Derrida, the Reader
jueves, 12 de diciembre de 2013
Derrida, The Reader
Una bibliografía mía sobre Derrida que encuentro por Scribd:
Derrida - bibliografía
Literatura y crítica
Henry Fielding
jueves, 12 de diciembre de 2013
Henry Fielding
Fielding, Henry (1707-54), the son of a lieutenant (who later became lieutenant general), born at Shaprham Park, the house of his maternal grandfather in Somerset. His mother died when he was 11, and when his father remarried Henry was sent to Eton. There he was happy, enjoyed his studies, and made lifelong friends of *Lyttelton, who was to become a generous future patron, and of *Pitt the elder. At 19 he attempted to elope with a beautiful heiress, but failing in this settled in London, determined to earn his living as a dramatist. Lady M. W. *Montagu, a distant cousin, encouraged him, and in 1728 at Drury Lane his play Love in Several Masques was successfully performed. In the same year he became a student of letters at Leiden, where he remained about 18 months, greatly enlarging his knowledge of classical literature. On his return to London he continued his energetic but precarious life as a dramatist, and between 1729 and 1737 wrote some 25 assorted dramas, largely in the form of farce and satire, and including two adaptations of Molière, The Mock Doctor and The Miser. In 1730 three of his plays were performed: The Author's Farce, Rape upon Rape, a savage satire on the practices of the law, embodied in Justice Squeezum; and the most successful of all his dramas, *Tom Thumb (which was published in a revised form the following year as The Tragedy of Tragedies, or The life and Death of Tom Thumb the Great), one of several extravagant burlesques modelled on Buckingham's *The Rehearsal, of the turgid fashionable tragedies of the day. *Hogarth designed the frontispiece, and a long and close friendship began. Don Quixote, a satire which is in part a tribute to *Cervantes, appeared in 1734. In the same year Fielding married Charlotte Cradock, who became his model for Sophia in *Tom Jones and for the heroine of Amelia, and with whom he enjoyed ten years of great happiness until her death. His improvidence led to long periods of considerable poverty, but he was greatly assisted at various periods of his life by his close and wealthy friend R. *Allen, who became, with Lyttleton, the model for Allworthy in Tom Jones. In 1736 Fielding took over the management of the New Theatre, for the opening of which he wrote the hightly successful satirical comedy Pasquin, which aimed at various religious and political targets, including electioneering abuses. But The Historical Register for 1736 was fiercer political satire than *Walpole's government woul tolerate, and the Licensing Act of 17137, introducing censorship by the lord chamberlain, brought Fielding's career in the theatre to an end.
He entered the Middle Temple and began to read for the bar. In 1739-40 he wrote most of the columns of the *Champion, a satirical and anti-Jacobite journal. In 1740 he was called to the bar but his health began to fail and he suffered acutely from gout. In the same year Richardson's Pamela appeared and enjoyed tremendous popular success. In 1741 Fielding expressed his contempt in his pseudonymous parody An Apology fro the Life of Mrs *Shamela Andrews. Meanwhile, because of increasing illness, he was unable to pursue his legal career with any consistency. Instead, in 1742, he produced The Adventures of *Joseph Andrews and His Friend, Mr abraham Adams, for which he received from his publisher £185 11s. In 1743 his old friend *Garrick put on Fielding's The Wedding Day, and in the same year Fielding published three volumes of Miscellanies, which included *A Journey from This World to the Next and a ferocious satire, The LIfe and Death of *Jonathan Wild the Great. In 1744 he suffered a terrible blow in the death of his wife, and for a year or so he wrote little except a preface to his sister Sarah's novel *David Simple, and some journalism, particularly the True Patriot and the Jacobite's Journal. In 1746 he probably began The History of Tom Jones, a Foundling, and in 1747 caused some scandal by marrying his wife's maid and friend Mary Daniel. With the aid of Lyttelton, he was appointed JP for Westminster in 1747 and once again joined battle, now from the inside, with legal corruption and the 'trading justices' who imposed and embezzled fines. In 1749 Tom Jones was enthusiastically received by the general public, if not by *Richardson, *Smollett, Dr *Johnson, and other literary figures. In the same year his legal jurisdiction was extended to the whole county of Middlesex, and he was made chairman of the quarter sessions of Westminster. From his court in Bow Street he continued his struggle against corruption and lawlessness and, with his blind half-brother and fellow magistrate Sir John Fielding, strove to establish new standards of honesty and competence on the bench. He wrote various influential legal enquiries and pamphlets, including a proposal for the abolition of public hangings. In 1751 he published Amelia, which sold the best of all his novels. He returned to journalism in 1752 with the *Covent Garden Journal, and published in 1753 a Provision for the Poor. He organized and saw successfully implemented a plan for breaking up the criminal gangs who were then flourishing in London. But his gout, asthma, and other afflictions were now so far advanced that he had to use crutches, and in 1754, in hope of improvement, he set off with his wife and one of his daughter for Portugal. *The Journal of a Voyage to Lisbon, published poshumously in 1755, describes in unsparing detail the departure and journey. He had prepared it for the press ('a novel without a Plot') before he died in Lisbon in october.
Fielding is generally agreed to be an innovating master of the highest originality. He himself believed he was 'the founder of a new province of writing,' and Sir Walter *Scott commended him for his 'high notions of the dignity of an art which he may be considered as having founded'. His three acknowledged masters were *Lucian, *Swift, and Cervantes. In breaking away from the epistolary method of his contemporary Richardson, and others, he devised what he described as 'comic epics in prose', which may be characterized as the first modern novels in English, leading straight to the works of *Dickens and *Thackeray. The standard biography is M. C. Battestin, Henry Fielding (1989). The standard edition is the Wesleyan Edition (1967- ) with 11 volumes printed as of 1997.
New Trends in Translation and Cultural Identity
jueves, 12 de diciembre de 2013
New Trends in Translation and Cultural Identity
Article
Nuevas tendencias en traducción e identidad cultural
07/2013; DOI:10.2139/ssrn.1681331
ABSTRACT El presente trabajo es una reseña y comentario por extenso del libro NEW TRENDS IN TRANSLATION AND CULTURAL IDENTITY, ed. Micaela Muñoz-Calvo, Carmen Buesa-Gómez, y M. Ángeles Ruiz-Moneva (Cambridge Scholars Publishing, 2008). 459 p.
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This paper is a review and commentary, in Spanish, of the collective volume New Trends in Translation and Cultural Identity, edited by Micaela Muñoz-Calvo, Carmen Buesa-Gómez and M. Ángeles Ruiz-Moneva (Cambridge Scholars Publishing, 2008). The book's thirty chapters provide a panoramic introduction to many problems and issues in translation theory and practice, in a wide variety of cultural and communicative contexts. This volume will be of interest to students of translation as well as to those dealing with any of the many specific issues, both academic and professional, on which the individual papers focus. The book is divided in four thematic sections: I. Cultural identity, Ideology, and Translation; II. Popular culture, literature and translation; ; III. Translating the Media: Translating the Culture; IV. Scientific Discourse as Cultural Translation. Each of the thirty papers in the volume is summarized and commented in this review.
Bibliografía sobre Mary Shelley
miércoles, 11 de diciembre de 2013
Bibliografía sobre Mary Shelley
—la de Frankenstein, y Frankestein, y Frankenstein:
Shelley.M.doc by myself.
Christopher Hitchens in conversation with Salman Rushdie
martes, 10 de diciembre de 2013
Christopher Hitchens in conversation with Salman Rushdie - June 8th 2010...
El autor implícito y el narrador no fiablesegún nuestro punto de vista
martes, 10 de diciembre de 2013
El autor implícito y el narrador no fiable—según nuestro punto de vista
Un artículo que subo a ResearchGate:
Literary Theory and Criticism eJournal 10/2011; 1(8). DOI:10.2139/ssrn.1926133
Literary Theory and Criticism eJournal 10/2011; 1(8). DOI:10.2139/ssrn.1926133
RESUMEN: Autor implícito y narrador no fiable son dos conceptos que están estrechamente unidos en teoría narrativa, tal como fueron originariamente formulados por Wayne Booth. Sus trayectorias subsiguiente han sido divergentes: el concepto de autor implícito se ve con frecuencia cuestionado o se rechaza su validez teórica, siendo habitualmente dejado un tanto de lado en las teorías narratológicas. Los narradores no fiables, sin embargo, gozan de un éxito de crítica y una expansión sin precedentes Añadimos a la exposición crítica de estas figuras unas breves notas históricas, e intentamos mostrar además que la figura del autor implícito no puede eliminarse tan fácilmente, puesto que es lógicamente necesaria en una definición adecuada del concepto de narrador no fiable.
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ABSTRACT
Implied Authors and Unreliable Narrators—From Our Point of View:
Implied authors and unreliable narrators are two concepts which are closely linked in narrative theory, as they were originally developed by Wayne Booth. Their afterlives have diverged: the implied author is often questioned or rejected as a theoretical concept, and is usually downplayed in narratologists's accounts; while the unreliable narrator has acquired an unprecedented popularity and expansion. I will add some historical notes and will try to show that the implied author is not so easily done away with; moreover, it is a necessary concept in order to give an adequate definition of the unreliable narrator.
Less Is More
domingo, 8 de diciembre de 2013
Less Is More
Aquí hemos estado viendo en el Teatro Principal el montaje de Tomás Moro: Una Utopía, dirigida por Tamzin Townsend y anunciada como "la obra clandestina de William Shakespeare." Cierto que Shakespeare colaboró en la versión revisada de Sir Thomas More, reescribiendo al menos alguna escena—de hecho se cree que incluye su manuscrito un fragmento escrito de puño y letra de Shakespeare, la única escritura suya que nos queda al margen de las firmas en documentos legales.
La obra es una reflexión sobre la Fortuna, en la línea del Espejo para Magistrados y otras colecciones de historias trágicas sobre gente poderosa que ascendió para luego caer espectacularmente. Moro hacía este tipo de reflexiones sobre sí mismo, añadiéndole al personaje una dimensión metaliteraria y una teatralidad que resultaban atractivas para Shakespeare. Este montaje recorta algunas escenas que derivaban demasiado desviando la atención del personaje, y completa lo que falta en la obra original con un poco de narración y contexto—y hasta crítica interpretativa en boca de un narrador brechtiano, que se mezcla con los actores y se convierte en personaje cuando es preciso. Nos lleva la obra desde el ascenso de Moro, sofocando una rebelión en Londres con la fuerza de su palabra, y apelando al deber de la obediencia, hasta su ascenso como Lord Canciller. Una escena ésa, la del discurso sobre la sumisión, que Shakespeare recordará en Coriolano. Y subraya el comentador cómo Moro es coherente en su teoría de la obediencia debida a los príncipes, que lo conduce así más adelante a la Torre de Londres y al cadalso, condenado por sí mismo—por no querer contemporizar, y obedecer al Rey traicionando sus principios religiosos. 
Shakespeare heredó la obra de Anthony Munday y otros coautores (Henry Chettle, Thomas Dekker, Thomas Heywood—a los que ahora hay que añadir a Ignacio García May, como recortador y añadidor). La heredó como tantas otras que reescribió más—ésta la reescribió menos. Pero con su interés por los experimentos trágicos, y con los antecedentes católicos de su familia, se entiende que le atrajese el tema. Quizá fuese él quien adornase la obra con esos juegos metateatrales a los que tan aficionado era: Moro preparándole una broma a Erasmo de Rotterdam, haciendo que su criado le suplante—o el episodio de la obra de teatro fallida, un buen complemento de otras piezas metateatrales ridículas como las que hay en Trabajos de Amor Perdidos o El sueño de una noche de verano. Así se asocia a Moro con la inteligencia irónica y con la teatralidad; y llegado su momento, se despoja de su cargo y de su pasado como un actor se quita un papel forzado, y adopta uno que le va más, el de alguien que descubre cuál va a ser su destino auténtico, después de la palabrería. Moro en la cárcel nos recuerda a otros ermitaños vocacionales de Shakespeare, como Enrique VI, o Lear—pero éste lo lleva con más alegría y distancia teatral con respecto a sí mismo.
La Utopía de Moro abunda más en este montaje que en la obra de Shakespeare, y se suma al mensaje de la obra: qué utopía "si todos los hombres fueran buenos", concluye. Pero también muestra cómo a veces el sufrimiento les viene a los hombres buenos de sí mismos, de su fidelidad a un ideal, que los lleva a enfrentarse a los demás y a sus propias contradicciones. No por ello deja de dejar en su lugar a los oportunistas, y a los tiranos... aunque en su tiempo la escribió un Shakespeare con media mano izquierda, y amordazado, "art tongue-tied by authority", por la cuenta que le traía. Quizá veía en Moro a un intransigente moral, como Southwell y otros mártires católicos que le fueron más cercanos, un camino que él tuvo cuidado de no emprender. Deja aquí testimonio de su admiración, y se proyecta en parte, aunque a distancia admirativa, en el personaje total que es Moro, humanista, político, santo, family man, sabio y bufón a la vez. Cabezas podían rodar, y rodaban, con la hija de Enrique VIII, igual que con el padre.
Quizá el retrato más memorable que queda es el del político y gobernante que toma la prisión, como decía Lovelace, a modo de ermita de eremita, y halla dentro más paz de la que tuvo fuera, y más tranquilidad con su propia conciencia ahora que ya no es poderoso ni es ya responsable de nada más que de su propia coherencia moral:
Fair prison, welcome; yet, methinks,
For thy fair building is too foul a name.
Many a guilty soul, and many an innocent,
Have breathed their farewell to thy hollow rooms.
I oft have entered into thee this way;
Yet, I thank God, ne’er with a clear conscience
Than at this hour:
This is my comfort yet, how hard sore
My lodging prove, the cry of the poor suitor,
Fatherless orphan, or distressed widow,
Shall not disturb me in my quiet sleep.
On, then, a God’s name, to our close abode!
God is as strong here as he is abroad.
For thy fair building is too foul a name.
Many a guilty soul, and many an innocent,
Have breathed their farewell to thy hollow rooms.
I oft have entered into thee this way;
Yet, I thank God, ne’er with a clear conscience
Than at this hour:
This is my comfort yet, how hard sore
My lodging prove, the cry of the poor suitor,
Fatherless orphan, or distressed widow,
Shall not disturb me in my quiet sleep.
On, then, a God’s name, to our close abode!
God is as strong here as he is abroad.
Este Tomás Moro hizo el bien que pudo en politica, pero dejar la política es entrar a una dimensión ética más pura. Sin embargo, la paradoja de Tomás Moro es que en cierto modo nunca se retiró de la política, pues si lo hubiese hecho del todo habría fingido con un juramento vacío, en lugar de retar al rey con su insistencia en guardar silencio. Una diferencia sutil, pero a veces una diferencia sutil es toda la diferencia. Y retar con el silencio y la sumisión casi total pero no absoluta era quizá la manera de demostrar la diferencia absoluta entre la ley y la tiranía, y de resistir a ésta con el mayor efecto y con los medios mínimos. Y con los máximos también: pues no pudo pagar un precio más alto desobedeciendo menos.
Mi bibliografía sobre Hemingway
domingo, 8 de diciembre de 2013
Mi bibliografía sobre Hemingway
Aparece en Convdocs, junto con otras muchas bibliografías mías, subidas allí por Anonymous,
Por cierto que me parece que voy a ir al congreso de la Sociedad Hemingway a Venecia, o a Venecia, esta próxima y lejana primavera. No presento ningún artículo, iré de vaporetto sólo, pero si quisiera podría haber llevado esta reflexión sobre Balls, Bells, and Bulos...