Bibliografía sobre Mijail Bajtin
jueves, 19 de febrero de 2015
Bibliografía sobre Mijail Bajtin
Bakhtin.M.M by JAGL uploaded by columnadeaprendices
Cristo de las vallas
Elemente der Narratologie
miércoles, 18 de febrero de 2015
Elemente der Narratologie
Me cita repetidamente Wolf Schmid en la tercera edición de Elemente der Narratologie (Berlín: Walter de Gruyter, 2014)—libro que además tiene vista previa de Google.
—oOo—
'The Stand': La Mano de Dios en la América Profunda
miércoles, 18 de febrero de 2015
Una de peste, post-apocalipsis y providencia:
Comentamos la novela de Stephen King 'The Stand' situándola en la tradición de la ficción post-apocalíptica y 'epidémica', y contextualizándola en la cultura popular estadounidense, como síntoma del providencialismo y del animismo ingenuos de cierta mentalidad religiosa característica de la América profunda.
English abstract:
'The Stand': Acts of God in Deepest America
This paper provides an analysis of Stephen King's novel 'The Stand', situating this work in the tradition of post-apocalyptic and 'epidemic' fiction, and contextualizing it within U.S. popular culture, as a symptom of the naïve providentialism and animism of a certain religious mentality characteristic of deepest America.
Number of Pages in PDF File: 8
Keywords: Providentialism, Post-apocalyptic fiction, Stephen King, American fiction, American literature, Epidemics
Ibercampus (Oct. 28, 2010)
—oOo—
Crowds Moving
Supero el i-10 index
martes, 17 de febrero de 2015
Supero el i-10 index
No es mucho superar—pero menos da una piedra en los dientes. En Google Scholar, digo:
| Citation indices | All | Since 2010 |
|---|---|---|
| Citations | 663 | 261 |
| h-index | 10 | 6 |
| i10-index | 11 | 3 |
Al parecer estos índices empiezan a utilizarse tímidamente como referencia en lugar de los centímetros del sistema métrico, para ver quien tiene el currículum más largo en la academia.
Filosofía de la verdad
martes, 17 de febrero de 2015
Filosofía de la verdad
Un artículo donde, sin apenas excusa, filosofamos sobre la verdad:
http://ssrn.com/abstract=2565014
Comentamos la concepción historicista-relativista de la verdad presentada por G. E. R. Lloyd, relacionándola con las teorías pragmáticas de la verdad formuladas por William James, con la perspectiva interaccionista simbólica de G. H. Mead, y de modo más general con otras teorías constructivistas y semioticistas de la verdad y de la realidad. Esta concepción de la verdad podría resumirse con la aserción de que "no existen tribunales de última instancia para determinar la verdad de las cosas", pero que eso no impide la producción constante de "efectos de verdad" locales con contextos específicos.
The Philosophy of Truth
English abstract: A commentary of G.E.R. Lloyd’s historicist-relativist conception of truth, relating it to the pragmaticist theories of truth formulated by William James, to the symbolic interactionist perspective of G. H. Mead, and more generally to constructivist and semioticist conceptions of truth and reality. This conception of truth could be summarized with the statement that "there are no courts of last appeal to determine the truth of the matter", but does that not preclude the constant generation of local "truth-effects" in specific contexts.
Note: Downloadable document is in Spanish.
Number of Pages in PDF File: 6
Ibercampus (April 26, 2010)
Irving Howe on JUDE THE OBSCURE
martes, 17 de febrero de 2015
Irving Howe on 'Jude the Obscure'
(Notes on Irving Howe's chapter on Thomas Hardy's Jude the Obscure).
When Jude appeared in 1895, Hardy was a moral presence affecting the lives of his readers. It was first a monthly serial in Harper's Magazine, suppressing Jude's submitting to sexual desire, of his child and Sue's (an adoption here) and of Arabella's night. A storm of protest when the book appeared. His aims were not to fight for divorce, or decide on moral problems, but to tell of a deadly war waged between flesh and spirit, and to point out the tragedy of unfulfilled aims.
Marriage as a problem in the late 19th c. This was the age of Parnell's case, of the plays of Ibsen. It is the age in which marriage ceases to be a sacred site and becomes a secular (and problematic) relationship. Life appears in Jude as a problem—it is a modern work.
Jude is a self-educated proletarian, a familiar figure in those years, and in the fiction of Gissing, Bennett, and D. H. Lawrence. Hardy looks on Jude's strivings for education with both sympathy and irony (the Credo in the tavern). Jude and Sue are successful psychological portraits. The novel is set in history. Nevertheless, it cannot be read as purely realistic fiction. It is a vision of modern deracination, a dramatic fable in whicvh the esthetic criteria of unity and verisimilitude are subordinated to those of a distended expressiveness.
In his previous novels, as in Fielding's, Jane Austen's, Thackeray's, etc., the characters' inner life is assumed to be deductibnle from their social life, and their role in the plot. In Jude, Hardy is halfway between this and the modernists. Character appears here not as a coherent force realizing itself in self-consistent public action, but as an amorphous arena in which irrational impulses conflict one another. The psychic shadows behind the events are the true 'action' of the book. Jude represents in part modern rationality struggling to become self-sufficient and thereby cutting itself off from its sources in physical life. His frustration does not come so much from a denial of his desires as from their crossing and confusion. Sue is Promethean in mind but masochist in character. She lacks in will and sex (she was masculine to D. H. Lawrence).
Plot in earlier novels is essential to convey meaning, but modernists question this. What matters in their novels is a series of situations (in Joyce, in Faulkner's The Sound and the Fury). In Jude there is a tendency towards this. It is not a tragedy because the hero doesn't realize himself through action. The central action occurs in the psyche of the hero. In Sue and Jude we find the modern theme of the claustrophobic character of relationships. Howe criticises the botched execution of Father Time—a good idea but too much philosophic weight is placed on him.
Mixtures of psychological veracity and crude melodrama are characteristic of Hardy, and Jude is better in parts than the whole.