VANITY FEA: Blog de notas de José Angel García Landa (Biescas Zaragoza) - Enero de 2015

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Sábado 31 de enero de 2015

A Wonderful Harmony

a commentary to Bill Benzon's letter to Hillis Miller, "Paths Not Taken":

Computers are instruments that enhance our vision, and data processing enables us to see patterns where there were none before. What to do with those enhanced powers, that's the eternal question. One has to apply one's own powers of association and patterning to them, those that do not come along with the data, but rather with the observer. So we may get new data, which may even spark out new ideas, but that's still only half the job, the other half is as old as Heraclitus, when he said that "a wonderful harmony arises from joining together the seemingly unconnected". Or words to that effect.


Conectando con Heráclito el Oscuro




—oOo—


Aquí hacían santos


Aquí hacían santos



Aquí hacían santos, retablos, tallas. Pero luego se fueron al paro, supongo, los santos y los santeros, por cierre de negocio.

Sigo colgando un pequeño álbum de fotos cada día, intentando alcanzarme a mí mismo, pero es que he ido haciendo muchas, demasiadas. De todos modos igual hago ahora menos hasta que reponga la cámara. En una volada de viento súbita, yendo por Gran Vía, me dí un golpe con la cámara en la cabeza; y ésta no se partió, pero esa sí. Quizá aún haga fotos, pero no puedo verlas. Así que se acabaron las fotos de la Canon, hasta que la reponga. Me pasaré de momento a una Olympus que tengo de segunda de a bordo, pero no me gusta tanto ésta.

Y sí así aligero actividades, falta mer hará. Ayer hacía un recuento de los blogs que llevo simultáneamente, y deben ser unos catorce. Hasta a mí me cuesta creerlo—pero con el tiempo acabamos por ser extraños compañeros de cama para nosotros mismos.


Doctor Faustus and Mister Marlowe


—oOo—

It's Five O'Clock

—y adiós, Demis Roussos....






Goodbye my love


—oOo—





Viernes 30 de enero de 2015

El momento fílmico

Un artículo mío sobre estilística, estructura y lenguaje fílmico:



El momento fílmico: 

'He estado en una película' 

http://papers.ssrn.com/abstract=2555324

Se trata de un análisis de elementos temáticos y formales de la película de Fritz Lang 'Fury' (1936), enfatizando las figuras estilísticas que intensifican la complejidad semiótica y la reflexividad de la película. Proponemos una definición del 'momento fílmico', un concepto crucial para tratar momentos cruciales de complejidad semiótica y reflexiva en las películas.

The Filmic Moment: 'I Have Been in a Film'images

English Abstract: This is an analysis of some thematic and formal elements of Fritz Lang's film 'Fury' (1936), with an emphasis on stylistic figures that enhance the film's semiotic complexity and its reflexivity. A definition of 'the filmic moment' in film structure, a crucial concept to deal with crucial moments of semiotic reflexivity in films, is put forward.
 
 Reference Info: Ibercampus (Oct. 19, 2010)


Aparece además en:


eJournal Classifications (Date posted: January 26, 2015)


CSN Subject Matter eJournals
    
Cognition & the Arts eJournal - CMBO
        
CSN: Genre & Media (Topic) - CMBO
            
CSN: Film (Sub-Topic) - CMBO

PRN Subject Matter eJournals
    
Philosophy of Mind eJournal - CMBO
        
PRN: Consciousness (Topic) - CMBO
















He estado en una película




—oOo—







Luz de mañana en la calle


Luz de mañana en la calle

—oOo—






Tony Blair vs. Christopher Hitchens debate










—oOo—






La Teoría del Todo







Muy recomendable, e incluso conmovedora, es la película sobre la vida de Stephen Hawking, The Theory of Everything. Los oscars a la mejor actuación están asegurados, por supuesto el de él pero ella no se queda atrás. Tratando temas extremadamente delicados sobre gente que está viva hoy, la película es una obra de arte a la hora de decir lo justo de manera franca y elegante a la vez—así que chapeau. Antes yo escribía reseñas sobre las películas, cuánto más sobre las excelentes. Ya no, y esa fe se perdió en algún sitio, como la de Hawking. Total, aquí hay casi 300 reseñas, no voy a decir nada nuevo. Si quieren más Historia(s) de todo, también me dedico a eso a ratos yo.

Sobre la película sólo quiero anotar un éxito estético-formal de los que tiene, al relacionar la secuencia final de recapitulación o movimiento invertido del tiempo, y las escenas de enlace con el principio, con las teorías de Hawking sobre la naturaleza del tiempo. Por supuesto este viaje en el tiempo es retórica y no ciencia, y en tanto que tal es algo falaz, pero sí es una alusión a una teoría de Hawking y en tanto que tal contribuye a ligar la forma y el contenido de la película, motivando temáticamente su estructura narrativa. Este procedimiento circular de construcción cinematográfica se presenta como un icono, quizá icono sea mucho decir, —como una metáfora de la propia teoría cosmológica de Hawking, según la cual el tiempo ya no sería algo con principio y final, sino una especie de esfera paradójica autocontenida en sí misma—que sin duda en cierto modo los es, si nuestro universo está tan autocontenido como parecen indicar los límites de las leyes físicas. De esta cuestión hablamos en El principio del tiempo. Es una bonita analogía, y juega a favor de la película. En última instancia, parece decir la película, como tantas otras obras de arte, una vez recorrida la obra o vista la película el tiempo del arte está disponible en una eternidad, almacenado—y aquí ese almacén de las eternidades parece corresponderse con la realidad misma, en la que el tiempo sería una ilusión, y la base última de la teoría del todo sería atemporal, siendo el tiempo una ilusión. Como nos ha enseñado la cosmología desde Newton a Einstein, el tiempo sólo existe para los humanos y otras criaturas físicas, no para el Universo en sí.

Ahora bien, es posible que sea una teoría equivocada, y que el universo físico no está más autocontenido de lo que está una película. Se ha reprochado a Hawking (yo me incluyo entre los reprochadores, en mi artículo sobre su Historia del Tiempo) usar demasiado ligeramente las matemáticas para extraer conclusiones sobre la naturaleza última de la realidad, que en esos últimos confines de lo matematizable parece perderse en una nube de mundos posibles o de matemáticas posibles. Y entre esos mundos posibles parece ir ganando fuerza últimamente la noción de un universo evolucionista, tal como lo propone Lee Smolin. Allí las vidas (humanas o cósmicas) sí transcurren una vez y no más, y el universo se reproduce para dar lugar a otros universos, apenas concebibles desde aquí pero sí deducibles. Es la selección natural, arguye Smolin, aplicada a esta replicación cósmica, la que ha producido el ajuste fino de constantes cosmológicas que tanto intriga a Hawking, y que le ha llevado a postular en otra fantasía matemática de largo alcance una infinidad de universos simultáneos—si es que la noción de simultaneidad tiene aquí algún sentido, hablando de burbujas temporales incomunicadas e inconmensurables.

Lo cierto es que más allá de las singularidades que dan comienzo y fin a nuestro universo, hay muchas cosas que parecen converger, incluso las teorías aparentemente contradictorias de Hawking y de Smolin. Y puede que no sea tan descabellado decir que el tiempo a la vez tiene un principio (como sostenía Hawking inicialmente) y que no lo tiene (como pasó a sostener a continuación) y que el tiempo es sólo una burbuja autocontenida en un tiempo más grande, y en un todo más grande—un tiempo y un todo que no guardan relaciones temporales ni espaciales con nuestro propio tiempo y espacio. Sería, o es, una totalidad cósmica que, para mayor paradoja, pasa a ser, de puro grande y remota, una parte marginal y apenas creíble de esta realidad que nos ocupa.

The Theory of Everything. Dir. James Marsh. Written by Anthony McCarten, based on the book by Jane (Wilde) Hawking. Cast: Eddie Redmayne, Felicity Jones, Charlie Cox. UK: Universal, 2014.


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



Buscando en Google Historia del tiempo Hawking, miren quién sale a pie de página:

Captura de pantalla 2015-01-30 a la(s) 10.52.26


—oOo—










Estoy en la Wikipedia tailandesa

Estoy en la Wikipedia tailandesa. En el artículo "Lingüística", sección de referencias, a pie de página. Con Pinker, Skeat, Malmkjaer, Fauconnier, Deacon, Akmajian, Lyons—etc.

Estoy en la Wikipedia tailandesa





En mi área



—oOo—



Jueves 29 de enero de 2015

The Moral Self (Jesse Prinz)






—oOo—







Remontándonos al origen del tiempo geológico






Y en ResearchGate: Polibio y el tiempo geológico





liopleurodon




Evolución, anaciclosis, y dialéctica social de la historia

—oOo—


The Bowie Shadow


Nuevas fotos a diario. Cada día cuelgo en mi fotoblog un pequeño álbum de fotos—o de fotos de fotos, que tanto da. Todo es fotografiable, incluso las fotografías:


The Bowie Shadow



Por cierto que se exponen en el Paraninfo los premios Goya de fotografía, con más de una y más de diez bien bonitas, no se pierdan la exposición, que pasa. La mía es permanente, de momento, aunque lo nuestro es passar.  Observo que se llevan esta temporada las fotos de arrogantes hipsters con atuendos decimonónicos. En fin.

Autorretrato con Capa



—oOo—




Steve Reich- Proveb





—oOo—

Miércoles 28 de enero de 2015


En León

Me busquen en la Biblioteca Universitaria, entre los recursos de Filología Inglesa. Se me encuentra pronto, que no hay tantos...


En la Universidad de León

En la Vniversidad de Salamanca

—oOo—




Hoja y hojitas



Hoja y hojitas





—oOo—


Martes 27 de enero de 2015

Sobre modo narrativo, perspectiva y punto de vista


















Bibliografía de historia literaria inglesa



1.General.elh by Fizza Rauf








—oOo—











Lunes 26 de enero de 2015


Sexto Quinquenio

eco




No es el nombre de ningún romano, esto de Sexto Quinquenio; lo que pasa es que (en cierto modo) cumplo hoy (seis por cinco) treinta años dedicado a la docencia—al menos en mi horario laboral.

Treintaañero en docencia universitaria, quiere decir que voy camino de sexagenario, y mi vida ya es algo que va quedando atrás, cosa del pasado. Pasé en algún momento de joven promesa a gris funcionario —y como en la general suerte humana, ya no soy ni un eco de lo que fui, ni de lo que pude ser.












About Time (Una cuestión de tiempo)






—oOo—


Lluvia de otoño

En mi blog aún es otoño, según Flickr. No pone la fecha en que cuelgas la foto, sino la fecha en que la hiciste.  Y llevo meses de desfase, con miles de fotos acumuladas. A ver si un día me alcanzo, o, como en otras cosas, sigo a perpetuidad one too many mornings and a thousand miles behind.

Lluvia de otoño


LIANE FOLY - SEPTEMBER RAIN

—oOo—





Theories of Interpretation: Classical to Romantic Hermeneutics



These are the introductory lessons from a course on "Theories of Interrpetation" at the University of Zaragoza, in the academic year 1993-94:

Theories of Interpretation: 
Classical to Romantic Hermeneutics
http://papers.ssrn.com/abstract=2553692 
 

An introduction to some central concepts in literary hermeneutics and interpretive theory (Interpretation, understanding, criticism, evaluation, meaning, etc.), and to the semiotic groundings of hermeneutics. This is followed by an overview of the main approaches in classical hermeneutics, from Greek philosophers and Homeric critics, through medieval poetics and criticism, to early modern developments. The overview concludes with an introduction to Schleiermacher's general hermeneutics in the Romantic period.
 

1993

Number of Pages in PDF File: 28

  

eJournal Classifications (Date posted: January 22, 2015)
CRN Subject Matter eJournals
    
Ancient Greek & Roman Literature eJournal - CMBO
        
CRN: General, Literary History, Literary Theory (Topic) - CMBO
LIT Subject Matter eJournals
    
Literary Theory & Criticism eJournal - CMBO
PRN Subject Matter eJournals
    
Philosophy of Language eJournal - CMBO
        
PRN: Philosophy of Linguistics (Topic) - CMBO



Aparezco hoy en el Philosophy of Language eJournal




Medieval Criticism: Poetics, Aesthetics, and Hermeneutics



—oOo—










Domingo 25 de enero de 2015

Christopher Hitchens and Richard Dawkins vs. Islam
















—oOo—




Seen from a Distance

Seen from a distance






































—oOo—





Mastering the Game of Thrones

Bien podrá aspirar Pablo Iglesias al trono de la República, y a retratarse entretanto como el Rey Yulian, o el Rey Geoffrey, que ya no me acuerdo cómo se llama el reyezuelo ése del mambo en Juego de Tronos...

pero yo no me quedo atrás y pa chulo yo, que a mí me citan en este libro sobre Juego de Tronos, y a él no.














The Pleasures of Criticism




 —oOo—















Neurología de la intencionalidad y perspectiva dominante

 Artículo que subo a la SSRN y repositorios:

Neurología de la intencionalidad 

y perspectiva dominante

http://ssrn.com/abstract=2552377


ossium

Comentamos la teoría de Brian Boyd sobre la estructura de la intencionalidad humana, basada en recientes estudios de neuropsicología. La exposición de Boyd puede completarse con un mayor énfasis en modelos perspectivísticos de la cognición basados en el concepto de perspectiva dominante o 'topsight', que a su vez puede relacionarse con la estructura temporal de la experiencia humana basada en la retroprospección o retrospección anticipada.


Topsight and the Neurology of Intentionality

English Abstract: A commentary of Brian Boyd's account the structure of human intentionality based on recent neuropsychological studies. Boyd's account may be complemented with an increased emphasis on perspectival models of cognition centered on the concept of topsight or dominant perspective, which in turn may be related to the temporal structure of human experience based on retroprospection or anticipated retrospection.


Note: Downloadable document is in Spanish.
 

Reference Info: Ibercampus (Sept. 13, 2010)


eJournal Classifications (Date posted: January 20, 2015)
AARN Subject Matter eJournals
             
AARN Subject Matter eJournals
             
CSN Subject Matter eJournals
             
PRN Subject Matter eJournals
             
PRN Subject Matter eJournals
             











 Neurología de la intencionalidad y perspectiva dominante 
 

 —oOo—













Sábado 24 de enero de 2015

Billy (3)







Dawkins - Growing Up in the Universe









—oOo—






Ça marche (3)






—oOo—








Someone Saw This Tree


Someone Saw This Tree

—oOo—








La salida del morlaco Bárcenas


Comentada por Federico desde las localidades de sombra:



Y el PP, mirando a otro lado y silbando. Espero que lleguen pronto a extraparlamentarios. Aquí Herrero sobre la tibia reconvención del PP:





—oOo—




Mi biblio en Lubbock

Otra universidad norteamericana que enlaza mi bibliografía—A Bibliography of Literary Theory, Criticism and Philology— entre sus recursos recomendados de Filología Inglesa, la Lubbock Christian University, en Texas. Observemos que estoy en compañía tan buena como la MLA, el Internet Archive, la Victorian Web de Brown (que la estaban haciendo cuando estudié yo allí), o la Johns Hopkins Guide to Literary Theory and Criticism— y cuatro más no más.

Observaré, a riesgo de parecer cargante, que esto les pasa a pocos—y aún a menos en España.

Porque aquí nunca han faltado comisiones de Expertos para hacerme la cusqui, aunque para eso haya que cometer auténticos delitos administrativos.


Mi biblio en Lubbock


Me evalúan negativamente

—oOo—


Viernes 23 de enero de 2015

Último rayo al arco iris

Y treinta mil fotos en mi fotoblog.
Último rayo al arco iris


Casi sin darme cuenta, esta semana he pasado ya de las 30.000 fotos en mi fotoblog de Flickr—ésta de arriba es la número 30.026. 

Treinta mil, un número arbitrario, puede ser también un número significativo. Una vida media, una vida larga normal, tiene unos treinta mil días. Podemos imaginar que he hecho una foto por cada día de mi vida pasada y futura (o futurible). También aparecen bebés en mis fotos, y niños—y mis experiencias eran muy parecidas a las de ellos, intercambiables. Y aparecen ancianos que me esperan para cuando llegue hasta ellos, si llego. Podríamos considerarlo el fotoblog de una vida—como esos experimentos virales de Internet en los que una persona se hace una foto ante el mismo espejo a lo largo de un año, o fotografía la misma esquina de calle cada día una y otra vez. Lo mío no es ni tan repetitivo ni tan variado—porque la intensidad añade variedad, igual que la diversidad.

No conozco ningún fotoblog que tenga más fotos. Si lo conocen Vds., díganmelo por favor.

Tengo otro dudoso honor—como si la cantidad no fuese ya dudosa de por sí (se lleva más la rarefacción, como decía Foucault). El honor, digo, aparte, de tener la más baja relación entre número de fotos / número de respuestas del público. Si consultan mi Flickr, verán que tengo casi un millón de visitas:


Captura de pantalla 2015-01-23 a la(s) 20.13.49


—pero los comentarios podrían contarse con los dedos de un par de personas. Una proporción extrañamente baja, si me preguntan—habida cuenta que algunas de mis fotos, no todas, son muy buenas. Una opinión que evidentemente no está muy extendida. 

Dice Denis Roche en Notre antéfixe (1978) que "Una cámara fotográfica no crea una situación o un gesto o un objeto dados, sino que mediante el encuadre les obliga a existir de nuevo y, de ese modo, a decir sin duda algo completamente diferente de lo que decían antes de irrumpir ante el aparato captor" (cit. por Antonio Ansón en Novelas como álbumes, 2000).

Muchas cosas deben decir mis fotos, sin decir ni palabra. O al menos podríamos hacérselas decir, quizá mediante un tercer desplazamiento verbalizante.

A una foto la hace buena, sobre todo, la atención que se le dedica, el comentario con que se la arropa, la circulación que se le da. En este sentido (además de en obvias cuestiones de técnica y capacidad) aún admiten muchas mejoras mis fotos. Pero sí les di un poquito de arropamiento verbal o teórico, aquí en mi artículo sobre la narratividad del fotoblog, o en el nuevo régimen de las imágenes.  Supongo que poco arropamiento dividido para muchas fotos también es contraproducente. La cantidad mismo, repito, es contraproducente, y hace que baje la calidad media. Para ver las mejores, en todo caso, pueden ir a mis álbumes, por ejemplo éste del año pasado. Pero todo esto va en gustos. La mejor foto, en todo caso, no es nunca la de otro, sino la que tiene una relación con nuestra vida que se impone como una revelación a la cual es ajena la foto misma. Así que aquí estamos a la espera de ese lento trabajo del tiempo, qué remedio nos queda. Ya lo noto, y lo siento, no lo celebro.


Mirando fotos en La noche de los tiempos



—oOo—






Once I was at the Philosophy of Action eJournal



Once I Was at the Philosophy of Action eJournal




—oOo—



















El paradigma evolucionista en Física y Cosmología



El paradigma evolucionista en Física y Cosmología

http://papers.ssrn.com/abstract=2550659

 



Presentamos una introducción al paradigma evolucionista en física y cosmología propuesto por Lee Smolin en Time Reborn ("El renacer del tiempo") (2013). La concepción de Smolin se coloca en el contexto del desarrollo del pensamiento evolucionista en otras ciencias, y se relaciona con el precedente que suponen la cosmología de Herbert Spencer y su Sistema de Filosofía Sintética.




English abstract:   The Evolutionary Paradigm in Physics and in Cosmology


This paper outlines the evolutionary paradigm in physics and cosmology put forward by Lee Smolin in Time Reborn (2013). Smolin's conception is contextualized within the development of evolutionary thought in other sciences, and is related with the precedent established by Herbert Spencer's cosmology and his System of Synthetic Philosophy.
 

Note: Downloadable document is in Spanish
 
Number of Pages in PDF File: 4
Keywords: Physics, Cosmology, Science, Philosophy of Science, Evolution, Evolutionism, Paradigms, Time, Lee Smolin


Este artículo ha sido aceptado por dos redes académicas diferentes de la SSRN: la red de Ciencia Cognitiva, y la de Filosofía (en Humanidades)
This paper has been accepted by two different academic networks at the SSRN: the Cognitive Science Network, and the Philosophy Network.

eJournal Classifications (see date: Jan. 16, 2015):
CSN Subject Matter eJournals
             
PRN Subject Matter eJournals
             





time reborn




El paradigma evolucionista en Física y Cosmología



—oOo—






Aquí con los de Oxford

Con aquel artículo sobre la tolerancia, en un Conflict Studies eJournal:


Aquí estoy en Conflict Studies



—oOo—


Jueves 22 de enero de 2015

From Ape to Human

Dynamics of war and aggression:









d







Human and environmental impacts of population growth












—oOo—






Ángel guitarrista

Ángel guitarrista





—oOo—






A Commentary on Sessions and Commentaries


Interaction in Academia. There´s a new tool in the Academia social networking site—one which allows participants in the session to discuss recently uploaded publications online for a number of days.

As a prominent user of Academia, here—

https://unizar.academia.edu/JoseAngelGarciaLanda

—I'm being asked about the new beta Sessions tool in the website. I received an invitation to try these and I've just got one session going on—this paper on Hegel —with more comments than all my other publications lumped together (comments in my blog I mean).... Still, people might get fed up with receiving kind robotic invitations to discuss one's contributions; so success is not guaranteed once the novelty fades. 

Anyway here's my opinion:


Hi Adnan,

Regarding the beta format of the Sessions. It's a welcome addition, and one which enhances Academia's role as an academic social network. I suppose perhaps Academia does not want to become a mega-blog and that's why the Sessions are limited in time and visibility. So if you keep it this way the species will be an ecologically distinct species in the online forest, if that's a priority. This may either catch on or remain a marginal tool, that's unforeseeable and that's that. That said, as a tool it is much too rigid from the user's standpoint. I would like a more flexible approach—to be able to control the opening and closing down of the sessions at any date, or period of time, and for all papers. Not a great idea perhaps, I know I just said that you might call that blog commentaries.... but hey, flexibility's one of the beauties of blogs. People may find it irritating or just plain absurd to interrupt a conversation or argument in case it's going on fine, and Sessions for different disciplines or subjects or communities may require different rhythms. So, flexibility please! But it's fine too if you choose to keep it this way, after all I can't complain about the price tag! So thanks to you all for a great (an immense) website.

Best regards,
JAGL


Assessing Academia


—A Commentary on Sessions and Commentaries @ Ibercampus





The Road, & Company



 

The Road, & Company

—artículo que subo a la SSRN, como continuación de mi artículo anterior sobre la novela de Cormac McCarthy, "Hemingway meets Beckett".


Aquí comentamos la película de John Hillcoat 'The Road', basada en la novela homónima de Cormac McCarthy. La narración post-apocalíptica de la película, y respuestas representativas a la misma, se sitúan en el contexto de la norteamérica posterior al 11-S, y en el contexto de la crisis ecológica de la civilización industrial, y se evaluá desde un punto de vista ideológico y estético la película en tanto que adaptación de la novela.

English Abstract:
A commentary of John Hillcoat's film 'The Road', based on Cormac McCarthy's novel of the same title. The post-apocalyptic narrative of the film, and representative responses to it, are set in the context of post-9/11 America and the ecological crisis of industrial civilization, and the film is evaluated as an adaptation of the novel from an ideological and aesthetic viewpoint.

Keywords: Film, Adaptation, Literature, Novel, Post-apocalyptic fiction, Science fiction, Cormac McCarthy

http://papers.ssrn.com/abstract=2549563 
También está en:
LIT Subject Matter eJournals
    
        



The Road, & Company



—oOo—



Alexandre Desplat, Music from The Curious Case of Benjamin Button









—oOo—








Dos Men in Black

Dos men in black




—oOo—












Miércoles 21 de enero de 2015

Contando cómo le paramos los pies:
Relatos de autoafirmación y solidaridad de grupo


Un artículo más que aparece en el SSRN y seguidamente en otros repositorios:

Contando cómo le paramos los pies:
Relatos de autoafimación y solidaridad de grupo


Partimos del análisis de los relatos de autoafirmación frente a un tercero que presenta Neal Norrick en Conversational Narrative. Desde una perspectiva narratológica e interaccionista, examinamos estas narraciones de experiencias personales en tanto que rituales de autoafirmación, de reparación del rostro social, y de solidaridad de grupo.

woman whispers joke




Abstract - Telling Put-Down Stories: Narrative Rituals of Self-Affirmation and Group Solidarity:

A follow-up of Neal Norrick's analysis of 'put-down stories' in his book Conversational Narrative. These conversational stories of personal experience are examined from an interactional and narratological perspective as rituals of self-affirmation, face-grooming, and group solidarity.

Note: Downloadable document is in Spanish.

Keywords: Narrative, Narratology, Narration, Conversation, Conversational narrative, Interaction, Face, Self-affirmation, Group dynamics


El patrón que siguen estas historias, basado en el establecimiento de aliados frente a un tercero abyecto y excluido, se basa en realidad en un principio básico de la sociabilidad humana. Pues si hay algo que define al ser humano, es el establecimiento de alianzas sociales defensivas frente a terceros, a nivel de grupo. Este comportamiento reproduce la misma dinámica a nivel individual, creando enfrentamientos virtuales en los que se ensayan las maniobras de alianza y se reafirman los valores que han de sostenerla—valores éticos de los que carece la persona castigada con el cotilleo. El ritual consiste en el reforzamiento de la alianza estratégica, normalmente mediante la invocación de los valores de equidad y respeto mutuo que han de sostener toda alianza humana frente a los abusos de los parásitos sociales o free riders, que pretenden apropiarse de los bienes comunales o explotar la benevolencia mutua de los sujetos sociales.


Contando cómo le paramos los pies

Ibercampus (July 29, 2009)













—oOo—






Primeros Principios, Resumen y Conclusión

Más novedades en mi web. Novedades relativas, claro—viejos articulillos que voy subiendo a los repositorios. Este es un resumen de la Historia de todo resumida por Herbert Spencer:

Primeros Principios, Resumen y Conclusión

http://ssrn.com/abstract=2549438valley of aosta turner



Esta nota recapitula el argumento central de los 'Primeros Principios' de Herbert Spencer, situándolo como una contribución crucial a la 'Gran Historia', un magistral razonamiento que unifica todos los fenómenos cósmicos bajo una explicación común, y por este medio conceptualiza todos los acontecimientos como capítulos de un proceso universal, una narración unificada que comprende la generación de la complejidad y su disolución futura.



First Principles, Summary and Conclusion

This paper recapitulates the central argument of Herbert Spencer's 'First Principles' and situates it as a major contribution to Big History, a feat of reasoning which unifies all cosmic phenomena under a single explanation, and thereby conceptualizes all events as chapters of a single story, a universal process involving the generation of complexity and the process of its future dissolution.

Number of Pages in PDF File: 3

Keywords: Big History, Complexity, Herbert Spencer, Evolution, Cosmos, Explanation, Consilience


Ibercampus (April 12, 2014)

—oOo—








Neil deGrasse Tyson - The Musings of an Astrophysicist









—oOo—




Love for Sale

Nos llega por el correo un anuncio de una nueva revista académica del grupo Macmillan:


Palgrave Communications is an open access journal offering free and immediate online access to all articles published. To provide this service, authors are required to pay an article-processing charge (APC).  
Costs are involved in all stages of the publication process and the APC includes coordination of peer review, typesetting, web hosting, copy editing, production, archiving and promotion of content. The APC is a flat, one-off charge and authors are not faced with additional charges for longer articles or particular numbers of pages, tables or figures.
Palgrave Communications APC prices:
The APC is as follows, plus VAT where applicable:
  1. USD $1200 (The Americas)
  2. GBP £750 (UK and Rest of World)
Creative Commons
Palgrave Communications publishes open access content under the terms of the Creative Commons Attribution (CC BY) License to support maximum dissemination and use etc etc....




Vamos que si lo entiendo bien, quien quiera hacerse con un currículum aceptable en esta revista, le sale a mil euros el artículo publicado. (En otros repositorios con menos prestigio, el SSRN por ejemplo, no te cobran nada). Claro que ya pueden vender el prestigio caro, mientras dure la mercancía, y se la compren. De momento no va mal la cosa: lejos de pagar a los autores, las editoriales académicas proponen ahora COBRARLES— por darles atención y difusión, que eso vale más que la ciencia. Y ojo que esto no pasa sólo en las humanidades: varias revistas DE PRESTIGIO en las ciencias vienen haciendo esto ya desde hace años. Con lo cual el open access y la facilidad de publicación y la abundancia de repositorios, lejos de acabar con el monopolio intelectual de los editores, van a reforzarlo: entre la abundancia hay que elegir, y quien dé argumentos para prestigiarse será el favorecido, y el destacado en el mercado de la atención. De los libros para qué decirles, ya es historia vieja que quien quiera un libro de una editorial académica tendrá que pagarle a la editorial— y allí van los fondos públicos de muchos proyectos de investigación que luego ni se molestan en colgar en la web en libre acceso los resultados de sus investigaciones, no sea que se vayan a desprestigiar con el tufo de la multitud. Por supuesto que es río revuelto y en transformación, todo esto de la publicación y la difusión, pero algunos se ve que se las ingenian para navegarlo con éxito, y vender humo perfumado en bote.



Obligatorio publicar públicamente






Some Fall Green


Some Fall Green





—oOo—

Time and the Conways (y la falacia narrativa)


Un viejo articulillo mío sobre teatro y tiempo narrativo:

Time and the Conways







 (y la falacia narrativa)  

http://papers.ssrn.com/abstract=2547409

 
Analizamos la estructura narrativa del drama de J. B. Priestley Time and the Conways (1937) examinando su uso de las anacronías objetivas en relación a la estructura hermenéutica retrospectiva inherente a toda representación narrativa, que da lugar a una disjunción temporal que denominamos la "falacia narrativa".



(Time and the Conways (and the Narrative Fallacy))Time and the Conways

English Abstract:
An analysis of the narrative structure of J. B. Priesley's drama Time and the Conways (1937). The paper analyzes its use of objective anachronies in relation to the retrospective hermeneutic structure inherent in any narrative representation, which gives rise to a temporal disjunction we dub the "narrative fallacy"
.

Note: Downloadable document is in Spanish.
 
Number of Pages in PDF File: 9
Keywords: Narrative, Narrative structure, Hindsight, Hermeneutics, Narratology, J.B. Priestley, Drama, English literature, Time, Temporal structure

 

eJournal Classifications (Date posted: 10 Jan. 2015:


CSN Subject Matter eJournals
                          

LIT Subject Matter eJournals
             





Time and the Conways




—oOo—









144 en Zaragoza

A fecha de hoy estoy (más o menos) el número 144 entre los académicos de mi ciudad, según Google Scholar. Esto va por número de citas.  Creía que estaba el 80.... pero es que unos ponen "University of Zaragoza" y otros "Universidad de Zaragoza", y Google sólo los unifica con "Zaragoza." En fin, seguiremos escalando. Para arriba, o para abajo.


Captura de pantalla 2015-01-20 a la(s) 22.13




Esperen, que mirando por macroáreas, resulta que de humanidades creo que estoy el sexto. Eso ya está mejor : )


SONNET 6

Then let not Winter's ragged hand deface
In thee thy summer, ere thou be distill'd:
Make sweet some vial; treasure thou some place
With beauty's treasure, ere it be self-kill'd.
That use is not forbidden usury,
Which happies those that pay the willing loan;
That's for thyself to breed another thee,
Or ten times happier, be it ten for one;
Ten times thyself were happier than thou art,
If ten of thine ten times refigur'd thee:
Then what could Death do, if thou shouldst depart,
Leaving thee living in posterity?
    Be not self-will'd, for thou art much too fair,
    To be Death's conquest and make worms thine heir.








Y aquí el 144.

—oOo—









Escalera de color


Escalera de color


—oOo—





De las Crisis Juiciosas

En exámenes, a ratos perdidos, voy leyendo el Arte de Ingenio: Tratado de la Agudeza de Baltasar Gracián, digo la edición de Madrid de 1642, firmada con el nombre de su hermano Lorenzo; me compré los facsímiles de esta y de la Agudeza y Arte de Ingenio (Huesca, 1646), editados y prologados ambos por Aurora Egido.

El conceptismo de Gracián, con su énfasis en el juego de ideas, y el análisis retórico que hace de los conceptos, se prestan a relacionarlo con la poética cognitiva de hoy. A mí me llama la atención la manera (un tanto escueta y enigmática ciertamente) en que percibe y saca a la luz la cuestión de los marcos de representación, y de las perspectivas cognitivas. Un suceso o situación se puede concebir de dos o más maneras alternativas, y en el juego de esas representaciones, los marcos que les subyacen, y la transformación o paso de una a otra, está muchas veces la agudeza. Agudeza que tiene el agudo citado por Gracián, agudeza que tiene el que capta la agudeza y la hace memorable (contagiado por el ingenio de la percepción) y agudeza la de Gracián que analiza en qué reside exactamente la agudeza, y a qué modalidad en concreto pertenece. No  digo que sus clasificaciones sean coherentes o estancas; son más bien una perspectiva útil sobre una modalidad compleja de juegod de ideas, y su descripción en cada apartado está solapada o es solapable con otras perspectivas que analizarían otros aspectos de la modalidad de agudeza estudiada. En cierto sentido el libro es también un florilegio de ideas exquisitas y una colección de chistes y anécdotas, además de un tratado de retórica cognitiva.

Veamos a título de ejemplo uno de sus capítulos o "discursos", el XXI, sobre las críticas que son a la vez ingeniosas (claro) y juiciosas. Corrijo a mi ayre algunas erratas, aunque conservo la ortografía original, dentro de un orden.

DISCVRSO XXI.

De las Crysis Iuiziosas.

PArticipan igualmente de la sutileza, y prudencia las juiziosas calificaciones, consiste su artificio en vn juizio, en vna censura sutil de algun yerro, o acierto recondito, y nada vulgar. Desta suerte dixo vn soldado de Anibal, quando la vitoria de Canas: que el General sabia vencer, pero no vsar de la vitoria.
    Quando el comun pondera vna conocida infelicidad, vn mal, o bien manifiesto, obseruar otro mas recondito, arguye gran viueza en el juizio. Assi el Duque de Alba, no ponderaua en Pompeyo el auer sido vencido de los contrarios, sino de los suyos en dar la batalla contra su parecer.
     Conocer las eminencias, y calificarlas, es principal empleo desta sutileza. Desta suerte Augusto depreco a Cayo al embiarle a Armenia; la benueolencia de Pompeyo, la audacia de Alejandro, y su fortuna propia.
     Tambien se califica, graduando las excelencias de los sujetos, y de las Prouincias, tal fue aquella de las Prouincias de España.
Boetica mittit equos, tauros Xarama feroces,
Insignes Cstella Duces, Aragonia Reges.
Censurase con una improporcion ingeniosamente. De Mario dixo Paterculo; murio aquel varon grandemente dañoso en la guerra para los enemigos, en la paz para los Ciudadanos: Morbo opressus decessit Marius vir in bello hostibus, in otio ciuibus infestissimus.
     Con vna critica antitesi, dixo de Tiberio, disimulado vn atento cortesano, al reusar el Imperio. Los demas cumplen tarde, lo que prometen de presto, tu lo que temprano haces, tarde lo prometes. Caeteri quod pollicentur tardè praestant; tu quod praestas tardè polliceris.
     Las dubitaciones son artificiosa forma del censurar. Del heroico Anibal, ponderò Valerio Maximo, dexandose lleuar del vulgar sentir de los estrangeros, que dexò en duda, si auia de ser tenido por maximo, o po pessimo. Insignem nominis sui memoriam relicturus, in dubio maior ne, an peior haberi deberet, poneret.
     Ay vnas verdades plausibles y gustosas, que participan igualmente de la Agudeza, y de la prudencia; como aquella de Marcial a Emiliano, quando le dize: Si eres pobre, siempre seràs pobre, porque las dadiuas no se hazen sino a los ricos.
Semper eris pauper. si pauper es Ameilianei
   Dantur opes nulli nunc nisi diuitibus.
Tienen algo de satiricas, y juntamente son sentenciosas. Dixo el mismo Marcial a vno que pleiteaua vna deuda: Tu has de presentar al juez, has de pagar al Abogado &c. Pareceme que es mejor pagar al acreedor, que es vno solo.
         Et iudex petit, petit Patronus
         Soluas censeo Sexte creditori.
El principal assunto deste modo de Agudeza, es vna censura extraordinaria, nacida de vna gran capacidad que alcança mucho. Tal fue el consejo que dio el Rey don Henrique de Castilla a su hijo, y el aprecio que hizo, y diuision de sus vassallos, en los que auian seguido sus partes las del Rey don Pedro de hermano, y los neutrales. Estremada fue la de Augusto, quando refiriendole que Alexandro a los treinta y dos años de su edad, auiendo conquistado el mundo, dixo: En que passaremos lo que nos queda de vida, se admirò de que no entendiesse Alexandro, que era mayor obra gouernar bien vn Imperio, que conquistarlo. Viendo Iulio Cesar vnos Estrangeros cargados de perrillos, estimandolos mucho, preguntò si en aquella tierra parian las mugeres hombres. Gran dicho fue el de Felipo a su hijo Alexandro: murmuraua de que su padre tenia muchas mugeres, y lleuaba mal tener tantos hermanos. Dixole Felipo, aumentandole el miedo, y estimulandole a la virtud: Procura o Alexandro, pues has de tener tantos competidores del Reyno, ser tal en la virtud, y en el valor, que merezcas ser antepuesto a todos. Dixo Pompeyo de si mismo, que todas las dignidades las auia conseguido antes de esperarlas, y las auia dexado antes que otros las esperassen.


—oOo—

Aunque se aprecia un tanto oscuramente en este capítulo, vemos contrapuestas la perspectiva cognitiva quienes participan de una concepción vulgar de la situación, y la perspectiva del agudo, el que no sólo ve esa perspectiva, sino también otra contrapuesta o superior. Así, por ejemplo:

- el Duque de Alba ve que Pompeyo había perdido la batalla aun antes de emprenderla, pues perdió la batalla contra su propio juicio, y contra sus subordinados a los que debería haber impuesto su voluntad. (Bueno, aquí como en otros casos, la percepción del agudo deriva de la superioridad cognitiva de la retrospección, the insight of hindsight).

- La dubitación de Valerio Máximo sobre Aníbal se refiere, también en parte, a los juicios todavía no definitivos de la Historia. Aníbal fue grande, sin duda, pero ¿en excelencia o en iniquidad? También se aprecia ahí la relatividad de las perspectivas: grande para los cartagineses quizá, un azote para los romanos. El agudo es también a veces un relativista capaz de ver el mismo objeto con dos perspectivas, o como jugando en dos campos distintos, relativo a dos marcos de referencia.

- el pleiteador de Marcial sólo ve que no quiere pagar a su acreedor. Pero no ha hecho la suma de los costes judiciales, todo lo más quizá haya tenido en cuenta la minuta del abogado. El escéptico Marcial le dice que habrá de sobornar al juez además, y que ya no le sale a cuenta el pleito; mejor arreglar cuentas directamente y pagar al acreedor, que si no tendrá más acreedores. Se intuye en la perspectiva irónica de Marcial una proliferación de las deudas o multiplicación geométrica de los acreedores, y por tanto su perspectiva humorística es también (o se presenta como) la más razonable.

- Augusto, que viene tras Alejandro, no sólo conoce su caso, sino que lo domina cognitivamente, y políticamente. Es conquistador, y además gobernador. Y pone el gobierno por encima de la conquista, como los sabios ponen la paz sobre la guerra, y como se pone él mismo ética y cognitivamente por encima de Alejandro.

- A Julio César los perrillos le parecen indignos de la atención que reciben—las prioridades de esas mujeres extranjeras están obviamente mal puestas, y está claro que no tienen hijos sino perrillos; su pregunta tiene algo de retórica además de sarcástica.

En fin, que Gracián aprecia el juicio ponderado que arroja sobre una situación una perspectiva menos superficial, más juiciosa o menos evidente. Y la agudeza es una invitación por parte del agudo a que nos sumemos con él a esa perspectiva cognitiva superior, distribuyendo el mundo entre quienes entienden y quienes no entienden y son objeto de ironía por no conocerse ni a sí mismos, ni a los motivos reales de los hombres, o en qué pararon sus afanes, una vez se contemplaron con distancia crítica.



Quien vive el último



—oOo—



Top of the Linguist List


Aunque sea por orden alfabético ("A B...") llevo ya muchos años siendo el primero de la lista bibliográfica de la LINGUIST LIST. Más de diez llevo ahí seguro, y quizá sean quince. Ya me perdonarán si no llevo una cuenta más exacta de estas cosas:






Fui referencia mundial en Language & Linguistics


—oOo—






God Help the Girl






—oOo—





10,000, 100,000, 10:



Dear Jose Angel Garcia Landa,

Social Science Research Network (www.ssrn.com) is sending you information on your papers in the eLibrary as of 19 January 2015.


AGGREGATE STATISTICS ON YOUR PAPERS

Your Publicly Available (Scholarly and Other Papers) and Privately Available Papers on SSRN as of 19 January 2015 have:

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2,115 is your AUTHOR RANK, based on 9,864 TOTAL DOWNLOADS.
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(1) ATONEMENT AND ADAPTATION (ON IAN MCEWAN'S NOVEL AND JOE WRIGHT'S FILM)
Stable short-form URL for this paper:
http://ssrn.com/abstract=1091883

Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

This paper currently has:
550 TOTAL DOWNLOADS
60 DOWNLOADS IN THE LAST 12 MONTHS
2,855 TOTAL ABSTRACT VIEWS
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27,776 is the RANK of this paper, based on TOTAL DOWNLOADS out of 485,910 total full text papers on SSRN.
33,400 is the RANK of this paper by DOWNLOADS IN THE LAST 12 MONTHS.
167,711 is this paper's RANK by CITATIONS.

The abstract was first released for public viewing on 02/12/2008.
It is Classified in the following SSRN abstracting journals:
- English & Commonwealth Literature eJournal
- Film eJournal - Forthcoming
- LIT: Contemporary English Literature (Topic)





(2) NETIQUETTE, POLITENESS, STRATEGY AND WISDOM
Stable short-form URL for this paper:
http://ssrn.com/abstract=1030361

Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

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167,711 is this paper's RANK by CITATIONS.

The abstract was first released for public viewing on 12/07/2007.
It is Classified in the following SSRN abstracting journals:
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- Information Systems: Behavioral & Social Methods eJournal
- PRN: Pragmatics (Topic)
- Philosophy of Language eJournal
- RCRN: Computer Mediated Communication (CMC) (Topic)
- RCRN: New Media Studies (Topic)
- Writing Technologies eJournal





(3) HEMINGWAY MEETS BECKETT: CORMAC MCCARTHY'S 'THE ROAD'
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Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

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The abstract was first released for public viewing on 01/21/2008.
It is Classified in the following SSRN abstracting journals:
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(4) NOTAS SOBRE 'VERDAD Y MÉTODO' DE HANS-GEORG GADAMER (NOTES ON HANS-GEORG GADAMER'S 'TRUTH AND METHOD')
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Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

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167,711 is this paper's RANK by CITATIONS.

The abstract was first released for public viewing on 12/09/2013.
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- AARN: Theory (Topic)
- Aesthetics & Philosophy of Art eJournal
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- Literary Theory & Criticism eJournal
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- PRN: Aesthetic Experience, Judgment, Value (Topic)
- PRN: Phenomenology (Topic)
- RCRN: Ethics & Rhetoric (Topic)
- Rhetorical Theory eJournal





(5) SPEECH ACTS IN LITERATURE: A REVIEW OF J. HILLIS MILLER'S WORK (ACTOS DE HABLA EN LA LITERATURA: RESEÑA DE J. HILLIS MILLER)
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Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

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The abstract was first released for public viewing on 11/27/2007.
It is Classified in the following SSRN abstracting journals:
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- Jurisprudence & Legal Philosophy eJournal
- Law & Literature eJournal
- Literary Theory & Criticism eJournal
- PRN: Pragmatics (Topic)
- Philosophy of Language eJournal
- Philosophy of Religion eJournal
- RCRN: Other Rhetorical Theory (Topic)
- Rhetorical Theory eJournal





(6) SPEECH ACTS, LITERARY TRADITION, AND INTERTEXTUAL PRAGMATICS
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Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

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The abstract was first released for public viewing on 04/03/2010.
It is Classified in the following SSRN abstracting journals:
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- Law & Rhetoric eJournal
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- PRN: Pragmatics (Topic)
- Philosophy of Language eJournal





(7) SPEECH ACT THEORY AND THE CONCEPT OF INTENTION IN LITERARY CRITICISM
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Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

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The abstract was first released for public viewing on 05/25/2010.
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- Literary Theory & Criticism eJournal
- PRN: Aesthetic Experience, Judgment, Value (Topic)
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- Philosophy of Language eJournal





(8) IAN MCEWAN, 'SATURDAY'
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Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

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The abstract was first released for public viewing on 04/15/2008.
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- LIT: Contemporary English Literature (Topic)





(9) EMERGENT NARRATIVITY
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Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

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(10) GOFFMAN: REALITY AS SELF-FULFILLING EXPECTATION AND THE THEATRE OF INTERIORITY
Stable short-form URL for this paper:
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Jose Garcia Landa, Profesor Titular de Universidad, Universidad de Zaragoza

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- PRN: Consciousness (Topic)
- PRN: Content, Intentionality, & Representation (Topic)
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Mis mejores resultados en el SSRN




—oOo—








Lunes 19 de enero de 2015

Una tumba en Alhama


Una tumba en Alhama



—oOo—



Acción, Relato, Discurso (SCRIBD)

Reaparece por la red mi libro sobre narratología literaria de 1998, esta vez en Scribd:

200218991-ACCIÓN-RELATO-DISCURSO.docx by Idania Machado






Acción, Relato, Discurso (preprint at Academia)



—oOo—


Something from Nothing












—oOo—




Domingo 18 de enero de 2015


Bodegas de Alhama






Third Culture in the Victorian Age


From A Critical History of Literature, vol. 2, by David Daiches ("Prose: Newman to Morris").

Arnold's attempt to rescue Christianity from commitment to biblical fundamentalism—an attempt carried on in a a variety of ways by many liberal theologians of the period—was made necessary by the impact on religious orthodoxy of German biblical criticism and of developments in geology and biology. "There is not a creed which is not shaken, not an accredited dogma which is not shown to be questionable, not a received tradition which does not threaten to dissolve," wrote Arnold in "The Study of Poetry." Protestantism, whivh based itself on the Bible, was more vulnerable to the new biblical scholarship than Catholicism, and the application of textual and historical criticism to the books of the bible caused panic among many Protestant theologians, most of whom responded by insisting ever more shrilly on the divine inspiration and literal historical accuracy of the biblical text. Charls Hennell's Inquiry Concerning the Origin of Christianity (1838) was one of the first attempts in England to apply the results of new biblical scholarship to the study of Christian origins; its tremendous effect on young Marian Evans (George Eliot) is well known. Much more significant for the whole history of European religious thought was D. F. Strauss's Life of Jesus (1835) which Geroge Eliot translated (1844-46); this was a far more detailed and comprehensive study than Hennell's, and in its combination of anti-miraculism, sympathetic psychological interpretation of the growth of religious ideas and attitudes, and belief in the profound truth of the symbolic core of Christianity while denying the literal truth of biblical story, it laid the foundations of a "modernist" Christianity of the kind Matthew Arnold, from hi won special point of view, endeavored to construct. Meanwhile, Sir  Charles Lyell's Principles of Geology (1830-33), Elements of Geology (1838), and Geological Evidence of the Antiquity of Man (1863) were having an even more disturbing effect, first in demonstrating the continuity of natural processes as demonstrated by the study of geology, secondly by adducing the compelling geological evidence for the earth's being much older and much more gradual in development than was compatible with a literal belief in the book of Genesis, and thirdly by showing that man must have lived on earth for a much longer period than biblical chronology would allow. Finally, the publication of The Origin of Species by Charles Darwin in 1859, putting forward with a mass of evidence his theory of natural selection and so relating man through evolutionary descent to the nonhuman animal world, and his Descent of Man (1871), dealing more particularly with the evolution of man and with sexual selection, outraged the orthodox and precipitated a debate that raged violently for many years. It is against this background that we must look at Arnold's attempts to save Christianity from fundamentalist and scientist alike by concentrating on its poetic significance, its meaning for spiritual experience, and leaving us, at the most, optional, literal belief in Old Testament chronology and New Testament miracles.

Huxley THDarwin was not himself a skilled propagandist, though he could write with the charm that arises from absorbed interest in one's subject, as his early work, The Voyage of the Beagle (1839), an account of a voyage in southern latitudes to collect various specimens of plant and animal life, so clearly shows. He records in his informed autobiography the decay in middle life of his early taste for poetry, painting, and music. ("But now for many years I cannot endure to read a line of poetry: I have tried lately to read Shakespeare, and found it so intolerably dull that it nauseated me. I have also almost lost my taste for pictures or music.") He was, in his own phrase, a "philosophical naturalist," and spent the large part of his life quietly and methodically collecting and interpreting data. He left controversy for others. Fortunately he found a champion who was a brilliant controversialist as well as a man who combined scientific knowledge and enthusiasm with broad humanistic interests. This was Thomas Henry Huxley (1825-95), one of the great figures of Victorian controversy.

Huxley was not only a distinguished biologist and a great popularizer of science; he was also an essayist and man of letters, master of a prose style both cogent and elegant. He was no militant atheist, condemning all religion as superstition, nor was he the kind of narrow scientist who dismisses with contempt the claims of imagination and the arts. Like John Stuart Mill, he was influenced (though at an early stage in his life) by Carlyle; he was well-read in English and European literature and was a good linguist. He called himself an agnostic, because he recognized the limits beyond which the human mind could not go in explaining the ultimate mysteries of the universe. He stood for what might be called the new enlightenment, as distinguished from the eighteenth-century variety—an enlightenment based on the claims of "natural knowledge" and an understanding of what such knowledge can do for man, a hatred of obscurantism of all kinds, a belief in man's ability to control his own destiny provided that education and government do their business properly. In his championing of the Darwinian theory of evolution, he engaged for a large part of his life in continuous battle with ignorance and prejudice and with all those who believed that Darwin's theory, by breaking down the absolute barrier between man and the rest of the animal world, was inherently wicked and blasphemous. In the course of his battle he had to meet every kind of scorn, hatred, and misrepresentation. In published essays and in public debates with the most formidable antagonists of his time he demonstrated his confidence, his good humour, his mastery of all relevant facts, his power of marshaling argument, his compelling lucidity. In education, he pleaded for the sciencs and opposed Arnold's insistence on the classics on the ground that even if taught as they should be taught the classics could not consittue a properly comprehensive study of man and the world, and that in any case most pupils never mastered the mechanics of classical knowledge sufficiently as to be able to enjoy the literature properly. The ordinary schoolboy "finds Parnassus uncomonly steep, and there is no chance of his having time or inclination to look about him till he gets to the top. And nine times out of ten he does not get to the top." Education he defined as "the instruction of the intellect in the laws of Nature, under which name I include not merely things and their forces, but men and their ways, and the fashioning of the affections and of the will into an earnest and loving desire to move in harmony with those laws." Huxley's views on liberal education and the place of science in it is expressed forcibly in an address he gave to the South London Workingmen's College in 1868 and published in the same year in Macmillan's Magazine, and also in the title essay of Science and Culture and Other Essays (1881); these essays, together with Arnold's reply, first given as the Rede Lectures at Cambridge in 1880 and published in the Nineteenth Century in 1882 (he also delivered this lecture in America and included it in his American Discourses, 1885), constitute an interesting and instructive clash of opinion between two great Victorians, each passionately interested in reforming English education. Mill's was the Victorian secular mind operating on philosophy and political theory; Huxley's, the Victorian secular mind working through a basic interest in the natural sciences; Arnold, the Victorian apostle of culture seeking for new techniques for bringing the religious and literary heritage of the past into the modern world. All three were very much aware of the modernity of the modern world. Mill and Huxley looked forward with hope, while Arnold, though he sometimes appeared to do so, possessed a sensibility which, in spite of himself, remained rooted in nostalgia. In their differences as well as in their similarities (which are greater than might appear at first sight) they help to illuminate some of the finer reaches of the Victorian mind.





Tercera Cultura en Un momento de descanso




—oOo—








Saber qué decir

Dicho en Facebook:

Saber qué decir, y hasta dónde, en cada momento, es todo un arte (que no digo que tenga yo). A mí me gusta imaginarme que con las palabras adecuadas (las palabras mágicas, digamos) podrías conseguir cualquier cosa: que te revelasen secretos, seducir a la persona en cuestión, librarte de la pena de muerte o conmover a quien te escucha. Que te perdonen. Esas palabras deben existir, al menos en teoría, pero ¿cuáles son? Misterio.




Samuel Beckett, What is the word


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The Poetry of Science







—oOo—


Notes on Metafiction



Notes.on.Metafiction Libre by incorretus




—oOo—




Philip Glass, Einstein on the Beach

Knee 1 organ     0:06
Knee 1 talking   6:30
Knee 1 singing 22:28    til 29:00
Train (scene 1) 29:18

end of performance:   4:26:06
           end of video:  4:32:23 (so, ovations, curtains etc. are 6 mins)









—oOo—




Lettre à France (4)






—oOo—



Catastrofismo & Retrospección





—oOo—







Sábado 17 de enero de 2015

Ivo en el mundo de los iconos

Ivo en el mundo de los iconos

—oOo—






Something more than Nothing

Ere Time and Place were, Time and Place were not,
When primitive Nothing Something straight begot.

Here's Lawrence Krauss's lecture "A Universe from Nothing":






There's an amusing comment (or insight) on hindsight bias in science (min. 30): "You don't have to know what you're doing, to win the Nobel Prize. You just have to do it." These guys thought they were up to nothing, and they won the Nobel Prize. There's a lesson there on the future value of present noghinness, and on its true substance.

"Nothing will come of nothing", said King Lear, and it seems that either he or Shakespeare were wrong, even if this particular story of the universe told by contemporary cosmology has no choice but be just another just-so story: the anthropic principle is a prominent instance of hindsight bias.  A nothingness out of which something may come is something more than nothing—at least it is now.

Creation ex nihilo brings to mind not just Genesis (although there's a god behind nothing there, too) but the anti-Genesis contained in the Earl of Rocheter's libertine satire "Upon Nothing"—addressed to Nothingness itself:


Something, the general attribute of all,
Severed from thee, its sole original,
Into thy boundless self must undistinguished fall;
 
Yet Something did thy mighty power command,
And from fruitful Emptiness’s hand
Snatched men, beasts, birds, fire, air, and land.
 
Matter the wicked’st offspring of thy race,
By Form assisted, flew from thy embrace,
And rebel Light obscured thy reverend dusky face.
 
With Form and Matter, Time and Place did join;
Body, thy foe, with these did leagues combine
To spoil thy peaceful realm, and ruin all thy line;
 
But turncoat Time assists the foe in vain,
And bribed by thee, destroys their short-lived reign,
And to thy hungry womb drives back thy slaves again.


Samuel Johnson comments that Rochester "is not the first who has chosen this barren topic for the boast of his fertility", and refers us to Jean Passerat—whose poem upon nothingness can be found at The Latin Liberary, under the title De nihiloPorrigitur magni NIHIL extra moenia mundi, indeed. John Barthelme's "Nothing: A Preliminary Account" is also worth perusing.




Nada de nada

—oOo—







Darwin, la selección natural y la selección sexual: Un grácil bucle, o dos

Aceptan este artículo mío en tres redes académicas diferentes de la SSRN (antropología, ciencia cognitiva y filosofía):

Darwin, la selección natural, y la selección sexual: 

Un grácil bucle, o dos

http://papers.ssrn.com/abstract=2545684 


Abstract: Una nota sobre algunas inconsistencias lógicas o paradojas conceptuales resultantes de las definiciones de selección natural y de selección sexual en El origen del hombre y la selección en relación al sexo de Darwin. Sostenemos que el principio de selección sexual supone uno de los mayores acercamientos de Darwin a la cuestión de una evolución resultante en parte de un diseño intencional, y al problema de la consciencia en tanto que parámetro que viene a complicar la definición de selección natural por medio de sus aspectos emergentes.
 

Darwin, Natural Selection, and Sexual Selection: A Golden Braid, or Two

A note on some logical inconsistencies or conceptual paradoxes resulting from Darwin's definitions of natural selection and sexual selection in The Descent of Man and Selection in Relation to Sex. The principle of sexual selection is argued to be one of Darwin's closest approaches to the question of evolution resulting partly from intentional design, and of consciousness as a parameter which further complicates the definition of natural selection through its emergent aspects.


Note: Downloadable document is in Spanish.
 
Number of Pages in PDF File: 4
Keywords: Evolution, Evolutionism, Darwin, Sexual selection, Natural selection, Consciousness

Evolution Love
Aparece en las siguientes revistas de la SSRN:


eJournal Classifications
AARN Subject Matter eJournals
             
CSN Subject Matter eJournals
             
PRN Subject Matter eJournals
             



Y en otros repositorios y webs:




_____. "Un grácil bucle, o dos." In García Landa, Vanity Fea Jan. 2013.* (Natural selection; consciousness).
         http://vanityfea.blogspot.com.es/2013/01/un-gracil-bucle-o-dos.html
         2013
____ "Un grácil bucle, o dos." Ibercampus 5 Nov. 2014.*
http://www.ibercampus.es/un-gracil-bucle-o-dos-28953.htm
2014

 



—oOo—











The God Delusion









Viernes 16 de enero 2015

My Armenian Wife


My Armenian Wife



—oOo—




Invitation to Academia.edu's Beta Feedback Feature

Me escribe Richard Price—el de Academia, no el de las Observations on Civil Liberty—y me invita a probar una nueva función de Academia—

Dear José Angel,

I'm the founder of Academia.edu. I wanted to invite you to beta test our new feedback feature: "Sessions".

When you upload a paper, you'll have the option to create a private Session around your paper. People whom you follow, and who follow you back (mutual followers) will be able to provide feedback on your paper. The Session lasts 20 days. Here's an example Session:hegel https://www.academia.edu/s/b2e796fba7e2dd5e44751e9cabbf772c

We'd love for you to test this feature out with us. If you're interested in getting feedback or thoughts on something you've written, you can use the upload link to add a paper and then create a Session.

Upload to create a session: https://www.academia.edu/upload-a-paper
Richard
PhD, Oxford


Esto viene a ser ni más ni menos que los clásicos comentarios de los blogs, o se que nos hemos partido los cascos para inventar la rueda....

... con la differentia specifica, supuesta ventaja por la vía del inconveniente—que son comentarios con fecha de caducidad y que no puedes controlar tú esa fecha, al menos en la versión Beta actual. Otra diferencia es que los comentarios son invisibles para otros visitantes que no estén participando en la Sesión. Quizá eso haga que alguno se anime, hay gente extremadamente reacia a opinar y que quede ahí su opinión. En fin, que lo de las Sesionies es en principio una herramienta de comentarios, algo coja, y punto.

Pero lo probaremos, thanks. Empezando con este artículo sobre Hegel que subo,

NOTAS SOBRE REFLEXIVIDAD Y RETROPROSPECCIÓN EN LA FENOMENOLOGÍA DEL ESPÍRITU


—la de Hegel, digo.


Desde aquí veo la catarata de comentarios.


¡En el Top 0,1 %!

—oOo—





The Biological Underpinnings of Religiosity




—oOo—




Mieke Bal - NARRATOLOGY













Jueves 15 de enero de 2015

La lucha por la vida y la autoconstrucción de la humanidad

Un comentario que pongo al artículo "¿Qué sabemos de la violencia en el pasado?" de J. M. Bermúdez de Castro:

Quizá haya habido demasiado "buenismo" en antropología, tras las viejas teorías del Cavernícola Violento que se desacreditaron junto con el fascismo y el imperialismo decimonónico en cuyo seno se habían gestado. Pero era cerrar los ojos a una realidad bastante evidente de la especie humana, evidente en ese mismo fascismo e imperialismo. Que el ser humano no sólo se ha hecho a sí mismo sobre la base de la explotación de los recursos naturales, sino también, y de modo muy característico y definitorio, sobre la base de la explotación de los seres humanos. También lo decía Marx, en cierto modo, ¿no? Que el hombre ha vivido de explotar al hombre. Y a la mujer no digamos. Somos una especie extremadamente depredadora sobre sí misma, y es bueno todo lo que nos haga darnos cuenta de ello, porque darse cuenta de ello es el paso primero para tomar una actitud frente a eso. Desdichadamente, una de las lecciones centrales (acertada y desagradable) del darwinismo es que sin la lucha por la vida, y todos sus horrores, no surgen las formas complejas de la vida. Ni de la sociedad—pues los grupos más organizados, más informados y numerosos, han dominado, explotado y exterminado a los más indefensos y dispersos. Es la historia de la humanidad, desde la sabana hasta aquí mismo. Pero está feo hasta recordarlo.

No conviene, claro, dejar de lado la importancia de las virtudes cooperativas y sociales, y de la creatividad social. Pero al igual que la creatividad tecnológica se ha usado de modo prominente en el ámbito bélico, también la diplomacia y la socialidad, y la cooperación, se han usado para la explotación y la guerra. Porque pocas cosas hay más características de la humanidad, de su política y de su diplomacia, que la búsqueda de aliados y la cooperación organizada con otros grupos... para contener o para atacar y saquear a un tercero. Es lo que se llama inteligencia social en estado puro.

Es una perspectiva que ya presentó Hobbes en cierto modo: frente al ´hombre natural´, hombre primitivo producto de la naturaleza, está el hombre hecho a sí mismo, el hombre artificial, politizado y socializado. Ese hombre es producto del hombre. Y del temor a los hombres, esos lobos. El hombre es una manada de lobos para el hombre.


Somos hijos de la guerra



—oOo—






El derecho a ofenderse



http://ssrn.com/abstract=2550428
2014

Ibercampus (Sept. 1, 2014)

Se trata de un análisis conceptual de la tolerancia y de la intolerancia, del derecho a ofender y a recibir ofensas, en el seno de una sociedad abierta y multicultural, al hilo de un comentario de David Lane sobre el teatro controvertido y la corrección política en Contemporary British Drama (2010).

 

 

(The Right to Take and Give Offence)


English abstract: A conceptual analysis of toleration and intolerance, of the right to give and receive offence, within an open and multicultural society. This is done by way of a response to David Lane's comment on controversial drama and political correctness in Contemporary British Drama (2010).



Number of Pages in PDF File: 4
Keywords: Offence, Toleration, Intolerance, Blasphemy, Multiculturalism, Open society, Freedom of speech, Democracy


 Ibercampus (Sept. 1, 2014)



Now also in...

eJournal Classifications (Date posted: January 16, 2015)
AARN Subject Matter eJournals
    
        

AARN Subject Matter eJournals
    
        

Conflict Studies eJournals
    
        

Conflict Studies eJournals
    
        

Political Institutions eJournals
    
        

Political Theory eJournals
    
        

PRN Subject Matter eJournals
    
        






El derecho a ofenderse 




—oOo—












De qué trata la narratología evolutiva

Me pregunta un Antonio de qué trata la narratología evolutiva, y respondo in a nutshell:

Buenas, Antonio—en sustancia, trata de la búsqueda de puntos comunes entre el pensamiento evolucionista y la narración. Los dos entendidos (para mí) en sentido amplio: es decir, narración incluyendo no sólo las narraciones orales o ficciones literarias, sino también las representaciones mentales de procesos, incluyendo los procesos de la evolución y de la historia. Y evolución referida no sólo a evolución biológica (Darwin, etc.) sino al conjunto de la evolución cósmica, y la creación de complejidad creciente desde el Big Bang a nuestros días... y más allá.

Pensándolo bien, no sólo se trata de la búsqueda de puntos comunes, sino del estudio de la interfaz, y de la retroalimentación entre las dos disciplinas: cómo la narración conforma el universo y la evolución, y cómo la evolución y la historia universal dan forma a las narraciónes.

Narratología evolucionista

—oOo—




Evacuando auto-informe

A la atención de la Comisión de Evaluación y Control de la docencia, y en respuesta al escrito de referencia, me cumple emitir el presente auto-informe de evaluación de la docencia del curso 2013-14 relativo a la asignatura "Literatura Inglesa II", cuyas encuestas han dado lugar al comunicado de la Comisión.

En primer lugar, me satisface informar de que la actividad docente y las actividades de aprendizaje del curso 2013-14 en dicha asignatura se dieron con toda normalidad, sin que haya que reseñar tasas anómalas de éxito o de fracaso, ni situaciones de conflicto o diferencias de ningún tipo. Ni los estudiantes ni la delegada me hicieron partícipe de que hubiera descontento con la impartición de la asignatura, como de hecho creo que no lo hubo. Sin embargo, tras consultar las encuestas realizadas, se comprueba que hay tres personas únicamente que han realizado la encuesta, y que esas tres personas han expresado su insatisfacción con algunos aspectos. Quizá no sea casual que sólo los tres descontentos hayan realizado la encuesta cuando los demás estudiantes, más de 30, no han hecho comentario alguno. 

No considero procedente entrar a especular sobre qué inconvenientes (no especificados) puedan haber encontrado tres personas (anónimas) en apartados como "la información facilitada al comienzo del curso" (información que por otra parte consta en la guía docente y en la web de la asignatura, http://bit.ly/jaglit), o en "la relación con los estudiantes" o en "el desarrollo de la actividad docente". Son aspectos en los que no he detectado nada fuera de lo corriente en lo que se me alcanza, ni tampoco lo han manifestado así el resto del grupo, más del 90% de los estudiantes. Convengo con la propia normativa de evaluación, que indica que es una encuesta no representativa ni utilizable por su bajo índice de participación. E insisto en que la poca claridad del impreso de evaluación crea confusión.

Con respecto a las encuestas de evaluación, procedí a dejarlas abiertas y en libre acceso durante todo el período de evaluación, avisando a los alumnos de que estaba abierta la aplicación, y pidiéndoles que las cumplimentasen cuando más les conviniese, sin fijar yo un día determinado para realizarlas en clase. Avisé reiteradamente a los estudiantes de la conveniencia de hacerlas, tanto en clase como telemáticamente, pero al parecer sin éxito, pues en un grupo de 37 estudiantes sólo 3 estudiantes procedieron a realizarla, asignándome puntuaciones anómalamente bajas. La Comisión puede consultar mi historial de evaluaciones docentes, con constantes y repetidas evaluaciones positivas destacadas, también en la materia que aquí se trata. Que estas tres respuestas en la encuesta de referencia son anómalamente bajas se echa de ver también si se compara la media de esta encuesta no representativa (1.84) con la cifra de "media del profesor" (3.26) en la misma encuesta—cifra que resulta de mediar con otra encuesta mejor puntuada que sí respondieron más estudiantes, realizada ese mismo semestre en otras asignaturas.

A la vista de los datos, parece evidente que el conjunto de los estudiantes del grupo no tuvieron interés especial ni móvil particular para realizar estas encuestas. Exceptuando a tres de los treinta y siete, que al parecer quisieron hacer constar una valoración "1" (resultado negativo) cuando no es de descartar que interpretasen "1" como valoración positiva y "5" como negativa, en orden del 1 al 5.  De los 37 (36 según las actas) fueron evaluados en la primera convocatoria 31 estudiantes, de los cuales aprobaron 25 y suspendieron 6. No se presentaron, 5. En septiembre se presentaron 6, de los cuales aprobaron 5. No se presentaron, 7. Se verá que son cifras enteramente habituales. A título indicativo, en la otra asignatura del mismo grado y semestre, "Géneros Literarios 1", optativa con 25 alumnos en lista, se presentaron en febrero 22 (con 3 NP); aprobaron 21; en septiembre se presentaron 2 de una lista de 5, con dos suspensos. La asistencia fue asimismo normal.

Por ello puedo decir que ha sido totalmente normal todo el desarrollo de la docencia y del aprendizaje de los alumnos. De ahí mi sorpresa ante los resultados de las encuestas, con una participación tan baja y sesgada que falsea el estado de cosas, dando un resultado que no informa verazmente y que permite la manipulación. Con el fin de evitar esta circunstancia pongo a la Comisión en antecedentes de los hechos. Será aconsejable por otra parte, y así lo tendré en cuenta, que en años siguientes, yo mismo me cuide de asegurar la mayor participación de los estudiantes en las encuestas, dedicando un día de clase a la realización de la encuesta, y asegurando así una opinión equilibrada. No lo hice así en este caso porque el nuevo sistema telemático de encuestas permite el acceso directo, y por no dedicar un tiempo necesario para la docencia a una tarea que los estudiantes podían realizar perfectamente en cualquier momento fuera de clase. Aun así, y dados estos hechos, y viendo que los protocolos de la administración lo aconsejan, así lo haré.

El último párrafo del escrito de la Comisión aclara que "no podrán considerarse los cuestionarios que no hayan sido cumplimentados por al menos un tercio de los alumnos asistentes habitualmente a las clases de la asignatura correspondiente." Permítaseme decir que con una tasa tan baja de participación, considero ocioso el tener que justificar los resultados de esa evaluación, o que pudieran ser tenidos en cuenta en modo alguno resultados tan poco indicativos, siendo que no hay tasas anómalas de éxito o de fracaso ni otros indicadores adicionales de que esas tres encuestas pudieran tener un punto de razón más allá de las inevitables diferencias de opinión que hay en todo grupo humano.  El escrito de la Comisión aclara que en este caso el profesor "deberá aportar información constrastable sobre el número de asistentes." Considero redundante el tener que justificar que tres estudiantes sean menos de un tercio de la asistencia habitual en un grupo de casi cuarenta estudiantes, y por ello me remitiré a los datos de evaluación. Pero aparte de manifestar que la asistencia ha sido la habitual a lo largo de los años de impartición de la asignatura, me cumple aclarar lo siguiente:

- No llevo un registro diario de asistencias o inasistencias, y creo que no es un procedimiento habitual, ni lo ha sido en la historia reciente de esta Facultad, el pasar lista a diario ni pasar hojas de firmas que dejen constancia de la presencia de cada estudiante en cada clase. Este procedimiento, por lo inhabitual  y por no venir explicitado ni requerido en la normativa del centro, no habrá de entenderse como única "información contrastable" sobre la asistencia de los estudiantes—por mucho que alguien pudiera entenderlo en ese sentido si no se atiende al contexto habitual de aplicación. Desde luego, en treinta años de docencia nunca se me ha sugerido que dedique un tiempo significativo de cada clase a pasar un listado de estudiantes, ni creo que haya profesores que lo hagan.

- Téngase en cuenta que la normativa habla de un mínimo de un tercio (33%) de respuestas a la encuesta para considerarla válida. Aquí estamos hablando de menos de un 10% de respuestas, con lo cual su valor indicativo es tanto más insignificante.

- Por tanto, es preciso que acuda a datos indirectos, como la ausencia de incidentes o ausencia de escritos relativos a una inasistencia excepcional de los estudiantes, ausencia de quejas al respecto al Coordinador del Grado, etc. Reitero que en este sentido el desarrollo y la impartición de la docencia en la asignatura han sido, como lo ha sido la asistencia, totalmente normales. 

- Puede acudirse también, como índice contrastable para establecer una asistencia media, a las estadísticas de que disponga esta Comisión sobre asistencia media para el Centro, o para el Grado. Son estadísticas que yo desconozco, pero que en todo caso sin duda indicarán una asistencia media a las clases superior a un 30% del alumnado matriculado.

- Y por último, el dato más directo y contrastable, en la ausencia de listados diarios de asistencia, son los datos de éxito y fracaso de la asignatura, que, como ahora reitero, entran en parámetros de perfecta normalidad. Son normales los índices de estudiantes presentados a los exámenes, los de aprobados, y el número de trabajos (opcionales) entregados a lo largo del curso (56 trabajos, 2 por estudiante). Queda registro de estos trabajos en las fichas de los estudiantes, y puedo facilitarlas a la Comisión si se estima conveniente, aunque el carácter opcional de los trabajos no hace fácil valorarlos como índice de participación activa global.

A la vista de los datos, sugiero a la Comisíon que (ateniéndose a la normativa) considere inválidos "a efecto de una posible evaluación negativa", por su falta de representatividad, los resultados de esta encuesta. Por otra parte, hay que notar que mis datos globales en el conjunto de encuestas de esta convocatoria no se salen de los parámetros normales, y pueden servir como indicación indirecta adicional de la insignificancia del valor de esas tres encuestas.

Aprovecho para hacer notar a la Comisión la insuficiente claridad del formulario de las encuestas, pues algunos estudiantes pueden confundir las notas "1" con notas positivas y "5" con negativas, lo que contribuye a confundir los resultados. Este aspecto de las encuestas debe mejorarse urgentemente.

Quizá a la vista de este conjunto de datos la Comisión pueda replantear, también, el modo más seguro de obtener resultados fiables y porcentajes representativos en las encuestas de docencia. Quedo a su disposición para las sugerencias que estimen oportunas a tal efecto, y ante las presentes circunstancia ciertamente dedicaré una sesión presencial a la realización de encuestas por parte de los estudiantes en el futuro.

Atentamente, etc.



Encuesta en cuestión


—oOo—



 


Luminoso numinoso


Luminoso numinoso


—oOo—






CFP Computational Models of Narrative


 Final Announcement
Sixth Workshop on Computational Models of Narrative (CMN'15)
Special Focus: Cognitive Systems and Computational Narrative

in association with:
The Third Annual Conference on Advances in Cognitive Systems (ACS)
 
May 26-28, 2015
Tech Square Research Building, Georgia Institute of Technology, Atlanta, Georgia, USA
http://narrative.csail.mit.edu/cmn15/
 
--IMPORTANT DATES--

February 2, 2015. Submission deadline.
March 6, 2015. Notification of acceptance.
March 30, 2015.  Final Versions Due.
May 26- May 28, 2015.  Workshop in Atlanta, Georgia.
May 29-31, 2015.  ACS 2015.

--WORKSHOP AIMS--

Narrative provides a framing structure for understanding, communicating, influencing, and organizing human experience.  Systems for its analysis and production are increasingly found embedded in devices and processes, influencing decision-making in venues as diverse as politics, economics, intelligence, and cultural production.  In order to appreciate this influence, it is becoming increasingly clear that research must address the technical implementation of narrative systems, the theoretical bases of these frameworks, and our general understanding of narrative at multiple levels: from the psychological and cognitive impact of narratives to our ability to model narrative responses computationally.
 
Special Focus: Cognitive Systems
This inter-disciplinary workshop will be an appropriate venue for papers addressing fundamental topics and questions regarding narrative.  Papers should be relevant to issues fundamental to the computational modeling and scientific understanding of narrative. The workshop will have a special focus on the building cognitive systems that are distinguished by a focus on high-level cognition and decision making, reliance on rich, structured representations, a systems-level perspective, use of heuristics to handle complexity, and incorporation of insights about human thinking, meaning we especially welcome papers relevant to the cognitive aspects of narrative. Regardless of its topic, reported work should provide some sort of insight of use to computational modeling of narratives. Discussing technological applications or motivations is not prohibited, but is not required. We accept both finished research and more tentative exploratory work.


--INVITED SPEAKER--

Janet H. Murray, Georgia Institute of Technology, USA
 
--ILLUSTRATIVE TOPICS AND QUESTIONS--

- How is narrative knowledge captured and represented?
- How are narratives indexed and retrieved? Is there a universal scheme for encoding episodic information?
- How can we study narrative from a cognitive point of view?
- Can narrative be subsumed by current models of higher-level cognition, or does it require new approaches?
- How do narratives mediate our cognitive experiences, or affect our cognitive abilities?
- What comprises the set of possible narrative arcs? Is there such a set? How many possible story lines are there?
- Is narrative structure universal, or are there systematic differences in narratives from different cultures?
- What makes narrative different from a list of events or facts?
- How do conceptions and models of spatiality or temporality influence narrative and cognitive systems?
- What are the details of the relationship between narrative and common sense?
- What shared resources are required for the computational study of narrative? What should a “Story Bank” contain?
- What shared resources and tools are available, or how can already-extant resources be adapted to the study of narrative?
- What are appropriate formal or computational representations for narrative?
- How should we evaluate computational and formal models of narrative?
- How can narrative systems be applied to problem-solving?
- What aspects of cross-linguistic work has narrative research neglected?


--TYPES OF SUBMISSIONS--

- Long Papers (up to 16 pages, plus up to 2 pages of references)
- Short Papers (up to 8 pages, plus up to 2 pages of references)
- Position Papers (up to 4 pages, plus up to 1 page of references)

--SUBMISSION INFORMATION--

CMN 2015 papers may be submitted in either of two formats:

- LaTeX Papers should be prepared using the standard OASIcs template, using A4 paper: http://drops.dagstuhl.de/styles/oasics/oasics-authors.tgz
- Word Paper should be prepared using the the CMN template: http://narrative.csail.mit.edu/cmn14/oasics-cmn2014-word-template_v1.docx 

Important: Papers may be submitted in MS Word format only for review. If the paper is accepted, the authors will be reponsible for transferring their content to the LaTeX format.

Papers submitted for review not in either of these two formats will be returned.

Papers should be submitted to the CMN workshop Easychair website:
https://www.easychair.org/conferences/?conf=cmn15.

The workshop proceedings will be published as a volume in the Scholoss Dagstuhl OpenAccess Series in Informatics (OASIcs). 
 
--ORGANIZERS--

- Mark A. Finlayson (Florida International University, USA)
- Antonio Lieto (University of Turin, Italy)
- Ben Miller (Georgia State University, USA)
- Remi Ronfard (Inria, LJK, University of Grenoble, France)

--PC MEMBERS--

- Floris Bex, University of Groningen, The Netherlands
- Fritz Breithaupt, Indiana University, USA
- Mehul Bhatt, University of Bremen, Germany
- Neil Cohn, University of California, USA
- Rossana Damiano, Università di Torino, Italy
- Kerstin Dautenhahn, University of Hertfordshire, United Kingdom
- David K. Elson, Google, USA
- Pablo Gervás, Universidad Complutense de Madrid, Spain
- Richard Gerrig, SUNY Stony Brook, USA
- Andrew Gordon, University of Southern California, Institute for Creative Technologies, USA
- Ken Kishida, Virginia Tech, USA
- Benedikt Löwe, University of Hamburg, Germany and University of Amsterdam, The Netherlands
- Chris Meister, University of Hamburg, Germany
- Livia Polanyi, Stanford University, USA
- Marie-Laure Ryan, USA
- Erik T. Mueller, IBM, USA
- Moshe Shoshan, Bar-Ilan University, Israel
- Timothy Tangherlini, University of California at Los Angeles, USA
- Mariët Theune, University of Twente, The Netherlands
- Atif Waraich, Manchester Metropolitan University, United Kingdom
- Patrick Henry Winston, Massachusetts Institute of Technology, USA



—oOo—




Miércoles 14 de enero de 2015

Viendo cosas de noche


Viendo cosas de noche




—oOo—





The Garrick Years



Simon Trussler, "The Garrick Years." From The Cambridge Illustrated History of British Theatre, by Simon Trussler.

'If this young fellow be right, I and the rest of the players have been all wrong.'  The reputed verdict of a bemused James Quin on David Garrick's acting style might as aptly have been Walpole's on the political style of the elder Pitt. For the period which began with Garrick's first appearance at Goodman's Fields and ended with his departure after almost thirty years as actor-manager of Drury Lane also saw Walpole's cautious foreign policy overtaken by a drive for colonial expansion, in which Pitt's was the moving spirit. In consequence, this was an epoch when the nation was either at war or preparing for war—and although Pitt, 'the great commoner', only briefly became prime minister, his influence remained pervasive. European 'theatres' were found for the conflict, successively in the War of the Austrian Succession and the Seven Years War, but its real battlegrounds were in the Indian sub-continent and in North America—and its ultimate aim was imperial supremacy over France. Appropriately, perhaps, American independence was proclaimed in 1776, the same year as Garrick's retirement: and within three more years the actor and the statesman, now Earl of Chatham, were both in their graves. 

At home, Jacobitism finally flared out in the uprising of 1745—less a genuine threat this time than an opportunity seized to eliminate all Scottish resistance at Culloden. Henry V was duly brought on to stimulate patriotic fervour at the theatres, while in September 1745 the National Anthem for the first time accompanied the performance at Drury Lane—inaugurating a tradition which was to have audiences shuffling to their feet for well over two hundred years. And so, whereas the theatre of the 1730s had been, if not the hotbed of opposition sometimes alleged, at least a constant irritant to officialdom, during Garrick's long ascendancy it tended rather to reflect the prevailing chauvinistic mood.


Painting by Francis Hayman of David Garrick as Ranger in Benjamin Hoadly's intrigue comedy The Suspicious Husband (1747). Playing opposite him is Hananha Pritchard (1711-68), who had first appeared at Drury Lane in 1733, but moved to Covent Garden from 1743 to 1747 before joining Garrick for the remainder of her career. Extending her range beyond such light comic roles as Hoadly's Clorinda and Mrs Oakly in Colman's The Jealous Wife (1761), she played Lady Macbeth opposite Garrick and was also Gertrude to his Hamlet. She was favourably compared with Mrs Cibber both by Richard Cumberland, who claimed that she had 'more change of tone, and variety both of action and expression', and by Charles Dibdin, who declared: 'Mrs. Cibber's acting was delightful, Mrs. Prichard's commanding. One insinuated herself into the heart, the other took possession of it. . . . It made acting like a picture, with grand breadths of light and shade.'



THE ECONOMICS OF RESPECTABILITY

Although there is no doubt at all that Garrick was a great actor, part of his strength lay in his capacity to create a theatrical complement to this mood and, something of a snob himself—with a great need for the respect and admiration of others—he not only achieved but enjoyed the power to impose the greater measure of respectability he felt requisite. This was made manifest not so much in flag-waving fervour as through his managerial drive towards a higher moral tone on stage and a compliant order in pit and gallery—ambitions which his audiences did not invariably share.  Yet if respectability was a patriotic duty, even more surely was it an economic imperative—for the emergent novel was already offereing an alternative and securely domestic kind of entertainment. Thus in 1740 had appeared Samuel Richardson's pioneering and sensationally successful work in the genre, Pamela— a masterpiece of sentiment in which a serving girl defends her virginity and subdues her would-be seducer into marriage.

Revealingly, in the following year, while yet billed at Goodman's Fields as 'the young gentleman who played King richard', Garrick took the role of Jack Smatter in a stage adaptation of the novel—whose high moral tone, in Herny Fielding's view, ill-concealed its titillating sexuality. That the novel survived his satiric onslaughts in Shamela and Joseph Andrews was in no small part due to an increasing public squeamishness which by 1743 had rendered Fielding's own earlier comedy The Wedding Day unacceptable to the Lord Chamberlain, simply on the grounds that its heroine was a whore. Fielding duly subjected her to a retributory carting, whereupon the play was allowed its licence—but was none the less damned by its audiences for supposed immorality. By then, however, Fielding was beginning to build as a novelist the more responsive and tolerant audience which the combination of censorship and self-censorship denied him in the theatre.

Meanwhile, Garrick's popularity at Goodman's Fields had provoked Fleetwood and Rich to combine in securing the theatre's closure. By way of consolation, Fleetwood not only signed up Garrick for the following season as the then astonishing salary of 600 guineas, but took on the dispossessed Giffard and his wife as well. At the tail end of the 1742 season, therefore, Garrick tried out his three most successful roles at Drury Lane: and thus it was that in May he found himself playing Lear opposite the Cordelia of Peg Woffington—herself a newcomer at the playhouse, but already winning a reputation as the most exuberant actress since Nell Gwynn. It was with Peg Woffington that Garrick proceeded to spend the summer season in Dublin—and the next three years in shared lodgings. But the itch for respectability led him eventually into marriage with a lady of more reticent disposition—whicle the less vivacious and perhaps less threatening Susannah Cibber, now divorced from Theophilus, became his preferred partner on stage.

By May 1743 Fleetwood's patent at Drury Lane was, in effect, morgaged to his gambling debts, and, following visits to the theatre from the bailiffs, Garrick and Charles Macklin led a walkout of nine of the leading actors.




To be continued...




The Caroline and Commonwealth Theatre




L'Homme à la moto (3)





—oOo—






Al oeste de la muerte


Al oeste de la muerte (Westward from Death)

http://ssrn.com/abstract=2549655

 


Ibercampus (April 9, 2010)

 

Leemos en este artículo, desde una perspectiva evolucionista/sociobiológica, el soneto de John Masefield "The Lemmings" como testimonio de la crisis de creencias en la modernidad, a resultas del darwinismo.

English Abstract: A reading of John Masefield's sonnet "The Lemmings" as a statement of the modern crisis of faith in the aftermath of Darwinism, from an evolutionary/sociobiological perspective.
 


Number of Pages in PDF File: 4
Keywords: Darwinism, Crisis of faith, John Masefield, English poetry, Sociobiology, Religion, Belief
Accepted Paper Series





Pero mientras estamos al este, seguimos actualizando nuestros blogs sobre Narratología Evolucionista:












Westward from Death

—oOo—






Martes 13 de enero de 2015

A lo cómic francés



A lo comic francés

—oOo—





William Collins

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


COLLINS, William (1721-59), the son of a Chichester hatter. He was educated at Winchester (where he first met his friend Joseph *Warton) and Oxford, and published his Persian Eclogues (1742), while an undergraduate. He moved to London in the 1740s, where he met James *Thomson, *Armstrong, and Dr. *Johnson, and embarked on many abortive literary enterprises. His Odes on Several Descriptive and Allegoric Subjects (1746, dated 1747) made little impression at the time, but was to have considerable influence; the volume includes his well-known 'Ode to Evening' and 'How Sleep the Brave', and odes to Pity, Fear, Simplicity, and other abstractions (See ODE). The last work published in his lifetime was an ode on the death of Thomson (1749), and in 1750 he presented the unfinished draft of his Ode on the Popular Superstitions of the Highlands (pub. 1788) to John *Home. Thereafter he suffered increasingly from severe melancholia, and died in Chichester, where he had been living for some time. Johnson in his *Lives of the English Poets commented on his wildness and extravagance, which produced harshness and obscurity as well as 'sublimity and splendour', but later poets responded more eagerly to his lyrical intensity and to his conception of poetry as visionary and sacred (see SUBLIME); with *Gray he was one of the dominant influences of the later 18th century.

The first collected edition was by John *Langhorne (1765, with memoir): the standard modern edition is by R. Lonsdale (1977, with Gray and *Goldsmith), and a biography by P. L. Carver was published in 1967.



William Collins, Ode on the Poetical Character:

I
As once, if not with light regard
I read aright that gifted bard
(Him whose school above the rest
His loveliest Elfin Queen has blest),
One, only one unrivaled fair
Might hope the magic girdle wear,
At solemn tourney hung on high,
The wish of each love-darting eye;

Lo! to each other nymph in turn applied,
    As if, in air unseen, some hov'ring hand,
Some chaste and angel-friend to virgin-fame,
    With whispered spell had burst the starting band,
It left unblessed her loathed dishonoured side;
    Happier, hopeless fair, if never
    Her baffled hand with vain endeavour
Had touched that fatal zone to her denied!
Young Fancy thus, to me divinest name,
    To whom, prepared and bathed in Heav'n,
    The cest of amplest power is giv'n,
    To few the godlike gift assigns,
    To gird their blessed, prophetic loins,
And gaze her visions wild, and feel unmixed her flame!

II
The band, as fairy legends say,
Was wove on that creating day,
When He, who called with thought to birth
Yon tented sky, this laughing earth,
And dressed with springs, and forests tall,
And poured the main engirting all,
Long by the loved enthusiast wooed,
Himself in some diviner mood,
Retiring, sate with her alone,
And placed her on his sapphire throne;
The whiles, the vaulted shrine around,
Seraphic wires were heard to sound;
Now sublimest triumph swelling,
Now on love and mercy dwelling;
And she, from out the veiling cloud,
Breathed her magic notes aloud:
And thou, thou rich-haired youth of morn,
And all thy subject life was born!
The dang'rous Passions kept aloof,
Far from the sainted growing woof;
But near it sate ecstatic Wonder,
List'ning the deep applauding thunder;
And Truth, in sunny vest arrayed,
By whose the tarsel's eyes were made;
All the shad'wy tribes of Mind,
In braided dance their murmurs joined;
And all the bright uncounted powers
Who feed on Heav'n's ambrosial flowers.
Where is the bard, whose soul can now
Its high presuming hopes avow?
Where he who thinks, with rapture blind,
This hallowed work for him designed?

III
High on some cliff, to Heav'n up-piled,
Of rude access, of prospect wild,
Where, tangled round the jealous steep,
Strange shades o'erbrow the valleys deep,
And holy Genii guard the rock,
Its glooms embrown, its springs unlock,
While on its rich ambitious head,
An Eden, like his own, lies spread:
I view that oak the fancied glades among,
By which as Milton lay, his evening ear,
From many a cloud that dropped ethereal dew,
Nigh sphered in Heav'n its native strains could hear:
On which that ancient trump he reached was hung;
    Thither oft, his glory greeting,
    From Waller's myrtle shades retreating,
With many a vow from Hope's aspiring tongue,
My trembling feet his guiding steps pursue;
    In vain— such bliss to one alone
    Of all the sons of soul was known,
    And Heav'n and Fancy, kindred powers,
    Have now o'erturn'd th'inspiring bowers,
Or curtained close such scene from every future view. 
 
 
 
 
 An Ode on the Popular Superstitions of Scotland, Considered as the Subject of Poetry



—oOo—








Noël Coward

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


COWARD, Noël. (1899-1973), actor, dramatist, and composer, born in Teddington, Middlesex, the son of a piano salesman and an ambitious mother who from an early age encouraged his theatrical aspirations. His first play was performed in 1917, but he achieved fame with The Vortex (1924), in which he himself appeared as Nicky Lancaster, a young drug addict tormented by his mother's adulteries. More characteristic of his talent were his comedies Fallen Angels (1925), Hay Fever (1925, about the the eccentric, theatrical, guest-confusing, self-regarding Bliss family), Private Lives (1933), about two disastrous interconnected second marriages), Design for Living (1933, about a successful ménage à trois), and Blithe Spirit (1941), which features the hearty medium, Madame Arcati, and Elvira, a predatory ghost. The smart sophistication, technical accomplishment, and convention-defying morality (or amorality) of these pieces captured the public of the day, but another and more sentimental side of Coward was revealed in his patriotic works (Cavalcade, 1931) and wartime screenplays such as Brief Encounter (1944) and This Happy Breed (1942). After the war Coward continued to write prolifically; his plays were less well received, to his own surprise, and he was outspoken about his contempt for the new, *kitchen sink school of realism and for the 'pretentious symbolism' of *Beckett. He had a new lease of life as cabaret entertainer at the Café de Pris, London, and in Las Vegas; then, in 1963, a revival of Private Lives at Hampstead Theatre Club precipitated a new wave of interest in Coward's work and many more revivals, including prestige productions at the *National Theatre. Coward was knighted in 1970, and died in Jamaica. He also published volumes of verse, short stories, a novel (Pomp and Circumstance, 1960), and two volumes of autobiography, The Noel Coward Diaries (1982, ed. G. Payn and Sheridan Morley), which cover his life from 1941 to 1969, are an entertaining fund of theatrical gossip, criticism of fellow playwrights, and admiring comments on the royal family.



______

Noël Coward on acting:




Inter-war Drama: O'Casey, Coward, Priestley and Sherriff


—oOo—






Sigo Subiendo Récords Netamente

Para ser martes y trece podría tener peores noticias. Tal y como está la cosa, sigo subiendo puestos en el ránking más competitivo en el que me encuentro—el mayor repositorio del mundo de ciencias sociales y humanidades, el Social Science Research Network. Compito con 270.000 autores (de varias decenas de disciplinas además de la mía) aunque los ránkings sólo tienen en cuenta los principales 30.000. Y, sin llegar a tocar bronce, ni pisar pódium, estoy así de bien posicionado.

En algunos aspectos al menos. En citas, no, ya lo anticipo.  Y en número total de lecturas (o descargas) estoy sólo moderadamente bien posicionado, en el puesto dos mil y pico, entre los hoi polloi.

Pero pasemos a mi mejor posicionamiento. Por número de artículos recientes—estoy el número ONCE mundial según la cuenta más ventajosa.
SSRNjan2015-1

Me encanta, lo de "this tournament"; se siente uno en El club de la lucha.


Y aquí siguen los que están delante de mi—catorce según este otro ránking. Tampoco es de envidiar, la gente que escribe tanto. El quince es buen puesto:


SSRNjan2015-2


Otra manera de verme en el puesto 15 de tantos:


SSRNjan2015-4



Por número total de artículos subidos, también estoy en un puesto respetable, el 25 (respetable, digo para quienes están del 26 en adelante). Tengo 193, pronto 200. Pantallazo:


SSRNjan2015



Lo que últimamente consideran aquí posicionamiento general global (o principal índice) es el número total de descargas durante el último año. Según ese índice estoy en el puesto 637—que cae en el uno por ciento superior.  Y subiendo—hasta ahora.



Mis mejores resultados en el SSRN









—oOo—


Lunes 12 de enero de 2015


Individuo y espacio público

Un libro del grupo HERAF, editado por Juan Velázquez, en el que tengo un capítulo:

Individuo y espacio público


—oOo—




Aquí en genómica antropológica

Sin salirme de mi especialidad, he logrado también colocar un paper en esta revista de genómica antropológica. Bueno, en realidad la sección de genómica antropológica es una sección de la revista electrónica de Antropología Biológica (SSRN)—en la que tengo también otro artículo reciente sobre Darwin.




Captura de pantalla 2015-01-12 a la(s) 15.42.10


Que conste que el mérito de combinar literatura norteamericana y antropología biológica es de Fenimore Cooper más que mío—no me digan que me adorno con plumas que no me corresponden.


El Gran Viaje en El último Mohicano


—oOo—







The History of Tom Jones, a Foundling


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

The History of Tom Jones, a novel by Henry Fielding, published 1749.

Although very long, the novel is highly organized, and was thought by *Coleridge to have one of the three great plots of all literature. The kindly, prosperous Mr Allworthy, a widower, lives in Somerset with his ill-humoured unmarried sister Bridget. Late one evening Allworthy finds a baby boy lying on his bed. He is charmed with the mysterious baby, names it Tom, and adopts it, adding the surname Jones on the assumption that the mother is Jenny Jones, a maidservant to the wife of the schoolmaster Partridge, who is eventually accused of being the father and dismissed his post. Both Jenny and Patridge vanish from the neighbourhood. Meanwhile Bridget marries the obnoxious Captain Blifil and they have a son, Master Blifil, who is brought up with Tom. They are taught by the brutish chaplain Thwackum, and the philosopher Square, and have as family neighbours the bluff fox-hunting Squire Western, his sister, and his daughter Sophia, as well as Allworthy's gamekeeper Black Geroge Seagrim and his wife and daughters.

The story moves on to the point when Tom is 19, and begins to find that his childhood affection for the beautiful and sweet-natured Sophia (whose portrait Fielding founded upon his own wife) has grown into adult love. However, Sophia is destined by her father for Master Blifil, and Tom allows himself to be distracted by the charms of Molly Seagrim. By clever misrepresentation the scheming young Blifil converts Allworthy's affection for Tom into anger, and with the help of Thwackum and Square he succeeds in having the harum-scarum Tom expelled from the house. Filled with despair that he has alienated his beloved foster father and is leaving all he loves, Tom sets off for Bristol, intending to go to sea. Meanwhile Sophia, disgusted by Blifil's courtship, runs away with her maid Honour, hoping to find her kinswoman lady Bellaston in London. Amid numerous adventures on the road, during which he falls in with redcoats and is deflected from his plan of going to sea, Tom encounters Partridge, once supposed to be his father, andwho is now travelling the country as a berber-surgeon. Unknown to Tom, he and Sophia both find themselves in an inn at Upton, but because of Partridge's malicious stupidity Sophia believes that Tom (now in bed with Mrs Waters, of whom we are to hear more) no longer loves her, and flees on towards London. Tom follows, and in London is ensnared by the rich and amorous Lady Bellaston. She and her friend Lord Fellamar, who is in pursuit of Sophia, contrive together to keep Tom away from his love, but the abrupt eruption of Squire Western saves Sophia from Fellamar's snare. Partridge now reveals that Mrs Waters is no other than Jenny Nones, supposed to be Tom's mother, and for a brief period Tom believes he has committed incest. But Jenny reveals that Tom's mother was really Bridget Allworthy (later Blifil) who has confessed all to her brother on her deathbed, and that his father was a young man long since dead. Lady Bellaston and Lord Fellamar attempt to have Tom press-ganged, but instead he is arrested and imprisoned after a fight in which he appears to have killed his assailant. Sophia cannot forgive his entanglement with Lady Bellaston and Tom's fortunes are at their lowest ebb. Blifil arranges that the gang shall give evidence against Tom, but, with the help of a long letter from Square to Allworthy, Blifil's envious machinations, dating from their earliest boyhood, are finally revealed, and Tom is reinstated in his repentant uncle's affection. He meets Sophia again at last, learns that she loves him, and receives the hearty blessing of her father. In the generosity of his heart, Tom forgives all who have wronged him, even including the destetable Blifil.

In chapter 1, 'Bill of Fare', Fielding informs the reader that 'The provision . . . have here made is no other than Human Nature' and in his Dedication to *Lyttelton declares, 'that to recommend goodness and innocence hath been my sincere endeavour in this history'. The book was enthusiastically received by the general public of the day, although Fielding's robust distinctions between right and wrong (which, for instance, permit his high-spirited hero various sexual escapades before his final blissful marriage) were a severe irritant to many, including Dr *Johnson. The book is generally regarded as Fielding's greatest, and as one of the first and most influential of English novels.



El mundo, puro teatro



—oOo—



Domingo 11 de enero de 2015

NOT I  by Samuel Beckett




OK nice job—but the montage is in some respects counterproductive. This play requires a single fixed shot. The cutting makes for less minimalism and less concentration. So does the lipstick.



All That Fall (1957)

—oOo—






Debate sobre los atentados islamistas

Cuatro esgarramantas con un rifle conmocionan a Occidente. Eso es que está flojito terminal, o muy manipulable.

Tertulia de Herrero el viernes tarde, tras la muerte de los terroristas, con el chic de lo francés. Y luego una anterior:















Una perspectiva muy necesaria para complementar estas añadiré.  Esto no es la guerra de el islam contra Occidente, o de ISIS contra la República Francesa, etc. Esto son cuatro majaderos asesinos que se han hecho con armas y las han usado. A la cárcel de por vida si se les pilla vivos; si no, un tiro y fiesta— y menos discursos sobre el peligro del Islam, que retroalimentan ese peligro y ayudan a crear fractura social. Y más eficacia policial, aparte del gatillo fácil.



Y aquí Federico Jiménez Losantos sobre
el ataque a las libertades occidentales

—oOo—








Aquí grabando 'La Bohème'


Aquí grabando "La Bohème"
















—oOo—



Happy Days






—oOo—






Sábado 10 de enero de 2015

Conversión, reinterpretación, topsight y retroacción

Un artículo de mi blog e Ibercampus que reaparece en estos repositorios, comenzando por la SSRN y sus revistas:

Conversión, reinterpretación, topsight y retroacción 

http://ssrn.com/abstract=2544823 


  Una nota sobre algunos aspectos de la teoría de la identidad personal en la construcción social de la realidad tal como la definen Berger y Luckmann, en lo referente a la conversión religiosa y a otras remodelaciones drásticas de la identidad personal. Examinamos algunas implicaciones cognitivas y narratológicas, con el fin de resaltar la cercanía entre la perspectiva de Berger y Luckmann y una teoría narrativa de la identidad, prestando mayor atención al papel hermenéutico de la retrospección y de la perspectiva dominante o 'topsight'.



Conversion, Reinterpretation, Topsight and Retroaction


English abstract: A note on some aspects of the theory of self in Berger and Luckmann's social construction of reality, as regards religious conversion and other radical reworkings of personal identity. Some cognitive and narratological implications are examined, so as to bring our the kinship between Berger and Luckmann's account and a theory of narrative identity with an increased awareness of the hermeneutic role of retrospection and of topsight or dominant perspective.

Note: Downloadable document is in Spanish.

 
Number of Pages in PDF File: 9
Keywords: Berger and Luckmann, Social construction of reality, Self, Social theory, Sociology, Narratology, Narrative identity, Topsight, Cognitive narratology, Conversion, Religion, Retrospection, Hindsight




eJournal Classifications
CSN Subject Matter eJournals
             
PRN Subject Matter eJournals
             
PRN Subject Matter eJournals
             








Ibercampus, August 4, 2014 








La Ronda de Boltaña en Biescas





—oOo—



Tom Stoppard on Rock'n Roll








—oOo—







Notes on Friedrich Schleiermacher's "Hermeneutics: The Handwritten Manuscripts"   

A summary of Friedrich Schleiermacher's theory of hermeneutics as formulated in the manuscripts edited by Heinz Kimmerle (I. The Aphorisms of 1805 and 1809-10; II. The first draft of 1809-10; III. Hermeneutics - the compendium of 1819 and the marginal notes of 1828; IV. The separate exposition of part 2 on technical interpretation. V. The Academy addresses of 1829; VI. The marginal notes of 1832-33). Schleiermacher's insights are compared to some concepts introduced by later theorists of hermeneutics.
 
 


Number of Pages in PDF File: 54
Keywords: Hermeneutics, Literary theory, Schleiermacher, Interpretation, Philology
1993. 

—online at the SSRN:

 






Hermeneutics: The Handwritten Manuscripts


—oOo—



Viernes 9 de enero de 2015

Plazas Filología Inglesa

En el Boletín Informativo de la Universidad de Zaragoza de ayer, 8 de enero de 2015, se ha publicado la Convocatoria de plazas para profesor asociado TP6 y TP4.

http://www.unizar.es/actualidad/resumen_ng.php?id=5538


Hay dos plazas para Zaragoza (un TP4 para la facultad de Educación y un TP6 para la Facultad de Filosofía y Letras) y cinco plazas para Teruel (dos TP4 y tres TP6).

Como en estas fechas ya no se suelen convocar plazas, os ruego que informéis a cualquier persona que pueda estar interesada. El plazo de presentación de solicitudes es de 5 días hábiles, desde el 9 de enero hasta el 15 de enero.


—oOo—



The Romantics

Two audios from the In OurTime BBC archive:

The Romantics: http://www.bbc.co.uk/programmes/p00546ws

 and

The later romantics: http://www.bbc.co.uk/programmes/p004y24r



Coleridge vs. film and TV watching




—oOo—



El valle desde arriba

El valle desde arriba


—oOo—




The Fleeting Systems Lapse Like Foam: La angustia de la evolución


Una nota sobre evolución y sobre Diderot:

The Fleeting Systems Lapse Like Foam: La angustia de la evolución: http://ssrn.com/abstract=2545013

En 'El sueño de D'Alembert', Diderot no sólo presenta la teoría de la evolución biológica y cósmica, sino también la experiencia de la angustia producida por la consciencia de la naturaleza evolutiva del universo, y de la propia insustancialidad. Se trata de una teoría estructuralista de la evolución de los seres entendidos como sistemas de relaciones sin sustancia material, sino únicamente informacional, y a ella va unida una concepción narrativa e informacional de la identidad humana.
science art

The Fleeting Systems Lapse Like Foam: The Anxiety of Evolution

Abstract:     In 'Le Rêve de d'Alembert', Diderot does not only expound a theory of biological and cosmic evolution: he also voices the 'anxiety of evolution' which results from an awareness of the evolutionary nature of the universe, and of personal insubstantiality. The essay presents a structuralist theory of the evolution of beings understood as systems of relationships whose substance is not material but merely informational. A narrative and informational conception of human identity is part of this conception.

Number of Pages in PDF File: 6

Keywords: Evolution, Evolutionary theory, Substance, Identity, Reality, Universe, Becoming, Philosophy, Diderot, Anxiety

Ibercampus (23 Feb. 2014)


—oOo—

















Darkside Radio Play Trailer











—oOo—






Jueves 8 de enero de 2015

La Caseta los Tubos y el castillo de Lárrede


La Caseta los Tubos y el castillo de Lárrede


—oOo—






Glass Prospective

La televisión medieval en el drama isabelino

http://ssrn.com/abstract=2546429monk

Una nota sobre la comedia de Robert Greene 'Friar Bacon and Friar Bungay', en la que comentamos el desarrollo de modalidades complejas de teatralidad, de perspectivismo dramático, y de complejidad semiótica sobre la escena, estimulados por el uso de la magia como recurso escénico, con anterioridad a 'Doctor Faustus' de Marlowe y 'The Tempest' de Shakespeare. El uso de la magia escénica por parte de Greene estimula una mayor consciencia de la flexibilidad de las convenciones teatrales y de las modalidades de la interacción comunicativa humana.



English abstract: Glass Prospective: Medieval Television in Elizabethan Drama

A note on Robert Greene's comedy 'Friar Bacon and Friar Bungay', commenting on the development of complex modes of theatricality, of dramatic perspective, and of semiotic complexity on stage stimulated by the use of magical devices in the play, prior to Shakespeare's 'The Tempest' and Marlowe's 'Doctor Faustus'. Greene's use of stage magic stimulates an awareness of the flexibility of theatrical conventions and of the modes of human communicative interaction.

Number of Pages in PDF File: 8


_________

También aparece en otras páginas y repositorios, empezando por estas secciones y revistas temáticas de la SSRN (Cognitive Science Network y Literature Network):


SSRN eJournal Classifications  (Date posted: January 09, 2015)
CSN Subject Matter eJournals
                          
LIT Subject Matter eJournals
             











Ibercampus (Sept. 8, 2014)


—oOo—



Miércoles 7 de enero de 2015

Horizonte de Borja


Horizonte de Borja


—oOo—




First We Take Manhattan (3)


















—oOo—


Narratology—An Introduction




—oOo—









Martes 6 de enero de 2015

Jokerman (4)









—oOo—



The Bostonians






The Bostonians. Dir. James Ivory. Screenplay by Ruth Prawer Jhabvala, based on the novel by Henry James. Cast: Christopher Reeve, Vanessa Redgrave, Jessica Tandy, Madeleine Potter, Nancy Marchand, Wesley Addy, Barbara Brine, Linda Hunt, Charles McCaughan, Nancy New, John Van Ness Philip, Wallace Shawn. Exec. prod. Albert Schwartz, Michael S. Landes. Prod. des. Leo Austin. Ed. Katherine Wenning, Mark Potter. Music by Richard Robbins. Photog. Walter Lassally. Prod. Ismail Merchant. Merchant Ivory Productions, 1984.
         Online at YouTube ("Las Bostonianas subtitulada español") 14 April 2014.
http://youtu.be/2tEBB8sAMOA
         2014


—oOo—







Chaucer (In Our Time)

CHAUCER  (AUDIO) In Our Time, 9 Feb. 2006.

Melvyn Bragg and guests discuss Geoffrey Chaucer, often called the father of English literature."In Southwark at the Tabard as I lay Redy to wenden on my pilgrymage To Canterbury with ful devout corage, At nyght was come into that hostelrye Wel nyne and twenty in a compaignye Of sundry folk, by aventure yfalle In felaweshipe, and pilgrims were they alle, That toward Canterbury wolden ryde." Geoffrey Chaucer immortalised the medieval pilgrimage and the diversity of 14th century English society in his Canterbury Tales. As each pilgrim takes his, or her, turn to tell their tale on the road to Canterbury, Chaucer brings to life the voices of a knight, a miller, a Wife of Bath and many more besides. Chaucer was born the son of a London vintner, yet rose to high office in the court of Richard II. He travelled throughout France and Italy where he came into contact with the works of Dante, Boccaccio, Machaut and Froissart. He translated Boethius, wrote dream poetry, a defence of women and composed the tragic masterpiece Troilus and Criseyde. As well as the father of English literature, Chaucer was also a philosopher, bureaucrat, courtier and diplomat.So what do we know of Chaucer? How did he introduce the themes of continental writing to an English speaking audience? And why does his poetry still seem to speak so directly to us today? With Carolyne Larrington, Tutor in Medieval English at St John's College, Oxford; Helen Cooper, Professor of Medieval and Renaissance English at the University of Cambridge; Ardis Butterfield, Reader in English at University College London.





Geoffrey Chaucer



—oOo—















Empiezo el 2015 en la pole position


Llego al 2015 en la Pole Position


—oOo—






Lunes 5 de enero de 2015

Most of the Time













—oOo—




Perejil seco

Perejil seco


—oOo—





Ibn Khaldun

BBC Radio 4 (IN OUR TIME): IBN KHALDUN  (AUDIO): http://www.bbc.co.uk/programmes/b00qckbw

Melvyn Bragg and guests Robert Hoyland, Robert Irwin and Hugh Kennedy discuss the life and ideas of the 14th-century Arab philosopher of history Ibn Khaldun. Ibn Khaldun was a North African statesman who retreated into the desert in 1375. He emerged having written one of the most important ever studies of the workings of history.Khaldun was born in Tunis in 1332. He received a supremely good education, but at 16 lost many of his family to the Black Death. His adult life was similarly characterised by sharp turns of fortune. He built a career as a political operator in cities from Fez to Granada. But he often fared badly in court intrigues, was imprisoned and failed to prevent the murder of a fellow statesman. In 1375, he withdrew into the Sahara to work out why the Muslim world had degenerated into division and decline. Four years later, he had completed not only a history of North African politics but also, in the book's long introduction, one of the great studies of history. Drawing on both regional history and personal experience, he set out a bleak analysis of the rise and fall of dynasties. He argued that group solidarity was vital to success in power. Within five generations, though, this always decayed. Tired urban dynasties inevitably became vulnerable to overthrow by rural insurgents. Later in life, Ibn Khaldun worked as a judge in Egypt, and in 1401 he met the terrifying Mongol conqueror Tamburlaine, whose triumphs, Ibn Khaldun felt, bore out his pessimistic theories. Over the last three centuries Ibn Khaldun has been rediscovered as a profoundly prescient political scientist, philosopher of history and forerunner of sociology - one of the great thinkers of the Muslim world.Robert Hoyland is Professor of Islamic History at the University of Oxford; Robert Irwin is Senior Research Associate of the School of Oriental and African Studies at the University of London; Hugh Kennedy is Professor of Arabic in the School of Oriental and African Studies at the University of London.


Muqaddimah

—oOo—





Domingo 4 de enero de 2015

Montaigne y la construcción social de la realidad






http://ssrn.com/abstract=2545064
Abstract:     

Una nota sobre algunos aspectos de la filosofía escéptica de Montaigne, y más en concreto de su tratamiento de las costumbres y las convenciones, como anticipaciones del constructivismo social. En especial, las nociones de socialización primaria y secundaria formuladas por Berger y Luckmann en su influyente tratado sobre "La construcción social de la realidad" están claramente formuladas anticipadamente en el ensayo de Montaigne "De la costumbre y de cómo no se cambia fácilmente una ley recibida" (Ensayos, 1.xxiii).

Montaigne and the Social Construction of Reality

 A note on some aspects of Montaigne's skeptical philosophy, in particular his discussion of custom and convention, which anticipate social constructivism. In particular Berger and Luckmann's notions of primary and secondary socialization, from their seminal study on 'The Social Construction of Reality' are quite clearly formulated in advance in Montaigne's essay "On Custom and on how and established law is not easily changed." (Essays, I.xxiii)

Note: Downloadable document is in Spanish.
Number of Pages in PDF File: 7













William James's The Varieties of Religious Experience






—oOo—



William James's The Varieties of Religious Experience




—oOo—





Selva del Barrio

Selva del Barrio

—oOo—


Looking East Looking West




—oOo—










Manchester et Liverpool 2




—oOo—



History of History

A BBC audio on historiography:

In Our Time (audio) - http://www.bbc.co.uk/programmes/b00gryrx

Melvyn Bragg and guests discuss how the writing of history has changed over time, from ancient epics to medieval hagiographies and modern deconstructions. In the 6th century AD, the bishop of Tours began his history of the world with a simple observation that “A great many things keep happening, some of them good, some of them bad”. For a phrase that captures the whole of history it’s among the best, but in writing about the past we are rarely so economical. From ancient epics – Thucydides’ History of the Peloponnesian War - to medieval hagiographies and modern deconstructions, historians have endlessly chronicled, surveyed and analysed the great many things that keep happening, declaring some of them good and some of them bad. But the writing of history always illuminates two periods – the one history is written about and the one it is written in. And to look at how the writing of history has changed is to examine the way successive ages have understood their world. In short, there is a history to history.With Paul Cartledge, AG Leventis Professor of Greek Culture and Fellow of Clare College, Cambridge; John Burrow, Emeritus Fellow of Balliol College, Oxford and Miri Rubin, Professor of Medieval and Early Modern History at Queen Mary, University of London.

La intriga de la historia

—oOo—



El Gran Viaje en El último mohicano

El Gran Viaje en El último mohicano (The Great Journey in The Last of the Mohicans)

http://ssrn.com/abstract=2544914

Una nota sobre ciertas observaciones antropológicas de James Fenimore Cooper en su introducción a El último mohicano (1826). El razonamiento de Cooper sobre el origen de las poblaciones aborígenes americanas es acertado, según se desprende de los recientes estudios antropológicos informados por la teoría de la evolución y la genética de las poblaciones. Las observaciones de Fenimore Cooper pueden considerarse precursoras del actual consenso relativo a la expansión de los pobladores asiáticos hacia América.

English abstract: A note on some antropological observations in James Fenimore Cooper's introduction to The Last of the Mohicans (1826), noting the accuracy of Cooper's reasoning as regards the origin of the American aboriginal population, according to recent anthropological research informed by evolutionary theory and population genetics. Fenimore Cooper's observations may be considered a forerunner of the current consensus regarding the spread of human populations from Asia to America.

______

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eJournal Classifications
AARN Subject Matter eJournals
                          
AARN Subject Matter eJournals
                          
LIT Subject Matter eJournals
             







El Gran Viaje en El último mohicano

Ibercampus: El Gran Viaje en El último mohicano


Sábado 3 de enero de 2015

Donde allí





Donde allí
—oOo—



Conversión, Reinterpretación, Topsight y Retroacción






Una nota sobre algunos aspectos de la teoría de la identidad personal en la construcción social de la realidad tal como la definen Berger y Luckmann, en lo referente a la conversión religiosa y a otras remodelaciones drásticas de la identidad personal. Examinamos algunas implicaciones cognitivas y narratológicas, con el fin de resaltar la cercanía entre la perspectiva de Berger y Luckmann y una teoría narrativa de la identidad, prestando mayor atención al papel hermenéutico de la retrospección y de la perspectiva dominante o 'topsight'.

Abstract: A note on some aspects of the theory of self in Berger and Luckmann's social construction of reality, as regards religious conversion and other radical reworkings of personal identity. Some cognitive and narratological implications are examined, so as to bring our the kinship between Berger and Luckmann's account and a theory of narrative identity with an increased awareness of the hermeneutic role of retrospection and of topsight or dominant perspective.

Number of Pages in PDF File: 9

Keywords: Berger and Luckmann, Social construction of reality, Self, Social theory, Sociology, Narratology, Narrative identity, Topsight, Cognitive narratology, Conversion, Religion, Retrospection, Hindsight


Interaction as reality-maintenance


—oOo—



Viernes 2 de enero de 2015


Mi álbum de fotos de 2014


Mi álbum de fotos de 2014



—oOo—






Mapping the Whole World

—From the introduction to A History of the World in Twelve Maps, by Jerry Brotton (Penguin, 2013):

In Lewis Carroll's Sylvie and Bruno Concluded (1893), the other-worldly character Mein Herr announces that '[w]e actually made a map of the country, on a scale of a mile to the mile!' When asked if the map has been used much, Mein Herr admits, 'It has never been spread out', and that 'the farmers objected: they said it would cover the whole country, and shut out the sunlight! So we now use the county itself, as its own map, and I assure you it does nearly as well' (17). The conceit was taken a stage further by Jorge Luis Borges, who, in his one-paragraph short story 'On Rigour in Science' (1946), recast Carroll's account in a darker key. Borges describes a mythical empire where the art of mapmaking had reached such a level of detail that

the colleges of Cartographers set up a Map of the Empire which had the size of the Empire itself and coincided with it point by point. Less Addicted to the Study of Cartography, Succeeding Generations understood that this widespread Map was useless and not without Impiety they abandoned it to the Inclemencies of the Sun and of the Winters.  In the deserts of the West some mangled Ruins of the Map lasted on, inhabited by Animals and Beggars; in the wholde Country there are no other relics of the Disciplines of Geography. (18)

Borges understood both the timeless quandary and potential hubris of the mapmaker: in an attempt to produce a comprehensive map of their world, a process of reduction and selection must take place. But if his 1:1 scale map is an impossible dream, what scale should a map-maker choose to ensure their world map does not endure the fate he described? Many of the world maps described in this book offer an answer, but none of their chosen scales (or indeed anything else about them) has ever been universally accepted as definitive.

A further problem that presents itself is one of perspective. At what imaginary location does the mapmaker stand before beginning to map the world? The answer, as we have already seen, invariably depends upon the mapmaker's prevailing world view. In the case of the Babylonian world map, Babylon lies at the cntre of the universe, or what the historian Mircea Eliade has called the 'axis mundi' (19). According to Eliade, all archaic societies use rites and myths to create what he describes as a 'boundary situation', at which point 'man discovers himself becoming conscious of his place in the universe'. This discovery creates an absolute distinction between a sacred, carefully demarcated realm of ordinary existence, and a profane realm which is unknown, formless and hence dangerous. On the Babylonian world map, such sacred space circumscribed by its inner ring is contrasted with the profane space defined by the outer triangles, which represent chaotic, undifferentiated places antithetical to the sacred centre. Orienting and constructing space from this perspective repeats the divine act of creation, shaping form out of chaos, and placing the mapmaker (and his patron) on a par with the gods. Eliade argues that such images involve the creation of a centre that establishes a vertical conduit between the terrestrial and divine worlds, and which structures human beliefs and actions. Perhaps the whole at the centre of the Babylonian world map ,usually regaded as the result of a pair of compasses marking out the map's circular paramtersl, is rather a channel between one world and the next.

The kind of perspective adopted by the Babylonian world.map could also be called egocentric mapping. Throughout most of recorded history, the overwhelming majority of maps put the culture that produced them at their centre, as many of the world maps discussed in this book show. Even today's online mapping is partly driven by the user's desire to first locate him- or herself on the digital map, by typing in their home address before anywhere else, and zooming in to see that location. It is a timeless act of personal reassurance, locating our selves as individual in relation to a larger world that we suspect is supremely indifferent to our existence. But if such a perspective literally centres individuals, it also elevates them like gods, inviting them to take flight and look down upon the earth from a divine viewpoint, surveying the whole world in one look, calmly detached, gazing upon what can only be imagined by earthbound mortals (20). The map's dissimulating brilliance is to make viewers believe, just for a moment, that such a perspective is real, that thy are not still tethered to the earth, looking at a mpa. And here is one of the map's most important characteristics: the viewer is positioned simultaneously inside and outside of it. In the act of locating themselves on it, the viewer is at the same moment imaginatively rising above (and outside) it in a transcendent moment of contemplation, beyond time and space, seeing everything from nowhere. If the map offers its viewer an answer to the enduring existential question, 'Where am I?', it does so through a magical splitting which situates hi or her in two places at the same time (21).

This problem of defining where the viewer stands in relation to a map of the world is one geographers have struggled with for centuries. For Renaissance geographers, one solution was to compare the viewer of a map to a theatre-goer. In 1570 the Flemish mapmaker Abraham Ortelius published a book containing maps of the world and its regions entitled Theatrum orbis terrarum—the 'Theatre of the World'. Ortelius used the Greek definition of theatre—theatron—as 'a place for viewing a spectacle'. As in a theatre, the maps that unfold before our eyes present a creative version of a reality we think we know, but in the process transform it into something very different. For Ortelius, as for many other Renaissance mapmakers, geography is 'the eye of history', a theatre of memory, because, as he put it, 'the map being laid before our eyes, we may behold things done or places wheere they were done, as if they were at this time present'. The map acts like a mirror, or 'glass', because 'the charts being placed, as it were certain glasses before our eyes, will the longer be kept in memory, and make the deeper impression in us'. But, like all the best dramatists, ortelius concedes that his 'glasses' are a process of creative negotiation, because on certain maps 'in some places, at our discretion, where we thought good, we have altered some things, some things we have put out, and otherwhere, if it seemed to be necessary, we have put in' different features and places. (22)

Ortelius describes the position from which a viewer looks at a world map, which is closely related to orientation—the location from which we take our bearings. Strictly speaking, orientation usually refers to relative position or direction; in modern times it has become established as fixing location relative to the points on a magnetic compass. But long before the invention of the compass in China by the second century AD, world maps were oriented according to one of the four cardinal directions: north, south, east and west. The decision to orientate maps according to one prime direction varies from one culture to another (as will be seen from the twelve maps discussed in the book), but there is no purely geographical reason why one direction is better than any other, or why modern Western maps have naturalized the assumption that the north should be at the top of all world maps.

_____


(17) Lewis Carroll, Sylvie and Bruno Concluded (London, 1894), p. l69.
(18) Jorge Luis Borges, 'On Rigour in Science', in Borges, Dreamtigers, trans. Mildred Boyer and Harold Morland (Austin, Tex., 1964), p. 90.
(19) Mircea Eliade, Images and Symbols: Studies in Religious Symbolism, trans. Philip Mairet (Princeton, 1991), pp. 27-56. See Frank J. Korom, 'Of Navels and Mountains: A Further Inquiry into the History of an Idea', Asian Folklore Studies, 51/1 (1992), pp. 103-25.
(20) Denis Cosgrove, Apollo's Eye: A Cartographic Genealogy of the Earth in the Western Imagination (Baltimore, 2001).
(21) Christian Jacob, The Sovereign Map: Theoretical Approaches to Cartography throughout History (Chicago, 2006), pp. 337-8.
(22) Abraham Ortelius, 'To the Courteous Reader', in Ortelius, The Theatre of the Whole World, English translation (London, 1606), unpaginated.





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Now, cartographic mapping is mapping proper, the original and proper use of the term 'to map'. Although, as we have seen, the concept of the map may hark back to other forms of representation such as the theatre, in the case of Ortelius.

It's interesting to read these considerations on mapping with reference to other (derived or metaphorical) forms of mapping, such as temporal maps of historical processes, David Christian's maps of time charting out cosmic evolution—or Fredric Jameson's 'cognitive mapping' which looks truly parochial after the grand sweep of the cosmic scale.

To these we have added (by way of further specification) narrative mapping—a concept which straddles the cognitive representation of processes and the generic awareness of the instruments of representation, the narratives which must themselves be mapped, classified, or charted, before they can be used as instruments to anchor narrative phenomena onto one another.  Not that we claim any foundational originality for the concept—see for instance Berger and Luckmann here on symbolic universes and their narrative mapping or (going further back) Polybius on narrative anchoring and the hermeneutic circle. But one may contend that further reflection on these conceptual instruments will enable to see the way they are used in places where they were invisible before, and our critical awareness of them will be further refined.





Mapas del tiempo




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Jueves 1 de enero de 2015

Iglesia de Muel en el estanque


Iglesia de Muel en el estanque


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Periodistas en este sitio chino


这篇文档很不错, 推荐给你看看, 文档标题:A BIBLIOGRAPHY OF LITERARY THEORY, CRITICISM AND PHILOLOGY。

Mi bibliografía sobre periodistas (y bloggers) en este sitio chino:



Mi bibliografía de periodistas






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Una lejana fuente de 'Kubla Khan'

Una lejana fuente de 'Kubla Khan' 

http://papers.ssrn.com/abstract=2542598  


Comentamos en este artículo algunas posibles fuentes del poema fragmentario de Samuel Taylor Coleridge 'Kubla Khan', más allá de las clásicas que examinaba John Livingston Lowes en 'The Road to Xanadu'. Algunos motivos del poema, y de las fuentes de Purchas para la historia de Xanadu, pueden remontarse a un texto apócrifo del siglo XII, la supuesta carta del Preste Juan en la que describía su reino oriental.

English abstract:

A remote source of 'Kubla Khan'

A discussion of some possible sources of Samuel Taylor Coleridge's fragmentary poem 'Kubla Khan', beyond the classical ones examined by John Livingston Lowes in 'The Road to Xanadu'. Some motifs in the poem, and in Purchas's sources for the Xanadu story, may be traced back to a twelfth-century apocryphal text known, the supposed letter of Prester John describing his Oriental kingdom.


Note: Downloadable document is in Spanish.
Number of Pages in PDF File: 10

 Date posted: December 26, 2014  


LIT Subject Matter eJournals
    
        

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Microblog de enero 2015




Microblog de diciembre 2014


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