miércoles, 30 de junio de 2021
martes, 29 de junio de 2021
Dancing Robots
Pendant qu’on s’occupe des pailles en plastique et de l’écriture inclusive, @BostonDynamics fait danser des robots. pic.twitter.com/wRIudvgKCN
— Damien Rieu (@DamienRieu) June 29, 2021
lunes, 28 de junio de 2021
domingo, 27 de junio de 2021
La narración como núcleo de la conversación
Me citan de pasada en esta tesis de Münster sobre comunicación y narratología:
Hamacher, Annika. Erzählen als Kern von Unterhaltung: Zur Operationalisierbarkeit von Narration in der Kommunikationswissenschaft. M.A. diss. Westfalische Wilhelm-Universität, Münster, 2010. Online at Academia.*
https://www.academia.edu/30236328/
2021
—oOo—
sábado, 26 de junio de 2021
viernes, 25 de junio de 2021
jueves, 24 de junio de 2021
A Shew of Discoveries
La analogía dramatística en el inicio de Hakluytus Posthumus, or Purchas His Pilgrimes:
Hakluytus Posthumus, or, Purchas His Pilgrimes, Book 1:
The Voyages & Peregrinations
made by Antient Kings, Patriarkes, Apostles, Philosophers, and others,
to and thorow the remoter parts of the knowne World:
Enquiries also of Languages and Religions, especially of the moderne diversified Prosessions of Christianitie.
The First Booke
Chap. I: A large Treatise of King Salomons Navie sent from Eziongeberto Ophir: Wherein, besides the Typicall Mysteries briefly unvailed, and many Morall Speculations observed; the voyage is largely discussed out of Divine, Ecclesiasticall and Humane Testimonies: Intended as an historicall Preface to the Histories following.
Intending to present the World to the World in the most certaine view, I thought a world of Authors fitter for that purpose, then any One Author writing of the World: whose discourse might haply bee more even, facile, methodicall, and contracted to a more compendious forme; but could not avoid to be dispendious (if I may so speake) in the matter, and to suspend the Readers judgment for the Authoritie. Oculatus testis unus praeestat auritis decem. (Plaut.). I had rather heare the meanest of Ulysses his followers relating his wanderings, then wander from the certaintie with Homer after all his readings and conjectures. Lo here then (after my Pilgrimage of the former Nature, for such as better like that course) in open Theatre presented a Shew of Discoveries on an English Stage, wherein the World is both the Spectacle and Spectator; the Actors are the Authors themselves, each presenting his owne actions and passions in that kind, kindly (in generous and genuine History) acting their acts; not affectedly straining, or scenic-all-ly playing their part (Terent.); the Arts indeed of the Poet, Maker, or Composer, aiming at delight more then truth (Populo ut placerent, quas fecisset Fabulas) seeking to please the vulgar with fabulous wonders, and wonder-foole fables.
And for a Prologue, behold Salomons Ophirian Navigation, that Worthy of Men, being most worthy to bee Our Choragus, whose ayme is in this long Worke to fetch from Ophir Materialls for the Temples structure, and to edifie Christs Church, with more full and evident knowledge of Gods Workes in the World, both of Creation and Providence, then any one Naturall or Humane Historian, yea (absit invidia verbo) then all hitherto in this (perhaps in any) course have done. I compare not with Aristotle, Plinie, and others in philosophicall and learned speculation of Reason, but in evident demonstration of Sense, and herein (not to us Lord, not to us, but to thy Name be given the glory) it exceedeth not modesty to speake thus much in behalfe of this cloud of witnesses which we bring, testifying what they have seen, that these exceed the former in certainty (relating what they have seene) and in fulnesse (by advantage of New Worlds found in, and besides the World knowne to them) no lesse then they are exceeded in Antiquitie and learning.
For mee, I say with Agur, surely I am more foolish then any man, and have not the understanding of a man in mee (Prov. 30.2. - 2. Kin. 6.5.); Alas Master (I may proclaim to each Reader) all is borrowed: I never travelled out of this Kingdome (ingenuously I confesse, it is the totall summe of all my Travell-readings) the Centre of the Worlds good things, and Heart of her happinesse; and yet (yea thereby) have, as thou seest, conceived (where Dinahs gadding gained onely losse) (Gen. 34.2. - Gen.30.11.) and travelled of a Gad, a Troup of Travellers; So said Leah, A troup commeth and shee called his name Gad. And seeing we have stumbled on that Word, let it be ominous, so others read it Foeliciter, Bagad, being by the Hebrewes resolved into (See M. Salden Syntag. I. De D. Syris.) Ba Mazal tob, that is; Good fortune commeth. I am not Leah, I take no such authority on mee, but when shee hath left bearing (when better leisures, quicker wits, sounder health, profounder learning, and all abler meanes looke on) let not Jacobs Bed, for the propagation and edification of the Church, be envied in Zilpah, Leahs mayd; And let this my Service in conceiving and nursing up this Gad be accepted of all Jacobs Friends. And that it might bee accepted, I have begun (Dimidium facti qui bene cepit habet) with the most acceptable Voyages mentioned in the Old and New Testaments; the one a Type of the other; those of Salomon to Ophir, and of the Apostles about the World.
miércoles, 23 de junio de 2021
martes, 22 de junio de 2021
lunes, 21 de junio de 2021
Teatro catalanista
Sánchez anuncia los indultos al golpismo catalanista en un teatro en Barcelona. O sea, el teatro bufo del golpismo catalanista se apodera del gobierno de España.
viernes, 18 de junio de 2021
miércoles, 16 de junio de 2021
lunes, 14 de junio de 2021
domingo, 13 de junio de 2021
The Tragedy of Clarissa
A meta-dramatic moment in Richardson's Clarissa (Vol IV, Letter LII - Mr. Belford to Robert Lovelace, Esq.)
What a fine subject for tragedy would be the injuries of this lady, and her behaviour under them, both with regard to her implacable friends, and to her persecutor, make? With a grand objection as to the moral, nevertheless; for here virtue is punished!
[Note 1: Mr. Belford's objection, that virtue ought not to suffer in a tragedy, is not well considered; Monimia in The Orphan, Belvidera in Venice Preserved, Athenais in Theodosius, Cordelia in Shakespeare's King Lear, Desdemona in Othello, Hamlet (to name no more), are instances that a tragdy could hardly be justly called a tragedy, if virtue did not temporarily suffer, and vice for a while triumph. But he recovers himself in the same paragraph, and leads us to look up to the FUTURE for the reward of virtue, and for the punishment of guilt, and observes not amiss when he says; He knows not but that the virgue of such a woman as Clarissay is rewarded in missing such a man as Lovelace.]
Except indeed wee look forward to the rewards of HEREAFTER, which, morally, she must be sure of, or who can? Yet, after all, I knownot, so sad a fellow art thou, and so vile a husband mightest thou have made, whether her virtue is not rewarded in missing thee: for things the most grievous to human nature, when they happen, as this charming creature once observed, are often the happiest for us in the event.
I have frequently thought, in my attendance on this lady, that if Belton's admired author, Nic Rowe, had had such a character before him, he would have drawn another sor of a penitent than he has done, or given his play, which he calls The Fair Penitent, a fitter title. Miss Harlowe is a penitent indeed! I think, if I am not guilty of a contradiction in terms; a penitent without a fault; her parents' conduct towards her from the first considered.
The whole story of the other is a pack of damned stuff. Lothario, 'tis true, seems such another wicked, ungenerous varlet as thou knowest who: the author knew how to draw a rake; but not to paint a penitent. Calista is a desiring luscious wench, and her penitence is nothing els but rage, insolence, and scorn. Her passions are all storm and tumult; nothing of the finer passions of the sex, which, if naturally drawn, will distinguish themselves from the masculine passions by a softness that will even shine through rage and despair. Her character is made up of deceit and disguise. She has no virtue; is all pride; and her devil is as much within her as without her.
How then can the fall of such a one create a proper distress, when all the circumstances of it are considered? For does she not brazen out her crime even after detection? Knowing her own guilt, she calls for Altamont's vengeance on his best friend, as if he had traduced her; yields to marry Altamont, though criminal with another; and actually beds that whining puppy, when she had given up herself body and soul to Lothario; who, nevertheless, refused to marry her.
Her penitence, when begun, she justly styles the frenzy of her soul; and, as I said, after having, as long as she could, most audaciously brazened out her crime, and done all the mischief she could do (occasioning the death of Lothario, of her father, and others), she stabs herself.
And can this be an act of penitence?
But, indeed, outr poets hardly know how to create a distress without horror, murder, and suicide; and must shock your soul to bring tears from your eyes.
Altamont, indeed, who is an amorous blockhead, a credulous cuckold, and though painted as a brave fellow and a soldier) a mere Tom Essence, and a quarreller with his best friend, dies like a fool (as we are led to suppose at the conclusion of the play) without either sword or pop-gun, of mere grief and nonsense, for one of the vilest of her sex: but the fair penitent, as she is called, perishes by her own had; and having no title by her past crimes to laudable pity, forfeits all claim to true penitence, and, in all probability, to future mercy.
But here is Miss CLARISSA HARLOWE, a virtuous, noble, wise, and pious young lady; who being ill-used by her friends, and unhappily ensnared by a vile libertine, whom she believes to be a man of honour, is in a manner forced to throw herself upon his protection. And he, in order to obtain her confidence, never scruples the deepest and most solemn protestations of honour.
After a series of plots and contrivances, all baffled by her virtue and vigilance, he basely has recourse to the vilest of arts, and, to rob hr of her honour, is forced first to rob her of her senses.
Unable to bring her, notwithstanding, to his ungenerous views of cohabitation, she overawes him in the very entrance of a fresh act of premediatated guilt, in presence of the most abandoned of women assembled to assist his devilish purpose; triumphs over them all by virtue only of her innocence; and escapes from the vile hands he had put her into.
She nobly, not franteically, resents: refuses to see or to marry the wretch; who, repending the usage of so divine a creature, would fain move her to forgive his baseness and make him her husband: and this though persecuted by all her friends, and abandoned to the deepest distress, being obliged, from ample fortunes, to make way with her apparel for subsistence, surrounded also by stranger; and forced (in want of others) to make a friend of the friend of her seducer.
Though longing for death, and making all proper preparations for it, convinced that grief and ill-usage have broken her noble heart, she abhors the impious thought of shortening her alloted period; and, as much a stranger to revenge as despair, is able to forgive the author of her ruin; wishes his repentance, and that she may be the las victim to his barbarous perfidy; and is solicitous for nothing so much in this life as to prevent vindictive mischief to and from the man who has used her so basely.
This is penitence! This is piety! and hence a distress naturally arises that must worthily affect every heart.
sábado, 12 de junio de 2021
Performing Story on the Contemporary Stage
Maguire, Tom. Performing Story on the Contemporary Stage. Basingstoke: Palgrave Macmillan, 2015.*
Redling, Ellen. Rev. of Tom Maguire, Performing Story on the Contemporary Stage. JCDE 4.2 (2018): 476-80.* DOI 10.1515/jcde-2016-0037
http://archiv.ub.uni-heidelberg.de/volltextserver/25047/1/jcde-2016-0037.pdf
2021
La socialización corporal según Goffman
Fraga, Eugenia. "Cuerpos naturales, cuerpos sociales: La socialización corporal según Erving Goffman." Cartografías del Sur 2.4 (Oct. 2016): 60-74. (Hacia una teoría social del cuerpo, ed. Eduardo Galak).
http://cartografiasdelsur.undav.edu.ar/index.php/CdS/article/download/51/48
Online at Academia.*
https://www.academia.edu/29798855/
https://www.academia.edu/37261162/
https://www.academia.edu/43740634/
2017
https://www.academia.edu/44122305/
2021
Narrative Voice and Agency in Drama
Jahn, Manfred. "Narrative Voice and Agency in Drama: Aspects of a Narratology of Drama." New Literary History 32.3 (Summer 2001): 659-679. Online at Project Muse.*
https://doiorg/10.1353/nlh.2001.0037
Online at Academia.*
https://www.academia.edu/32026815/
2021miércoles, 9 de junio de 2021
martes, 8 de junio de 2021
lunes, 7 de junio de 2021
domingo, 6 de junio de 2021
miércoles, 2 de junio de 2021
martes, 1 de junio de 2021
Feeling for Our Friend
(from William Godwin's Thoughts on Man, Essay XI, 'Of Self-Love and Benevolence')
It is then indeed a proof of selfishness, that we are in a greater or less degree relieved from the anguish we endured for our friend, when other objects occupy us, and we are no longer the witnesses of his sufferings? If this were true, the same argument would irresistibly prove, that we are the most generous of imaginable beings, the most disregardful of whatever relates to ourselves. Is it not the first ejaculation of the miserable, "Oh, that I could fly from myself? Oh, for a thick, substantial sleep!" What the desperate man hates is his own identity. But he knows that, if for a few moments he loses himself in forgetfulness, he will presently awake to all that distracted him. He knows that he must act his part to the end, and drink the bitter cup to the dregs. He can do none of these things by proxy. It is the consciousness of the indubitable future, from which we can never be divorced, that gives to our present calamity its most fearful empire. Were it not for this great line of distinction, there are many that would feel not less for their friend than for themselves. But they are aware, that his ruin will not make them beggars, his mortal disease will not bring them to the tomb, and that, when he is dead, they may yet be reserved for many years of health, of consciousness and vigour.
—oOo—
El principio del derroche ostentoso
Un importante principio de organización social y del comportamiento humano, según la Teoría de la Clase Ociosa de Veblen, es el de la ost...
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Retropost, 2013: Hay un pasaje de Hamlet en el que Shakespeare esboza una teoría de la realidad c... -
Un peu de dramatisme social ou de théâtre vécu (une comedie des caractères) dans La Recherche de Proust (Le Côté de Guermantes II): Quant a...