Mi blog sobre LITERATURA INGLESA— que muchos años la estuve enseñando, el siglo pasado y éste también.
Vanity Fea: (Literatura inglesa) (José Angel García Landa, U de Zaragoza).*
https://blogdenotasvanityfea.blogspot.com/search/label/Literatura%20inglesa
https://vanityfea.blogspot.com/search/label/Literatura%20inglesa
2026
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Mi última publicación rusa—al menos de momento. Esta vez en inglés:
José Angel García Landa. "The Theatre of Emotions: Garrick, Shakespeare, and the Paradox of Acting." En «Меры не знал я, смертных любя»: к 90-летию российского филолога Владимира Серафимовича Вахрушева (1932—2011) / Ред.-сост. Л. В. Комуцци и П. С. Глушаков. San Petersburgo: Изд-во «Росток», 2022. 200-215.* En Публикации -Национальный исследовательский университет «Высшая школа экономики»
https://publications.hse.ru/books/796705473?ysclid=m4d1lykfoj493085664
2024
Una versión en español de mi capítulo puede verse aquí:
El teatro de las emociones: Garrick, Shakespeare y la paradoja del comediante: https://personal.unizar.es/garciala/publicaciones/GarrickShakes.pdf
El libro (ruso) se puede comprar aquí, aunque la importación de artículos rusos está jorobada ahora mismo y desde hace años ya...
Комуцци, Людмила, и Павел Глушаков, eds. «Меры не знал я, смертных любя»: к 90-летию российского филолога Владимира Серафимовича Вахрушева (1932—2011). St. Petersburg: Изд-во «Росток», 2022. Online at Публикации-Национальный исследовательский университет «Высшая школа экономики».*
https://publications.hse.ru/books/796705473?ysclid=m4d1lykfoj493085664
2024
El índice del libro puede verse aquí:
—oOo—
Un artículo sobre el Enrique V de Shakespeare —y el de Laurence Olivier, y el de Kenneth Branagh— en el que me citan:
Torrado Mariñas, Laura. (U de Vigo; ltorrado@uvigo.es) "'Once More Onto the Breach, Dear Friends…': Olivier and Branagh's Henry V or Two Context-Dependent Renderings of the Shakespearean Original." Odisea 11 (2010): 155-68.*
http://www.ual.es/odisea/Odisea11_Torrado.pdf
2017
Online at Portal de Revistas de la Universidad de Almería.*
http://ojs.ual.es/ojs/index.php/ODISEA/article/download/318/289
2024
Online at riUAL (Universidad de Almería).*
http://repositorio.ual.es/bitstream/handle/10835/1089/Odisea11_Torrado.pdf
2020
Online preview at Google Books:
https://books.google.es/books?id=yJLdCgAAQBAJ&lr=&source=gbs_navlinks_s
2017
Online at Academia.*
https://www.academia.edu/96247458/
2023
Lo citado es este articapítulo mío sobre los Enriques:
"Adaptation, Appropriation, Retroaction: Symbolic Interaction with Henry V." Online PDF at Academia 25 April 2009.*
https://www.academia.edu/178881/
2014
—oOo—
Artículo donde me citan en la India lejana:
Gangopadhyay, Srimayee. (Dpt. of English, Jadavpur U, Kolkata, West Bengal, India; srmayee98@gmail.com). "Shakespeare in the Orient Screen: Cinematic Adaptations in China, India and Japan." International Journal of English Literature and Social Sciences 7.2 (March-April 2022).
https://dx.doi.org/10.22161/ijels.72.39
2024
Artículo éste que propone una lectura reflexiva y metapoética de la actitud del autor y de la dimensión aubiográfica de los Sonetos de Shakespeare, con atención especial al poema final de la edición de 1609, "A Lover's Complaint", con frecuencia descuidado por los editores y críticos de los Sonetos. Este poema proporciona indicios adicionales para reconocer una dimensión metapoética en la representación que nos dan los Sonetos de la escritura poética y de la involucración del autor. A pesar del título inglés, el artículo está en español; la traducción del título vendría a ser "Sonetos de hondo seso."
Texto completo:
http://dx.doi.org/10.2139/ssrn.1081845
Abstract: This paper proposes a reflexive-metapoetic reading of the authorial attitude and the autobiographical dimension of Shakespeare's Sonnets, with special reference to the concluding poem of the 1609 edition, "A Lover's Complaint", frequently neglected by editors and critics of the Sonnets. The poem provides some additional evidence for a metapoetic dimension in the Sonnets' representation of authorial involvement and writing. (In spite of the English title, the downloadable paper is written in Spanish).
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LIT Subject Matter eJournals English & Commonwealth Literature eJournal - CMBO LIT: Shakespeare (Topic) - CMBO
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También aquí:
_____. "Deep-brained Sonnets." In García Landa, Vanity Fea 22 Dec. 2006.
http://garciala.blogia.com/2006/122201-deep-brained-sonnets.php
2007-01-05
_____. "Deep-Brained Sonnets." Online PDF at Social Science Research Network 9 Jan. 2008
http://dx.doi.org/10.2139/ssrn.1081845
http://ssrn.com/abstract=1081845
2008
English and Commonwealth Literature eJournal (2008)
http://www.ssrn.com/link/English-Commonwealth-Lit.html
2013
Poetry and Poetics eJournal (2008)
http://www.ssrn.com/link/English-Poetry-Poetics.html
2013
_____. "Deep-brained Sonnets." Online PDF at Zaguán 21 April 2009.
http://zaguan.unizar.es/record/3241
2009
_____. "Deep-Brained Sonnets." ResearchGate 16 April 2012.*
http://www.researchgate.net/publication/33419875
2012
_____. "Deep-Brained Sonnets." Academia 27 Jan. 2014.*
https://www.academia.edu/171762/
2014
https://www.academia.edu/104883532/
2023
_____. "Deep-Brained Sonnets." Semantic Scholar.*
2024
_____. "Deep-Brained Sonnets." Vanity Fea 11 Feb. 2024.*
https://vanityfea.blogspot.com/2024/02/deep-brained-sonnets.html
2024
—oOo—
A passage from Burton's Anatomy of Melancholy which alludes to the motto for Shakespeare's Globe—without mentioning the Globe itself, only the classical locus. From the introduction, "Democritus to the Reader" (52-53):
Thus Democritus esteemed of the world in his time, and this was the cause of his laughter: and good cause he had.
Olim jure quidem, nunc plus, Democrite, ride;
Quin rides? vita haec nunc mage ridicula est. (2)
Democritus did well to laugh of old,
Good cause he had, but now much more;
This life of ours is more ridiculous
Than that of his, or long before.
(2) E Graec. epig.
Never so much cause of laughter as now, never so many fools and madmen. 'Tis not one Democritus will serve turn to laugh in these days; we have now need of a "Democritus to laugh at Democritus" (3); one jester to flout at another, one fool to fleer at another: a great stentorian Democritus, as bit as that Rhodian Colossus. For now, as Sariburiensis said in his time (4), totus mundus histrionem agit, the whole world plays the fool; we have a new theatre, a new scene, a new Comedy of Errors, a new company of personate actors; Volupiae sacra [the rites of the goddess of pleasure] (as Calcagninus willingly feigns in his Apologues) are celebrated the world over, where all the actors were madmen and fools, and every hour changed habits, or took that which came next (5). He that was a mariner to-day is an apothecary to-morrow; a smith one while, a philosopher another, in his Volupiae ludis [in these fêtes of the goddess of pleasure]; a king now with his crown, robes, ceptre, attendants, by and by drove a loaded ass before him like a carter, etc. If Democritus were alive now, he should see strange alterations, a new company of counterfeit vizards, whigglers, Cuman asses, maskers, mummers, painted puppets, outsides, fantastic shadows, gulls, monsters, giddy-heads, butterflies. And so many of them are indeed (if all be true that I have read) (6). For when Jupiter and juno's wedding was solemnized of old, the gods were all invited to the feast, and many noble men besides. Amongst the rest came Chrysalus, a Persian prince, bravely attended, rich in golden attires, in gay robes, with a majestical presence, but otherwise an ass. The gods, seeing him come in such pomp and state, rose up to give him place, ex habitu hominem metientes [measuring the man by his garb]; but Jupiter, perceiving what he was, a light, fantastic, idle fellow, turned him and his proud followers into butterflies (1): and so they continue still (for aught I know to the contrary) roving about in pied coats, and are called chrysalides by the wiser sort of men: that is, golden outsides, drones, flies, and things of no worth. Multitudes of such, etc.
ubique invenies
Stultos avaros, sycophantas prodigos.
[You will find everywhere miserly fools and spendthrift sycophants.]
Many additions, much increase of madness, folly, vanity, should Democritus observe, were he now to travel, or could get leave of Pluto to come see fashions, as Charon did in Lucian, to visit our cieties of Moronia Pia and Moronia Felix (2): sure I think he would break the rim of his belly with laughing. Si foret in terris rideret Democritus [were Democritus alive, how would he laugh!], seu (3), etc.
(3) Plures Democriti nunc non sufficiunt, opus Democrito qui Democritum rideat. —Era. Moria.
(4) Polycrat. lib. 3, cap. 8, e Petron.
(5) Ubi omnes delirabant, omnes insani, etc., hodie nauta, cras philosophus; hodie faber, cras pharmadopola; hic modo regem agebat multo satellitio, tiara, et sceptro ornatus, nunc vili amictus centiculo, asinum clitellarium impellit.
(6) Calcagninus, Apol. Chrysalus e caeteris auro dives, manicato peplo et tiara conspicuus, levis alioquin et nullius consilii, etc. Magno fastu ingredienti assurgunt dii, etc.
(1) Sed hominis levitatem Jupiter perspiciens, At tu (inquit) esto bombillo, etc., protinusque vestis illa manicata in alas versa est, et mortales inde Chrysalides vocant hujusmodi homines.
(2) [Provinces of Moron ia, or Foolsland, in Joseph Hall's Mundus Alter et Idem.]
(3) Hor.
A satirical Roman in his time thought all vice, folly, and madness were all at full sea, Omne in praecipiti vitium stetit (4) [every vice was in headlong career].
(4) Juven.
Josephus the historian taxeth his countrymen Jews for bragging of their vices, publishing their follies, and that they did contend amongst themselves who should be most notorious in villainies (5); but we flow higher in madness, far beyond them,
Mox daturi progeniem vitiosiorem, (6)
[And yet with crimes to us unknown,
Our sons shall mark the coming age their own,]
and the latter end (you know whose oracle it is) is like to be worst. 'Tis not to be denied, the word alters every day; Ruunt urbes, regna transferuntur [cities fall, kingdoms are transferred], etc., variantur habitus, leges innovantur [fashions change, laws are altered], as Petrarch observes (7), we change language, habits, laws, customs, manners, but not vices, not diseases, not the symptoms of folly and madness, they are still the same. And as a river, we see, keeps the like name and place, but not water, and yet ever runs, Labitur et labetur in omne volubilis aevum (8); our times and persons alter, vices are the same, and ever will be; look how nightingales sang of old, cocks crowed, kine lowed, sheep bleated, sparrows chirped, dogs barked, so they do still; we keep our madness still, play the fools still, nec dum finitus Orestes [and the play is not yet finished]; we are of the same humours and inclinations as our predecessors were; you shall find us all alike, much at one, we and our sons, Et nati natorum, et qui nascuntur ab illis, and so shall our posterity continue to the last. But to speak of times present.
(5) De bello Jud. l. 8, capt. 11. Iniquitates vestrae neminem latent, inque dies singulos certamen habetis quis pejor sit.
(6) Hor.
(7) Lib. 5, epist. 8
(8) Hor.
—oOo—
_____. Macbeth. Filmed performance. Macbeth - Thomas Hampson; Lady Macbeth - Paoletta Marrocu; Banco - Roberto Scandiuzzi; Macduff - Luis Lima; Dama di Lady Macbeth - Liuba Chuchrova; Malcolm - Miroslav Christoff; Medico - Peter Kalman. Orchestra and Chorus of the Zurich Opera House / Franz Welser-Most. Stage Director - David Pountney. Opera House Zurich, 2001.
YouTube (JP) 15 Jan. 2015.* (With English subtitles).
2023
Creo que debo de ser el único profesor de la Universidad de Zaragoza al cual se le ha metido el Rector a prohibir y eliminar materiales docentes. Solía yo hacer un blog para cada asignatura, pero de repente ordenó el rector bloquearme la web y eliminar todo tipo de cosas indeseables que allí estaban, a petición creo de una (feminista) Defensora Universitaria. Entre las cosas a eliminar, no sólo mi Blog de Notas sino también los blogs docentes. ¿Que no se puede hacer un blog para una asignatura? No: en la web de la Universidad no. Me recomendaban Moodle. En fin, que tras una reunión con el vicerrector del ramo (para más inri el bloguero fernand0), los tuve que borrar los blogs, los no docentes y los docentes (a mitad de curso) y abrirlos fuera de la Universidad, porque si no no me daban acceso a mi web. Los abrí en Blogger, y a correr.
Pervivieron estos blogs, más mal que bien, en el Archivo de Internet. Aquí están los restos mortales de mi blog docente sobre Shakespeare, subido hoy en forma de PDF a Academia:
Shakespeare. Blog for the 5th year course in English Philology. (Discontinued degree). c. 2007-2018.
http://www.unizar.es/departamentos/filologia_inglesa/garciala/shak.html
2007 (Discontinued 2018 following the Rector's instructions) – Online at the Internet Archive:
2021
Academia.*
https://www.academia.edu/1730554/
2022
—oOo—
A thesis on Shakespeare translation where I'm being quoted (not on Shak., not on translation):
O'Connor, Mark. "To Keep the Spirit but Update the Language: Translation of Shakespeare's Twelfth Night, Henry IV Part I and Troilus and Cressida, into twenty-first century English verse." Ph.D. diss. U of Western Australia, 2015. Online at Internet Archive.*
2022
—oOo—
Notes on the second half of Nicholas Ray's book Tragedy and Otherness: Sophocles, Shakespeare, Psychoanalysis—a reading of Shakespeare's Julius Caesar, with some interesting dimensions for the student of retroprospective action. The relationship to the Freudian project is rather indirect, but the chapter stands on its own strength as an outstanding reading in the deconstructivist mode.
Full text:
Also here:
_____. "Tragedy and the Oedipal Subject: Shakespeare (and Freud)." In García Landa, Vanity Fea 30 August 2011.*
http://vanityfea.blogspot.com/2011/08/tragedy-and-oedipal-subject-shakespeare.html
2011
_____. "Tragedy and the Oedipal Subject: Shakespeare (and Freud)." Ibercampus (Vanity Fea) 30 August 2021.*
https://www.ibercampus.eu/tragedy-and-the-oedipal-subject-shakespeare-and-freud-5417.htm
2021 DISCONTINUED 2022 – Online at the Internet Archive:
2023
_____. "Tragedy and the Oedipal Subject: Shakespeare (and Freud)." Academia 8 Oct. 2021.*
https://www.academia.edu/56657016/
2021
_____. "Tragedy and the Oedipal Subject: Shakespeare (and Freud)." ResearchGate 5 Jan. 2022.*
https://www.researchgate.net/publication/357579016
2021
_____. "Tragedy and the Oedipal Subject: Shakespeare (and Freud)." SSRN 21 April 2022.*
http://ssrn.com/abstract=4060657
2022
_____. "Tragedy and the Oedipal Subject: Shakespeare (and Freud)." Humanities Commons 6 May 2022.*
https://hcommons.org/deposits/item/hc:45661/
https://doi.org/10.17613/0jwm-g778
2022
_____. "Tragedy and the Oedipal Subject: Shakespeare (and Freud)." In García Landa, Vanity Fea 6 May 2022.*
https://vanityfea.blogspot.com/2022/05/tragedy-and-oedipal-subject-shakespeare.html
2022
_____. "Tragedy and the Oedipal Subject: Shakespeare (and Freud)." Net Sight de José Angel García Landa 4 Jan. 2023.*
https://personal.unizar.es/garciala/publicaciones/tragedyoedipal2.pdf
2023
—oOo—
