escombros pinturaVANITY FEA: Blog de notas de José Angel García Landa (Biescas y Zaragoza) - Noviembre de 2014

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    Mi web    Indice    Fotoblog    Videoblog    Lecturas    Enlaces y blogs    Bibliografía  — Música que viene: Figlio perduto (Sarah Brightman) - Y vuelve: How to Be Invisible (Kate Bush) - Y vuelve: Broken Bicycles (Anne Sofie von Otter)
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Viernes 21 de noviembre de 2014

Edgar Morin, Introducción al pensamiento complejo












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Armande Altaï, "Cold Song"








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Dryden & Purcell: King Arthur  (Le Concert Spirituel)





Dryden. King Arthur. Music by Purcell. Le Concert Spirituel (2009). YouTube (Le Concert Spirituel) https://www.youtube.com/playlist?list=PLC0DDFE1CB26C31D4 2014



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Estoy en Political Theory

Como se dura poco tiempo en primera página, sic panta rei, le saco un pantallazo:
Salgo en Political Theory


—oOo—






Jueves 20 de noviembre de 2014

Strani amori




—oOo—



Topsight en Sun Tzu

La perspectiva dominante en El Arte de la Guerra: Más aspectos de un clásico chino

Proporcionamos en este artículo un acercamiento narratológico al El Arte de la Guerra, clásico chino sobre estrategia militar atribuido a Sun Tzu (Sunzi). Esta lectura enfatiza las dimensiones cognitivas del texto, entendido como un tratado sobre la perspectiva y el punto de vista, y como una formulación temprana del concepto de perspectiva dominante o 'topsight'. También examinamos sus estructuras temorales implícitas, en especial en lo referente al papel de la retrospección. El texto de Sunzi tiene, en suma, una interesante dimensión como teoría de la perspectiva, de la acción, y de la representación intersubjetiva.

Topsight in The Art of Warart of war: Further Aspects of a Chinese Classic:

This paper provides a narratological perspective on The Art of War, a Chinese classic treatise of military strategy attributed to Sun Tzu. This reading foregrounds the cognitive aspects of the text as a treatise in perspective and point of view, and as an early formulation of the concept of topsight. It also examines its implicit temporal structures, especially as regards the role of retrospection. All in all, Sun Tzu's text has an interesting dimension as a theory of perspective, of action, and of intersubjective representation.

Note: Downloadable document is in Spanish.

Number of Pages in PDF File: 10

Keywords: Sun Tzu, Strategy, Topsight, Perspective, Knowledge, Information, War, Strategy, Models, Plans, Retrospection, Narratology, Theory of action, Chinese literature 

Reference Info: Ibercampus (May 5, 2014)


http://papers.ssrn.com/abstract=2520473

El artículo ha sido aceptado en estas revistas temáticas de la Social Science Research Network:

eJournal Classifications:
Date posted: November 09, 2014  
AARN Subject Matter eJournals
             
AARN Subject Matter eJournals
             
AARN Subject Matter eJournals
                          
CSN Subject Matter eJournals
                          
Conflict Studies eJournals
             
Conflict Studies eJournals
             
Political Behavior eJournals
             
Political Theory eJournals
             


Mankind: The Story of All of Us - EMPIRES


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Estoy en Conflict Studies




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Prophètes de la SF - Mary Shelley

Now en français:







—oOo—

Bajo los faros de Ons



Bajo los faros de Ons




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#siempremepilladesorpresa

@unizar Mañana piquetes en el campus 8h. El de la puerta. ¿Ha decidido el rector ya si TAMBIEN nos encierra fuera? #siempremepilladesorpresa
— JoseAngelGarcíaLanda (@JoseAngelGLanda) noviembre 19, 2014
#hastaloscojonesdepiquetesydemanipulacionporpartedelasautoridades


Esto es a cuenta de la huelga del día 20, anunciada por varios colectivos de estudiantes. Que me parece genial que haga huelga quien lo estime conveniente. Ahora, los piquetes coactivos me parecen una indecencia política y moral que desautoriza cualquier causa.  Y mañana los tendremos como de costumbre bloqueando la entrada a los centros—al menos a Filosofía y Derecho, que son los favoritos de sus miras. Y el acceso al campus, con lo cual el personal ya se queda en casa, previamente enseñado.

La novedad, sin embargo, es que el Vicerrectorado nos envía un mensaje.


Estimados compañeros:

El próximo día 20 de noviembre está convocada una huelga de estudiantes. Como en otras ocasiones, es previsible que a lo largo de la jornada hagan acto de presencia piquetes informativos a la entrada de las facultades y en las mismas aulas.

Se hará lo posible por garantizar el derecho de los miembros de la comunidad universitaria de acudir al trabajo y a las aulas, si así lo desean. No obstante, vemos necesaria la participación del personal docente e investigador para que la jornada discurra con normalidad. Para ello lanzamos una serie de recomendaciones:

* Es posible que el tráfico rodado se vea interrumpido en el Campus de Plaza San Francisco. Se recomienda valorar medios alternativos al coche particular para acceder a este campus.

* Ante la presencia de piquetes informativos en los accesos a las facultades, es necesario actuar con calma y normalidad, en el caso de que no se participe de los argumentos esgrimidos, se recomienda evitar enfrentamientos inútiles.

* Cabe la posibilidad de que se produzcan interrupciones durante la impartición de alguna clase debido a que los piquetes informativos visiten el aula. Dado lo breve de estas intervenciones, es recomendable no poner impedimentos y realizar una pausa en la labor docente.

Un cordial saludo.



Como se ve, la presuposición es que es "inútil" intentar oponerse a las imposiciones violentas. Hay que ceder, y darles cancha. Hoy mandan los piquetes. Que es el carnaval—o la carnaza a la bestia.

Y por supuesto, mañana los piquetes cierran la entrada al campus. Eso ya se nos anuncia, al igual que se anuncia que no se mantendrá el orden.  

¿ACASO EL RECTORADO DESCONOCE QUE EL CORTE DEL ACCESO PRINCIPAL AL CAMPUS ES EL PUNTO CLAVA PARA LA MANIPULACIÓN Y COACCIÓN DEL PERSONAL? 

Claro que no.

Ahora sí, pon una moto en la acera y te vienen con la sanción cagando leches. Cerrar el campus, en cambio, no importa. Ahora, si viniesen qué se yo, los neonazis a cerrarlo, ya veríamos. Todo según sople el viento. A los comunistas y anarquistas sí se les permite —lo que echen.

_______

En efecto, el 20-N, el campus cerrado con piquetes, y la poli mirando.  Se puede entrar andando sin que nadie te empuje, eso sí, hemos progresado.

Aviso a Seguridad de que hay un grupo de gente bloqueando la entrada.


—Ya, sí, es que hay huelga.
— ¿Es que ha dado el Rector orden de que no despejen la puerta?
— No le puedo dar esa información.
— Bueno, pero la misión de Seguridad es que todo funcione con normalidad, ¿no? Si no consta la orden del Rector, todo tendrá que funcionar con normalidad.
— No le puedo decir. Si quiere le paso con el jefe de Seguridad.
— Vale.
Rin, rin, rin....

—Seguridad.
—Buenas. Mire, hay un grupo de fascistas, o anarquistas, o algo, bloqueando la entrada al campus. ¿Van a despejarla?
—No, es que hay huelga.
—¿Tienen Vds. instrucciones entonces de no despejar la entrada?
— No sé.
— Vaya, pues habría que saber.  En cualquier caso, ¿la van a despejar, visto que altera el orden de la universidad?
— No sé; el Rectorado ya está gestionando la huelga.
— ¿Entonces es que ha decidido el Rectorado que se cierre la entrada?
— No le podría decir.
— Y su unidad no les va a decir nada a los piqueteros.
— Bueno, en realidad yo soy el becario de Tráfico, el jefe de Seguridad no está. No sé qué medidas va a tomar.
— Ya se lo digo yo: ninguna.
— ¡Jaja!
— Bien, pues que conste la queja de que al menos un profesor ha llamado para protestar por la interrupción ésta.
— Buenos días.
—Buenos días.

Y así cada vez. Eso cuando no hay empujones y barricadas en la puerta de la Facultad. Pero ya se sabe:

CUANDO LO HACEMOS NOSOTROS, NO ES FASCISMO.





Y qué vergüenza da ver a piquetes de encapuchados, con pañuelo palestino o cachirulo de la nazión, circulando por la Facultad para echar a la gente de clase. Aquí se deja mandar al último de la clase, por sus santos cojones—o por los de quien le deja.  Que esto se dé por normal y se acepte con resignación, y sigamos votando a los rectores que toleran estas cosas—la banda la porra que nos pastorea al personal. Qué vergüenza. Esto es una corrupción política, moral—y , ojo, INTELECTUAL también—de la Universidad.




65 comentarios sobre la huelga obligatoria en la Universidad


En Ibercampus: Otra corrupción de la Universidad: #siempremepilladesorpresa


—oOo—





Miércoles 19 de noviembre de 2014

Virgil's Aeneid - Translated by John Dryden





—oOo—



Cold Song - By Paris' Click

A song by Dryden and Purcell—with Fernando Arrabal in the cast:










—oOo—




Popular John Dryden videos








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Martes 18 de noviembre de 2014


Sub in the woods


Sub in the woods




Hamlet (Royal Shakespeare Company, 2009)











—oOo—






"Arise, Ye Spirits of the Deep!" From Thomas Linley's Music for The Tempest






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El principio del tiempo: una nota sobre Stephen Hawking




una publicación de Narratología evolucionista - Evolutionary Narratology.




Lunes 17 de noviembre de 2014

Performing Arts Top Ten

Me llega esta carta de la SSRN, diciéndome que tengo un artículo entre los más leídos de la red de artes visuales y teatrales:



Dear Jose Angel Garcia Landa:

Your paper, "ATONEMENT AND ADAPTATION (ON IAN MCEWAN'S NOVEL AND JOE WRIGHT'S FILM)", was recently listed on SSRN's Top Ten download list for: PVFA Subject Matter eJournals and Performing, Visual, & Fine Arts Research Network.

As of 17 November 2014, your paper has been downloaded 540 times. You may view the abstract and download statistics at: http://ssrn.com/abstract=1091883.

Top Ten Lists are updated on a daily basis. Click the following link(s) to view the Top Ten list for:

PVFA Subject Matter eJournals Top Ten and Performing, Visual, & Fine Arts Research Network Top Ten.

Click the following link(s) to view all the papers in:

PVFA Subject Matter eJournals All Papers and Performing, Visual, & Fine Arts Research Network All Papers.


SSRN performing arts


Hasta aquí hemos ascendido. Vale, no es mucho, estoy el último, pero fíjensen que hay gente de universidades muy buenas, y que de la de Zaragoza sólo estoy yo. Qué digo, es que no hay otros españoles ahí. La película es ésa de Keira Knightley que aquí se tituló Expiación.


On Chesil Beach






Chica salta tapia



Chica salta tapia

—oOo—






Aphra Behn

From The Oxford Companion to English Literature, ed. Margaret Drabble:


BEHN, Mrs Afra or Aphra, probably née Johnson (1650-89). She was born in Kent and visited Surinam, then a British colony, in 1663 with members of her family. On her return to England the following year she married Behn, a city merchant probably of Dutch descent, who died within two years. She was employed  in 1666 by Charles II as a spy in Antwerp in the Dutch war. Her first play, The Forced Marriage (1670), was followed by some 14 others, including her most popular, The Rover (in two parts, 1677-81), dealing with the adventures in Naples and Madrid of a band of English Cavaliers during the exile of Charles II; its hero, the libertine Willmore, was said to be based on *Rochester, though another model may have been her lover, John Hoyle, lawyer and son of the regicide Thomas Hoyle. The City Heiress (1682) is a characteristic satiric comedy of London life and, like Otway's *Venice Preserv'd, contains a caricature of *Shaftesbury. The Lucky Chance (1686) explores one of her favourite themes, the ill consequences of arranged and ill matched marriages. Her friends included *Buckingham, *Etherege, *Dryden and *Otway, and she was a staunch defender of the Stuart cause. She also wrote poems and novels and edited a Miscellany (1685). Her best-remembered work is *Oroonoko, or The History of the Royal Slave, based on her visit to Surinam. Perhaps the earliest English philosophical novel, it deplores the slave trade and Christian hypocrisy, holding up for admiration the nobility and honour of its African hero. Despite her success she had even in her time to contend with accusations of plagiarism and lewdness, attracted in her view by her sex, and as late as 1905, in an edition of her novels, Ernest Baker described her work as 'false, lurid and depraved'. V. Woolf in *A Room of One's Own (1928) acclaims her as the first English woman to earn her living byh writing, 'with all the plebeian virtues of humour, vitality and courage', and comments that she was buried 'scandalously but rather appropriately' in Westminster Abbey. See M. *Duffy, The Passionate Shepherdess (1977). (See RESTORATION.)



Oroonoko, or The History of the Royal Slave, a novel by Afra Behn, published c.1688, adapted for the stage by *Southerne,  1695.

Oroonoko, grandson and heir of an African king, loves and wins Imoinda, daughter of the king's general. The king, who also loves her, is enraged and orders her to be sold as a slave. Oroonoko himself is trapped by the captain of an Enlglish slave-trading ship and carried off to Surinam, then an English colony, where he is reunited with Imoinda and renamed Caesar by his owners. He rouses his fellow slaves to revolt, is deceived into surrender by deputy governor Byam (a historical figure), and brutally whipped. Oroonoko, determined on revenge but not hoping for victory, kills Imoinda, who dies willingly. He is discovered by her dead body and cruelly executed.

The novel is remarkable as an early protest against the slave trade, and as a description of primitive people in 'the first state of innocence, before men knew how to sin': the author comments on the superior simplicity and morality of both African slaves and the indigenous Indians, whose Christian oppressors are shown as treacherous and hypocritical. Afra Behn's memories of her own visit to Surinam in 1663 provide a vivid background, and much of the story is narrated as by a personal witness. Southerne's tragedy follows the broad lines in the novel, but the deputy governor's passion for Imoinda is made a chief motif of action, Imoinda herself is presented as the daughter of a white European, and Oroonoko dies by his own hand, alterations which decrease the violence of the story and increase its intended pathos.


Orinoco de Aphra Behn





Contra todos

Contra los que pervierten la política — contra Mariano el cesionista, contra los secesionistas (sionistas de su propia Sión local), contra los majaderos del PSOE, contra IU que se disuelve como un azucarillo, y contra Pablemos, vendedor de humo fashion:

Federico a las 7:

— Federico a las 8:




—y la tertulia, con Podemos y PSOE contra la constitución:





—oOo—







Domingo 16 de noviembre de 2014


MANKIND: The Story of All of Us

Mankind: The Story of All of Us.
History Channel series (12 episodes), narrated by Josh Brolin. With a disagreeable but quite realistic emphasis on competition, war, conquest and domination. We are the children of war—somos hijos de la guerra. Some might say this is an American perspective, but I seem to recall that cultural materialists also say that the key to the history of mankind is the exploitation of natural resources, most prominently human resources, or humans as resources.


Episode 1:





Episode 2: Iron Men
and the rest,

In this YouTube list (more than 100 videos):
    http://youtu.be/1_Xr4u8mofU?list=PL3f3W9Ts9QXt2n_PnJXK9TMe3LCk6WFle






The Story in All Stories


—oOo—

La mauvaise réputation (3)




—oOo—




Abdelazer

Henry Purcell's incidental music for Aphra Behn's play Abdelazer, or The Moor's Revenge:



Purcell and Dryden - King Arthur


—oOo—





L'Enlèvement de Michel Houellebecq




—oOo—





Stairway to the Deep Blue Sea


Stairway to the Deep Blue Sea

—oOo—



Oroonoko, or the Royal Slave


Oroonoko, or The Royal Slave is a novel by Aphra Behn (1640-1689). Aphra Behn was the first woman writer in England to make a living by her pen, and her novel Oroonoko was the first work published in English to express sympathy for African slaves. Perhaps based partly on Behn's own experiences living in Surinam, the novel tells the tragic story of a noble slave, Oroonoko, and his love Imoinda. The work was an instant success and was adapted for the stage in 1695 (and more recently by the Royal Shakespeare Company in 1999). Behn's work paved the way for women writers who came after her, as Virginia Woolf noted in A Room of One's Own (1928): "All women together ought to let flowers fall upon the tomb of Aphra Behn, ... for it was she who earned them the right to speak their minds." (Summary by Elizabeth Klett)

SUBSCRIBE TO FAB AUDIO BOOKS YouTube channel for the other audiobooks as well as eBooks and other audiobooks - regular new uploads.

VISIT www.FabAudioBooks.com for the free eBook and other video audiobook titles.

This audiobook was sourced from www.LibriVox.org and is in the public domain.


Orinoco de Aphra Behn

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Ape to Man (Evolution documentary, History Channel)



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El narrador impersonal

beckett gafas


Sigo publicando en el SSRN, por capítulos, mi libro sobre Beckett, y llegamos al capítulo 7:

El narrador impersonal (Samuel Beckett y la narración reflexiva, 7).

Samuel Beckett y la Narración Reflexiva es un estudio en profundidad de la escritura experimental de Beckett, en especial de la trilogía novelística Molloy, Malone Dies, y The Unnamable, desde la perspectiva de la narratología estructuralista y las teorías estructuralistas sobre la enunciación. Resulta de allí no sólo una mejor comprensión de la técnica utilizada por Beckett para transmitir su peculiar visión de la realidad, sino también toda una nueva gama de significaciones en estos textos. En este capítulo examinamos la voz narrativa de The Unnamable (El Innombrable) como la culminación del proceso de vaciado crítico de la narración homodiegética o en primera persona iniciado en las novelas anteriores de la trilogía.

"Samuel Beckett and Reflexive Narrative" is an in-depth study of Beckett's experimental writing, more specifically of the novelistic trilogy "Molloy," "Malone Dies" and "The Unnamable," from the standpoint of structuralist theories of narrative and of enunciation. An increased insight is thereby obtained into the technique used by Beckett to articulate his peculiar view of reality, and a new dimension of signification of these texts emerges. This chapter examines the use of narrative voice in "The Unnamable" as a culmination of the critical emptying out of homodiegetic or first-person narrative begun in the previous novels of the trilogy.

Aparece también este capítulo en un par de revistas temáticas de la SSRN:

Date posted: November 05, 2014  

eJournal Classifications
CSN Subject Matter eJournals
                          
LIT Subject Matter eJournals
             



Y el capítulo anterior es:

"Narración autodiegética (Samuel Beckett y la narración reflexiva, 6) (Autodiegetic Narration (Samuel Beckett and Reflexive Narrative, 6)." Social Science Research Network 26 Oct. 2014.*
         http://papers.ssrn.com/abstract=2514510

         English & Commonwealth Literature eJournal 26 Oct. 2014.*
         http://www.ssrn.com/link/English-Commonwealth-Lit.html



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Sábado 15 de noviembre de 2014

Mandan los vendidos



Mandan en España los vendidos al nacionalismo—el consorcio Rajoy - Arriola - Cebrián - Godó. Y el mandado Pedro Sánchez. Y mandan también los nacionalistas mismos, con Mas y Junqueras hinchados como globitos llenos a petar de gas infecto. El programa Sin Complejos de EsRadio de hoy. En el debate, un representante de cada uno de los partidos que hoy por hoy no apestan: VOX, Ciudadanos, y UPyD.  Como me entere de que alguien vota a cualquier otro partido que no sea éstos, me temo que bajará varios puntos en mi consideración, así está el tema—el país en pleno ha bajado muchos puntos en mi consideración. Esto no hay quien lo regenere, si ha podido llegar la cosa hasta estos niveles de idiocia, traición y mangancia.






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Thinking of Rocks


Thinking of Rocks


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Viento es la dicha de amor






—oOo—


El 9n  - Radio Materialista



—oOo—



Viernes 14 de noviembre de 2014

Hungry Ghosts - I Don't Think About You Anymore, But I Don't Think About You Any Less




—oOo—




Henry Lawes' Five Songs for John Milton's Masque: Comus






—oOo—


Henry Lawes, Go Lovely Rose








A song by Edmund Waller, set by Henry Lawes




         Go, lovely Rose!
Tell her, that wastes her time and me,
         That now she knows
When I resemble her to thee,
How sweet and fair she seems to be.

         Tell her that's young
And shuns to have her graces spied,
         That hadst thou sprung
In deserts, where no men abide,
Thou must have uncommended died.

         Small is the worth
Of beauty from the light retired:
         Bid her come forth,
Suffer herself to be desired,
And not blush to be so admired.

         Then die! that she
The common fate of all things rare
         May read in thee:
How small a part of time they share
                   That are so wondrous sweet and fair!



 —oOo—
 




Purcell and Dryden - King Arthur

King Arthur or The British Worthy.
Dramatic opera. Libretto by John Dryden. Music by Henry Purcell. Premiere at the Queen's Theatre, Dorset Gardein, 1691. Libretto in Dryden, Dramatic Works. Ed. Montague Summers.


_____. King Arthur. Véronique Gens, Claron McFadden, Sandrine Piau, Susannah Waters, Mark Padmore, Iain Paton, Jonathan Best, Petteri Salomaaa, François Bazola. Les Arts Florissants / William Christie. YouTube (DidoneAbbandonata) 1 June 2013.*
    http://youtu.be/6fhs6C_UJy4





—oOo—





Fotógrafa

Fotógrafa


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Jueves 13 de noviembre de 2014

El argumento número 35

Esto viene del apéndice a 36 Arguments for the Existence of God: A Work of Fiction. Es ésta una excelente novela de campus de Rebecca Goldstein (pareja por cierto de Steven Pinker) en la que, metamorfoseándose imaginativamente en el judío descreído Cass Seltzer, "el ateo con alma", expresa la autora su comprensión (ligeramente irónico-maquiavélica) hacia el fenómeno religioso en tanto que fuente de consuelo metafísico, y en tanto que mecanismo articulador de mundos posibles y de sentimientos de integración en una comunidad.  Aunque sea una comunidad excéntrica articulada por creencias absurdas: los Valdenses, una pequeña tribu superviviente de judíos de Europa del Este, deslocalizados a América, eligen aquí al joven prodigio matemático Azariah, el hijo de su rabino, como nuevo guía espiritual, y éste acepta su destino a pesar de su distancia intelectual hacia las viejas tradiciones. Es, en suma, una versión judeo-americana, y altamente sofisticada, de San Manuel Bueno, Mártir. A la vez se completa con una intriga de campus, en la que Cass rompe con su novia perfecta pero carrierista, la genial psicóloga Lucinda, toda cerebro ella, y pasa a reanudar relaciones con la emocional y vital Roz, una antigua novia que reemerge ahora que Cass es famoso. El libro de Cass Seltzer, el que lo lanza a la fama, se llama The Varieties of Religious Illusion, combinando los títulos de libros sobre la religión de William James y de Sigmund Freud. Ese libro terminaba con una colección de argumentos a favor de la existencia de Dios, y sus correspondientes refutaciones, argumentos y refutaciones que son seguramente los mismos que cierran el libro de Rebecca Goldstein. Los argumentos reales se complementan con una colección fantástica de argumentos vividos en el argumento del libro, que dan título a cada capítulo. Creo que voy a incluir una lista de todos, los del argumento y los del apéndice argumentativo. Y terminaré con el argumento 35 del apéndice, por no terminar contando el final.


Contents:

I. The Argument from the Improbable Self.
II. The Argument from Lucinda.
III. The Argument from Dappled Things.
IV. The Argument from the Irrepressible Past.
V. The Argument from Reversal of Fortune.
VI. The Argument from Intimations of Immortality.
VII. The Argument from Soul-Gazing.
VIII. The Argument from the Existence of the Poem.
IX. The Argument from the Eternity of Irony.
X. The Argument from the Purer Self.
XI. The Artument from Transcendental Signifiers.
XII. The Argument from Prime Numbers.
XIII. The Argument from Taking Differences.
XIV. The Argument from Inconsolable Solitude.
XV. The Argumment from Sacred Circles.
XVI. The Argument from the Longing on the Gate.
XVII. The Argument from Strange Laughter.
XVIII. The Argument from the Arrow of Time.
XIX. The Argument from the Overheard Whispers of Angels.
XX. The Argument from Tidings of Destruction.
XXI. The Argument from the Remains.
XXII. The Argument from Fraught Distance.
XXIII. The Argument from the Disenchantment of the World.
XXIV. The Argument from the Ethics of the Fathers.
XXV.The Argument from Cosmic Tremblings.
XXVI. The Argument from Chosen Individuals.
XXVII. The Argument from the Bones of the Dead.
XXVIII. The Argument from the Mandelbaum Equilibrium.
XXIX. The Argument from Rigid Designators.
XXX. The Argument from the Long Silence of the Night.
XXXI. The Argument from the New York Times.
XXXII. The Argument from the Precipice.
XXXIII. The Argument from the Violable Self.
XXXIV. The Argument from the View from Nowhere.
XXXV. The Argument from Solemn Emotions.
XXXVI. The Argument from the Silent Rebbe's Dance.

Un libro con capítulos titulados así merece ser leído. Sobre todo si en el apéndice encontramos los auténticos argumentos sobre la existencia de Dios:

Appendix: 36 Arguments for the Existence of God:

1. The Cosmological Argument.
2. The Ontological Argument.
3. The Argument from Design.
    a) The Classical Teleological Argument
    b) The Argument from Irreducible Complexity
    c) The Argument from the Paucity of Benign Mutations
    d) The Argument from the Original Replicator.
4. The Argument from the Big Bang.
5. The Argument from the Fine-Tuning of Physical Constants.
6. The Argument from the Beauty of Physical Laws.
7. The Argument from Cosmic Coincidences.
8. The Argument from Personal Coincidences.
9. The Argument from Answered Prayers.
10. The Argument from a Wonderful Life.
11. The Argument from Miracles.
12. The Argument from the Hard Problem of Consciousness.
13. The Argument from the Improbable Self.
14. The Argument from Survival After Death.
15. The Argument from the Inconceivability of Personal Annihilation.
16. The Argument from Moral Truth.
17. The Argument from Altruism.
18. The Argument from Free Will.
19. The Argument from Personal Purpose.
20. The Argument from the Intolerability of Insignificance.
21. The Argument from the Consensus of Humanity.
22. The Argument from the Consensus of Mystics.
23. The Argument from Holy Books.
24. The Argument from Perfect Justice.
25. The Argument from Suffering.
26. The Argument from the Survival of the Jews.
27. The Argument from the Upward Curve of History.
28. The Argument from Prodigious Genius.
29. The Argument from Human Knowledge of Infinity.
30. The Argument from Mathematical Reality.
31. The Argument from Decision Theory (Pascal's Wager).
32. The Argument from Pragmatics (William James's Leap of Faith).
33. The Argument from the Unreasonableness of Reason.
34. The Argument from Sublimity.
35. The Argument from the Intelligibility of the Universe (Spinoza's God).
36. The Argument from the Abundance of Arguments.


35. The Argument from the Intellibility of the Universe (Spinoza's God)

1. All facts must have explanations.

2. The fact that there is a universe at all—and that it is this universe, with just these laws of nature—has an explanation (from 1).

3. There must, in principle, be a Theory of Everything that explains why just this universe, with these laws of nature, exists. (From 2. Note that this should not be interpreted as requiring that we have the capacity to come up with a Theory of Everything; it may elude the cognitive abilities that we have.)

4. If the Theory of Everything explains everything, it explains why it is the Theory of Everything.

5. The only way that the Theory of Everything could explain why it is the Theory of Everything is if it is itself necessarily true (i.e., true in all possible worlds).

6. The Theory of Everything is necessarily true (from 4 and 5).

7. The universe, understood in terms of the Theory of Everything, exists necessarily and explains itself (from 6).

8. That which exists necessarily and explains itself a God (a definition of "God").

9. The universe is God (from 7 and 8).

10. God exists.

Whenever Einstein was asked whether he believed in God, he responded that he believed in "Spinoza's God." This argument presents Spinoza's God. It is one of the most elegant and subtle arguments for God's existence, demonstrating where one ends up if one rigorously eschews the fallacy of Inoking one Mystery to Explain Another: one ends up with the universe and nothing but the universe, which itself provides all the answers to all the questions one can ask about it. A major problem with the argument, however, in addition to the flaws discussed below, is that it is not at all clear that it is God whose exisntence is being proved. Spinoza's conclusion is that the universe that itself provides all the answers about itself simply is God. Perhaps tha conclusion should, rather, be that the universe is different from what it appears to be—no matter how arbitrary and chaotic it may appear, it is in fact perfectly lawful and necessary, and therefore worthy of our awe. But is its awe-inspirign lawfulness reason enough to regard it as God? Spinoza's God is sharply at variance with all other divine conceptions.

The argument has only one substantive premise, its first one, which, though unprovable, is not unreasonable; it is, in fact, the claim that the universe itself is thoroughly reasonable. Though this first premise can't be proved, it is the guiding faith of many physicists (including Einstein). It is the claim that everything must have an explanation; even the laws of nature, in terms of which processes are explained, must have an explanation. In other words, there has to be an explanation for why it is these laws of nature rather than some other, which is another way of asking why it is this world rather than some other.

FLAW: The first premise cannot be proved. Our world could conceivably be one in which randomness and contingency have free reign, no matter what the intuitions of some scientists are. Maybe some things just are ("stuff happens"), including the fundamental laws of nature. Philosphers sometimes call this just-is-ness "contingency," and if the fundamental laws of nature are contingent, then, even if everything that happens in the world is explainable by those laws, the laws themselves couldn't be explained. There is a sense in which this argument recalls The Argument from the Improbable Self. Both demand explanations for just this-ness, whether of just this universe, or just this me.

The Argument from the Intelligibility of the Universe fleshes out the consequences of the powerful first premise, but some might regard the argument as a reductio ad absurdum of that premise.

COMMENT: Spinoza's argument, if sound, invalidates all the other arguments, the ones that try to establish the existence of a more traditional God—that is, a God who stands distinct from the world described by the laws of nature, as well as distinct from the world of human meaning, purpose, and morality. Spinoza's argument claims that any transcendent God, standing outside of that for which he is invoked as an explanation, is invalidated by the first powerful premise, that all things are parts of the same explanatory fabric. The mere coherence of The Argument from the Intelligibility of the Universe, therefore, is sufficient to reveal the invalidity of the other theistic arguments. This is why Spinoza, although he offered a proof of what he called "God," is often regarded as the most effective of all atheists.



El Gran Diseño y Hacedor de Estrellas (5): La Teoría de Todo







Mujer sola en la playa 2


Mujer sola en la playa 2


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Miércoles 12 de diciembre de 2014

Rosa Díez: "El gobierno debería haber hecho cumplir la ley"





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Definitions of literature

Definitions.of.Literature by marcosclopes



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Looking for Richard








Looking for Richard from samarkkanda on Vimeo.




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Narración autodiegética

Narración autodiegética (Samuel Beckett y la narración reflexiva, 6)

(Autodiegetic Narration (Samuel Beckett and Reflexive Narrative, 6))

http://papers.ssrn.com/abstract=2514510

Reference Info: Samuel Beckett y la narración reflexiva (Zaragoza: Prensas Universitarias de Zaragoza, 1992)




eJournal Classifications (Date posted: October 26, 2014)
LIT Subject Matter eJournals
    
        
LIT Subject Matter eJournals
    



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Mujer con sombrero


Mujer con sombrero




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Britten - Curlew River








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Martes 11 de diciembre de 2014

Consiliencia y retrospección

Mi artículo sobre Stephen Jay Gould, E. O. Wilson, la unidad del conocimiento, la comprensión de los fenómenos y la retrospección,

Consiliencia y retrospección
http://papers.ssrn.com/abstract=2513969

Reference Info: Ibercampus 16 Nov. 2009

Se encuentra ahora, en español, en estas revistas temáticas de la SSRN (Date posted: October 24, 2014)
eJournal Classifications
AARN Subject Matter eJournals
    
        
AARN Subject Matter eJournals
    
        
            
CSN Subject Matter eJournals
    
        
PRN Subject Matter eJournals
    
        

(Consilience and Retrospection) - aquí el texto revisado en inglés.



Consiliencia y retrospección



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Purcell: Dido and Aeneas (Le Poème Harmonique)






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La Angustia de la Evolución

Seguimos actualizando, sin prisa pero con pausa, el blog sobre narratología evolucionista, y también el viejo Vanity Fea de Blogia:


una publicación de Narratología evolucionista - Evolutionary Narratology.


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Lunes 10 de diciembre de 2014

Gotye - Somebody that I Used to Know







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Solo en Rodeira


Solo en Rodeira


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España territorio sin ley




una publicación de Rosa Díez.


Y aquí el primer comentario de Federico: Nos gobiernan unos cobardes



 





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Domingo 9 de noviembre de 2014

El narrador autorial y las otras voces narrativas

De Samuel Beckett y la narración reflexiva (Zaragoza: Prensas Universitarias de Zaragoza, 1992)

El narrador autorial y las otras voces narrativas 

(Samuel Beckett y la narración reflexiva, 5) 

(The Authorial Narrator and the Other Narrative Voices (Samuel Beckett and Reflexive Narrative, 5))

http://papers.ssrn.com/abstract=2511946 

Aparece también en esta revista sobre "otras literaturas inglesas" con fecha de 21 de octubre de 2014 (Date posted: October 21, 2014)

LIT Subject Matter eJournals
             



El status narrativo en la trilogía (Samuel Beckett y la narración reflexiva, 4)

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Luna con cráteres


Luna con cráteres


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El famoso Nueve Ene





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Sábado 8 de noviembre de 2014

En la Vniversidad de Salamanca

No es de ayer, tampoco es de hoy, pero aquí estamos Shakespeare y yo como dos referencias centrales en Filología Inglesa. En una buena universidad, con buena tradición de Filología Inglesa, la Universidad de Salamanca.  También en la Universidad de Salamanca publiqué uno de mis escasos libros, Acción, Relato, Discurso: Estructura de la ficción narrativa. Como más libros no creo que escriba yo, déjenme al menos retratarme en pantallazo de esta Biblioteca de Filología:
salamanca



En el Collegio Internazionale Ca' Foscari



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Viernes 7 de noviembre de 2014

Aquí con mis fotos de reflejos

Aquí con mis fotos de reflejos

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Topsight in Sun Tzu's Art of War


La perspectiva dominante en El Arte de la Guerra: Más aspectos de un clásico chino

(Topsight in The Art of War: Further aspects of a Chinese classic))


José Angel García Landa


Universidad de Zaragoza

May 5, 2014

Ibercampus (May 5, 2014)

Abstract:     
Spanish abstract: Proporcionamos en este artículo un acercamiento narratológico a El Arte de la Guerra, clásico chino sobre estrategia militar atribuido a Sun Tzu (Sunzi). Esta lectura enfatiza las dimensiones cognitivas del texto, entendido como un tratado sobre la perspectiva y el punto de vista, y como una formulación temprana del concepto de perspectiva dominante o 'topsight'. También examinamos sus estructuras temorales implícitas, en especial en lo referente al papel de la retrospección. El texto de Sunzi tiene, en suma, una interesante dimensión como teoría de la perspectiva, de la acción, y de la representación intersubjetiva.

English abstract: This paper provides a narratological perspective on The Art of War, a Chinese classic treatise of military strategy attributed to Sun Tzu. This reading foregrounds the cognitive aspects of the text as a treatise in perspective and point of view, and as an early formulation of the concept of topsight. It also examines its implicit temporal structures, especially as regards the role of retrospection. All in all, Sun Tzu's text has an interesting dimension as a theory of perspective, of action, and of intersubjective representation.
 

Number of Pages in PDF File: 10

Keywords: Sun Tzu, Strategy, Topsight, Perspective, Knowledge, Information, War, Strategy, Models, Plans, Retrospection, Narratology, Theory of action, Chinese literature,
 
Accepted Paper Series


La perspectiva dominante en El Arte de la Guerra

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Jueves 6 de noviembre de 2014

Trying On a Mask

Trying on a Mask

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Fotos antiguas no vistas

Me las manda mamá, una colección de esas que van circulando por la red—y es que son buenísimas, estas fotos antiguas no vistas (powerpoint).



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Posicionamiento en Google Scholar


En Google Scholar no salgo quizá tan bien retratado como en Academia.edu. Tiene una opción este Google, poniendo el nombre de la universidad en el buscador, que muestra de modo cruel y despiadado a todos los profesores de esa universidad ordenados por número de citas. (De las que le constan a Google).

Así que este es el ránking de los profesores de la Universidad de Zaragoza, según Google, que es autoridad en la materia.

Ahí es ése el ránking, por citas, y no por número de visitas recientes como en Academia. Y no es que figure mal, yo—sigo el primero de mi área, si no contamos a Susana Onega, que no ha puesto su universidad y no figura por tanto en el ránking general—y en total salgo en posición 130, con más de 500 citas, que para humanidades es muchísimo, pues normalmente nos ignoramos mutuamente, y nos ignoran también. De hecho hay sólo tres o cuatro de las áreas de Letras (Javier García Marco, Juan de la Riva, Tramullas...) que salen mejor posicionados. Ahora bien, Google Scholar creo que sólo incluye a los que se dan de alta voluntariamente—como Academia, por otra parte—así que más serán los llamados y más los elegidos si atienden y se dan de alta, igual me mandan al puesto 200, por decir.



Y a ver cómo ando de índices y de bilirrubina:

 Citation indices     All        since 2009
Citations         522          235
h-index                        7           5
i10-index            4           3





Hace dos meses iba así la cosa:


Citation indices All        Since 2009
Citations  513           226
h-index    6         5
i10-index    4          3

Hoy en Google Scholar

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Documentos del Departamento

Aquí hay 464 publicaciones subidas a Academia.edu por miembros de nuestro departamento de Filología Inglesa y Alemana. Pueden hacerse vistas comparativas por universidad, por departamento, etc., así panorámicamente. Me está feo decir que en mi departamento no sólo soy el usuario mejor valorado de Academia (estoy en el top uno por mil, con cierta ventaja sobre el resto) sino que también tengo yo el mayor número de publicaciones, de descargas, de seguidores, con diferencia— y el mayor número de mini-trofeos de Top Porcentajes o pequeños premios pixelados de esos que reparte Academia. 

Con este baremo no quedo mal situado en mi departamento—con otros, sí, como se ha demostrado repetidamente.


¡¡En el Top 0,1 %!!

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El escrito de acusación penal


Me citan en el artículo "El escrito de acusación penal" de Raquel Taranilla, sobre narratología jurídica:


Taranilla, Raquel. "El escrito de acusación penal: Convenciones genéricas en la configuración del relato de los hechos." I Vardande: Revista Electrónica de Semiótica y Fenomenología Jurídicas Burcaramanga 2.2 (March 2013-Feb. 2014): 64-94. Online at Scribd (alilozadaprado) 5 Nov. 2014.*
         2014





Taranilla_El Escrito de Acusación Penal_convenciones Genéricas en La Configuración Del Relato de Los Hechos... by alilozadaprado




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Miércoles 5 de noviembre de 2014

The Great Stories of Venice


The Great Stories of Venice


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Richard Bulliet - History of the World to 1500





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La suspensión del merendéndum






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Mis artículos más vistos en Ibercampus

O, mi faceta de columnista y periodical essayist.

Mis artículos más visitados en IBERCAMPUS

Y aquí, ya directamente, mi propio periódico en paper.li: GARCIALANDIA is out!



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Darwin, la selección natural y la selección sexual


una publicación de Narratología evolucionista - Evolutionary Narratology.


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I'm far too Continental

Aquí en eJournals uno de mis capítulos sobre las novelas de Beckett:

"Entrando en la Trilogía: la narración en Molloy (Samuel Beckett y la narración reflexiva, 2) (Entering the Trilogy: Narration in Molloy (Samuel Beckett and Reflexive Narrative, 2)). 1992. Social Science Research Network 10 Oct. 2014.*
         2014
         Linguistic Anthropology eJournal 10 Oct. 2014.*
         2014
         Continental Philosophy eJournal 10 Oct. 2014.*
         2014

Que quede pantallazo de mi paso por esta revista de Filosofía Continental. Los europeos somos far too continental para los British, e incluso para los norteamericanos. Beckett también para los irlandeses.

En el Continental Philosophy eJournal


Introducción a Samuel Beckett y la narración reflexiva

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Martes 4 de noviembre de 2014

Strange Beliefs: Sir Edward Evans-Pritchard




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En Linguistic Studies

Mi artículo sobre la crítica clásica tras Aristóteles está en el Top Ten de "Linguistic Studies", en esta red de Antropología de la SSRN:
AARN: Linguistic Studies (Topic) All Papers.






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Sube el agua en Venecia

Sube el agua en Venecia


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El narrador impersonal

El narrador impersonal

(Samuel Beckett y la narración reflexiva, 7) 

The Impersonal Narrator (Samuel Beckett and Reflexive Narrative, 7)


José Angel García Landa


Universidad de Zaragoza

1992

Samuel Beckett y la narración reflexiva (Zaragoza: Prensas Universitarias de Zaragoza, 1992)

Abstract:     
Spanish Abstract: Samuel Beckett y la Narración Reflexiva es un estudio en profundidad de la escritura experimental de Beckett, en especial de la trilogía novelística Molloy, Malone Dies, y The Unnamable, desde la perspectiva de la narratología estructuralista y las teorías estructuralistas sobre la enunciación. Resulta de allí no sólo una mejor comprensión de la técnica utilizada por Beckett para transmitir su peculiar visión de la realidad, sino también toda una nueva gama de significaciones en estos textos. En este capítulo examinamos la voz narrativa de The Unnamable (El Innombrable) como la culminación del proceso de vaciado crítico de la narración homodiegética o en primera persona iniciado en las novelas anteriores de la trilogía.

English Abstract: Samuel Beckett and Reflexive Narrative is an in-depth study of Beckett's experimental writing, more specifically of the novelistic trilogy Molloy, Malone Dies and The Unnamable, from the standpoint of structuralist theories of narrative and of enunciation. An increased insight is thereby obtained into the technique used by Beckett to articulate his peculiar view of reality, and a new dimension of signification of these texts emerges. This chapter examines the use of narrative voice in The Unnamable as a culmination of the critical emptying out of homodiegetic or first-person narrative begun in the previous novels of the trilogy.

Number of Pages in PDF File: 35
Accepted Paper Series




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Lunes 3 de noviembre de 2014

La antropología social de Evans-Pritchard





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The Three B's: Bacon, Burton, Browne

From A Critical History of English Literature, by David Daiches:

While churchmen debated the theory and practice of church government, the secular mind of Francis Bacon (1561-1626) was meditating an ambitious scheme for laying anew the foundations of human knowledge on which could be reared an ever-increasing understanding and control of nature. To this scheme he gave the general name of the Great Instauration (or Renewal). Reacting against scholastic philosophy and against all a priori thinking and systems of thought derived deductively from premises laid down by authority, the Great Instauration, basing knowledge on observation, would restore a truer relationship between the observing mind and observed nature and so make scientific progress possible. For Bacon, "the furthest end of knowledge" was not theoretical insight but "the relief of man's estate": it was to be "the benefit and use of man." The sequence was to be from observation to understanding to practical application. francis baconBacon proposed to himself six stages in the realization of this scheme, beginning with the classification of existing knowledge, within a precise mapping of all gaps and deficiencies, and proceeding thorugh the development of a new, inductive, logical method (the New Organon) and the collection of basic data to provide lists of examples of the new method in operation, thence to a preliminary report of the achievements of the method, and finally to a full-dress presentation of the new philosophy and method and its results in explaining the natural phenomena of the universe. The sixth and final stage could not of course be reached by any single individual: it represented the eventual aim of human knowledge. Of the other five stages, the first is represented by Bacon's Advancement of Learning (1605, with an enlarged Latin version in 1623); the second by the unfinished Latin work, Novum Organum, which appeared together with a general statement of the aims and plans of the Great Instauration (Magna Instauratio) in 1620; and the others only in fragments.

Bacon was not the first to propose an inductive scientific theory, or to attack scholasticism; nor did his writings achieve a philosophic revolution of the kind which Descartes bourght about a generation later. Further, he was not in touch with the actual achievements of contemporary science, was ignorant of and sometimes hostile to new advances in astronomy and medicine and curiously uninfluenced by the revival of Greek science and Platonic mathematics which were so important for the scientific achievements of the Renaissance. Nevertheless he spoke with prophetic eloquence of the new conception of knowledge and its function, popularizing a point of view which was to become increasingly significant later in the century. His diagnosis of much of the accepted philosophy of his time as mere verbal jugglery hand something of the same effect as the work of the more popular of the logical positivists and semanticists of the 1930's: "For the wit and mind of man, if it work upon matter, which is the contemplation of the creatures of God, worketh acording to the stuff and is limited thereby; but if it work upon itself as the spider worketh his web, then it is endless, and brings forth indeed cobwebs of learning, admirable for the fineness of thread and work but of no substance or profit."

The Advancement of Learning is in two books: the first states and answers arguments that have been brought forward against learning and the second providing a detailed classification of all the kinds of knowledge, with the deficiencies noted. The argument against learning comes from theologians, from politicians, and from the habits and studies of learned men themselves. The first he answers in their own terms; the second he answers by an appeal to history and experience; and in tackling the third he admits that here are "three vanities in studies" which have been responsible for attacks on learning in general. These "vanities" or "distempers" of learning are in ascending order of gravity, fantastic and exhibitionist styles of writing, the kind of logic chopping which degenerates into mere verbalism, and "delight in deceiving and aptness to be deceived, imposture and credulity." The greatest error of all, however, is "mistaking or misplacing the last or furthest end of knowledge"—hwich is control over nature for the benefit of man. Book I concludes with positive arguments to prove the dignity of learning, both "divine proofs" and divinity to the divines, distinguishing between God's word, as revealed by Him and studied by His ministers, and God's work, the natural world, the province of scientific inquiry; but though the separation between theology and philosophy had been made before (e.g., by William of Ockham), Bacon makes the separation to protect science from religion (to use modern terms) not, as Ockham had done, to protect faith from reason. Thomistic philosophy did not make this separation, subsuming philosophy in theology, but later scholastic thougth did sometimes recognize a "twofold truth." Such a division was found useful by seventeenth-century thinkers such as Bacon and Hobbes in providing a clear field for secular thought.

Book II of The Advancement of Learning is a briliant piece of classification, full  of the witty definitions and apt and lively phrases so characteristic of Bacon's vigorous expository style; but in spite of this the modern reader will find this sort of detailed schematization somewhat tedious. Among the many interesting definitions, that of poetry might be singled out, for it is curiously Freudian: "it [poetry] doth raise and erect the mind, by submitting the shows of things to the desires of the mind; whereas reason doth buckle and bow the mind unto the nature of things." (The dwindling number of those who profess to believe that Bacon wrote Shakespeare's plays might reflect on this definition of poetry and consider whether it could possibly be made to apply to Hamlet or Othello.)

The Novum Organum contains the famous account of "the four classes of idols which beset men's minds," a fine example of the imaginative wit which Bacon so often displayed in making his points. The Idols of the Tribe (deriving from the limitations of human nature), the Idols of the Cave (deriving from personal character and idiosyncrasies), the Idols of the Marketplace (popular superstitions and confusions), and the Idols of the Theatre ("because in my judgment all the received systems are but so many stage-plays representing worlds of their own creation after an unreal and scenic fashion"), all militate against the proper use of observation and reason. Again, this reminds us of a modern semanticist analyzing the sources of verbal confusion or of a psychologist explaining the origins of irrational prejudice. Bacon was not himself a great scientist or a great philosopher; he was a master of prose exposition whose colorful and memorable phrases helped to popularize a new view of science.

The New Atlantis, published incomplete in 1627, is a slight work; it describes how a group of seafarers come upon an unknown island in the South Sea, where they are hospitably entertained and told of the high state of morality and civilization prevailing there, notably of the wonders of Salomon's House, a research institution in the description of which Bacon illustrates his own ideas of how research should be carried on. It all seems rather naïve in an age when scientific research is as highly developed and as much taken for granted as it is now; but it is interesting as providing further evidence of Bacon's desire to popularize his views of the importance of experimental science, that "commerce between the mind of man and the nature of things, which is more precious than anything on earth" as he called it in his Magna Instauratio.

Bacon's Essays—beginning with a volume of ten essays, written in a pungent aphoristic style, in 1597, with expansions and additions and a progressively more discursive style in the volumes of 1612 and 1625, the last containing fifty-eight essays—consist of reflections on human affaires by a practical psychologist who wishes to base his ethical prescriptions on a sound knowledge of human nature. The essay as a literary form had been invented by Montaigne shortly before Bacon adopted it; but Montaigne, with his rambling curiosity about himself and his genial and sceptical humanism, represented a different side of Renaissance thought. The easy flow of Montaigne's prose represented a relaxed self-consciousness far removed from the impersonal wisdom affected by Bacon, whose early essays read almost like a series of proverbs. It is the aphoristic element in his style that makes so many of his sentences—particularly his opening sentences—memorable and quotable. "What is truth? said jesting Pilate; and would not stay for an answer." "Men fear death as children fear to go in the dark; and as that natural fear in children is increased with tales, so is the other." "Revenge is a kind of wild justice . . ." "He that hath wife and children hath given hostages to fortune." "A man that hath no virtue in himself ever envieth virtue in others." The essays deal as much with public as with private life, discussing "great place," nobility, "seditions and troubles," empire, and "the true greatness of kingdoms and estates," as well as truth, death, parents and children, marriage, envy, love, and "wisdom for a man's self." He speaks as a man of the world, illustrating his generalizations by references to history (often classical history) and his own experience. Realistic in politics, shrewd but not coldly calculating in practical affairs, Christian in a general theistic way with more than a touch of Stocism, occasionally rising to somber eloquence in discussing time and change and death or led into the display of a personal enthusiasm as in the essay on gardens, Bacon in his essays is an impressive if hardly an endearing character. There is a moderately Machiavellian side to his thought: "The best composition and temperature is, to have openness in fame and opinion; secrecy in habit; dissimulation in seasonable use; and a power to feign, if there be no remedy." He is reconciled to human nature: "Why should I be angry with a man for loving himself better than me?" He knows how to relax with a variety of delights, but it is significant that he ends his essay on "masques and triumphs" with the sentence: "But enough of these toys." Montaigne in one way, Bacon in another, are very far from the medieval mind; and they are far, too from some of the more passionate movements of their own time. It is hardly extravagant to suggest that Bacon lives in the same world as Benjamin Franklin, not in that of the author of Piers Plowman, or in that of Spenser or Milton or George Herbert.

Bacon's History of Henry VII (1622) is a conscientious study of that king's policy in the light of which he is able to give an integrated
Thomas Browne picture of the events of his reign. The work shows Bacon's interest in statecraft, his political and legal knowlege, his command of an effective narrative and expository style, and a historico-psychological imagination which enabled him to put imaginary speeches into the mouths of his characters in the manner of classical historians. Others of Bacon's works, more or less fragmentary contributions to the sixfold plan of thee Great Instauration, were published in various collections of his literary remains after his death.


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If Bacon separated God's word and God's work in order to be able to concentrate freely on the latter, Sir Thomas Browne (1605-82) divided his attention between the two, investigating the facts of nature with a Baconian empiricism (though with a religious excitement at the ingenuity of the Creator thus revealed, which Bacon wholly lacked) and at the same time glorying in his acceptance by faith of religious mysteries on which his imagination loved to dwell. Browne was both Baconian experimentalist and Christian mystic, author both of Pseudodoxia Epidemica (generally known as Vulgar Errors), an exposure of erroneous notions about nature held by the credulous, and of Religio Medici, a discursive statement of his religious faith with a deliberate emphasis on wonder and mystery. The impact of the "new philosophy" in the seventeenth century naturally differed according to the temperament of the individual. Browne had a "unified sensibility" in the sense that he could move freely between mystery and experiment and saw no conflict between the duty of the man of science and that of the man of religion. This is related to his genial autobiographical manner of discussion and his interest in what might be called philosophy as play; if in discussing one kind of truth you are also aware of another kind, you will not be too intense in your method of presenting either.

The relation—sometimes the conflict—between science and religion becomes henceforth an important aspect of English thought. Although seventeenth-century theological controversy for the most part ignored the new science, its effects were indirectly visible in the great debate between those who believed optimistically in inevitable progress and those who held that the world was steadily declining. The classic statement of the pessimisic position was Godfrey Goodman's massive work, The Fall of Man, or the Corruption of Nature Proved by the Light of our Natural Reason, published in 1616. This was answered by George Hakewill's Apology of the Power and Providence of God in the Government of the World,published in 1627, with enlarged editions in 1630 and 1635. The argument as to whether the world had steadily declined from an original Golden Age or was steadily progressing and improving represents two poles of human thought which are perhaps always with us; but the seventeenth century saw the conflict brought into focus with particular clarity. It was this debate which underlay the conflict between Ancients and Moderns which developed later in the century; whether the classical literature of the Greeks and Romans represented a summit of human literary achievement which later ages could never quite reach, or whther modern refinement and ingenuity could surpass the achievements of the ancient world, was an argument which flowed from the larger debate on the decline of the world. The narrowing of the issue in this way reflects a contraction o the intelelctual universe of the late seventeenth century and early eighteenth centuries as compared with that of the earlier seventeenth century. The comfortable deistic solution of the science-religion conflict, making God the First Cause who retired from the universe after the creation, the divine watchmaker who made and wound up the watch before leaving it to be admired and investigated by the pious and the curious, was the eighteenth-century systematization of a position implicit in Bacon. Scientific progress then becomes increasingly successful in discovering how the watch was made and how it works, while literary progress is measured by the degree to which writers equal or perhaps even excel the great achievements of the classical world.

pseudodoxiaSir Thomas Browne remained at the still center of the controversies of his day, cultivating an inclusive tolerance which enabled him to reconcile almost anything with almost anything else. Religio Medici—which circulated for some time in manuscript, and appeared in two inauthorized editions in 1642, before the appearance of the authorized edition in 1643—might almost be called an exercise in inclusiveness of thought and feeling. The very title—"the religion of a doctor"—emphasizes a reconciliation of traditional opposites, the numinous and the scientific; for, as Browne points out in the very first sentence, the world does not generally consider doctors to have any religion at all. His favorite image is the circle, his favorite concept the microcosm. The prose of Religio Medici is so richly harmonized that one might almost say that its meaning is conveyed vertically rather than horizontally. Browne's constant endeavor is to break down distinctions and include all things in a single context. In sentence after sentence he reaches out to embrace apparent contradictions and bring them together; each sentence—or at least each paragraph—is thus a microcosm of the book as a whole. Consider, for example, his discussion of the relation between Protestants and Catholics:

We have reformed from them, not against them; for (omitting those Improperations and Terms of Scurrility betwixt us, which only difference our Affections, and not our Cause,) there is between us one common Name and Appellation, one Faith and necessary body of Principles common to us both; and therefore I am not scrupulous to converse and live with them, to enter their Churches in defect of ours, and either pray with them, or for them.

Here we have the whole of Religio Medici in little: reformation does not imply disagreement; any admission of difference is softly tucked away within brackets; and at the end there is the cunning suggestion that praying for somebody (which would really indicate that we are concerned for him because he is not of our faith) amounts to the same thing as praying with him (which indicates that we are of the same faith). The actual statement of the case—an appeal for toleration—is reinforced by stylistic devices and by every kind of quasi-logical suggestion that can be derived from language.

Religio Medici begins with a definition of the author's brand of Christianity, a definition which gradually expands to include, by a "general charity to Humanity," virtually all faiths professed by men. Though a member of the Church of England ("there is no Church whose every part so squares onto my Conscience; whose Articles seem so consonant unto reason, and as it were framed to my particular Devotion, as this whereof I hold my Belief, the Church of England"), Browne "could never divide myself from any man upon the difference of an opinion, or be angry with his judgment for not agreeing with me in that from which perhaps within a few days I should dissent my self." By various quasi-logical and autobiographical devices he brings all humanity into the circle of his own faith. Faith and reason are at first distinguished:

As for those wingy Mysteries in Divinity, and airy subtleties in Religion, which have unhing'd the brains of better heads, they never stretched the Pia Mater of mine. Methinks there be not impossibilities enough in Religion for an active faith; the deepest Mysteries ours contains have not only been illustrated, but maintained, by Syllogism and the rule of Reason. I love to lose myself in a mystery, to pursue my Reason to an O Altitudo! . . . I can answer all the objections of Satan and my rebellious reason with the odd resolution I learned of Tertullian, Certum est, quia impossibile est. I desire to exercise my faith in the difficultest point; for to credit ordinary and visible objects is not faith, but persuasion.

But though faith and reason are thus opposed, they are eventually reunited, if not logically at least symbolically, by being discussed in terms of each other and by the inclusion of both in a third term, such as God's Wisdom, which created the world to be "studied and contemplated by Man: 'tis the Debt of our Reason we owe unto God, and the homage we pay for not being Beasts." God's work and God's word are distinguished, but again only to be reunite: Nature is the Art of God. This being so, "there are no Grotesques in Nature." Every created thing is beautiful and wonderful in its way. Man himself is a little world. "We carry with us the wonders we seek without us: there is all Africa and her prodigies in us, we are that bold and adventurous piece of Nature, which he that studies wisely learns in a compendium what others labour at in a divided piece and endless volume." God's work is also a book, like His word. "Thus there are two Books from whence I collect my Divinity; besides that written one of God, another of His servant Nature, that universal and public Manuscript, that lies expans'd unto the Eyes of all; . . . "

Religio Medici continues with the adducing of examples showing the inclusive attitude at work. Both the miraculous and the scientific explanations of the same phenomenon are accepted; atheism is explained away as never having existed; pagan gods are included in the Christian scheme; soul and body, life and death, are so defined as to include each other. Martyrdom is deprecated as symbolizing an exclusive rather than an inclusive attitude. And even when Browne has reluctantly to concede that salvation is granted by God only to Christians, he adds significantly: "Yet those who do confine the Church of God, either to particular Nations, Churches, or Families, have made it far narrower than our Saviour ever meant it." Part II of the work is, logically enough, a discussion of charity, the state of mind which favours maximum inclusion. It is essentially an autobiographical illustration of his own charitable and tolerant disposition: "Methinks there is no man bad, and the worst, best." He can exclude nobody from his charity, and as "every man is a Microcosm, and carries the whole World about him," his own tolerance takes on universal dimensions. The work concludes with the author's submission to the will of God.

Browne's style, with its coupling of Anglo-Saxon and Latin words and its sentences composed of an arrangement of fairly short clauses rising and falling in a carefully contrived cadence, is in many respects a reflection of his sensibility. "Do but extract from the corpulency of bodies, or resolve things beyond their first matter, and you discover the habitation of Angels, which if I call the ubiquitary and omnipresent Essence of God, I hope I shall not offend Divinity: for before the Creation of the World God was really all things." The Latinisms here are introduced with a deliberate relish; they reflect that savoring of words and attitudes which is part of Browne's literary character. But it is worth noting that this sentence works up to a crucial statement which is itself expressed (except for the one word "Creation") in words of Anglo-Saxon origin: "for before the Creation of the world God was really all things." Browne's stylistic artifice is perhaps more obvious
melancholia in Hydriotaphia (Urn Burial) and The Garden of Cyrus, published together in 1658. In the former, the digging up of some old sepulchral urns "in a field of old Walsingham" provokes Browne to eloquent meditation on burial customs of the past and on the mysteries and solemnities of mortality. The opening sentence of the Epistle Dedicatory sets the tone of the work:

When the Funeral pyre was out, and the last valediction over, men took a lasting adieu of their interred Friends, little expecting the curiosity of future ages should comment upon their ashes, and, having no old experiences of the duration of their Reliques, held no opinion of such after-considerations.

Historical curiosity, philosophical speculation, mystic contemplation, and the suggestiveness and sonority of a rich and carefully manipulated vocabulary, combine to make Hydriotaphia a remarkable piece of virtuosity. The antiquarian, the Platonic mystic, the Christian moralist, and the artist all contribute to the total effect, but the artist is generally in the ascendant. "We whose generations are ordained in this setting part of time, are providentially taken off from such imaginations; and being necessitated to eye the remaining particle of futurity, are naturally constituted unto thoughts of the next world, which maketh Pyramids pillars of snow, and all that's past a moment." The artifice here is patent, as it is in the well-known passage beginning "What Song the Syrens sang, . . ." which includes the remarkable sentence: "But to subsist in bones, and be but Pyramidally extant, is a fallacy in duration." The Garden of Cyrus, in its riot of speculation concerning the quincunx pattern in heaven and earth, combines a scientific air with a poetic tone in a strange and fascinating way. Sometimes, the vocabulary is almost a parody of the scientific: "The Reticulum by these crossed cells makes a further digestion in the dry and exuccous part of the Aliment perceived from the first Ventricle." But more characteristic is the famous paragraph which begins the concluding movement of the work:

But the Quincunx of Heaven runs low, and 'tis time to close the five ports of knowledge; we are unwilling to spin out our awaking thoughts into the phantasms of sleep, which often continueth precogitations; making Cables of Cobwebs, and Wildernesses of handsome Groves. Beside Hippocrates hath spoke so little, and the Oneirocritical Masters have left such frigid Interrpetations from plants, that there is little encouragement to dream of paradise itself. Nor will the sweetest delight of Gardens afford much comfort in sleep; wherein the dullness of that sense shakes hands with delectable odours; and though in the Bed of Cleopatra, can hardly with any delight raise up the ghost of a Rose.

No more fascinating evidence exists of the coexistence in the seventeenth century of new scientific ideas and old notions of authority, and of the "hydroptic thirst" for all knowledge, ancient and modern, than the vast encyclopedic treatise by Robert Burton (1577-1640), The Anatomy of Melancholy, published in 1621, with several revised editions between 1625 and 1651. This work, now regarded as a rich anthology of curious notions, picturesque anecdotes, and varied quotations from both ancients and moderns, was intended as a scientific examination of the various distempers of the mind to which Burton gives the generic name "melancholy"—a medical and psychological work in which all known knowledge on the subject would be presented. If it has long been valued as a source of quaint or suggestive quotations or as a work to be dipped into and relished for its oddity,this is because the comprehensiveness of Burton's aim, the transitional nature of the age he lived in, and his own mixture of sympathy, curiosity, erudition, superstition, and common sense, gives his work a texture and a flavor that can be found neither in the medieval world nor in the modern scientific world after the foundation of the Royal Society.
anatomy of melancholyThe organization of the book into discussion of the symptoms, causes, and cure of different kinds of melancholy is logical enough, but no central principles provide coherence to the whole. Unbounded curiosity about man and a humane and sensible concern for his welfare are perhaps Burton's chief qualities; they are sufficient to give a tone but not to provide a method or a principle of integration to his work. The elaborate and detailed synopses to each "partition" of the work testify to Burton's methodological intentions, but the digressions and the illustrative anecdotes remain the most memorable parts of his book. The long section on "heroica or love melancholy," with its powers, causes, symptoms, and cures, is the richest part of the book to modern eyes, and its quizzical yet sympathetic tone, its profusion of information with a refusal to come down on any side of a controversy, is characteristic of Burton. We must not forget, however, that Burton was an Anglican priest by profession, and when he discusses religious melancholy, as he does in his final section, he mingles religious consolation with the humanist advice to avoid extremes and extravagances. "Thy soul is eclipsed for a time, I yield, as the sun is shadowed by a cloud; no doubt but those gracious beams of God's mercy will shine upon thee again, as they have formerly done: those embers of faith, hope and repentance, now burned in ashes, will flame out afresh, and be fully revived." This is a somewahat different Burton from the writer who, discoursing on the "prognostics" of love melancholy, remarks:

Go to Bedlam for examples. It is so well known in every village, how many have either died for love, or voluntarily made away themselves, that I need not much labour to prove it; Nec modus aut requies nisi mors reperitur amoris [love knows no limit or escape save death]: death is the common catastrophe to such persons.

Mori mihi contingat, non enim alia
Liberatio ab aerumnis fuerit ullo pacto istis.

[Would I were dead, for nought, God knows,
But death can rid me of these woes.]

But quotation can give no conception of the variety and multiplicity of Burton's extraordinary work, in which religion and science intermingle, medicine and psychology are set against a cosmic background, and ironic observations of the human comedy are made the excuse for a display of an almost irresponsible erudition. Burton's prose style is flexible and varied; he can be colloquial, pedantic, picturesque, or epigrammatic. The perpetual interlarding of his English with Latin quotations produces a strange mosaic effect. Perhaps it can be said that Burton had no style: there is too much variety and digression. The Anatomy of Melancholy is, however, a remarkable work, a significant symptom of the times and a tour de force without parallel in English literature.


Leviathan








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The Wave



The wave


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Domingo 2 de noviembre de 2014


Antonio Vega: Tu voz entre otras mil




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Gabinete Caligari, "Camino Soria" (Directo 1988)




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Francis Bacon




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Francis Bacon, "Of Truth"




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Movimientos narrativos

"Movimientos narrativos" (Samuel Beckett y la narración reflexiva, 4) - http://papers.ssrn.com/abstract=2510225

Reference Info: Samuel Beckett y la narración reflexiva (Zaragoza: Prensas Universitarias de Zaragoza) (1992)

Se encuentra ahora este capítulo en estas revistas y páginas del SSRN (Date posted: October 17, 2014) en las redes de ciencia cognitiva y de literatura.

eJournal Classifications
CSN Subject Matter eJournals
             
CSN Subject Matter eJournals
                          
LIT Subject Matter eJournals
             

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Sábado 1 de noviembre de 2014


Arènes de Lutèce

Un poema de Samuel Beckett. La expresión "miscellaneous rubbish" también es suya.


Arènes de Lutèce



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5 Most Incredible Photos from Mars




500 most incredible photos





Vista de Vigo desde lejos


Vista de Vigo desde lejos

 
 
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¿Podemos con la corrupción?


El Sin Complejos de hoy, con la política corrupta de esta semana—y con Podemos convirtiéndose en segunda fuerza política, camino de ser la primera quizá:





Y Monsieur de Sans-Foy debate con Fray Josepho sobre si acabará Podemos con la corrupción.



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The Mysterious Mr Webster





—y audiolibros de sus dos principales dramas, The White Devil  y The Duchess of Malfi.

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Introducción a Samuel Beckett y la narración reflexiva

La introducción a mi libro sobre Beckett aparece ahora en estas páginas y revista electrónica de la SSRN:

Reference Info: "Samuel Beckett y la Narración Reflexiva." Zaragoza: Prensas Universitarias de Zaragoza, 1992
beckett
http://papers.ssrn.com/abstract=2505110

Y en la fecha correspondiente, aquí (Date posted: October 06, 2014):

 LIT Subject Matter eJournals
             

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Biblioestadísticas



Monthly Stats Report: 1 Oct - 31 Oct 2014
Project: A Bibliography of Literary T.
URL: http://www.unizar.es/departamentos/filologia_inglesa/garciala/bibliography.html

Summary


Page Loads Unique Visits First Time Visits Returning Visits
Total 704 520 497 23
Average 23 17 16 1





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Microblog de noviembre 2014


Roca en el mar

14 nov 14, 23:27
JoseAngel: Mogwai: Music for a Forgotten Future: http://youtu.be/-BKguJEUObY
14 nov 14, 22:17
JoseAngel: Pagan Rationality and Religious (Dis)Order in 'Paradise Lost': https://www.academia.edu/9272396/Pagan_Rationality_and_Religious_Dis_Order_in_Paradise_Lost
14 nov 14, 18:14
JoseAngel: Purcell, THE INDIAN QUEEN: http://youtu.be/hKXN_6NSiq4
14 nov 14, 16:13
JoseAngel: Dido & Aeneas: http://youtu.be/jweNnjeY-Q0
14 nov 14, 14:10
JoseAngel: El Gobierno de Aragón elimina la partida de infraestructuras de la Universidad. Nos quedamos sin reforma. http://prensa.unizar.es/noticias/1411/141114_z0_epa11.pdf
14 nov 14, 13:41
JoseAngel: El gobierno sigue sin denunciar el 9-N: http://esradio.libertaddigital.com/fonoteca/2014-11-14/tertulia-de-federico-el-gobierno-sigue-sin-denunciar-el-9n-80973.html
14 nov 14, 09:33
JoseAngel: Federico a las 6: La cobardía de Rajoy: http://esradio.libertaddigital.com/fonoteca/2014-11-13/federico-a-las-6-la-cobardia-de-rajoy-80919.html
13 nov 14, 19:12
JoseAngel: Cambia de sitio EL GRAN TEATRO DEL MUNDO: https://www.facebook.com/elgranteatrodelmundo
13 nov 14, 15:10
JoseAngel: Ramón Rodríguez sobre el silencio del cuerpo en la fenomenología de la percepción de Heidegger: https://herafunizar.files.wordpress.com/2014/10/cartel-ii-seminario-heraf-8.pdf
13 nov 14, 01:09
JoseAngel: Y el viernes, 12,30, homenaje a Guillermo Fatás en el Aula Magna.
13 nov 14, 01:09
JoseAngel: Jueves 13, 19,30, EL CHICO: http://www.unizar.es/actualidad/vernoticia_ng.php?id=20858&idh=5412&pk_campaign=iunizar20141112&pk_kwd=20858
13 nov 14, 00:53
JoseAngel: Mi periódico llamado GARCIALANDIA: https://paper.li/JoseAngelGLanda/1411163489?edition_id=1481fc60-6ab7-11e4-9c9a-002590721287&utm_campaign=paper_sub&utm_medium=email&utm_source=subscription
13 nov 14, 00:16
JoseAngel: La política espectacular de JULIO CÉSAR: http://ssrn.com/abstract=2523598
12 nov 14, 19:31
JoseAngel: ¿Una cita de Marx? Pablo asalta el cielo: http://www.elmundo.es/blogs/elmundo/elblogdesantiagogonzalez/2014/10/21/una-cita-de-marx-pablo-asalta-el-cielo.html
12 nov 14, 19:13
JoseAngel: Cataluña es ya independiente: http://www.elmundo.es/blogs/elmundo/consejoeditorial/2014/11/12/cataluna-es-ya-independiente.html
11 nov 14, 13:51
JoseAngel: Hegel en La Aventura del Pensamiento: http://youtu.be/GMqolnJbdbg
11 nov 14, 13:42
JoseAngel: The Fleeting Systems Lapse Like Foam: http://garciala.blogia.com/2014/111102-the-fleeting-systems-lapse-like-foam.php
11 nov 14, 01:12
JoseAngel: Minuto 6: más sobre el referéndum y la dejación del gobierno de España: http://esradio.libertaddigital.com/fonoteca/2014-11-10/tertulia-de-dieter-actuaron-bien-los-mossos-en-el-9n-80803.html
10 nov 14, 23:07
JoseAngel: Ah, ¿que a tí no te citan, dices, o qué? Cómo son.
10 nov 14, 20:44
Pilar: Eres un pedante
10 nov 14, 20:32
JoseAngel: Me citan (Acción, Relato, Discurso) en esta tesis sobre el cuento criollista en Cuba: https://es.scribd.com/doc/245824734/
10 nov 14, 18:24
JoseAngel: Me citan en este artículo sobre crítica literaria postmoderna: https://es.scribd.com/doc/245863045/15-Juan-Ignacio-Oliva-pdf
10 nov 14, 17:41
JoseAngel: Qué cosa más vomitiva, oír a la cadena SER sobre el referéndum catalán. De esta bazofia se alimenta la mente del españolito medio.
10 nov 14, 16:37
Nak Tau Rahsia: Buat Duit RM117 Setiap Bulan Melalui HP anda? Saya akan ajar anda segera. Jom klik website untuk info lanjut
10 nov 14, 10:41
JoseAngel: Hobbes (In Our Time): http://youtu.be/VRmBZXAwOv8
10 nov 14, 08:06
JoseAngel: Pedro J, "El estafermo de la Moncloa" https://medium.com/@pedroj_ramirez/carta-de-un-arponero-ingenuo-2a2e945f5556
9 nov 14, 23:50
JoseAngel: He's So Cute: http://youtu.be/84DLT4yRcy4
9 nov 14, 21:29
JoseAngel: A ver si aclaramos la cosa. Según la ley española no ha habido un referéndum. Según la ley de los sediciosos catalanes sí. Así es la sedición. Lo que pasa es que esta es TOLERADA.
9 nov 14, 21:23
JoseAngel: Fiscal General del Estado, LACAYO TRAIDOR.
9 nov 14, 21:22
JoseAngel: Rajoy, TRAIDOR.
9 nov 14, 21:16
JoseAngel: Garcialandia Is Out: https://paper.li/JoseAngelGLanda/1411163489
9 nov 14, 20:01
JoseAngel: Hemos estado de excursión por Alhama de Aragón—de balnearios.
8 nov 14, 09:03
JoseAngel: Sigue el culebrón de la Infanta: http://www.cesarvidal.com/index.php/Podcast/escuchar-podcast/las_noticias_del_dia_7_11_14
7 nov 14, 23:40
JoseAngel: Hoy con mami en la clínica Quirón. Ha salido bien, parece, la operación de menisco.
6 nov 14, 21:32
JoseAngel: Lo de Pablemos en su portada es, aparte de una bromita, un delirio de grandeza de tamaño HITLERIANO.
6 nov 14, 21:31
JoseAngel: Montserrat Caballé defraudó a Hacienda 500.000 euros. Total, nada, 15 años de sueldo de profesor, detallitos.
6 nov 14, 20:39
JoseAngel: Atom Heart Mother: http://youtu.be/veSyrtnPLnM
6 nov 14, 07:44
JoseAngel: Mira que estudiamos gente con el Alexander... https://es.scribd.com/doc/221709254/English-New-Concept-Alexander-L-G
6 nov 14, 00:33
JoseAngel: El lado oscuro del amor: http://www.cesarvidal.com/index.php/Podcast/escuchar-podcast/nuestra_psicologa_de_guardia_5_11_14
5 nov 14, 12:44
JoseAngel: Rings the world with the vain stir. I sum up half mankind and add two-thirds of the remaining half, and find the total of their hopes and fears dreams, empty dreams.
4 nov 14, 21:48
JoseAngel: Si de nuestras vidas eliminamos ficciones, ilusiones sin base e imaginaciones gratuitas, nos quedamos con muy poco o con nada.
4 nov 14, 21:24
JoseAngel: I SAW myself at ISAW: http://planet.atlantides.org/isaw-resources/
4 nov 14, 16:52
JoseAngel: Take this Lollipop: http://www.takethislollipop.com/
4 nov 14, 10:15
JoseAngel: Figuro en esta colección de artículos sobre religiones antiguas: http://ancientworldonline.blogspot.com.es/2014/10/open-access-journal-ancient-religions.html
3 nov 14, 23:35
JoseAngel: Bibliografía (atrasada) de Hélène Cixous: https://es.scribd.com/doc/245334791/Cixous-H
3 nov 14, 21:43
JoseAngel: The Fickle Farce: Communion between Comedies: http://theficklefarce.com/
3 nov 14, 18:30
JoseAngel: Paradise Lost Book 4 (Gollum): http://www.dartmouth.edu/~milton/reading_room/pl/book_4/text.shtml
3 nov 14, 14:11
JoseAngel: Dinner for One 1963: http://youtu.be/YFL-AxQK4tE
2 nov 14, 23:51
JoseAngel: забавно жить от фильма до фильма и от книги до книги, ведь там всё намного интересней, чем у тебя
2 nov 14, 14:51
JoseAngel: Noticias de hoy en Sin Complejos: http://esradio.libertaddigital.com/fonoteca/2014-11-02/noticias-021114-80494.html
2 nov 14, 12:29
JoseAngel: Un comentario en "I Didn't See It Coming" http://pjreece.ca/i-didnt-see-it-coming/comment-page-1/#comment-8135
1 nov 14, 02:39
JoseAngel: Ivo y Oscar a los seis años, dibujando guarradas: http://www.unizar.es/departamentos/filologia_inglesa/garciala/z06-3.html#anchor1333048
1 nov 14, 02:02
JoseAngel: Pink Tones, SHINE ON YOU CRAZY DIAMOND: http://youtu.be/zgP4akGRptU
1 nov 14, 02:02
JoseAngel: EL GRAN TEATRO DEL MUNDO: https://storify.com/JoseAngel/el-gran-teatro-del-mundo










Microblog de octubre 2014




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