martes, 31 de diciembre de 2024
La Navidad de Elisa | SPOT de NAVIDAD 2024 💫
DEBERES PARA VOX ESTE AÑO: (1) EXIGIR LA INVESTIGACIÓN DE LA CIFRA REAL DE VÍCTIMAS EN VALENCIA, Y QUE LAS AYUDAS PREGONADAS SEAN EFECTIVAS. (2) DENUNCIAR EN EL GRUPO DE PATRIOTAS LA ESCALADA BELICISTA DE LA GUERRA OTAN CONTRA RUSIA, Y PROMOVER UNA POLÍTICA INTERNACIONAL INDEPENDIENTE. (3) INTERESARSE (QUÉ MÍNIMO) POR EL CUMPLIMIENTO DE LA LEY ELECTORAL Y LA REVISIÓN EFECTIVA DEL RECUENTO DE VOTOS. QUE AHÍ HABÉIS ESTADO MUY TONTOS Y MUY DEJADOS. APARTE, ENHORABUENA Y ADELANTE.
Habría que adoptar, además, una postura más activa en la investigación y denuncia de las víctimas de las vacunas Covid, y las falsas medidas sanitarias, como las mascarillas, que Vox aceptó sin chistar y luego ya se ve de qué servían.
—oOo—
lunes, 30 de diciembre de 2024
Samuel Beckett: As the Story Was Told documentary (1996)
Samuel Beckett: As the Story Was Told. Documentary film. Prod. and dir. Seán ó Mórdha. Exec. Prod. Nigel Williams and Roger Thompson. Araby Productions for BBC television in association with RTE. 1996. Online video. YouTube (Manufacturing Intellect) 7 Nov. 2017.*
2024
—oOo—
Mil soles espléndidos
Un artículo asiático en el que se me cita:
Haq, A., D. M. F. Maan, and D. H. Batool. "Unveiling the Elements of a Fairy Tale: An Exploration of Proppian Narrative Functions in A Thousand Splendid Suns." Journal of English Language, Literature and Education 6.4 (2024): 24-43.* (Khaled Hosseini).
https://doi.org/10.54692/jelle.2024.0604239
2024
—oOo—
Retropost, 2014: Interdisciplinary Evolutionary Consilient Narratology
Retropost, 2014: Interdisciplinary Evolutionary Consilient Narratology https://vanityfea.blogspot.com/2014/12/interdisciplinary-evolutionary.html
domingo, 29 de diciembre de 2024
Les desearía felices navidades
CON PERSPECTIVA, DEGENERÓ
Con perspectiva, degeneró. La narrativa oficialista, digo. Hace dos años:
Y hoy:
_____. "Tres noticias y una conclusión: 'La respuesta de la OMS a la pandemia fue un completo fracaso'." La Razón 29 Dec. 2024.*
https://www.larazon.es/salud/tres-noticias-conclusion_202412296765ad2a4f1fb70001987e78.html
2024
"El demoledor informe de EE.UU. sobre las decisiones equivocadas de la pandemia"
https://theobjective.com/elsubjetivo/opinion/2024-12-26/pandemia-el-descredito-absoluto-de-la-politica/
Ya hasta el más tonto es negacionista... Bueno, de Expósito, o de Enjuanes, o de Illa, o de nuestros enmascarilladores locales, en realidad no me consta.
—oOo—
sábado, 28 de diciembre de 2024
Vergüenza nacional
Desde que @sanchezcastejon está en el poder, la TRAMA de los HIDROCARBUROS ha DEFRAUDADO a los españoles más de 10.000 MILLONES de euros 🎯👇 https://t.co/4U3CRK0d0q pic.twitter.com/YBd3JMgsra
— Guillermo Rocafort (@GuillermoRocaf1) January 3, 2025
viernes, 27 de diciembre de 2024
The End of Organized Humanity Noam Chomsky
Chomsky, Noam. "The End of Organized Humanity." Video talk. 2023. YouTube (The Poetry of Predicament) 1 Dec. 2024.* (Surveillance capitalism, Elites, Environmentalism, Nuclear war).
2024
—oOo—
PsyWar: Enforcing the New World Order | Dr. Robert Malone
Malone, Robert. "PsyWar: Enforcing the New World Order | Dr. Robert Malone." Video. YouTube (misesmedia) 2 Aug. 2024.* (Control, Reputation, Covidism, Dissent, Conspiracies, Surveillance capitalism, Big Tech, Social media, Data, WEF, Transhumanism, Klaus Schwab, Social engineering).
2024
—oOo—
jueves, 26 de diciembre de 2024
MÁS DE DIEZ MIL MUERTOS POR EL TRÁFICO ILEGAL DE AFRICANOS
EL TRÁFICO DE PERSONAS ALENTADO, SUBVENCIONADO Y PROMOVIDO POR LAS AUTORIDADES EUROPEAS Y ESPAÑOLAS CAUSA MILES DE MUERTES: https://t.co/MegfVkZj48
— JoséAngelGarcíaLanda (@JoseAngelGLanda) December 27, 2024
Retropost: VEINTE AÑOS DE BLOGS
Retropost, 2014:
Hace diez años cumplí diez años de blogs. Hoy mi blog ya tiene más de veinte años; some kind of record como diría Leonard Cohen. No sé si habrá muchos tan persistentes o insistentes desde 2004.
En fin, aquí seguimos, sentados al pie del cañón.
Retropost, 2014: Diez años de blogs https://vanityfea.blogspot.com/2014/12/diez-anos-de-blogs.html
—oOo—
Digital Storytelling
Un trabajo de postgrado en el que me citan:
Scarinci, Alessia. "Digital Storytelling: un'applicazione didattica per ripensare ai media attraverso I media." Dir. Javier Díaz Noci. Postgraduate diss. U Pompeu Fabra, 2010.*
https://repositori-api.upf.edu/api/core/bitstreams/a4d368ab-c1f0-4302-a606-4d5f6221b8a0/content
2024
—oOo—
miércoles, 25 de diciembre de 2024
Catastrophe et récit
Un séminaire à l'École Normale Supérieure, Paris, décembre 2010.
Catastrophe et Récit
Les subjectivités inauthentiques des catastrophes — Pierre Zaoui (Université Paris VII), le 17 décembre 2010 à 11H20
Heureux qui peut dire : ’avant que’, ’pendant que’, ’après que’ ». Réconfort et refus du récit. — Jean-Claude Monod (CNRS), le 17 décembre 2010 à 10H40
La catastrophe dans le récit — Jean-Pierre Dupuy (Polytechnique/univ. de Stanford), le 17 décembre 2010 à 9H45
Les catastrophes entre le récit, le mythe, et l’histoire ? — Frédéric Worms (univ. Lille III, CIEPFC, ENS) et Alexei Grinbaum (physicien), le 17 décembre 2010 à 9H15
—oOo—
Why Trump Wants Greenland and the Panama Canal
_____. "Why Trump Wants Greenland: The 257th Evolutionary Lens with Bret Weinstein and Heather Heying." Video. YouTube (Bret Weinstein) 24 Dec. 2024.* (Geopolitics; Drag Queens).
https://www.youtube.com/live/yNzL3tMvlMo
2024
Epstein, Kayla. "Greenland and the Panama Canal Are Not for Sale. Why Is Trump Threatening to Take Them?" BBC 25 Dec. 2024.*
https://www.bbc.com/news/articles/c1lnzzd1zrmo
2024
Les manuscrits de Marcel Proust
Séminaire de l’ITEM : L’écriture et le souci de la langue · Les manuscrits de Marcel Proust Exposé 2 — Bernard Brun (ITEM) et Nathalie Mauriac-Dyer (ITEM), le 30 janvier 2002 à 17H30
Catharsis tragique chez Aristote
Littérature et thérapeutique des passions : la catharsis en question
’Catharsis’ tragique chez Aristote : enjeux et problèmes — Pierre Destrée (FNRS, Louvain), le 4 juin 2010 à 9H45On Metacriticism as Intervention (a note on Susan R. Horton's 'Interpreting Interpreting')
A summary of the main thesis of Susan Horton's approach to metacriticism in "Interpreting Interpreting: Interpreting Dickens's Dombey" (1979), and a commentary on the situatedness and the specific agenda of metacritical projects.
Full text:
On Metacriticism As Intervention
(a Note on Susan R. Horton’s Interpreting Interpreting)
http://dx.doi.org/10.2139/ssrn.4997304
4 Pages Posted: 23 Dec 2024
José Ángel García Landa
Universidad de Zaragoza
Date Written: November 20, 1988
Keywords: Literary criticism, Criticism, Metacriticism, Literary theory, Hermeneutics
Suggested Citation:
(November 20, 1988). Available at SSRN: https://ssrn.com/abstract=4997304 or http://dx.doi.org/10.2139/ssrn.4997304
SSRN eJournal Classifications | Message |
LIT Subject Matter eJournals |
Added to eLibrary |
Also here:
_____. "On Metacriticism as Intervention: A Note on Susan R. Horton's Interpreting Interpreting." (Word file, Brown University, 1988). Online edition:
http://www.unizar.es/departamentos/filologia_inglesa/garciala/publicaciones/metac.html
2013 DISCONTINUED 2020 – Online at the Internet Archive:
2020
https://personal.unizar.es/garciala/publicaciones/metac.html
2020
_____. "On Metacriticism as Intervention: A Note on Susan R. Horton's Interpreting Interpreting." Academia 21 Aug. 2013.*
http://www.academia.edu/4285379/
2013
_____. "On Metacriticism as Intervention: A Note on Susan R. Horton's Interpreting Interpreting." ResearchGate 26 Nov. 2014.*
https://www.researchgate.net/publication/262377173
2014
_____. "On Metacriticism as Intervention: A Note on Susan R. Horton's Interpreting Interpreting." Humanities Commons 15 Feb. 2018.*
https://hcommons.org/deposits/item/hc:18237/
http://dx.doi.org/10.17613/M6VK2H
2018
_____. "On Metacriticism as Intervention: A Note on Susan R. Horton's Interpreting Interpreting." SSRN 23 Dec. 2024.*
http://dx.doi.org/10.2139/ssrn.4997304
https://ssrn.com/abstract=4997304
2024
Literary Theory & Criticism eJournal 23 Dec. 2024.*
https://www.ssrn.com/link/English-Lit-Theory-Criticism.html
2024
martes, 24 de diciembre de 2024
Los negacionistas teníamos razón
— illuminatibot (@iluminatibot) December 25, 2024
RFK Jr Asks Why Bill Gates & the CIA Were Hosting Event 201 Together in 2019
— Mr Commonsense (@fopminui) December 25, 2024
“You have in New York City Bill Gates hosting a coronavirus pandemic simulation. His co-host is Avril Haines, the Deputy Director of the CIA. What is the CIA doing at a public health forum? They don’t… pic.twitter.com/qZIX33OwOL
"El demoledor informe de EE.UU. sobre las decisiones equivocadas de la pandemia"
https://theobjective.com/elsubjetivo/opinion/2024-12-26/pandemia-el-descredito-absoluto-de-la-politica/
Feliz Navidad con Solidaridad
Feliz Navidad 💫 pic.twitter.com/Eq7mpHghO9
— Sindicato Solidaridad 🇪🇸 (@solidaridad_esp) December 24, 2024
Bitter Truth
from William Cowper, The Task:
What's that, which brings contempt upon a book,
And him who writes it, though the style be neat,
The method clear, and argument exact?
That makes a minister in holy things
The joy of many, and the dread of more,
His name a theme for praise and for reproach?—
That, while it gives us worth in God's account,
Depreciates and undoes us in our own?
What pearl is it, that rich men cannot buy,
That learning is too proud to gather up;
But which the poor, and the despised of all,
Seek and obtain, and often find unsought?
Tell me—and I will tell thou what is truth.
—oOo—
Gobernados por la Purria Infame
PEDRO SÁNCHEZ DEBE SER INVESTIGADO EN BREVE EN EL CASO DE SU MUJER BEGOÑA GÓMEZ POR TRÁFICO DE INFLUENCIAS Y MALVERSACIÓN, EN EL DE SU HERMANO, EN EL DE KOLDO, ÁBALOS, ALDAMA COMO N°1, EN EL DEL FISCAL GENERAL DEL ESTADO Y MÁS QUE EN NINGUNO, POR SU OMISIÓN DEL DEBER DE SOCORRO… pic.twitter.com/e51tWPOK5A
— UN ABOGADO CONTRA LA DEMAGOGIA (@UACD_Youtube) December 23, 2024
Barceló, José Luis, et al. "El Annus Horribilis del Gobierno." Video. YouTube (Estado de Alarma Oficial) 26 Dec. 2024.* (Juan Manuel de Prada, Environmentalism, climate change, Agendas, Pedro Sánchez's corruption).
https://www.youtube.com/live/6s2nbMd04Lo
2024
_____, et al. "España abrira 2025 sin gobierno." Video. YouTube (Estado de Alarma Oficial) 27 Dec. 2024.* (Pedro Sánchez, corruption, misgovernment).
https://www.youtube.com/live/Iqhfl2Zv-0s
2024
lunes, 23 de diciembre de 2024
Notes on Jane Austen - The Six Novels
W. A. Craik, Jane Austen: The Six Novels. 1965. London: Methuen & Co., Ltd. 1977. 210 p.
Notes taken by José Ángel García Landa (c. 1983).
Introduction
(2) "Her greatness lies less in the way in which she combines the artist and the moralist; hers is a perfect, because a natural, reconciliation of the two, and in none of her six completed novels does either the artist or the moralist have to give way." Jane Austen appeals to all reasonable and rational qualities of the reader.
1. Northanger Abbey
Literary burlesque and social & moral comment come eventually into opposition: an unsatisfactory work. Austen is unwilling to take on much personality as a narrator [!]. Action is seen through the mind of an immature and ignorant but raturally right-thinking heroine. Austen is exceptional in presenting congruous scenes with serious and comic characters and being equally happy with them. Use of cliché by characters, vs. minds governed by cliché in her best achievements. In Northanger Abbey there is little interplay between minor figures, (21) "a fault of the plot is that as Catherine's character becomes more psychologically interesting, it becomes less so as a liteary force". [Aristotelian] unity. She depicts the steady passage of time over a short time without momentuous incidents—all are momentuous through selection. Little detail of scenery, no inanimate (or indeed animate) objects are described, no symbolic values added — only as they act as characters. Little need to describe physical features or expression; conversation renders character. The style lacks in personal mannerisms: it is Augustan, precise and easy. The humorous characters confuse important and trivial matters and do not advance the conversation. (31) "Jane Austen can make the most apparently commonplace topic reveal the discussion of personal principles and conduct, both social and moral, which is at the heart of all ther novels."
(2) Sense and Sensibility
(32) "Sense and Sensibility resembles Mansfield Park in being in places not only serious but solemn." Irony is confined to lesser figures. Elinor is a faultless character, too much weight is placed on her. The plot requires the main character to be passive, which is a serious drawback. Elinor is an ideal balance of sense and sensibility. The novel is based on a patterning of character, symmetries, etc. Jane Austen guides the reader, Elinor is her main mouthpiece; Brandon is used to comment on her. Willoughby becomes suspect when his character is not commented on. The best way of using minor characters: "she uses a few traits and applies them to a wide variety of subjects" and functions. Rank or wealth are not estimable in themselves for Jane Austen, but only because of the opportunities they allow. All the characters are gentry: there is no place for servants in Jane Austen's literary schemes. Character and plot are balanced in Jane Austen's novels—but the plot of Sense and Sensibility is more mechanical and there are some coincidences and improbabilites (less than in Dickens, Hardy, etc.). The settings and the weather are used as an organizing force—they are not symbolic, though. A strong sense of time and place. (57): "An abrupt opening to a scene is therefore clearly deliberate (...) Jane Austen's own abruptness emphasizes Lucy's awkwardness." Money concerns, with figures, etc. —equivalents only in Trollope. (61): "Jane Austen does not merely analyse a situation, she reproduces it so that the time it takes the reader to grasp its implications appears to delay the narrative no more than it would arrest the action in real life."
3. Pride and Prejudice
More compressed, vicacious and active than Sense and Sensibility. Jane Austen here is a lively commentator on the main characters, whe Elizabeth (with limited judgement) cannot present the material. An ironical novel (similar to Emma, versus Mansfiel Park and Persuasion). Minor and limited characters, as well as Elizabeth, often do the narrator's work of evaluation. (66): "Mr Darcy is the first hero Jane Austen tackles seriously or at much length. He develops like Elizabeth from complacency to self-knowledge and reformation." (69): "What the author tells us, what the heroine perceives, and the conclusions the heroine draws are so mingled that they are hardly separable". Elizabeth, (78) "Like Elinor before her she is a lens through which the action is seen, and like Emma after her she is a lens with a flaw." Scenes are presented through her eyes or ears. (79): "During and after her stay in Lambton, Elizabeth is presented—like Catherine Morland after her disillusion, an like Emma as a whole—by the kind of reported thought-process which is Jane Austen's most original method." (79): "In the second part of the novel, after she has realized the errors her prejudice has led her into, her judgment is directed inwards on herself rather than outwards on to other people, and more of the action takes place in her own mind, less in actual events." A new use for some minor characters—to reveal the situation (of the heroine) rather than their own personality. Sensitive to place. No tours de force as in Sense and Sensibility. Pride and Prejudice resembles Emma (a fault in judgement in the heroine) while Sense and Sensibility looks forward to Mansfield Park, where the consciously virtuous heroine cannot control the circumstances, and the hero fails.
4. Mansfield Park
More solemn than the rest. Jane Austen plays a large part as narrator and . Fanny is not a lens, (92): "there are many important scenes in which Fanny does not appear at all". Analysis of motives and emotions. (92): "The subject is no longer the reform of a single heroine (Fanny has really no faults to lose), it is the breakdown and subsequent reform a whole highly organized society—the society formed by those who live at Mansfield Park, after the influence of the corrupting Crawfords. Fanny is much less of a heroine, with a sound but limited judgement (unlike Elinor she does not have an old head). The reader does not feel Fanny is an equal. All themes are clear since the opening chapter. Fanny is the pivot of action but not a heroine: she is solemn, has no humour, and is passive throughout. Jane Austen does not clarify enough the moral damage of the play. Confusion results, and it is a liability. Edmund tries to prevent the love between Henry Crawford and Maria, but he is not supposed to know about it [This is not correct - JAGL.]. Henry and Mary Crawford decide. Comments by Lady Bertram unconsicously reveal the truth of the situations. Pity for Mrs Norris: cf. George Eliot's grotesque suffering characters. Episodes of the play and Sotherton are tours de force: revelation of the situations, symbols of Maria's future elopement, etc. The Crawfords are attractive: there is real affection between them, but they are condemned nevertheless. Henry Crawford retains propriety; he is not an instrument of the plot like the earlier seducers. Jane Austen has made it impossible for either Mary or Henry to marry the right ones. A story of how heroes avoid wrong marriages, rather than a story of their own marriage. mary and Edmund's watch episode: a symbol of her unwillingness to come to terms with the inescapable truth; the same as with his ordination. Fanny is the standard of perfection in Edmund's unconscious. The theme of Mary and Edmund is not sufficiently developed: the novel is both too long and with too much material. The conjunction of Edmund and Fanny is necessary to guide the reader (both are fallible). Austen uses an introduction of characters by degrees, and in relationship to all other main characters (not only to the heroine). Portsmouth scenes: a very late introduction of new characters, which is new. Too much commentary: a danger of character being dissociated from immediate surroundings, one of Jane Austen's best skills, being suppressed. The novel covers a long space but most of it is devoted to a single year. With a kind of "sub-plots." The novel is faulty but impressive, and sometimes excels Emma.
(5) Emma
The most perfect of Jane Austen's novels. (125): "readers find difficulties and imperfections where none exist except what their own preconceptions create". An intrincate plot without any sensational events. (126): "Jane Austen appears much less in person as narrator because here we need to know scarcely anything that Emma cannot tell us, consciously or unwittingly; the unity of the plot and character is therefore much closer than ever before." (126): "The whole plot, as well as the character of Emma herself, would be spoilt if we saw any more." In a first reading, the reader does not draw the right inferences, and merely reconsiders past hints with Emma herself. Emma is deluded but not ridiculous; equal to us. Many characters comment validly and unconsciously (ironically) on the action. Most are presented and seen through other characters. Character is used as relief, or as a compression of useful information (e.g. Miss Bates), presented paradoxically as rambling discourse. Mr. Knightley is one of the few characters, apart from Emma, whose thoughts are reported. Emma, when at her worst, is similar to Mary Crawford. An ironic use of romantic cliché in all novels. The conclusion is smoother than in Mansfield Park. The presentation of late-comers is prepared early on by talk about them. Secondary cahracters are often presented (162) "in a third-person version of their own words, which has all its personal, rhythmical and idiomatic trait, without its immediacy [sic]". Emma's speeches often comment on themselves, so there is no need for Jane Austen's commentary.
6. Persuasion
Persuasion is unfinished, and lacks development of a secondary plot. Jane Austen's tone is at her most assured. More direct narrative than ever before, vs. conversations or characters used to transmit information. But she still understates her points and minor characters still reveal themselves ironically, even thought she uses more serious and moral characters.The heroine is nearest to the author: Jane Austen's comments slide into Anne's. It is her least dramatic work in terms of plot surprise and method of presentation. Mrs. Clay, a flatterer, similar to Mrs. Norris, etc. Mr. Eliot similar to Henry Crawford; subtler presentation than in the case of Wickham. Cliché is used to reveal insincerity in Jane Austen; but now wit does not equal sense. Social propriety no longer equals virtue, either. (As against Pride and Prejudice). (186): "Emma's exclamatory method of retailing thought is largely done away with because Anne's idiom and style are not clues to her meaning; there is generally little difference in style between what Anne say and what Jane Austen says, and it is sometimes both difficult and unnecessary to decide which one is speaking." (187): "Anne generally appears more by what she thinks than what she does"; she is passive. The passage of time begins with large sections and ends with particular days (vs. Austen's usual method). Settings are now relevant to character, symbolic. Johnsonian influence. (196): "Jane Austen in Persuasion is concerened with states of mind aroused by events, rather than with the events themselves. Her method here is to select what is of universal application from her material, rather than—as in Emma—to let the universal emerge ironically by contrast with her particular topic." An aphoristic style, with less conversation. Maybe (200) "Persuasion shows that Jane Austen was moving towards a more introspective kind of writing, towards a study of the individual and of his moral growth within himself, rather than within society."
—oOo—