Las Saturnales
sábado, 27 de junio de 2015
Las Saturnales
Miserias de la guerra de Pío Baroja: Una desilusión con el mundo y con España
Se pueden entretener con eso, y con las saturnales de Barcelona, entretanto salga la última de Baroja.
sábado, 27 de junio de 2015
Comentario sobre algunos elementos imaginativos de la obra de Shakespeare, en especial de 'Noche de Reyes', que pueden considerarse como un luto desplazado por su hijo muerto Hamnet, e incluso como una resurrección simbólica del mismo.
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From Susan Jeffers's Arda Inhabited: Environmental Relationships in 'The Lord of the Rings' (Kent State UP, 2014):
In spite of the connection between previous postmodern theories and the development of ecocriticism, it is not uncommon for environmental critics to seek to distance the two. One critic claims that "the great blind spot of postmodernism is its dismissal of nature, and especially human nature" (28). [Glen] Love finds postmodern theory inescapably arrogant in its insistence on what he feels is an inappropriate focus. While postmodernism is "blind" to human nature, it still spends too much energy discussing an exclusively human world. He explains that: "This [postmodern theory] is a world of human solipsism, denied by the common sense that we live out in our everyday actions and observations. It is denied as well by a widely accepted scientific understanding of our human evolution and of the history of the cosmos and the earth, the real world, which existed long before the presence of humans, and which goes on and will continue to go on, trees continuing to crash to the forest floor even if no human auditors are left on the scene" (29). Unfortunately, Love ignores the inherently constructed nature of "scientific understanding" and "our everyday observations". He does gesture toward acknowledging that people do shape their environments, but he does not allow this acknowledgement to distract him from his main point: lived experience is enough of a guarantor to support one's conclusions based on observation. (30)
Other critics highlight the tension between construction and observation as well. Garrard considers that while a constructivist approach is "a powerful tool for cultural analysis," this tool suggests that '"nature" is only ever a cover for the interests of some social group" (31). He admits the tension and explains that "the challenge for ecocritics is to keep one eye on the ways in which 'nature' is always in some ways culturally constructed and the other on the fact that nature really exists, both the object and, albeit distantly, the origin of our discourse" (32). As with other critical approaches, the most productive ecocriticism favors a both/and approach to the tension between constructivism and observation.
Even when critics allow themselves to work within the space created by these tensions, some feel that postmodernism and ecocriticism just vary fundamentally in their aims. Sueellen Campbell points to the fact that postmodernism and ecocriticism undermine traditional hierarchies or displace the position of the human being. However, their aims in doing so are quite different. She claims that "While both theory and ecology reject the traditional humanist view of our importance in the scheme of things, though, what they focus on as a replacement is quite different. Theory sees everything as textuality, as network of signifying systems of all kinds. Foucault sees an idea like madness as a text; Lacan sees a human being as a text; Derrida argues that everything is text in the sense that everything signifies something else. But ecology insists that we pay attention not to the way things have meaning for us, but to the way the rest of the world—the nonhuman part—exists apart from us and our languages" (33). That our understanding of the world is tied closely to our ability to express that understanding through language does not preclude our ability to recognize that not everything can be encapsulated in a linguistic sign. There are some things that humans exist apart from. Ecocriticism, then, though implicit in the use of language, and acknowledging that it is being practiced by human beings, attempts to consider something entirely Other. It looks not so much at what something means, but more at how, in what manner, something exists.
Gerard Manley Hopkins's idea of "inscape" nicely expresses the focus of ecocritical study. The "inscape" of something is the "essence or identity embodied in the thing itself and dealt out by it for others to witness and thereby apprehend God in it" (34). A thing's instress is the inscape observed—that is, it is the defining characteristic of that thing which others can see or understand or experience. Ecocriticism considers what these defining characteristics are. It looks at the "treeness" of trees, or how a tree "trees" in a particular text.
Such attempts to distance ecocriticism from other theories run the risk of appearing petulant in their insistence and, more importantly, of denying the real connections between different schools of thought. However, such positioning can be better understood if one considers that one goal of ecocriticism is to move an audience to act on behalf of the natural world. This action ultimately works toward "the remediation of humankind's alienation from the natural world" (35). Such an aim might then encourage critics to "decide on principle to resist the abstractifications of theoretical analysis, indeed to resist standard modes of formal argument, altogether in favor of a discourse where critical reflection is embedded within narratives of encounter with nature" (36). Buell, like other ecocritics, wants to look at an encounter, at a thing that happened, rather than engage in an exercise that might appear to be merely cerebral.
There is a sense of urgency in the criticism, a sense of seizing kairos, indeed, an anxiety that such an opportune moment for essential discussion will be lost and the world with it. Glen Love expresses the need for dialogue that he feels as a scholar: "As the circumstances of the natural world intrude ever more pressingly into our teaching and writing, the need to consider the interconnections, the implicit dialogue between the text and the environmental surroundings, becomes more and more insistent. Ecocriticism is developing as an explicit critical response to this unheard dialogue, an attempt to raise it to a higher level of human consciousness" (37). Ecocriticism has developed in response to a particular need felt by scholars that is not being addressed adequately already.
Analizamos en este artículo, desde el punto de vista de la teoría de los marcos, las dimensiones metaficcionales y reflexivas de la novela de Ian McEwan Operación Dulce (Sweet Tooth, 2012), novela "con novelista" y ficción autogenerativa con una estructura narrativa paradójica y sorpresiva. Además de presentar una perspectiva original sobre la política de la literatura en la época de la Guerra Fría, Operación Dulce tematiza de una manera interesante y estéticamente creativa algunas cuestiones problemáticas relativas a la imaginación novelesca y la escritura de ficción, en particular la proyección imaginativa del novelista en la creación de sus personajes.
English abstract: Novelist Spying on Himself
This paper is a frame-theory analysis of the metafictional and reflexive dimensions of Ian McEwan's novel Sweet Tooth (2012), a 'novel-with-a-novelist' and a self-begetting fiction with a paradoxical and surprising narrrative structure. Besides its original perspective on the politics of literature in the Cold War era, Sweet Tooth thematizes in an intriguing and aesthetically creative way some of the imaginative issues involved in fiction-writing, notably the novelist's imaginary projection into his characters.
Hay en Google Books (y ahora aquí) una vista previa de la nueva edición de Narratology publicada por Routledge (Abingdon & New York, 2014), en realidad el mismo texto de la edición de Addison Wesley Longman de 1996, pero aparecido ahora en una nueva editorial como resultado de las distintas opas y fusiones del mundo de la edición. Sea como sea, me felicito de que mantengan o reediten en Routledge la serie completa original de Longman (Longman Critical Readers), y en concreto este volumen que me toca de más cerca.
—oOo—
Visto que la revista de nuestro departamento, la Miscelánea (que yo editaba en tiempos, y pasé a la red) no funciona desde hace tiempo en su edición electrónica, he pedido permiso para reproducir aquí mis artículos publicados en ella. Empiezo con uno de 1991, "Authorial Intention in Literary Hermeneutics..." A veces lleva su tiempo adaptarlos al formato hipertexto, con lo cual el trasvase irá despacio, y las primeras versiones serán provisionales. Pienso, además, publicar directamente en la red lo que me parezca oportuno, pasando de revistas, etc. a menos que encuentre una buena razón para no hacerlo.
6 de noviembre
Hoy he colgado de la página, por batir mi récord de antigüedad, un trabajo que debe ser el más viejo que conservo, de alrededor de 1983-84 (durante la carrera me temo que tenía la costumbre de tirarlos o de no quedarme copia: de eso que nos libramos). Es uno sobre la novela La Dentellière, de Pascal Lainé, novela que por cierto recomiendo todavía. El trabajo lo empecé como una exposición cuando estudiaba francés en la escuela de idiomas; la profesora, Ana se llamaba, creo, nos había puesto de lectura la novela y yo preparé una exposición para clase; luego lo desarrollé en un trabajo para la carrera, ya con más equipamiento narratológico (por entonces empezaba a leer a Genette, Bal y demás); fue trabajando con esta novela realmente con lo que me aficioné a la narratología. Por cierto, la historia la conocía ya por haber visto la película en el cineclub, aunque si mal no recuerdo la película desperdicia totalmente el tema metaficcional de la novela, supongo que por no considerarlo cinematográfico —hoy en día se podría rehacer en la línea de Adaptation, de Charlie Kaufman.
Buena versión de Vanity Fair la que han estrenado: con una Becky Sharp más adaptada al gusto del siglo XX, claro, y menos Amelia de por medio. Sobra la dedicatoria a Said, que no veo qué pinta (orientalismo sí que hay a tope) y sobran unas fiestas campestres, muy de época, pero no de esa. Falta el narrador-- o sea, bastante. La caracterización, la luz y la ambientación, genial por lo demás. Muy logrado Sir Pitt Crawley, y la banda sonora.
He estado viendo con JMC unos blogs muy elaborados (pueden hacerse a través de www.blogger.com); para bloggers a tiempo completo. De momento un bajo porcentaje de conocidos se dedican a nada parecido a esto, pero quizá se haga algo más general con el tiempo, al menos lo de tener la propia página web. Yo me imaginé que iría el tema más deprisa al ver la de Landow en Brown University, pero si la tecnología se mueve rápido los hábitos son lentos.