Criticism, Critical Criticism: Reframing, Topsight, and Critical Dialectics." Online PDF at Social Science Research Network (August 2008).
2008
_____. "Acritical Criticism, Critical Criticism: Critical Interaction, Reframing and Topsight." In Con/Texts of Persuasion. Ed. Beatriz Penas et al. Kassel: Edition Reichenberger, 2011. 233-68.*
_____. "Crítica hegeliana de la hermenéutica de la sospecha." In García Landa, Vanity Fea 31 Jan. 2012.*
2012
_____. "From Philology to General Hermeneutics: Schleiermacher." In García Landa, Vanity Fea 5 Jan. 2013.*
2013
_____. "Anclaje narrativo y círculo hermenéutico en un texto de Polibio." In García Landa, Vanity Fea 5 Jan. 2013.*
2013-01-31

jueves, 28 de noviembre de 2013

Abstract Seagull

Abstract Seagull by JoseAngelGarciaLanda
Abstract Seagull, a photo by JoseAngelGarciaLanda on Flickr.

History Research Network

Aún no existe "sólidamente", la red de investigación histórica en el SSRN, es un "forthcoming network",  pero ya tiene casi nueve mil artículos sobre historia.

Y uno de ellos es mío —hoy cerca del final de la primera página del HISTORY RESEARCH NETWORK. Si ya no está ahí, búsquenlo con fecha 11 de noviembre. Fecha que me hace pensar, por analogía, en el nueve de noviembre—y de ahí al siete de septiembre vamos, remontándonos por la historia que acarreamos a cuestas.

Aquí mis demás artículos, y posicionamiento actual, en el SSRN:

My Papers
Jose Angel Garcia Landa
http://ssrn.com/author=889468

Jose Angel Garcia Landa Author Rank is 2,743 out of 240,831
 

Graham Harman on Heidegger and the Arts

Infinite space, infinite time (Anthony Aguirre)





 Un congreso de cosmología matemática en Cambridge. Perspectivas matemáticas sobre los multiversos-burbuja y la cosmología más allá del Big Bang. Me temo que sus resultados dicen más en última instancia de los modelos matemáticos empleados que del objeto al que se aplican—el universo en que habitamos, que sigue siendo incognoscible cuanto más cerca estamos de sus límites, o cuando intentamos superarlos—y es modelable matermáticamente de muchas maneras. Aunque el que haya muchos modelos posibles no implica que haya muchos universos en el mismo sentido.

miércoles, 27 de noviembre de 2013

Niña de las rocas 2

Santabárbara - Dónde están tus ojos negros

Vuelve la Retroperspectiva

Vuelve, digo, mi artículo sobre Oscar Wilde, Polibio, y la hermenéutica de la historia—esta vez reaparece en un par de revistas de estudios clásicos de la Social Science Research Network—ahora mismo está en portada en esta


Y también aparece en la revista electrónica de Teoría literaria y Crítica de este noviembre:


Y con esto aparece el artículo en conjunto, aparte de su publicación en sólido en Otium cum dignitate, en estas revistas del SSRN:

eJournal Classifications
AARN Subject Matter eJournals
    
        

CRN Subject Matter eJournals
    
        

CRN Subject Matter eJournals
    
        





LIT Subject Matter eJournals
    

PRN Subject Matter eJournals
    
        
            


martes, 26 de noviembre de 2013

No theory of flight

Romeo et Juliette 1. Verone

Comedy (Timothy J. Reiss)

Comedy
 By Timothy J. Reiss.
From the Princeton Encyclopedia of Poetry and Poetics.

I. DEFINITION
II. ANCIENT
III. RENAISSANCE AND MODERN EUROPEAN
IV. RELATION TO TRAGEDY

I. DEFINITION.  Like tragedy (q.v.), the Western tradition of comic theater is considered to have begun with the ancient Greeks. Such a claim is however less clear than that made on behalf of tragedy, if only because no known culture appears to lack some form of comic performance. This fact has inspired various speculative theses concerning laughter—like reason and speech—as one of the defining characteristics of humanity. As in the case of tragedy, therefore, we need to distinguish with some care between speculative generalizations about the "comic spirit," and that more precious historical description needed to annlyze the function of comedy in society.   We must also discriminate between such description and attempts to analyze the "psychology" of laughter, because the event of comedy and the eruption of mirth are by no means the same. (I should add that althought the term "comedy" has been applied to any literary genre that is humorous, joyful, or expresses good fortune, what follwos will concern above all the theater, even if some observations have a broader application.)

The name "comedy" comes from Comus, a Greek fertility god. In ancient Greece "comedy" also named a ritual springtime procession presumed to celebrate cyclical rebirth, resurrection, and perpetual rejuvenation. Modern scholars and critics have thus taken comedy to be a universal celebration of life, a joyous outburst of laughter in the face of either an incomprehensible world or a repressive socio-political order. Carnival, festival, folly, and a general freedom of action then indicate either an indifference to and acceptance of the first, or a resistance to the second. But scholars have taken such notions yet further: if tragedy represents the fall from some kind of "sacred irrationality," comedy on the contrary becomes the triumphant affirmation of that riotous unreason, marking some ready acceptance of human participation in the chaotic forces needed to produce Life. The comic protagonist's defeat is then the counterpart to the tragic protagonist's failure, both versions of some ritual cleansing by means of a scapegoat—in this case one representing life-threatening forces. Such speculations have been advanced in one form or another by classicists (F. M. Cornford, Jane Harrison, Gilbert Murray), philosophers (Mikhail Bakhtin, Susanne Langer), and literary critics (C. L. Barber, Northrop Frye), not to mention anthropologists and even sociologists.

How much these theories help us understand what comedies are is another, and perhaps a different, question. For in the last resort such arguments depend on the assumption that beneath all and any particular comedy is some kinde of profound universal "carnival", a common denominator of the human in all times and places. Recalling Nietzsche's Gay Science, Jean Duvignaud has thus spoken of 'laughter that for a fleeting moment pitches humans before an infinite freedom, eluding constraints and rules, drawing them away from the irremediable nature of their condition to discover unforeseeable connections, and suggesting a common existence where the imaginary and real life will be reconciled" (229-30). But theories of this sort depend upon the idea that one can obtain the deepest comprehension of comedies by removing them from their distinct historical moment and social environment. They forget that such carnival and such laughter aree themselves the creations of a particular rationality, just as Dante's Divine Comedy universalized a particular theology. Even so seemingly fantastic a theater as that of Aristophanes (ca. 485-385 B.C.) is misconstrued by a theory that neglects comedy's essential embedding in the social and political intricacies of its age and place (Athens during the Peloponnesian Wars).

Setting aside these broad metaphysical speculations, then, we must look at accounts of laughter as a human reaction to certain kinds of errors. By and large, these may be divided into two theories. The one asserts that laughter is provoked by a sense of superiority (Hobbes' "sudden glory"), the other that it is produced by a sudden sense of the ludicrous, the incongrous, some abrupt dissociation of event and expectation. The theory of superiority is the more modern one, developed mainly by Hobbes, Bergson, and Meredith. It presumes our joy in seeing ourselves more fortunate than others, or in some way more free. Bergson's notion that one of the causes of laughter is the an abrupt perception of someone as a kind of automaton or puppet, as though some freedom of action had been lost, is one version of this.

The theory of comedy as the ludicrous or as the dissociation of expectation and event has a longer pedigree. It begins with Aristotle and has come down to us via Kant, Schopenhauer, and Freud. In the Poetics, Aristotle mentions another work on comedy, now lost; what remains are a few comments. In Poetics 5 Aristotle remarks that comedy imitates people "worse than average; worse, however, not as regards any and every sort of fault, but only as regards one particular kind, the Ridiculous, which is a species of the Ugly. The Ridiculous may be defined as a mistake or deformity not productive of pain or harm to others" (tr. Bywater). Similar remarks exist in his Rhetoric and in a medieval Greek manuscript known as the Tractatus Coislinianus, Aristotelian in argument and possibly even an actual epitome of Aristotle's lost writing on comedy (ed. Janko, 1984). Save for suggesting some detail of dissociative word and action, this text adds little to what may be gleaned from extant texts of Aristotl. It does make a parallel between comedy and tragedy, however, by saying that catharsis (q.v.) also occurs in comedy "through pleasure and laughter achieving the purgation of like emotions." The meaning of such a phrase is not at all clear, although it suggests comedy as an almost Stoic device to clean away extremes of hedonism and to root out any carnivalesque temptations.

Although both theories involve the psychology of laughter, the superiority theory seems less particularly applicable to comedy than that of incongruity, for the latter seeks both to indicate devices specifically provocative of laughter and to explain their effect on a spectator. The "Aristotelian" analyses suggest several matters. First, their kind of laughter requires oddness, distortion, folly, or some such "version of the ugly," but without pain. Such laughter thus depends on sympathy. Second, although this theory is kinder than that of superiority, it too has its part  of cruelty, just because of the touch of ugliness. Third, theories of superiority and of incongruity both take laughter as means, as commentary upon or correction of what we may call the real or even "local" world_unlike metaphysical theories, which make mirth an end in itself and an escape into some "universality." Fourth, both these theories (which supplement rather than oppose one another) require the laughter to be aware of some disfiguring of an accepted norm. Comedy and laughter imply a habit of normality, a familiarity of custom, from which the comic is a deviation. It may indeed be the case that comedy, like tragedy, shows the construction of such order, but above all it demonstrates why such order must be conserved.

II. ANCIENT. The fourth theory would at least partly explain why comic competition was instituted at the Athenian Dionysia some 50 years after that for tragedy (in 486 B.C.). Aristtle has told us the first competition was won by Chionides, who with Magnes represented the first generation of writers of comedy. Around 455 a comic victory was won by Cratinus, who with Crates formed a second generation. Many titles have survived and some fragments, but these constitute near the sum total of extant facts about Athenian comedy until Aristophanes' victory with Acharnians in 425. We know that in this competition Cratinus was second with Kheimazomenoi, and Eupolis third with Noumeniai. These names tell us little, but we may perhaps assume that Aristophanic comedy was fairly typical of this so-called Greek "Old Comedy": a mixture of dance, poetry, song, and drama, combining fantastic plots with mockery and sharp satire of contemporary people, events, and customs. Most of his plays are only partly comprehensible if we know nothing of current social, political, and literary conditions.

Aristophanes did not hesitate to attack education, the law, tragedians, the situation of women (though it is clearly an error to take him for a "feminist" of any kind), and the very nature of Athenian "democracy." Above all he attacked the demagogue Cleon, the war party he led, and the war itself. This says much about the nature of Athenian freedoms, for Aristophanes wrote during the struggle with Sparta, when no one doubted at all that the very future of Athens was in question. Aristophanes' last surviving play (of 11, 44 being attributed to him) is Plutus (388), a play criticizing myth, but whose actual themes are avarice and ambition. Quite different in tone and intent from the preceding openly political plays, Plutus is considered the earliest (and only extant) example of Greek "Middle Comedy."

The situation of comedy was, however, quite different from that of tragedy, for anothe powerful tradition existed. This was centered in Sicilian Syracuse, a Corinthian colony, and claimed the earliest comic writer, Epicharmus, one of the authors at the court of Hieron I in the 470s. We know the titles of some 40 of his plays. Othe comic poets writing in this Doric tradition were Phormis and the slightly younger Deinolochus, but the Dorians were supplanted by the Attic writers in the 5th c. and survive only in fragments. The best known composer of literary versions of the otherwise "para-" or "ub-" literary genre of comic mime was another Sicilian, Sophron, who lived during the late 5th c. From the 4th c. we have a series of vase paintings from Sicily and Southern Italy which suggest that comedy still throve there. The initiative had largely passed, however, to the Greek mainland. Plutus is an example of that Middle Comedy whose volume we know to have been huge. Plautus' Latin Amphitruo (ca. 230 B.C.) seems to be a version of another one, and, if so, one characteristic was the attack on myth. (Aristophanes' earlier Frogs [405], attacking Euripides and Aeschylus, tried in the underworld, may well be thought a forerunner.)

By the mid 4th c., so-called "New Comedy" held the stage. Among its poets the most celebrated and influential was unquestionably Menander (c. 342-290 B.C.).  His "teacher" was a certain Alexis of Thurii in southern Italy, so we can readily see how the "colonial" influence continued, even though Alexis was based in Athens. He is supposed to have written 245 plays and to have outlived his pupil. We know of Philemon from either Cilicia or Syracuse, of Diphilos from Sinope on the Black Sea, and of Apollodorus from Carystos in Euboea—worth mentioning as illustrating the great spread of comedy. Until the 1930s, however, only fragments seemed to have survived. Then what can only be considered one of the great literary discoveries turned up a papyrus containing a number of Menander's comedies, complete or almost so. These plays deal not with political matters or criticism of myth, but with broadly social matters (sometimes using mythical themes). The situations are domestic, the comedy is of manners, the characters are stock.

The widespread familiarity of comic forms helps explain why comedy was soon diffused once again over the Greek and roman world. By the mid 3rd c., not only had itinerant troupes spread from Greece throughout the Hellenistic world, but already by 240, Livius Andronicus, from Tarentum in southern Italy, had adapted Greek plays into Latin for public performance. Like Gnaeus Naevius and later Quintus Ennius, this poet composed both tragedy and comedy. From the 3rd c. as well dates Atellan farce (named from Atella in Campania), using stock characters and a small number of set scenes, and featuring clowns (called Bucco or Maccus), foolish old men, and greedy buffoons. These farces were partly improvised, on the basis of skeletal scripts, much like the commedia dell'arte of almost two millennia later. The influence of Etrurian musical performance, southern Italian drama, Greek mime, New Comedy and Atellan farce came together in the comedies of Titus Maccius Plautus, who wrote in the late 3rd c. (he is said by Cicero to have died in 184). By him 21 complete or almost complete comedies have survived. A little later Rome was entertained by the much more highbrow Publius Terentius Afer (Terence), by whom six plays remain extant. These two authors provided themes, characters, and style for comedy as it was to develop in Europe after the Renaissance (though farces, sotties, and comic interludes [q.v.] were widely performed in the Middle Ages).

III. RENAISSANCE AND MODERN EUROPEAN. As in the case of tragedy comedy was rediscovered first in Italy. While humanist scholars published and then imitated both Plautus and Terence (see IMITATION), vernacular art developed alongside wuch efforts. The early 16th c. saw the publication of much school drama in both Latin and Italian, while just a little later there developed the commedia dell'arte, wholse influence was to be enormous.This was a comedy of improvisation, using sketchy scripts and a small number of stock characters—Harlequin, Columbine, Pantaloon, the Doctor and others—placing these last in various situations. These plots were as frequently derived from antiquity as they were from folk art. Later on, these two forms of comedy tented to feed one another; the popular Comédie italienne of the late 17th-c. France was one outcome. The Commedia's influence was equally visible in Marivaux (1688-1763) and Goldoni (1707-93), though in the case of the first, the Italienne was just as important. The Commedia survives vividly in our own time in the theater of the San Francisco Mime Troupe, which has put the old characters to work in the service of powerful political satire.

Apain vied with Italy on its development of comedy, starting with the late 15th-c. Celestina of Fernando de Rojas, written in Acts and in dialogue but never really intended for performance. By the late 16th c., Spain's theater was second to none in Europe. Lope de Vega (1562-1635), Calderón (1600-81) and a host of others produced a multitude of romantic and realistic comedy, dealing mainly with love and honor. They provided innumerable plots, themes, and characters for comic writers of France and England. These two countries started rather later than the South, but, like them, benefited from both an indigenous folk tradition and the publication of Latin comedy. The influence of Italian humanist comedy was significant in both nations during the 16th c., and that of Spain particularly in France in the early 17th c.

In France, humanist comedy gave way in the late 1620s to a romantic form of comedy whose threefold source was the prose romance and novella of Spain, Italy, and France, Spanish comedy (especially that of Lope and Cervantes), and Italian dramatic pastoral. The first influential authors in this style were Pierre Corneille (1606-84) and Jean de Rotrou (1609-50). Thew were followed by many, including Cyrano de Bergerac, Thomas Corneille , and the poet whom many consider the greatest writer of comedy of all times, Jean-Baptiste Poquelin Molière (1622-73). He wrote an enormous variety, in verse and prose, rangin from slapstick farce to something approaching bourgeois tragic drama. Comédie ballet, comedy of situation, of manners, of intrigue, and of character all flowed from his pern. He did not hesitate to write on matters that provoked the ire of religious dévots or of professional bigots, nor did he shirk the criticism of patriarchy, and many of his plays have political overtones. Having begun his theatrical career as leader of a traveling troupe, Molière made full use of folk tradition, of provincial dialect, of Commedia and of farce, as well as of Classical example. Many of his characters have become familiar types in French tradition (e.g. the "misanthrope," "tartuffe," "don juan"); many of his lines have become proverbial. While his plays do contain the now familiar young lovers, old men both helpful and obstructive, wily servants both female and male, sensible wives and mothers (whereas husbands and fathers are almost always foolish, headstrong, cuclolded, or downright obstructive); they bear chiefly upon such matters as avarice, ambition, pride, hypocrisy, misanthropy, and other such extreme traits. What interests Molière is how such excess conflicts directly with the well-regulated and customary process of ordered society.

Having followed a similar trajectory to that of its southern neigbours in the first half of the 16th c., England created a comic trad. unique in variety and longevity. The extraordinarily diverse comedies of Shakespeare (1564-1616) and the so-called comedy of humors (q.v.) favored by Jonson (1573-1637) seemed about to create two distinct comic traditions. Shakespeare wrote in almost every mode imaginable: aristocratic romance, bitter and problematic farce, comedy of character, slapstick farce, and the almost tragic Troilus and Cressida. If any comedy may be analyzed with some "metaphysical" theory it is no doubt Shakespeare's, with its concern for madness and wisdom, birth and death, the seasons' cycles, alove and animosity. Yet Shakespeare's comedies remained unique, and he had no successor in this style. Jonson's more urbane comedy of types and of character, satirizing manners and morals, social humbug and excess of all kinds, and falling more clearly into the forms already seen, was soon followed by the quite remarkable flowering of Restoration comedy, with a crowd of authors, including Dryden, Wycherley, Congreve, Behn, and Centlivre, among many others. They produced a brittle comedy of manners and cynical wit whose major impression is one of decayand an almost unbalanced self-interest. They were in turn suceeded by a widely varied 18th-c. comedy from the staunch complacency of Steele through the political satire of Gay to the joyous and mocking cynicism of Goldsmith, Inchbald, and Sheridan. This tradition was pursued thorugh the late 19th and early 20th centuries by a series of great Irish dramatists: Shaw, most notably, then Wilde, Yeats, Synge, and O'Casey.

During this period France was equally productive, but with few exceptions failed to attain the quality represented by the names just mentioned. At the turn of the 17th c., Regnard produced serious and significant social satire, as did Lesage (esp. in Turcaret, 1706). Marivaux dominated the first half of the 18th c., as Voltaire did the middle and Beaumarchais the end. If any new form appeared it was doubtless the comédie larmoyante, a sentimental drama whose main (and stated) purpose was to draw the heartstrings; in a way, it did for comedy what the later melodrama did for tragedy. In the 19th c. Musset produced his delicate comedy of manners, while Dumas fils and others strove to produce a comedy dealing with society's ills. This culminated on the one hand in Scribe's "well-made play," on the other in the "realist" drama of Zola and Antoine at the end of the century.

In other European lands, authors tended to be isolated: in late 19th-c. Norway, Ibsen, in early 20th-c. Russia, Chekhov; slightly later in Italy, Pirandello. To mention them so briefly is to be unjust, for they were all major creative figures. In many ways they foreshadowed that breakdown of traditional comedy that marks the mid to late 20th c. Laughter tends to become mingled problematically with that sense of discomfort in the world and uneas in the self which is perhaps a principal sign of our age. Among representative authors one might mention such as Witkiewicz, Mrozek, and Gombrowicz from Poland; Brecht, Dürrenmatt, and Handke from Germany; Switzerland, and Austria; Adamov, Ionesco, Arraabal, and Beckett in France; Capek, Fischerova, Havel, and Kohut in Czechoslovakia; Pinter, Arden, Bond, Stoppard, Benton, Hare, and Churchill in England; and Hellman, Albee, Baraka, and Simon in America. All have been writing plays that sport ironically with the political, social, and metaphysical dimensions of the human condition. Usually such issues are no longer held separate, and all are fair game for an ambiguous, perplexed, and uncertain derision. Such theater is now widely distributed, as strong in Latin America as in Czechoslovakia, in Italy or Spain as in Nigeria. It is almost as though comedy had lost a sense of that social norm to which we referrred at the outset, as if it were increasingly imbued with an inescapable sense of the tragic.

IV. RELATION TO TRAGEDY. Comedy had from the start a rather ambiguous relation to tragedy, and it was never difficult to see in Aristophanes' Thesmophoriazusai an inversion of Euripides' Bacchae, for example. A celebrated passage at the end of Plato's Symposium has Socrates obliging Agathon and Aristophanes to agree that comedy and tragedy have the same source. Chekhov's The Cherry Orchard has been played as both comedy and tragedy; so has The Merchant of Venice. Even the elements compounding the confrontation may be identical, as in Macbeth, Jarry's Ubu Roi, or Ionesco's Macbett. When the comic protagonist acquires attributes of typicality or of some absolute, then comedy may take on overtones of tragedy. A critic of Molière's Tartuffe (1667) remarked that whaterver "lacks extremely in reason" is ridiculous: anything contrary to a predictable reaction or an expected and habitual situation is absurd. This is of course straight from the Aristotelian tradition, but the emphasis on excess is significant. It shows just how close comedy always was to tragedy, explaining such comedies as Dom Juan or Le Misanthrope. Both focus on an idealism either misplaced or preposterous. Don Juan's ideal self is misplaced because it serves a violent and injurious sexuality; Alceste's self-righteous scorn becomes comic when he refuses even the most innocent concession, and his responses become inappropriate to his urbane surroundings. Yet if he lowered his tone to suit his milieu he would fall short of his ideal: the dilemma is that of dissonance between the dieal and the situation where it is expressed—incongruity again. The excessive ideal in this case contradicts society's needs and fails its norm.

Tragedy appears to require a world view such that a recognized human quantity may be pitted against a known but inhuman one (variously called Fate, the gods, the idea of some Absolute, etc.), permitting the "limits" of human action and knowledge to be defined. Comedy seems rather to oppose humans to one another, within essentially social boundaries. And if, as both the superiority and the incongruity theories hold, comedy is essentially a social phenomenon, then wherever humans are will be somehow conducive to it; whereas tragedy seems to signify a moment of passage from one sociocultural environment to another. That social nature of comedy may be why its characters sem to us so down-to-earth, pragmatic, and familiar. Even where a theater's real (and external) social context is very different, we can still recognize creatures of a social order. That is also why comedies are in league with their audience, obtaining their spectators' sympathy for what are given as the dominant social interests. Volpone menaces that order, as do Shylock, Tartuffe, and Philokleon (Aristophanes, Wasps). Volpone and Shylock are defeated in the name of the Venetian Republic, as is Tartuffe in that of the King, and Philokleon in that of a city longing for peace. In Palutus' Epidicus, the eponymous slave—archetypal outsider for 3rd c. Rome—is absorbed into and becomes a part of the social system. In Pirandello's Six Characters in Search of an Author, the actors remain at loose ends because they are unable to situate either themselves or a social order. Similarly, Beckett's two tramps remain despairingly expectant at the end of Waiting for Godot. Comedy has always emphasized the conservation of an order it may well have helped construct. When we can no more grasp or even envisage that order, then derisive irony may make us laugh, but it also leaves us painfully disturbed. See also BURLESQUE; DRMATIC POETRY; FARCE; GENRE; GREEK POETRY, Classical; PARODY; TRAGICOMEDY.


—oOo—

G. Meredith, An Essay on Comedy (1877; ed. W. Sypher, 1980); F. Nietzsche, The Gay Science (1882); H. L. Bergson, Laughter (1912; ed. W. Sypher, 1980); F. M. Cornford, The Origin of Attic Comedy (1914); S. Freud, Wit and Its Relation to the Unconscious (1916); L. Cooper, An Aristotelian Theory of Comedy (1922); M. A. Grant, The Ancient Rhetorical Theories of the Laughable (1924); J. Harrison, Themis (1927); K. M. Lea, Italian Popular Comedy, 2 v. (1934); J. Feibleman, In Praise of Comedy (1939); M. T. Herrick, Comic Theory in the 16th C. (1950), Italian Comedy in the Renaissance (1960); G. E. Duckworth, The Nature of Roman Comedy (1952); W. Sypher, Comedy (1956); Frye; S. Langer, Philosophy in a New Key, 3rd ed. (1957); A. Artaud, The Theatre and Its Double, tr. M. C. Richards (1958); C. L. Barber, Shakespeare's Festive C. (1959); E. Welsford, The Fool (1961); J. L. Styan, The Dark Comedy (1962); A., Nicoll, A History of English Drama, 1660-1900, 6 v. (1952-59), The World of Harlequin (1963); Theories of Comedy, ed. P. Lauter (1964); N. Frye, A Natural Perspective (1965); H. B. Charlton, Shakespearean Comedy (1966); W. Kerr, Tragedy and Comedy (1967); M. M. Bakhtin, Rabelais and His World, tr. H. Iswolsky (1968); E. Olson, The Theory of Comedy (1968); E. Segal, Roman Laughter: The Comedy of Plautus (1968); L. S. Champion, The Evolution of Shakespeare's Comedy (1970); G. M. Sifakis, Parabasis and Animal Choruses: A Contribution to the History of Attic Comedy (1971); W. M. Merchant, Comedy (1972); K. J. Dover, Aristophanic Comedy (1972); M. C. Bradbrook, The Growth and Structure of Elizabethan Comedy, 2nd ed. (1973); R. b. Martin, The Triumph of Wit: A Study of Victorian Comic Theory (1974); A. Rodway, English Comedy: Its Role and Nature from Chaucer to the Present Day (1975); M. Gurewitch, Comedy: The Irrational Vision (1975); F. H. Sandbach, The Comic Theatre of Greece and Rome (1977); A. Caputi, Buffo: The Genius of Vulgar Comedy (1978); E. Kern, The Absolute Comic (1980); R. Nevo, Comic Transformations in Shakespeare (1980); R. W. Corrigan, Comedy: Meaning and Form, 2nd ed. (1981); Trypanis; Fowler; K. H. Bareis, Comoedia (1982); D. Konstan, Roman Comedy (1983); E. L. Galligan, The Comic Vision in Literature (1984); R. Janko, Aristotle on Comedy (1984); J. Duvignaud, Le Propre de l'homme: histoire du comique et de la dérision (1985); K. Neuman, Shakespeare's Rhetoric of Comic Character (1985); E. W. Handley, "Comedy," CHCL, v. 1; R. L. Hunter, The New Comedy of Greece and rome (1985); W. E. Gruber, Comic Theaters (1986); T. Lang, Barbarians in Greek Comedy (1986); T. B. Leinward, The City Staged: Jacobean Comedy, 1603-1613 (1986); E. Burns, Restoration Comedy: Crises of Desire and Identity (1987); H. Levin, Playboys and Killjoys (1987); L. Siegel, Laughing Matters: Comic Traditions in India (1987).





Teoría de la crítica: Bibliografía

domingo, 24 de noviembre de 2013

Our Life in Poetry: Gerard Manley Hopkins





Mucha filosofía

Más de 300 conferencias sobre filosofía (en francés mayormente) en el sitio web de la École Normale Supérieure Savoirs en Multimédia. Digo filosofía, pero hay otras tantas más de humanidades diversas, letras, economía, ciencias sociales y naturales, etc. Vamos, que quien no oye a Badiou o a Bourdieu, o a lo que se lleve en la intelectualidad parisina actual, será porque no quiere.

Aquí una de una serie sobre la Nouvelle Phénoménologie en France.


Bibliografía de Sigmund Freud

Que me psicoanalicen. Aquí hay una bibliografía de Freud, y mía, en 10 páginas web que vienen a ser unos 70 folios impresos:



—está en este sitio ruso, Convdocs, que me lo imagino gestionado íntegramente por robots, con alguna rusa quizá perdida entre ellos para echarles el aceite. También ésta procede de mi Bibliografía de Teoría Literaria, Crítica y Filología; entiéndase en sentido amplio, que luego incluyo bibliografías sobre la profecía, la prostitución, la protesta, el psicoanálisis.... 

A Freud sí que lo leí bastante por cuestiones literarias, ya desde 1980 más o menos, empezando por  La interpretación de los sueños. Recomiendo especialmente El malestar en la cultura. 






En la bibliografía también hay otros listados sobre psicoanálisis, psicoterapia, crítica psicoanalítica, Lacan et al., etc.



viernes, 22 de noviembre de 2013

Babbage Difference Engine in Motion




Aquí hablando con los niños de Gearworld y de la estética steampunk hemos derivado hacia la máquina diferencial de Babbage....


Consilience & Retrospection - una retrospectiva

Mi artículo sobre narratología evolucionista "Consilience and Retrospection" (aquí su historia y sustancia) ha sido retomado en varias revistas de la Social Science Research Network, SSRN, y aquí se echa de ver su enfoque interdisciplinar, pues está en redes de antropología, filosofía, literatura, y retórica. Me hace especial ilusión que aparezca en esta revista o revistilla de filosofía de la ciencia:

ssrnPOS13




Aquí están sus otras apariciones en el SSRN:

http://papers.ssrn.com/abstract=2344625


Date posted: October 24, 2013
Message
AARN Subject Matter eJournals
    
        
            
Added to eLibrary
LIT Subject Matter eJournals
    
Distributed in Literary Theory & Criticism eJournal
Vol 3, Issue 10, November 11, 2013
PRN Subject Matter eJournals
    
        
Distributed in Philosophy of Science eJournal
Vol 6, Issue 49, November 21, 2013
RCRN Subject Matter eJournals
    
        
Distributed in Rhetoric of Academic Disciplines eJournal
Vol 2, Issue 1, November 18, 2013








______


Consilience and Retrospection @ Researchgate


Consilience and Retrospection @ Academia























History of the World in Two Hours

... —our brief instant to shine:







If this one is not online, try the ones below.



The Origins of Political Order:






History of England:





Man Dwarfed by Nature at the Dawn of Time

Man dwarfed by nature in the dawn of time

The Human Family Tree

jueves, 21 de noviembre de 2013

Recurrida la cátedra

Más información sale hoy sobre la reciente cátedra de nuestro departamento de Filología Inglesa, a la que se presentaron dos de las personas Acreditadas para ello— Chantal Cornut-Gentille y Marita Nadal. Pues bien, los Hados o los Resultados favorecieron a Marita Nadal, y según se echa de ver por esta noticia que sale hoy no todo el mundo está de acuerdo.

Vamos, que Chantal ha recurrido la oposición— y aquí lo dice un papel del Rectorado —estimando la decisión del tribunal, supongo, como injusta o no acorde a derecho.

Qué quieren que les diga, que yo también tengo práctica en estas reclamaciones, y puedo asegurar poniendo la mano en el fuego, que la cosa terminará en nada. Ahora, que sea indicativa de un mal hacer del tribunal, eso lo considerará indicativo cada cual según sus simpatías y afiliaciones, o según la información que tenga, que yo no tengo ni mucha ni poca, estando bastante aislado de los pasillos y otras fuentes de cotilleo de mi departamento. Sí observé que en esta ocasión el tribunal se cortó de otorgar los cien puntos que se daban alegremente en otros casos al currículum ganador—así a ojímetro, igual que se han dado también a ojímetro veinte puntos, o cero, cuando ha soplado el viento por allí, y todos contentos, el Rector el primero. No digo que sea una decisión injusta, porque no me sé el currículum de mis colegas (aunque sí figuran ambas en mi bibliografía con algunas publicaciones). Lo que sí será la decisión, si ha sido como las anteriores cátedras en conflicto, es totalmente arbitraria, que no crean que hacen injusticias por sistema, no, la cosa sigue otras leyes más indiscernibles.

Si me preguntan por lo que tengo observado, el recurso no llegará a contencioso. Y en el ambiente local, la gente le suele dar la razón a quien gana la plaza, y al tribunal—por más argumentos que les eches, si haberlos haylos. Vae victis es la norma. Y más en un sitio con tanta práctica cogida como mi departamento, que se deshace en risitas simpáticas y buen rollito cuando abren la boca los catedráticos.



Mi curriculum vitae en 51 páginas web



Alguien lo ha localizado en un .doc que tenía yo en mi web, y lo ha colgado en un repositorio-acumulador de cosas llamado Convdocs. Aquí está...




—oOo—
askmedallavenezia
Que vienen a ser unas 500 páginas
noweb.



También en Convdocs aparece, en la misma fecha, otra lista parecida: el listado bibliográfico sobre esa tercera persona, "José Angel García Landa" procedente de mi Bibliography of Literary Theory, Criticism and Philology. Con mi Opera Inconclusa en 56 páginas web. Para Vds., con un clic a su alcance, todo este exceso de tecleo...
 

—y esto precisamente ahora que Daniel Innerarity nos cuenta lo siguiente sobre la sobreinformación y también sobre el lado menos amable de la Web.

El cielo verde y naranja

Macbeth (BBC Shakespeare)

Bibliografía sobre la novela histórica

miércoles, 20 de noviembre de 2013

Posterización de la camiseta enrollada

Hard Times




Hard Times. (WITH ENGLISH SUBTITLES) Adapt. and dir. Peter Barnes. Based on Charles Dickens's novel. Cast: Alan Bates, Bob Peck, Diana Fairfax, Peter Bayliss, Timothy Bateson, Bill Paterson, Richard E. Grant, Harriet Walter, Beatie Edney, Alex Jennings, Dilys Laye, Christien Anholt, Emma Lewis, Jonathan Butterell. Photog. Rex Maidment. Prod. des. Bruce Macadie. Ed. Robin Graham Scott. Music by Stephen Deutsch. Prod. Richard Langridge. YouTube (WeezyMovieVEVO) 4 Feb. 2013.*
http://youtu.be/HrO3GC_Rkb4


Que curiosa casualidad. Estaba yo viendo esta película sobre Hard Times, cuando llaman al teléfono y me pregunta un señor, un lector muy aficionado a Dickens, por mi tesina sobre esta novela—tesina que escribí hace casi treinta años, sin que nadie se haya interesado por ella entretanto.

Cuando le he comentado la casualidad, se ha debido pensar o bien que le tomaba el pelo, o que llevo treinta años a ritmo continuo dedicado en cuerpo y alma a Hard Times. Tanto no, es cierto, aunque algo sí me la trabajé en su momento. La casualidad aquí queda, y la tesina aquí:



Richard II with and without Shakespeare

From The History Today Companion to British History, ed. Juliet Gardiner and Neil Wenborn:

Richard II (1367-1400), King of England (1377-99). Son of EDWARD THE BLACK PRINCE and JOAN OF KENT, the fact that he was still a boy at his accession in 1377 evokes sympathy, even from historians. So does the image of Richard grieving over the death of his wife ANNNE OF BOHEMIA in 1394, as does the tragic finale portrayed in Shakespeare's Richard II. But most—though not all—historians follow FROISSART in criticizing the king while sympathizing with the man.

After displaying courage in the face of the PEASANTS' REVOLT, in the next few years the youthful king became difficult for the senior politicians around him, notably JOHN OF GAUNT, to deal with. In particular, his distribution of patronage, especially his generosity to Robert DE VERE, was ill judged. In 1386, he tried to defy PARLIAMENT, but was forced to yield and watch while his minister Michael DE LA POLE was impeached and a commission was appointed to control the following year's expenditure and patronage. His response was to elicit from a panel of judges a definition of the royal PREROGATIVE in terms that declared that the parliamentary proceedings of 1386 had been illegal and that those who had promoted them should be punished as traitors. When the judges' opinions were leaked, a brief civil war followed, culminating in the battle of RADCOT BRIDGE.

In consequence, Richard found himself at the mercy of the APPELLANTS, and had to endure the humiliation of the MERCILESS PARLIAMENT (Feb. 1388)—but at least he avoided deposition. In 1389, he formally resumed control of government and, with Gaunt's help, ruled peacefully for eight years; in 1396, he made a 28-year truce with Frnace. The war over, he set himself the task of making the crown independent of the COMMONS in Parliament. Some historians see this as a 'progressive' policy, but it went hand in hand with the pursuit of vengeance for what had happened in 1388. By 1399, he was indeed a very wealthy king, but he had dispossessed a third of the upper nobility and had hounded to death his old enemies (including his uncle THOMAS OF WOODSTOCK).

At this stage, having alarmed all his subjects, he went to Ireland, and when Bolingbroke (see HENRY IV) and the PERCYS struck, no one would lift a finger to save him. He lost two armies in two weeks and surrendered at Conway, perhaps hoping for a repeat of 1387-9. Instead he was coerced into abdicating on 29 Sept. 1399 and then imprisoned. The following Jan., a plot to rescue him only revealed how little support he had and probably precipitated Henry IV's decision to have him murdered. His body remained at King's Langley until HENRY V had it reburied in WESTMINSTER ABBEY.


—oOo—



From The Penguin Shakespeare Dictionary, ed. Sandra Clark [with corrections]:

Richard II [full title, The Tragedy of King Richard the Second]. A historical play by Shakespeare, produced probably in 1595, and published in 1597. The deposition scene carried particular significance for Queen Elizabeth (whose right to the throne was questioned by a fair number of her subjects for most of her reign) and it was omitted in the first quarto (1597); however, by the time of the fourth quarto (1608) it was restored. It was probably this play which was given a special performance at the Globe Theatre on 7 February 1601, the day before Essex started his rebellion. It was paid for by Essex's supporters, but none of the actors was punished for putting it on. Shakespeare took material for the play from a number of sourdes but his main source was Holinshed's Chronicles (second edition, 1587), from which he took most of the names and events in his play, following, with certain alterations, Holinshed's account of the end of King Richard's reign from April 1398 to March 1400. In several instances he telescoped and rearranged the sequence of events for greater dramatic effect; the death of Gaunt, Richard's departure for Ireland, and the return of Bolingbroke from banishment all take place in a single scene (II.i) whereas in Holinshed they happen over a matter of months, and the events of Act IV are also compressed. The accusations of Bagot and Fitzwater were made on separate occasions in October [1398] after the actual abdication of the king, which was in September, and the Abbot of Westminster's plan for conspiracy was not formed until December. Other changes from Holinshed reflect on Shakespeare's planning of the characterization in his play. He omits an episode in which Northumberland tricked Richard into an ambush on the way to Flint Castle that might have reflected badly on Bolingbroke, and he totally changes the ages of Northumberland's son, Henry Percy (Hotspur) and Bolingbroke's son, the future Henry V. Hotspur was in fact two years older than both Richard II and Bolingbroke, whereas in Richard II he is a youth; and Bolinbroke's son was only twelve in 1399, where Shakespeare has Bolingbroke speak of him as a dissolute young gallant. He used another chronicle, The Union of the Two Noble and Illustre Famelies of Lancastre and Yorke (1548) by Edward Hall, for the point of departure of his play, since Hall's account of Richard II's reign also begins with the quarrel between Mowbray and Hereford, but for little otherwise. He knew the anonymous contemporary play, Woodstock, which deals with events from 1382 to 1899 and especially with the life of Richard II's uncle, Thomas of Woodstock, Earl of Gloucester, who is referred to several times in Richard II, although critics have differed as to how far this play influenced him. Shakespeare also knew A Mirror for Magistrates [1559] in which Richard II is presented as a proud and tyrannous king, a classic example of the idea that "lawles life, to lawles death ey drawes." Froissart's Chronicles, translated by Lord Berners in 1525, was also available to him, and from this he may have taken hints for the conception of Gaunt as a wise but rejected counsellor, for the important part Northumberland played in calling back Bolingbroke, and for Bolingbroke's popularity with the people, although he could have found these elsewhere. Two other French chronicles, the Chronique de la Traison et Mort de Richard Deux Roy Dengleterre and the Historie du Roy d'Angleterre Richard II by Jean Créton, both known to Holinshed and Hall, may have been used independently by Shakesepeare. The Traison is evidence of a tradition more favourable to Richard II than that of the Tudor chronicles, and it may have helped Shakespeare to form his relatively sympathetic portrait of Richard II, especially in the account of Richard's leave-taking from his Queen, although in the Traison this event takes place before Richard's departure for Ireland. From Créton may have come the comparison between Richard's betrayal and that of Christ. The Traison and Créton's account also influenced Samuel Daniel in his poem The First Fowre Bookes of the Civile Wars (1595), which is likely that Shakespeare knew and used. Many parallels between Richard II and Daniel's poem may be incidental, but Shakespeare seems to owe to Daniel the concpetion of the Queen—she was in fact a child of nine at the time—and he may also have used Daniel for the account of the contrasted entries of Richard and Bolingbroke into London (V.ii). Marlowe's Edward II may well have provided some ideas and inspiration in its treatment of the fall of a weak monarch.

Dramatis Personae

King Richard II
John of Gaunt
Edmund of Langley, Duke of York
Henry Bolingbroke, Duke of Herefrod, later Henry IV
Duke of Aumerle
Thomas Mowbray, Duke of Norfolk,
Duke of Surrey
Earl of Salisbury
Lord Berkeley
Bushy
Bagot
Green
Earl of Northumberland
Henry Percy (Hotspur)
Lord Ross
Lord Willoughby
Lord Fitzwater
Bishop of Carlisle
Abbot of Westminster
Lord Marshal
Sir Stephen Scroop
Sir Pierce of Exton
Captain of a band of Welshmen
Queen to King Richard
Duchess of Gloucester
Duchess of York
Lady attending on the Queen
Lords, Heralds, Officers, Soldiers, Gardeners, Keeprs, Messenger, Groom, other Attendants
 
The Story. In the presence of the King, Bolingbroke accuses Mowbray of causing the death of the Duke of Gloucester. It is agreed that each man may defend his honour in a tournament, but just as each is about to attack the other, the king halts the proceedings and banishes them both. Sjhortly afterwards, upon the death of John of Gaunt (Bolingbroke's father), Richard seizes his estates in order to finance an Irish campaign. The additional evidence of Richard's disregard for the rights of his nobles arouses the ire of both York and Northumberland, and the latter, with other nobles, goes to join Bolingbroke (who has returned, despite his exile, to claim his dukedom). When Richard returns from Ireland, he learns that his army has dispersed and his favourites, Busby and Green, have been executed by Bolingbroke. Richard takes refuge in Flint Castle, and when Bolingbroke meets him there (ostensibly to claim his estates) submits to being taken as a prisoner to London. Before Parliament, he is forced to confess his crimes against the state, and despite the protests of the Bishop of Carlisle, he hands over his crown to Bolingbroke, who is already acting as King. Aumerle, the son of York, has meanwhile plotted against the new ruler. When York discovers this he hastens to inform Bolingbroke, but Aumerle and his mother, York's wife, plead for and are granted clemency. Richard is imprisoned in Pomfret Castle, where he is murdered by Sir Pierce of Exton (who believes that Bolingbroke wishes Richard's death). Bolingbroke expresses regret for the murder and vows to lead a crusade to ease his conscience. In its theme, the play explores an issue which was to tear England apart half a century later: the basis of royal authority, whether derived directly from God or from the consent of the people and the effective exercise of power.


—oOo—

 From the Oxford Dictionary of Shakespeare, by Stanley Wells with James Shaw.

Richard II Shakespeare's history play was first published in *quarto in 1597. Richard's abdication (IV. i. 153-323) was omitted, doubtless because of the contemporary political situation, in this and the two subsequent reprints of the quarto (both in 1598). After the succession issue had been resolved, the episode was considered less contentious, and it appeared in the fourth quarto, of 1608, advertised as having 'new additions of the Parliament scene, and the deposing of King Richard; as it hath been lately acted by the King's Majesty's servants, at the Globe.' The First *Folio text (1623) includes a better version of the deposition scene based probably on a prompt-book.

The date of the play is uncertain, but is unlikely to be later than 1595. It is based mainly on *Holinshed, and possibly also on Samuel *Daniel's First Four Books of the Civil Wars (1595). It is the first play in Shakespeare's second tetralogy based on English history. Written entirely in verse, it is stylistically very different from the other three. The first recorded performance is one specially commissioned by the Earl of *Essex's supporters on 7 February 1601 as a gesture of support for his rebellion the following day. The players argued that it was 'so old and so long out of use' that they would have 'small or no company at it'. but performed it nevertheless. A court case ensued but the company was exonerated. An improbable performance on a ship captained by William *Keeling is recorded in 1607. It was also given at the *Globe on 12 June 1631.

Nahum *Tate's adaptation, as The Sicilian Usurper, appears to have been played twice only, in 1681. Lewis *Theobald's adaptation appeared at *Lincoln's Inn Fields in 1719, with some success. Shakespeare's play was given at *Covent Garden in 1738, with revivals in the two following seasons. It was neglected until Edmund *Kean played a version by Richard Wroughton at *Drury Lane in 1815, revived from time to time till 1828. W. C. *Macready came closer to Shakespeare in his performances. The most successful nineteenth-century production was Charles *Kean's at the Princess's in 1857, which had eighty-five performances. It was scenically spectacular, archaeologically respectable, and textually short. F. R. *Benson was a distinguished Richard at Stratford-upon-Avon and elsewhere at the turn of the century; C. E. Montague's review of his performance in the Manchester Guardian has become a classic of theatre criticism, often anthologized. Beerbohm *Tree's spectacular version at His Majesty's in 1903 included a new version of the pageant of Bolingbroke's entry into London which Charles Kean had introduced, and also a coronation for Henry IV. *Granville-Barker had played Richard in 1899 in a performance in Elizabethan style directed by William *Poel. *Gielgud, perhaps the greatest exponent of the role in the twentieth century, played it first at the *Old Vic (1954, etc.), and the *Royal Shakespeare Company production by John *Barton (1973-4) in which Richard *Pasco and Ian *Richardson alternated as Richard and Bolingbroke. Jeremy Irons played a Christ-like Richard in 1986 (Stratford-upon-Avon) and Fiona Shaw played Richard in Deborah *Warner's *Royal National Theatre production (1995, televised 1997).

Richard II is an uneven play, and the scenes of Aumerle's rebellion against Bolingbroke have frequently embarrassed actors and directors, but the role of Richard himself offers unequalled opportunities to actors who can command pathos and speak verse.



Estudios Ingleses en la UZ

Aquí están los recursos para estudios ingleses de nuestra biblioteca de humanidades, la María Moliner. Y, por feliz casualidad, observen quién está el primero, cito la primera sección, "Bases de datos":

Hay luego muchas listas más, de corpus o corpora, diccionarios, páginas web sobre lingüística o literatura,  publicaciones periódicas, organismos y asociaciones, y otros recurso de interés. Pero en primera plana, "el menda." Será por lo del orden alfabético A, B—"A Bibliography"—que no se piensen que le puse el nombre al tuntún o por modestia, en lugar de, pongamos "The Bibliography," o, en francés, "Ze Bibliographie".

Otra cosa sí aparece de mi departamento—la revista Miscelánea, de la que, por cierto, también fui yo el que hizo la edición electrónica. O sea que aunque hay meses que tenga pocas clases, trabajar sí que trabajo, demasiado y todo—tanto, de hecho, que no hago carrera.






martes, 19 de noviembre de 2013

Microblog de noviembre 2013

30 nov 13, 20:26
JoseAngel: ¡Fuera estos tíos del gobierno, y de la política, y que no vuelvan nunca más!
30 nov 13, 20:26
JoseAngel: Un grave atentado del gobierno de Rajoy a la libertad de expresión: http://esradio.libertaddigital.com/fonoteca/2013-11-30/sin-complejos-programa-completo-30112013-66881.html
29 nov 13, 08:37
JoseAngel: Y hoy unos títulos de y sobre Ovidio: http://es.convdocs.org/docs/index-5586.html
28 nov 13, 15:46
JoseAngel: Bibliography on a Shakespeare comedy—THE TAMING OF THE SHREW: http://es.convdocs.org/docs/index-47548.html
28 nov 13, 00:45
JoseAngel: Gray's Elegy Written in a Country Churchyard Study Guide: http://www.cummingsstudyguides.net/ThoGray.html
27 nov 13, 13:13
JoseAngel: CARTA - What Is Theory of Mind? http://youtu.be/TFTe3z5ISGo
25 nov 13, 21:16
JoseAngel: Grande Marlaska hizo su trabajito sucio... y ya ha ascendido, como el corcho blanco.
25 nov 13, 21:00
JoseAngel: La enseñanza del arte como fraude: http://esferapublica.org/nfblog/?p=23857
25 nov 13, 09:22
JoseAngel: Crítica sobre cine por países: http://kk.convdocs.org/docs/index-192668.html
24 nov 13, 12:24
JoseAngel: Anthropology Comes to Life (Tim Ingold) http://savoirsenmultimedia.ens.fr/expose.php?id=884
23 nov 13, 22:42
JoseAngel: Solución imaginaria a problema real: http://garciala.blogia.com/2013/112304-solucion-imaginaria-a-problema-real.php
23 nov 13, 15:04
JoseAngel: Purcell: Rondeau from Abelazer suite: http://www.youtube.com/watch?v=dGINE0i1a4E
22 nov 13, 22:28
JoseAngel: Estoy en portada del LITERARY THEORY & CRITICISM EJOURNAL: http://www.ssrn.com/link/English-Lit-Theory-Criticism.html
22 nov 13, 21:54
JoseAngel: Cárceles y mundos de la mente: http://garciala.blogia.com/2013/112202-carceles-y-mundos-de-la-mente.php
21 nov 13, 23:58
JoseAngel: TOMÁS MORO, de Shakespeare et al., en el Principal: http://moncayo.unizar.es/unizara/actividadesculturales.nsf/1f352c678bece1b3c1256cdd006ad325/c3ea0a9a894bc4f7c1257c27003625ea?OpenDocument
21 nov 13, 20:06
JoseAngel: Daniel Innerarity sobre "El lado menos amable de la Red" http://prensa.unizar.es/noticias/1311/131121_z0_2.pdf
21 nov 13, 12:37
JoseAngel: Jose Angel Garcia Landa Author Rank is 2,753 out of 240,282
17 nov 13, 16:03
JoseAngel: Habermas on Myth and Ritual: http://youtu.be/qA4iw3V0o1c
20 nov 13, 00:09
JoseAngel: La colonización PARTIDISTA del CGPJ: http://esradio.libertaddigital.com/fonoteca/2013-11-19/editorial-de-luis-herrero-la-renovacion-del-cgpj-66416.html
17 nov 13, 16:03
JoseAngel: Habermas on Myth and Ritual: http://youtu.be/qA4iw3V0o1c
17 nov 13, 15:38
JoseAngel: Alfred Schütz (Stanford Encyclopedia of Philosophy): http://plato.stanford.edu/entries/schutz/
16 nov 13, 16:13
JoseAngel: Intersubjektivität bei Alfred Schütz: http://youtu.be/tVUYFAVq-UQ
16 nov 13, 11:35
JoseAngel: Estoy en las Wikipedias: http://garciala.blogia.com/2013/111606-estoy-en-las-wikipedias.php
15 nov 13, 22:01
JoseAngel: Dickens para TV, OLIVER TWIST (BBC 2007): http://youtu.be/Rbd7HD0uo8M
14 nov 13, 23:50
JoseAngel: A list on Abandoned Lovers: http://es.scribd.com/doc/150576017/
14 nov 13, 22:14
JoseAngel: Aquí aparezco en el Classics Research Network: http://papers.ssrn.com/sol3/JELJOUR_Results.cfm?form_name=journalbrowse&journal_id=948047
11 nov 13, 09:26
JoseAngel: Mi bibliografía sobre Cleanth Brooks, ese que fue "New Critic" http://www.docstoc.com/docs/150153447/
11 nov 13, 00:34
JoseAngel: Gender, I-deology & Addictive Representation: http://www.unizar.es/departamentos/filologia_inglesa/garciala/publicaciones/genderideology.html
9 nov 13, 10:37
JoseAngel: Por aquí mi bibliografía de cosas que empiezan por R: http://coolessay.org/docs/index-98990.html
8 nov 13, 10:57
JoseAngel: Thomas Kyd: http://en.wikipedia.org/wiki/Thomas_Kyd
7 nov 13, 12:46
JoseAngel: Y también en esta tesis un tanto litúrgica: http://es.scribd.com/doc/56517884/Let-All-Creation-Rejoice-Orthodoxy-and-Creation-Between-Liturgical-Expression-and-Contemporary-Reality
7 nov 13, 12:40
JoseAngel: Me citan en este artículo sobre creación audiovisual en cine y TV: http://es.scribd.com/doc/90883118/La-creacion-audiovisual-en-la-investigacion-en-television
5 nov 13, 16:46
JoseAngel: Guy Fawkes, de espantajo público a héroe de los Indignados, vía V de Vendetta. Ahora hasta Felipe Froilán vende sus máscaras.
5 nov 13, 10:41
JoseAngel: Dozo doce horas de clase - ahora voy a la primera.
4 nov 13, 17:50
JoseAngel: Recuerdos desde Zaragoza.
3 nov 13, 12:05
JoseAngel: A real Sunday.
2 nov 13, 22:12
JoseAngel: Tenemos a Vitoré de visita.
2 nov 13, 14:02
JoseAngel: Una publicación poco celebrada de Bécquer: http://www.20minutos.es/galeria/3057/0/0/borbones/pelota/becquer/
1 nov 13, 22:39
JoseAngel: Aquí en día de difuntos viendo viejos vídeos caseros, versión moderna de las apariciones.
1 nov 13, 14:07
JoseAngel: No tengo conversación.
1 nov 13, 11:48
JoseAngel: El rey a las víctimas del terrorismo: No os rindáis, que para eso ya estamos nosotros.




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.