VANITY FEA:
Blog de notas de José Angel García Landa (Biescas y Zaragoza) - Octubre de 2014

bragging rights  Formal
Boasting


    Mi web    Indice    Fotoblog    Videoblog    Lecturas    Enlaces y blogs    Bibliografía  — Música que viene: Pumping Iron (Starlight Express) - Y vuelve: Most Likely You'll Go Your Own Way And I'll Go Mine (Bob Dylan) - Y vuelve: Les clés du paradis (Jane Birkin)
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Miércoles 22 de octubre de 2014

Aquí estoy, en Teoría

Figuro como referencia, gracias a mi bibliografía, no sólo en el artículo sobre Teoría Literaria, de la Wikipedia española, junto a un puñadito pequeño de teorizadores españoles—


... sino también, y allí hay menos españoles, en la Teoría Literaria de la Wikipedia en inglés.  Y en la alemana


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Guitarra y playa 2



Guitarra y playa 2




Martes 21 de octubre de 2014

Sigo subiendo en el SSRN

Sigo subiendo en el SSRN



Llegando al puesto 27 (de 270.000) en número de artículos subidos este año; al puesto 29 por número de artículos subidos, y al puesto 828 por número de descargas:


Captura de pantalla 2014-10-22 a la(s) 00.02.26

Y de Author Rank global estoy en el puesto 2284, y subiendo. De entre esos 270.000.


Escalando el Author Rank



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En el Anthro





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Con la guitarra cerca del mar


Con la guitarra cerca del mar



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Lunes 20 de octubre de 2014

Carew and the Cavaliers

From Legouis and Cazamian's History of English Literature (The End of the Renascence, II: Poetry from 1625 to 1660).

1. Long Poems which were Failures.—At the death of James I, in 1625, Spenser's influence was almost exhausted, surviving only in Milton. It was Ben Jonson and especially John Donne who now had disciples and imitators. Poets were numerous down to the Restoration, but, except for Milton, they were the poets of the anthologies whose memory lives only in slight lyrics or collections of small poems.12 and to name them will sufficiently show how abundant was the production in this unfortunate genre.

The ambition to write works on a vast scale had not died out, but the efforts to realize it were failures. The epical ambition which was then common to Europe, and which produced more than one pitifully abortive poem in France, was no more successful in England. Long romances in verse and attempts at classical epics constitute what is dead in the literature of the time; their titles and the names of almost all their authors are forgotten. They have been collected only by the historical zeal of the present day, 
They consist of metrical romances, like Patrick Hannay's Sheretine and Mariana (1622), the Leoline and Sydanis (1642) of Sir Francis Kynaston, who had previouly modernized Chaucer's Troilus and Criseyde, and W. Chamberlayne's Pharonnida, in six books (1659). There are also mythological narratives; Shackerley Marmion's Cupid and Psyche (1637) and William Bosworth's Arcadius and Sepha (1651): long, religious narratives like Edward Benlowes's Theophila, in nine cantos (1652), and epics like Davenant's Gondibert (1650), which is in quatrains, and Cowley's Davideis (1656), which is classical in manner and has a Hebrew theme.

Invariably poetic qualities and readable passages are scattered here and there in these ambitious works, but on the whole they were stillborn, and have no importance in literary thistory save that a path leads over their graves to Milton's Paradise Lost.

If dead poetry be left on one side, and the attempt be then made to classify the poets of the middle seventeenth century, they are seen to fall into two main groups, separated by the differences which make the history of this troubled period. There are first the secular poets, all in the Royalist ranks and therefore known as Cavaliers, and secondly there are religious poets, subdivided into the Anglicans and the Puritans. The division is social rather than literary, but it is simple and convenient, and corresponds sufficiently to the diversity of inspiration.


2. Thomas Carew (1598?-1639). –The poet who first, before the Civil War, showed what the spirit of the Cavaliers was to be, and first was affected by the combined influence of Jonson and Donne, was Thomas Carew, a gentleman of the court of Charles I who was a reputed wit. He was a courtly and polished love-poet whom his rivals suspected of working long at his elegant verses. The logical good order of the classicists rules his mind even when, in his poems to Celia, he returns to a theme of the Petrarchists. He can isolate a thought, follow it up faithfully and balance its several parts, and many of his light sets of verses have won, in consequence, a place in anthologies. He has little sensibility—he had indeed a reputation for dryness—but his sensual ardour enables him to avoid the coldness of gallantry. Such, in any case, is the character betrayed by his longest poems and his masterpiece, The Rapture, unfortunately no less indecent than the verses of Aretino. It is an invitation to Celia to flout 'the Giant Honour' and enjoy forbidden pleasures without scruple. The paradise he paints to her is one of the most licentious even of those inspired by the Italian Renaissance. His attack on honour recalls Sidney's Astrophel and especially Donne's Elegies. He is also inspired by the speeches of Petronius in the anonymous tragedy Nero (Act IV, sc. vii), but in libertine audacity he outdoes his models.
carew
Carew is connected with Donne by the fine elegy with which he honoured his memory. The poem has more feeling than is customary with Carew and is, moreover, one of the best pieces of criticism written in this period. No one has pointed out more accurately than Carew what was new in Donne, his contempt for outworn ornament and his need of personal and virile expression. Yet Donne left few traces upon his style. If Carew has none of the master's flashes of genius, he escapes the worst faults of his style. In his commendatory verses he shows that his thought was vigorous and direct, especially in those to Georges Sandys, who, after translating Ovid, gave up secular poetry and translated the Psalms. Carew confesses that he dare not greet 'the holy place with his unhallowed feet', but that his muse, like 'devout penitents of old', stays 'humbly waiting at the porch,' listening to the sacred strains. Yet he thinks that one day his eyes,

Now hunting glow-worms, may adore the sun,

and that:

My eyes in penitential dew may steep
That brine which they for sensual love did weep.

The poem is beautiful, and so restrained that it seems sincere. It is consistent with Clarendon's account of the poet's edifying death.

His was, however, a death-bed conversion. All his poetry is the work of an amorist, such as Milton despised. He writers 'persuasions' to love, madrigals, complaints and reproaches, addressed to a mistress, lines to his 'inconstant mistress,' who shall be 'damned for ther false apostasy,' to Celia singing, to Celia when he sends her red and white roses:

In the white you may discover
The paleness of a fainting lover;
In the red, the flames still feeding
On my heart with fresh wounds bleeding.

In the famous song, Ask me no more, he finds all the beauties of nature united in his mistress—the rose of June

For in your beauties, orient deep,
These flowers, as in their causes, sleep;

the 'golden atoms of the day' which 'enrich her hair,' the nightingale's song:

For in your sweet dividing throat,
She winters, and keeps warm her note.

The theme is commonplace, but in the harmonious quatrains of this song it is turned with perfect elegance.

Carew's work is slight, much distilled, but some warmth of imagination and a certain fancy temper its coldness. The style and the versification are so polished that Waller and Denham the acknowledged pioneers of the classical school, could hardly improve on them.

3. The Cavalier Poets. —Carew is the typical court poet. Sir John Suckling (1609-42) 3 typifies the Cavaliers, their loyalty, dash, petulancy, frivolity, easy morals, and wit. Rich, spendthrift, valiant, a gamester and a gallant, an amateur of the drama who wrote four not unsuccessful plays, and a faithful admirer of Shakespeare, Suckling mocked at the pains which Carew took to polish his verses. He was himself an improviser, one whose work is very unequal but who writers with irresistible swing. It is his light, impertinent tone which characterises him. He recalls Donne when he rallies woman on her capriciousness or himself on his inconstancy; but while he has the master's hyperbole he leaves his metaphysics alone. He discharges his mockery in the form of little, swiftly moving, neatly turned songs, irony sometimes hiding the madrigal, as in Out upon it.  His easy and flippancy are French rather than English, and it has been thought that a sojourn which he made in France before he was twenty influenced his muse. Less slight than the rest of his work is the Ballad upon a Wedding in which a farmer describes, in picturesque language, a wedding at which he has been present. Here there are many lively and homely descriptive touches, as well as wit and spirit. Suckling puts new life and freshness into the conventional epithalamium. Not until Thomas Moore did any one else show such skill at writing charming verses about nothing. 'Natural, easy Suckling,' as Congreve's Millamant calls him, whose life was short and who versified only as a pastime, had a considerable production. Beneath his apparent frivolity there was, as his poems prove, romantic generosity, and even, as his letter to Henry Jermyn shows, a power of reflecting on politics. His treatise, An Account of Religion by Reason, in which he combats the Socinian heresies, is proof that he also cared for religion. The contrasts in him are characteristic of a time in which libertinage often rubbed shoulders with piety.

Richard Lovelace (1618-58)4 was neither so correct as Carew nor so natural as Suckling. This most handsome Cavalier whose figure fascinated the ladies, this faithful follower of the king who was twice imprisoned and finally ruined for the cause, so that he ended his short life in the most abject poverty, was a very unequal poet. In his Lucasta (1649) the cold, hyperbolical compliments of the degenerate sonneteers occur side by side with Donne's obscure extravagance. The lack of art in his work is as apparent as its mannerisms, and almost all of it has been forgotten. But it was his fortune to make two or three songs in which his sense of honour is in manly alliance with his love. It was he who wrote to Althea from prison:

Stone walls do not a prison make,
    Nor iron bars a cage;
Minds innocent and quiet take
    That for an hermitage.
If I have freedom in my love,
    And in my soul am free,
Angels alone that soar above
    Enjoy such liberty.

It was he who wrote 'to Lucasta on going to the wars':

I could not love thee, dear, so much,
Loved I not honour more.

Because of these few short poems, Lovelace has the glory of having expressed the ideal of the Cavalier.

He shares it with Montrose (1612-50), the noble Scottish champion of Charles I, whose brilliant victories were followed by disaster, death, and quartering, if the Royalist hero of Scotland really wrote the fine loyalist verses attributed to him.

John Cleveland (1613-58),5 a Royalist like these other poets, who, unlike them, was of humble origin, was very different from them. He was, above all, a satirist, and he enjoyed in his own century a popularity which his vigour and his wit deserved. But his countless slight topical allusions make him difficult to read to-day. He was, moreover, one of Donne's most determined imitators, and conceits abound in his poems. The best known of them is The Rebel Scot, a fiery attack on the nation which had just delivered Charles I to the Parliament. This satirist, with his rude style, often, while turning an epigram, wrote such isolated couplets as Dryden affected, and in spite of his metaphysical strangeness he blazed the track of political satire for that poet. He did not, however, write only satires. He composed love-poetry in which a touch of real nature varies, from time to time, the extravagant gallantry, and he made some curious lyrical essays in which he was one of the first poets to realize the value of the anapaest.

It is tempting to connect Lord Herbert of Cherbury (1583-1648), 6 George Herbert's elder brother, with these Royalist poets. He is, because of his curious Autobiography, better known for his prose than for his verses, which contain a suble quintessence of poetry. His handsome person, his extravagant valour, his passion for duelling, and his refined gallantry made him a representative Cavalier, and his Ode upon a Question moved, whether Love should continue for ever, gives him a high place among the Petrarchists and the disciples of Sir Philip Sidney.

4. Robert Herrick. —Midway between the Cavaliers and the Anglicans, Robert Herrick (1591-1674),7 the most gifted and the most exquisite of all these poets, has place. The anacreontiscism of the poetry of his youth makes him one of the Cavaliers, and since, at the age of thiry-eight, he accepted a Devonshire living and did his best to convert his muse, he is also to be numbered among the Anglicans. His only collection of poems, the Hesperides, published in 1648, contains his 'works both human and divine.' The former consist of 1,129 short sets of verses, the latter of only 271, and the proportion may be taken to that in which his inspiration was secular and sacred.

The son of a London goldsmith, who from Cambridge returned to London and a life of dissipation, who in the reign of James I, while his youth lasted, was a frequenter of the literary taverns, this lover of wine, women and song, and 'son' of Ben Jonson, was induced to take orders only for the sake of a livelihood. When he bade a sad farewell to London and his muse and departed to his living of Dean Prior, in Devonshire, he resolved, like a man of honour, to be a good parson. But he had no enthusiasm for his new duties. The change was too great for this charming rhymester cast up among the savages. He petted both his muse and a few of his female parishioners. Then, little by little, helped by his recollections of pastorals, he acquired a taste for the rich countryside in which he found himself and for the ways of rustic life. He became attached also to his church and his little vicarage; he trusted in the good people's God, to whose infinite indulgence he could leave the frolics of his youth and certain lapses of his maturity, whose anger would not be roused because the very secular Hesperides were printed side by side with the Holy Numbers [Noble Numbers]. 'Jocund his muse was, but his life was chaste,' he said of himself. It was self-flattery. His portrait at the beginning of the Hesperides shows a torso like that of a merry Priapus, a sensuous, mocking mouth beneath an aquiline nose, a head bristling with crisp, luxuriant hair, a chest left bare. This is a real pagan from a garden where Cupids dance in a ring, while Pegasus, standing on a hillock, is poised for flight.

Herrick's works are by themselves an anthology, a collection of short poems brought together on no principle and without any order. He adopts 'sweet disorder' as an aesthetic principle, loves it in poetry as much as in woman's dress. He goes further and mingles the coarsest epigrams with poetry that is winged and delicate. Every contradiction of his mobile spirit, all his fleeting feelings and thoughs, are grouped haphazard. Even his 'many dainty mistresses' sometimes clash, and we can only hope that, if they were real, they were successive. He hates monotony, sharing the national craving for variety so conspicuous in the drama. He alternates the pretty with the ugly, the fragant with the evil-smelling. But nothing really counts in his works except its quality of exquisiteness, of which there is in profusion.hesperides

On occasion, Herrick was capable of sustained effort. He has some epithalamiums and some rustic pieces, like the Hock Cart, or Harvest Home, which have spirit and savour. One of the most famous of his poems is Corinna's going a-Maying, which contains five fourteen-line stanzas. It is among the most charming of songs of the dawn, fragant with flowers, rich as a poem by Spenser, and it has the merest hint of the ingenious fancy of the metaphysical poets:

Rise, and put on your foliage, and be seen
To come forth, like the spring-time, fresh and green,
     And sweet as Flora.

This poem has become the classic of all the English songs on May.

But Herrick's truest imprint is on that multitude of tiny poems which seem to be made of a breath of air—charming madrigals, love-fancies, addresses to flowers, brief epitaphs. The light joy of a frivolous heart, a fancy pleased by whatever has grace or beauty; the tenous melancholy of a reveller who remembers how ephemeral is that which charms him; such are his moods, and to the latter of them he returns again and again as he watches the flowers in his garden—the roses, the daffodils, the blossoms of the fruit-trees, the meadows whih 'have been fresh and green' and are left 'to lament.' The esssence of this mood is in a trifle about cherry-blossoms:

Ye may simper, blush and smile,
And perfume the air awhile;
But, sweet things, ye must be goine,
Fruit, ye know, is coming on;
Then, ah! then, where is your grace,
Whenas cherries come in place?

Never again did a poet of the west have so light a touch. The secret seems to be kept by Japan or China.

His epitaphs are endlessly graceful. They do not weigh down the graves on which they are but poised with the delicate grace of flowers, for instance this upon a child:

Virgins promised when I died
That they would each primrose-tide
Duly, morn, and evening, come,
And with flowers dress my tomb.
Having promised, pay your debt,
Maids, and here strew violets.

When this voluptuary was in bed with fever he called on music to dispel his pain:

     Then make me weep
     My pains asleep;
And give me such reposes
     That I, poor I,
     May think thereby
     I live and die
         'Mongst roses.

Everywhere his simplicity is seasoned with a strangeness—Mad Maid's Song, Grace for a Child, The Night-piece, to Julia. He is inspired by the Anthology and by Jonson, who had made fine translations from it; but while Jonson took extreme pains, Herrick seems to sing spontaneously. He can be reminiscent, recalling Marlowe's pastoral or Shakespeare's fairies or Herbert's pious verses, but whatever he takes is transposed and lightened. He reverses La Fontaine's otherwise just verdict on the English, that they 'think profoundly.' Herrick thinks, feels, and writes lightly. He touches nothing; he barely skims its surface. For he was without moral sense. He knew only delicate enjoyment, neither satiety, passion, nor remorse. He is the most epicurean of the moderns. His life, in the time of the Civil War and so near to Milton, seems a defiance. His metres, fluid as water, and his delicately varied stanzas, are surprising in their proximity to regularized verse, to the couplet which Waller and Denham fixed and stabilized and which increasingly became the vehicle of didacticism. Herrick, born in the Elizabethan age, was in the succeeding period the perfect artist in slight verse, while Milton, with his sovereign art, reigned over grander poetry.

5. The Anglican and Catholic Poets. Herrick, a pagan clergyman, represents no more than the lax Anglicanism of his time. The renewal of faith within the Catholic Church, provoked by the Protestant attacks, had its counterpart in England in the revived fervour of the Anglican clergy whom the Presbyterians attacked. We have seen the effects of their stimulated zeal in the prose of preachers and controversialists, and it also left its mark on poetry. Hooker had exemplified Anglican weightiness and the Anglican grasp of political principles. In the seventeenth century the ardour of many Anglicans reached even to mysticism. The pious fervour shown under James I by the brothers Phineas and Giles Fletcher became widespread under Charles I and during the persecutions of the Commonwealth. Reason became the ally, sometimes the subordinate, of imagination and sentiment. Fancy and a certain singularity were added to them, partly in consequence of the changed literary models. Poets were inspired no longer by Spenser but by Donne, whose influence was even more marked on the pious poets than on the Cavaliers.

This double tendency perceptible under Charles I and during Laud's tenure of power, on the one hand towards the restoration of the religious practices, the material accompaniments and the very millinery of Catholic ritual, and on the other towards a renewal of monastic asceticism, was combined with a taste for the metaphysical element in the sometimes truly beautiful and always curious writings of such as Herbert, Crashaw, Vaughan, and Traherne.

(....)



Notes (renumbered)

1. E. Gosse, Seventeenth Century Studies (1883); B. Wendell, The Seventeenth Century in English Literature (1904).
    Collections of verse: Cavalier and Courtier Lyrists (Canterbury Poets, 1891); G. Saintsbury, Seventeenth Century Lyrists (undated); J. H. Massingham, A Treasury of Seventeenth Century English Verse (1919; H. J. C. Grierson,
Metaphysical Lyrics and Poems of the Seventeenth Century (1921).

2. Minor Poets of the Caroline Period, ed. Saintsbury, 3 vols. (Clarendon Press, 1906-21).

3. Poems, Plays, and Other Remains of Sir John Suckling, ed. Hazlitt, 2 vols. (1892); The Works of Sir John Suckling, ed. Thompson (1910).

4. Lucasta, ed. Hazlitt (2nd ed. 1897).

5. Edited by Saintsbury in Minor Poets of the Caroline Period, vol. iii; The Poems of John Cleveland, ed. Berdan (1911).

6. His poems were published by Collins in 1881, and were edited by G. C. Moore Smith for the Clarendon Press (Poems English and Latin) in 1923.
    See Rémusat, Herbert de Cherbury (Paris, 1874).

7. Hesperides, ed. by Pollard, with introduction by Swinburne, in the Muses' Library, 2 vols. (1891); by Saintsbury in the Aldine Poets Series, 2 vols. (1893); by Rhys in Everyman's Library (1908); by F. W. Moorman (1921).
    See F. W. Moorman, Robert Herrick, a Biographical and Critical Study (1910); F. Delattre, Contribution à l'étude de la poésie anglaise au XVIIe siècle (1910; the capital work on Herrick).





The Caroline Poets 1: The Cavalier poets


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Noh-Kabuki

Una exposición de estampas de teatro japonés que vemos en el Paraninfo de la Universidad de Zaragoza:


noh-kabuki

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Poems by Edmund Waller













Caroline Poetry: The Cavalier Poets





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Bibliografía sobre Sigmund Freud



Bibliografía de y sobre Sigmund Freud—en relación a la crítica literaria mayormente:


Freud.S by katiesingh





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Domingo 19 de octubre de 2014

Barco incendiado en Beluso


Barco incendiado en Beluso



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En el principio era el mito


Aquí nos citan, en rumano:


Mamulea, Mona. "La început a fost povestea: Despre functia cognitiva a naratiunii în mitologie si stiinta." In Simpozionul National 'Constantin Noica': Editia a IV-a: "La Început era cuvântul." ["In the Beginning Was the Word"]. Bucarest: Editura Academiai Romane, 2013. 35-41.

https://es.scribd.com/doc/175934358/


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Oyendo a la Ronda de Boltaña en Biescas




Aquí en la Feria de Otoño, como los almendrones.  Quién me iba a decir a mí...




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En el Cognition & the Arts eJournal




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El barrio de la casa de las mansardas azules



El barrio de la casa de las mansardas azules



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Sábado 18 de octubre de 2014

Defensa de mi tesis sobre Beckett




Aquí puede verse:

_____. "Defensa de la Tesis Doctoral 'El relato en la trilogía de Beckett Molloy, Malone Dies, The Unnamable." Universidad de Zaragoza, 1988. Online edition (2004):
http://www.unizar.es/departamentos/filologia_inglesa/garciala/publicaciones/defensa.html

_____. "Defensa de la Tesis Doctoral 'El relato en la trilogía de Beckett Molloy, Malone Dies, The Unnamable." Academia.edu 25 March 2014.*
https://www.academia.edu/6536400/

_____. "Defensa de la Tesis Doctoral 'El relato en la trilogía de Beckett Molloy, Malone Dies, The Unnamable." ResearchGate 18 Oct. 2014.
https://www.researchgate.net/publication/267029609
DOI: 10.13140/2.1.4826.3680


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Bibliografía sobre el realismo

—Una de ellas, sobre estética realista, procedente de mi Bibliografía de teoría literaria, crítica y filología. También tengo otras sobre novela realista, etc.

Realism by marcosclopes



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Aguantando hasta última hora


Aguantando hasta última hora

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Viernes 17 de octubre de 2014


THE STORY IN ALL STORIES


Doy por finalizado este sitio web, THE STORY IN ALL STORIES: Cosmology, Evolution, (Big) History and Representation, ante la dificultad creciente de manejo de la plataforma Storify. Continuaré tratando estas cuestiones en las secciones correspondientes de mi blog, en Blogger mientras aguante—que a fin de cuentas viene siendo el sistema de publicación en red más fiable y flexible para propósitos varios.

Lo mismo voy a hacer con la otra historia que abrí recientemente en Storify, El Gran Teatro del Mundo, dedicada a la teatralidad de la vida y del teatro, y apenas empezada. Pero una cosa es editar varios blogs, que a eso sí que llego—otra es pasarme el día viendo la bolita de colores girar. La vida entera es demasiado corta para eso, así que sintiéndolo mucho dejo el sitio por imposible, y nos veremos aquí con los medios de a bordo.

Sigo en cambio editando de momento este blog temático que abrí en ScoopIt, Retrospection: esta otra plataforma no me da problemas, pero sin previo pago sólo me deja llevar un blog. Así que seguimos entretanto en Blogger, y que nos dure.

Go Go Go Goooogle

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Satan rewritten as the Good Guy






There's a complete video course on John Milton at Yale, by John Rogers, at Yale Courses. This is the last video, on Samson Agonistes.

https://www.youtube.com/playlist?list=PL4DF1CBD715CEC2F8






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II Seminario HERAF




Ya ha salido el programa del II seminario del Grupo de investigación sobre Hermenéutica y Antropología Fenomenológica (HERAF). Este segundo seminario versa sobre "Corporalidad, Temporalidad y Espacialidad", y yo hablaré sobre la complejidad del tiempo humano en G. H. Mead.

Acaba de publicarse un libro basado en el primer seminario terminado este año, Individuo y espacio público, editado por Juan Velázquez (Berlín: Logos Verlag, 2014).





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Estos lloran, y después maman















Individuo y espacio público

Aparece en Alemania, o aquí, este libro del grupo HERAF, un volumen colectivo con un capítulo mío,

"4. El dividuo social: roles, marcos interaccionales y (nuevos) medios." En Individuo y espacio público. Ed. Juan Velázquez.  Berlín: Logos Verlag, 2014. 99-116.

http://www.logos-verlag.de/cgi-bin/buch/isbn/3730



Individuo y espacio público


En la web de HERAF




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Chicas en el agua

Chicas en el agua


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La narración en el teatro contemporáneo

Me citan en esta tesis de la Universidad Montfort sobre narración en el teatro contemporáneo:

Swettenham, Neal. The Role and Status of Narrative in Contemporary Theatre. Ph.D. diss., De Montfort U, 2003. En red en
https://www.dora.dmu.ac.uk/bitstream/handle/2086/4317/271923.pdf


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Los mamarrachos traidores de Barcelona—y los de Madrit



Y en la tertulia, Rajoy no reacciona.



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York Mystery Plays





—and John Heywood's Play of the Weather.

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Miércoles 15 de octubre de 2014

Bea-ch

Bea-ch

Estamos aquí, según se mire, a las alturas de finales de julio.

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The Notion of Semiosphere



Introduction to Semiosphere - 2010 from Dimitar Trendafilov



Otra manera de decirlo, quizá, es que la semiosfera es la realidad en la que vivimos, entendida como realidad virtual—realidad aumentada o semióticamente constituida. Junto con todos los diversos códigos semióticos y estrategias de interpretación que nos permiten navegar por ella.

Semiosphere of Narratology


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Entrando en la Trilogía

Estoy subiendo a la SSRN, por capítulos, el libro Samuel Beckett y la narración reflexiva. Es el primero que publiqué, en 1992, basado en la tesis doctoral de 1988. Aquí va de momento el primer tercio, y lo demás irá siguiendo.

Introducción a 'Samuel Beckett y la Narración Reflexiva':  http://ssrn.com/abstract=2505110

1. Conceptos básicos de narratología: http://ssrn.com/abstract=2422327

2. El status narrativo en la Trilogía: http://ssrn.com/abstract=2507744

3. Entrando en la Trilogía: la narración en 'Molloy': http://ssrn.com/abstract=2506925

4. Movimientos narrativos: http://ssrn.com/abstract=2510225




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Bajo los muchos puentes



Bajo los muchos puentes

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El gobierno catalán renuncia al referéndum

—y anuncia un butifarréndum. Aquí la tertulia de Federico:







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Martes 14 de octubre de 2014

Los caminos de la lengua

Los caminos de la lengua, que ahora localizo en Google Books, es un volumen de homenaje a Enrique Alcaraz, publicado en 2010.  Tengo en él un artículo en la página 1053, "Narratología del sujeto y su trayectoria vital." En esta vista previa de Google no aparece, pero aquí está también en ResearchGate.  El poema de Borges del que hablo allí lo cantaba María José Hernández en "Danzón Porteño", así.








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Lunes 13 de octubre de 2014

History of Science






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Don't Think Twice It's All Right


Hace seis años ya iba yo colgando canciones en YouTube... y hace siete también, sólo que las más viejas las borré por error. ¡Eh, que hay que tener en cuenta que por entonces YouTube apenas existía! Igual ésta la debería haber borrado por error, pero ahí va, o ahí vuelve. Es también de las primeras canciones de Bob Dylan que me gustaron—The Freewheelin' Bob Dylan es el primer disco que me compré, de hecho, allá por mediados de los setenta. Y aquí seguimos, diciendo siempre adiós, aunque sea siempre mucho decir.





No es de mis canciones más vistas ni más visitás..... y esas tampoco son muy vistas, aunque estén muy vistas.


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El autor implícito y el narrador no fiable

nofiable-libre.pdf by martinadan




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Una isla


Una isla

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La novela histórica - Parámetros para su definición

novelah-libre.pdf by martinadan





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Domingo 12 de octubre de 2014

Robert Wilson / Rufus Wainwright / Shakespeare's Sonnets


Aquí la ópera en que colaboran Robert Wilson y Rufus Wainwright, basada en los sonetos de Shakespeare e interpretada por el Berliner Ensemble:







—Y aquí un diálogo con ocasión de su presentación en Brooklyn:






Trátenla con cuidado que es arte de vanguardia.


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CFP: Memory and Theatre

CALL FOR PAPERS (via PsyArt)



Call for Papers
Memory and Theatre: performing the Archive
An International Conference
TANGIER/TETOUAN, MOROCCO 2, 3, 4, 5 MAY 2015

            Current performance practice and research are caught in an ambiguous compromise comparable to what Jacques Derrida has evocatively termed ‘archive fever’. Archival revivals — from the digitization of performance, to re-enactments of past traumas and art works, to the staging of interventions into existing archives — place the discourses of preservation and intervention in creative tension, inscribing an anxiety towards ephemerality while simultaneously critiquing conservation. Theatre’s liveness and transience are often accompanied by the urgent need for documentation before they enter the mnemonic field of embodied memory. Still, archived documentations of live performance shall never capture the traces of lived yet ephemeral experience.
            The questions which arise in the context of our reflections bring to our attention the complexities between two different logics: performance and archive, disappearance and documentation. The archive logic explored by Derrida’s Archive Fever invokes a dialectical oscillation between commencement and commandment; it combines the practice of storing and restoring. Unlike museums’ tasks of “archiving, categorizing and indexing”, performance “challenges categorization, which was originally its point […] It’s not always an easy fit, but maybe what’s interesting is the way in which the past is reframed in the present.”[1] Following the thread of thought of Rebecca Schneider, reenactments challenge the existing archives and their logic in organizing and reflecting memory and history.
            The term ‘reenactment’ is charged with repetition and repercussion. It is the “practice of replaying or re-doing a precedent event, artwork, or art […] a critical mode of remaining, as well as a mode of remaining critical.” (Schneider, 2-7) It is both an act of documentation as well as a challenge to disappearance. The cultural urge to document the ‘Arab Spring’ — and the ‘years of lead’ — explains a great deal about the desire for reenacting the memory of the past/future. Arabic reenactments of the Arab Spring render the pastness of the past “both palpable and a very present matter.” (Schneider, 30)
            Inspired from our previous discussions we propose a double-edged dialogue, which is artist-driven and research-oriented. The conference also seeks to tease out some of the complexities related to the body as memory. It is a call for more critical attention to archival revivals and re-enactments of memories of the past that have become so visible also in Arabo-Islamic contexts. We invite scholars from around the world to join the debate and offer elements of reflection on the various problematics related to the following proposed panels:
·      Archival revivals between preservation and intervention
·      Sites of memory “a will to remember” (Pierre Nora): the interplay between monumentalization, performance and memory politics.
·      Body as memory and site of agency: staging a body of memories to reveal memories of the body
·      Performing the memory of the past: memory and theatre in the countries of the Arab Spring
·      Performing the archive of the Moroccan ‘years of lead’
Keynote Speakers: (to be announced later)
Memory and Theatre: presentations by eminent practitioners and scholars// Round tables with guest speakers from the field of performance and academy// Performances// Installations// Workshops (to be announced later)…
The conference is part of the International Festival “Performing Tangier” now in its 11th edition. The theme was carefully chosen as a follow up of our previous international conferences, with the expectation that it would be sharp enough to elicit diverse intellectual contributions from distinguished experts and colleagues from many parts of the world and in many areas of research. Besides academic panel sessions, the conference program will be nourished by a rich artistic public agenda with workshops, exhibitions, book launch, and diverse performances and artistic interventions relevant to ‘Memory and Theatre’, plus receptions and gala dinners to be announced after opening.
Proposals: The organising committee welcomes abstracts and proposals strictly on the above issues. A 250-WORD abstract, along with a ONE PARAGRAPH curriculum vitae, should be submitted electronically (preferably in Word or Rich Text format) by 31 January 2015 to the scientific committee care of Professor Khalid Amine (Conference Convener). Acceptance, however, unfortunately does not include any financial support - participants are responsible for their own funding (i.e. securing grants, etc.) to pay for travel and lodging expenses. Selected conference papers will be published in a special volume upon the approval of the scientific committee. Submitters of accepted proposals will be notified within two weeks of the above deadline and all decisions of the scientific committee are final.
Simultaneous Interpreting in all Panel Sessions

Important dates & Deadlines:
khamine55@gmail.com / jaouadradouani@gmail.com
For more information on the conference please contact Prof. Khalid Amine: Khamine55@gmail.com
New Scholars’ Panel: The conference is also a home for graduate students and new scholars from different parts of the world. The establishment of an emerging Scholars’ panel invites new voices to join the debate (provided that their contributions must be relevant to the theme of this year). Up to FIVE participants will be selected for this panel, and each panelist will have ten to fifteen minutes to deliver her/his paper. Graduate students whose papers are accepted will receive free conference registration, free admission to conference luncheon, and a one-year membership in ICPS. Who is eligible? Scholars who meet the definition of ‘new scholars’ are postgraduate students writing up their PhD dissertation or post-doctoral researchers whose PhDs have been completed less than three years.
Registration Fee: 100 Euros payable in advance via Bank transfer (le centre international des études de spectacle, Banque Populaire, Tanger Ain Ktiout: 164 640 2121490077510009 61) or upon arrival. Registration includes 2 Gala Receptions, conference pack, tickets for any public concerts or site-specific performances within the conference’s public agenda, free guided tour of the Kasbah Museum, and one of the books of published proceedings from previous conferences. Since the conference is again pulling a very international public, registered attendees, participants from past conferences, and friends of ICPS will be most welcome to attend too. Women and underrepresented minorities are especially encouraged to apply.  ICPS is an Affirmative Acting/ Equal Opportunity Organization.
Conference Location: Faculty of Letters at Abdelmalek Essaâdi University (Tétouan), the Kasbah Museum (Tangier), Sahat El Kasbah, Chellah Hotel…

The Scientific Advisory Board (2015)
·      Erika Fischer-Lichte (Head of DFG Collaborative Research Centre "Performing Cultures" and Director of BMBF International Research Centre "Interweaving Cultures in Performance", Berlin, Germany
·      Christel Weiler, Professor at Institute for theatre science of the Freie Universität Berlin, Germany
·      Maria Shevtsova (Chair Professor of Drama and Theatre Arts, Co-editor of New Theatre Quarterly (Cambridge University Press), Director of Sociology of Theatre and Performance Research Group, University of London)
·      Marvin Carlson (The Sidney E. Cohn Professor of Theatre, Comparative Literature and Middle Eastern Studies at the Graduate Center of the City University of New York)
·      George F. Roberson, Adjunct Assistant Professor, Geography Human Dimensions Research Cluster, University of Massachusetts-Amherst, USA
·      Richard Gough, Senior Research Fellow and Artistic Director of the Centre for Performance Research, Department of Theatre, Film and Television Studies, Aberystwyth University, Aberystwyth, Wales
·      Zohra Makach (Professor of Theatre at Ibn Zohr University of Agadir. She holds a PhD degree in Theatre Studies from Paris III)
·      Omar Fertat (Professor of Theater in the Arab World, Department of Oriental Studies and the Far East and the Department of Performing Arts, Université Michel de Montaigne, Bordeaux 3)
·      Mohammed Samir Al-Khatib  (Professor, Ain Shams University, Egypt)
Conference Supporting Committee:
·    Mohammed Saad Zemmouri (Dean of the Faculty of Humanities at AEU)
·      Mohammed Kaouti (Independent Playwright, Morocco)
·      Carol Malt (Museum Curator, Adjunct Professor at the University of West Florida, and Ex-Director of the Art & Culture Center of Hollywood, USA)
·      Marjorie Kanter  (Author of short literary and poem-like pieces, USA)
·      Said Karimi (Professor, Faculty of Errachidiya, Moulay Ismail University)
·      Noureddine Chemlali (Director, King Fahd School of Translation)
·      Mustapha El-Ghachi (Vice Dean, Faculty of Humanites, AEU, Tetouan)
·      Abderrazzak Essrhir (Chair of the English Department at AEU)
·      Mohamed Bahjaji (Playwright and journalist, Morocco)
·      Abdelmajid El Hawass (Artist, ISADAK, Morocco)
·      Redouan El Ayadi (Professor, Abdelmalek Essaadi University)
·      Mohammed Taqqal (Regional Director of the Miniustry of Culture)
Conference Convener:
Khalid Amine (President of ICPS)
khamine55@gmail.com
Conference Co-Convener:
Younes El-Assad Ryani (Professor of Cultural Studies, Abdelmalek Essaadi University)
ra_younes@hotmail.com
Conference Assistants:
Jaouad Radouani (Theatre Scholar, member of ICPS)
jaouadradouani@gmail.com
Badreddine Charab (Administrator, ICPS)    charab09@yahoo.fr
Abdelaziz Khalili (General Secretary, ICPS)    khaliliaziz@yahoo.fr
Conference Organizing Committee:
(ICPS members & volunteers/ to be announced later)
Contact information:
Khalid Amine, Conference Convener, Residence Al Andalous  N° 11, Rue  Birr Anzaran, Tanger 90 010, Maroc Adresse: E-mail: khamine55@gmail.com, Tél/Fax: (212) 539330466, Portable: 0664596791/ Web: www.furja.ma / Bank details of ICPS, Centre International des Etudes de Spectacles, Banque populaire, Agence N° 36, Tanger Ain Ktiouet, Relevé d’identité bancaire: 164 640 212149007751000961.                                           © ICPS


[1] Carol Kino, in Rebecca Schneider, Performing Remains: Art and war in Times of Theatrical Reenactment (New York: Routledge, 2011), p.5.


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A Neanderthal Perspective on Human Origins




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L'instant d'amour (3)





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Bañadoras


Bañadoras


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L'Autre Finistère







 
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Notas sobre Verdad y método


Mis notas sobre Verdad y Método: Fundamentos de una hermenéutica filosófica, de Hans-Georg Gadamer, tomadas varios años antes de éste que cumpliese los cien años. Re-scribdizadas ahora.


Notas sobre verdad y método de gadamer.pdf by CSGSQ





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Sábado 11 de octubre de 2014

Zazie, Rue de la Paix




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E. O. Wilson on Consilience in Predicting the Future





una publicación de Narratología evolucionista - Evolutionary Narratology.


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Rocas debajo de casa

Rocas debajo de casa

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Manchester et Liverpool (2)






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Viernes 10 de octubre de 2014

Acción, Relato, Discurso 2.1


una publicación de Narratología evolucionista - Evolutionary Narratology.


______


También aparece este capítulo recientemente en Academia, y en varias revistas de la Social Science Research Network.



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Casa-velero

Casa-velero


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Garcialandia Hoy




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L'Aigle noir (2)





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Dos voladores


Dos voladores



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Jueves 9 de octubre de 2014

Telling stories to ourselves

A contribution to a thread on "story" and "narrative" by William Fear et al., on the Narrative-L:

One can also "see a story" in a given situation, the moment one interprets it as having a narrative structure, as being tellable (in whatever form). Potential communication, the potential articulation of a story is "always already" narrative, because we are inherently communicative and social beings, Our ability to tell narratives, and even our ability to "see" narratives in situations or states of affairs has much to do with this sociality which is internalized, we are always in dialogue with a potential receiver, to make the story clear to him or her, even if that receiver is sometimes just another part of our brain, a role we play in self- interaction.


W.J. fear answers:

Interesting and I'll try if you can provide evidence to support your statement '...other living beings are notoriously bad at communicating
narrative patterns...'  WHat is the basis of this statement and what is the evidence for this?  All the evidence I am aware of from work with Bees up to what we falsely refer to as 'higher mammals' suggests that they are expert in communicating narrative patterns through a wide variety of means - indeed, in many cases probably through more means than humans.  So I'd be interested to know the basis of you statement and interested to see the challenges it presents to my understanding and the evidence I am aware of.

I don't want to go into huge explanations here - actually I do but the list is not really the place so I'll see if I can provide a simple example.

An acorn falls to the ground.  It germinates (inciting incident). It has a branch broken, it survives storms and droughts (rising conflict).  It becomes an adult tree (middle).  During this time nothing much happens.  It becomes older.  More droughts.  the landscape changes (conflict continues to rise).   A big storm.  (Climax).  Tree is blown over. It struggles to survive but in the end loses that struggle (resolution of events).  it decays.  little trees grow form the acorns (denouement).

The pattern is there.  There is purpose without human intervention etc etc.

Importantly, the objects leave traces that show a pattern regardless of the existence of humans and the constructs imposed upon that pattern of marks.

If someone comes along and cuts across the grain of the fallen tree they can read the sequence of events left as traces. etc. etc.

If the tree comes to an end 'before its time' so to speak then that is a case of foreclosure, which is a naturally occurring risk.

While we cannot be certain of the natural life span of all objects, and especially not of objects we assume to be non-sentient, we know that all objects have life spans and some are distinctive.

And so on and so forth but that drifts into discussion from the example and becomes extended.

—And I reply:

William, in your acorn example, most of the narrativity comes from the implied observer's viewpoint—which is ourselves, not a tree. There are natural processes involved, we can identify sequences of events, etc., but they become a story (or indeed "events" in one) from the moment there is a human mind involved. Lower minds may process simpler patterns of relationships—e.g. a bee knows nothing about the growth of trees—but at a very elementary level. Bees are indeed an interesting case, being able to convey information about objects not immediately present, but by no stretch of the term can they be said to be "narrating" their experience to other bees. Indeed the flowers etc. they refer to are in a way bodily present since the bees only indicate a direction and distance. Though I agree we need to know more about animal communication, the onus of the proof rests with you, who seem to assume animals tell stories to one another—not with me!  I think it is usually agreed that animals have feelings, emotions, intentions, etc., which are ingredients for the emergence of story, but what they lack is a sign system which allows them to articulate stories. They do have sign systems which allow them to do other things, send signals, etc.—but they can't refer to the past, or to the future, in their communications. At least I know of no experiment in animal psychology which shows an animal telling a story to another animal, or to a human. Far from being common knowledge and pervasive, what you seem to assume about animal communication is not in the least part of the consensus—at least among students of communication!


On another example of "natural narrative"—the growth rings in a tree as "a record" of a previous process:

There is a potential for story in the tree rings, but the telltale word is "record". They are not a record of anything unless they are interpreted by someone as being a record. Therefore the implied (human) observer keeps creeping in... such stories without humans are actually elements within a fully humanized (i.e. semiotized) world, which is at the very basis of their possibility of meaning.


Noam Scheindlin adds a significant contribution:

I suppose that the question is less that of the proverbial tree falling in the forest, but rather, that what constitutes a story can only be construed through the act of observation, and of delimiting the frame.  We could think of a story in the sense that Heidegger traces the etymology of the word "thing" [Ding, Res, Causa] as that which concerns humans in some respect, that which is talked about.  So, what happens (the tree creating its rings) only becomes something to talk about when a relation is perceived, when there is someone to care.  So, I would say, there's no story without someone to tell it, some narrative agency.  The story, then, is the story of this relation, of this why it is important to tell.

Narrative, and the willful act of narration, then, would be the act of telling the story.  This, it seems, is inherent in the various distinctions that have been made (though all with somewhat different emphasis) between fabula and syuzhet; story and discourse (Chatman); or the threefold distinctions that Genette and Bal make from out of this, etc.

Narration, then, would take its position as a perspective on the story, indeed one possibility of telling the story (Queneu's Exercises in Style is an excellent depiction of this).  This, it seems to me would be the case even when the narrative produces the story in the telling.  From the perspective of the narrative, the narration remains anterior/exterior to the story. 

So when someone asks you to "tell me the story of" x, rather than, "tell me the narrative of" x  (the question that Matthew Clark brought up), it is because the story is understood to be already in existence.  What one is being asked to do then is to narrate (a perspective on) a story.

This doesn't seem to me to change when the observer becomes the object of his or her observations, turning his or her acts of observations into objects: the frame between teller and told, perceiver and perceived, remains intact, as the locus of observation shifts.  One could think of homodiegetic narration as the realm where this issue is brought to the forefront, but also why such structures as Lejeune's autobiographical pact come into play.

I associated narrative with "possibility" then, because, ultimately, one can never step out of the frame of one's own story in order to tell it, and when we do, in order to try to tell it anyway, what it yields, is a possible world (see the work of Thomas Pavel and M-L. Ryan).  Thus, fiction.

De una bellota crece un arbolito




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Miércoles 8 de octubre de 2014

Altos de Loira

Altos de Loira



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trasmoz
Leave Not a Rack Behind

Un pasaje de Shakespeare que hemos visto hoy en clase, de La Tempestad.  Donde habla Prospero del fin del universo, que desaparecerá igual que desaparece una obra de la escena—y no quedará ni el recuerdo de nada de lo que fue—de lo que es y será. Incluidos nosotros, los que heredamos el mundo.

Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.

Es también un pasaje interesante para discutir en relación con la naturaleza mental de la realidad—la realidad como realidad mental, un sistema retroalimentado de percepción, que necesita por tanto de un espectador, y no siempre lo tendrá, como un libro que no se lee.

Nought but Shows — Music for a While

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The Beginning and the End of the Universe





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Homenajes a Canellas, a Ynduráin, a Frutos y a Beltrán

Indices de algunos de los volúmenes de homenaje que publicó la Facultad de Filosofía y Letras de la Universidad de Zaragoza en la generación que me precedió allí—dedicados a los doctores Ángel Canellas, Francisco Ynduráin, Eugenio Frutos y Antonio Beltrán. Aún no ha dedicado la Facultad ningún homenaje a catedráticos de nuestro departamento—aunque yo mismo edité en tiempos un volumen de la Miscelánea en homenaje a Carmen Olivares.

Homenaje a Ángel Canellas:

Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Foreword by A. Beltrán. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969.*

Abbad, Francisco. "Alenza y Goya." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 7-11.* (Leonardo Alenza)
Aguelo Palacios, Pascual, and Manuel Antonio Martín Bueno. "Sobre algunos vasos cerámicos procedentes de Botorrita." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 13-18.*
Andréu Ocáriz, Juan José. "La esclavitud negra en América." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 19-39.*
Ansón, María del Carmen. "Entrada de un virrey de Aragón en Zaragoza [1601]." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 41-50.*
Armillas, José Antonio. "Viar y Jáudenes." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 51-76.* (Diplomats in USA, 1789-96).
Aubá Estremera, Natividad. "Epístola de las miujeres de Tamarite de Litera." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 77-82.* (Under Philip IV).
Barandiarán, Ignacio. "Vaso campaniforme en la cueva de los Casares." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 83-88.*
Beltrán Lloris, Miguel. "Notas sobre materiales arqueológicos en Botorrita." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 89-95.*
Beltrán Martínez, Antonio. "Las figuras naturalistas del prado del Azobue, en Aldeaquemada." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 97-99.*
Bielza de Ory, Vicente. "El modelado kárstico de la sierra de Urbasa." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 101-19, plus map.* (Navarre).
Blasco, María Concepción. "Las fusaiolas del del yacimiento ibérico de Botorrita." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 121-24.*
Blecua, José Manuel. "Versos nuevos de Fernández de Heredia." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 125-47.* (Juan Fernández de Heredia, 16th c. poet).
Bobes, María del Carmen. "Los cambios semánticos." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 149-76.*
Borobio Enciso, María Pilar. "Estudio sobre la demografía de Cuenca: 1960-65." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 177-83.*
Borrás Gualis, Gonzalo Máximo. "Pintores aragoneses del siglo XV." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 185-99.*
Bosch Vilá, Jacinto. "Una adición a la genalogía de la familia beréber de los Banu Razin." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 201-8. (Albarracín).*
Bosque Maurel, Joaquín. "Minería y agricultural tradicional en el Marquesado del Zenete." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 209-26. (Granada).*
Cañada Sauras, Javier A. "La iglesia parroquial de Cretas." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 227-36.* (Cretas, Teruel).
Carnicer, Ramón. "La Frenología en Zaragoza." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 237-48.*
Carreras, Juan José. "Una biografía de Marx." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 249-58.*
Corona, Carlos E. "El poder real y los motines de 1766." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 259-77.*
Falcón Pérez, María Isabel. "Ordenanzas municipales de Laguna de Cameros." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 279-303.*
Fatás Cabeza, Guillermo. "Monedas griegas en el Museo Provincial de Zaragoza." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 305-9.*
Fernández Cuervo, Carmen. "Las joyas de adorno personal en inventarios zaragozanos del siglo XVI." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 311-27.*
Fernández Serrano, Francisco. "Un poeta exspañol del siglo XVI: Hernando Afrodiseo de Aragón." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 329-34.*
Fernández Teno, Nazareth. "Algunas noticias de un inventario real." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 335-53.*  (Juan II, c. 1470).
Ferrer Benimeli, José Antonio. "El Conde de Aranda, primer Secretario de Estado." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 355-78.*
Ferrer Regales, Manuel and Elena Uriz Echalecu. "Una experiencia de metodología activa en la enseñanza universitaria." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 379-90.*
Floriano, Antonio C. "Tres documentos del infante don Alfonso, titulado Alfonso XII (1465-1468)." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 391-410.*
Floristán, Alfredo. "La población de Navarra en el quinquenio 1960-1965." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 411-20.
Fribourg, Jeanine. "Sur l'application des méthodes ethnologiques dans l'étude des sociétés modernes." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 421-33.*
Frutos Cortés, Eugenio. "Estructura unitaria de la 'naturaleza humana'." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 435-42.*
Frutos Mejías, Luisa María. "Los cultivos forrajeros en el Ebro medio." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 443-57 plus map.*
Galindo Romeo, Pascual. "Inventarios y libros (1340-1540). Síntesis bibliográfica." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 459-502.*
García Manrique, E. "Sobre el turismo español." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 503-30.*
Gay Gacén, Jerónimo. "Los depósitos cuaternarios en la confluencia del Esera-Isábena." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 531-40, plus map.*
Gil, Ildefonso Manuel. "Luis López Allué, escritor aragonés." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 541-52.*
Gómez de Valenzuela, Manuel. "Tres ermitas románicas pirenaicas." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 553-62.*
González Antón, Luis. "Aportación al estudio de la minoría de Alfonso XI de Castilla." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 563-84.*
Higueras Arnal, Antonio. "La agricultura de regadío en España." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 585-630.*
Jiménez Jiménez, María Rosa. "Sobre el gremio de curtidores en Barcelona." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 631-40.*
Lacarra, José María. "En torno a los orígenes del reino de Pamplona." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 641-70.*
Ledesma Rubio, María Luisa. "La Hacienda Municipal de Zaragoza en el año 1442." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 671-87.*
López González, Juan-Jaime. "Regocijos públicos en la Zaragoza de 1782 a 1792." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 689-93.*
MaDermott, Dorieann. "Smelfungus and Yorick." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 707-19.*
Martín Duque, Angel J. "Concesión de la feria de Graus por Pedro II de Aragón (1201)." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 721-24.*
Martínez Cordón, Ana María. "Los sondeos petrolíferos en España." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 725-38.*
Mateu Ibars, María Dolores. "El 'Repertori' de San Vicente de la Roqueta, de 1763." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 739-44.*
Mateu y Llopis, Felipe. "Sello y documentos del arcipreste de Morella Domingo Bell Tall, de 1335." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 745-50.*
Mensua, Salvador. "El modelado de La Muela de Zaragoza." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 751-62.*
Miralbés Bedera, María Rosario, and María Pilar de Torres Luna. "Sobre la función comercial de Santiago y su área de influencia." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 763-71, plus map and photographs.* (Santiago de Compostela).
Monge, Felix. "Sobre la 'lengua aragonesa'." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 771-83.*
Moreno del Rincón, Encarnación B. "Iglesia parroquial de San Miguel, Ibdes." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 785-93.*
Moya Valgañón, José Gabriel. "Sobre Bernal de Forment y Natuera Borgoñón." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 795-804, plus illustrations.* (Artists, 16th c.).
Olaechea, Rafael. "La relación 'amistosa' entre F. A. de Lorenzana y J. N. de Azara." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 805-50.*
Oliván Baile, Franisco. "Una crónica desconocida de Fernando de Antequera." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 851-74.* (Fernando I, Crowned in Zaragoza, 1414).
Olivares, Carmen. "El lenguaje hipnótico de la 'gran sociedad'." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 875-85.*
Pedraza Prades, María Dolores. "Un sermón especial en un auto de fe zaragozano." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 887-91.* (1486).
Requejo Díaz de Espada, Elena. "Un retablo de la Seo de Zaragoza." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 893-902.*
Sánchez Sanz, María del Pilar. "Un retablo de la iglesia de Luceni." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 903-7.*
San Vicente, Ángel. "Sobre algunos calígrafos del Bajo Renacimiento en Zaragoza." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 909-51, plus illustrations.*
Soláns Castro, Manuela. "Notas sobre desarrollo urbano de Monzón." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 953-62.*
Tolosa, María Teresa. "El obispado de Nueva Orleáns y su clero." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 963-70.*
Torralba Soriano, Federico. "Tres versiones de una iconografía." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 971-73, plus illustrations.* (Christ tied to the column).
Ubieto Arteta, Antonio. "La 'Tercera Crónica General' y Zurita." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 975-77.*
Valenzuela Fuertes, María del Carmen. "La explotación del territorio ansotano en el pasado." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 979-95, plus map.*
Ynduráin, Francisco. "Sobre la función fática del lenguaje." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 997-1001.*
Yrache Esteban, Luis. "Sobre Cien años de soledad y el lenguaje novelesco." In Suma de Estudios en homenaje al Ilustrísimo Doctor Ángel Canellas López. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1969. 1003-8.*





Homenaje a Francisco Yndurain


Aguirre, José María. "El mundo 'tetradimensional absurdo' de Miguel Labordeta." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 9-22.*
Alvar, Manuel, and Fernando de la Granja. "Apostillas lingüísticas al 'Fecho de Buluqiya'." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 23-40.*
Beltrán, Antonio. "Notas sobre literatura popular en Aragón." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 41-46.*
Blecua, José Manuel. "Las Rimas de don Tomás Sivori, caballero genovés." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 47-64.*
Buesa Oliver, Tomás. "Léxico vasco relativo al tiempo en la Navarra Nordoriental (Partido de Aóiz)." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 65-106.*
Canellas López, Ángel. "Un documento soriano romanceado: Infeudación del castillo de Alcozar hacia 1156." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 107-29.*
Frutos, Eugenio. "Pensamiento, expresión y comunicación." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 129-36.*
Gil, Ildefonso-Manuel. "Estructuras concéntricas en las Rimas de Gustavo Adolfo Bécquer." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 137-46.*
Giménez Resano, Gaudioso. "Lenguaje y lenguaje poético (a propósito de la oda tercera 'A Felipe Ruiz' de Fray Luis de León." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 147-62.*
Guardiola, Conrado. "El Abencerraje y la Hermosa Jarifa: Estudio de su estructura." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 163-74.*
Lacarra, José María. "Un nuevo texto foral navarro-aragonés." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 175-200.*
Lázaro Carreter, Fernando. "Función poética y verso libre." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 201-16.*
Mainer, José-Carlos. "Aliadofilia y juegos florales." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 217-28.*
Monge, Félix. "Sufijos españoles para la designación de 'golpe'." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 229-48.*
Pérez Gállego, Cándido. "El arranque de A Farewell to Arms de Hemingway." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 249-48.*
Pinillos, José Luis. "Tipos de personalidad y estilos connotativos." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 259-66.*
San Vicente, Ángel. "El teatro en Zaragoza en tiempos de Lope de Vega." In Homenaje a Francisco Yndurain. Foreword by Antonio Beltrán. Zaragoza: Universidad de Zaragoza, Facultad de Filosofía y Letras, 1972. 267-361.*

 

Homenaje a Eugenio Frutos:



Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977.

Beltrán, Antonio. "Eugenio Frutos Cortés." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 7-10.*
"Publicaciones de Eugenio Frutos Cortés." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 11-20.*
Alvar, Manuel. "Un rasgo aragonés: la agudeza de conceptos." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 21-29.*
Bielza de Ory, Vicente. "La ampliación conceptual y metodológica de la geografía económica en las últimas décadas." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 31-49.*
Buesa Oliver, Tomás. "Aspectos de la Universidad de Zaragoza durante la primera guerra carlista." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 51-79.*
Canellas López, Ángel. "La capilla de la Anunciación de la parroquial de Longares, fundación del arzobispo Don Diego de Escolano." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 81-92.*
Corona, Carlos E. "Los sucesos en Badajoz, el 7 de abril, y en Baza, el 25 de mayo de 1766." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 93-104.*
Díaz-Regañón López, José Mª. "Apostillas a los apéndices VIII, XII y XIII de la edición de Apolodoro de Frazer en la 'Loeb Classical Library'." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 105-17.* (J. G. Frazer).
Ferrer Benimeli, José A. "La masonería bonapartista en Cataluña: La Logia 'Napoléon le Grand' de Gerona (1811-1813) y la de 'Les Amis de la Réunion' de Figureras (1812-1813)." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 119-44.*
Frutos Mejías, eugenio. "Notas sobre la teoría de los elementos en el Timeo de Platón." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 145-63.*
Lacarra Ducay, Mª Carmen. "Cuatro fragmentos del retablo de Blesa no conocidos." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 165-76.*
Láscaris Comneno, Constantino. "Los perros filósofos y los filósofos mordedores." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 177-85.* (Plato).
Lázaro Carreter, Fernando. "Eugenio Frutos, nuestro maestro." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 187-93.*
Ménsua, Salvador, and Manuela Soláns. "Posibilidades metodológicas de la representación cartográfica de los espacios cultivados: El modelo de Zaragoza." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 195-202 plus map.*
Monge, Félix. "Fondo y forma en Valle-Inclán." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 203-12.*
Olaechea, R. "Contribución al estudio  del 'Motín contra Esquilache' (1766)." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 213-347.*
Pérez Gállego, Cándido. "La destrucción del símbolo." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 349-66.*
San Vicente, Ángel. "Acotaciones documentadas para la historia del arte en cinco villas durante el siglo XVI." In Estudios en homenaje al Dr. Eugenio Frutos Cortés. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1977. 367-445.*



Homenaje a Antonio Beltrán:


Estudios en Homenaje al Dr. Antonio Beltrán Martínez. Foreword by Vicente Camarena García. Zaragoza: Facultad de Filosofía y Letras, Universidad de Zaragoza, 1986.* 



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More on the Same


una publicación de Narratología evolucionista - Evolutionary Narratology.


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See me at the Psychology Wiki


No hay muchos enlaces de filólogos españoles, ni extranjeros, en este artículo introductorio o visión general del área de la filología—pero allí estoy yo. También en "Lingüística", por cierto.

http://psychology.wikia.com/wiki/Philology


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Martes 7 de octubre de 2014

Vista de Sálvora

Vista de Sálvora


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Kate Bush at the BBC




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211 en Alianzo



211 en Alianzo


Viene a ser que estoy en el 0,75 % de los primeros puestos. No mal.
Lunes 6 de octubre de 2014


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De camino a casa desde el pueblo


Camino a casa desde el pueblo





HENRY VAUGHAN (and Thomas Vaughan)


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

VAUGHAN, Henry (1621-95), born at Newton-upon-Usk, Breconshire, the eldest son of a Welsh gentleman, Thomas Vaughan of Tretower, and his wife Denise. Henry's twin brother Thomas (below) became a controversial 'natural magician'. Probably in 1628 a third brother William was born. Henry and Thomas were brought up bilingual in Welsh and English, tutred by Matthew Herbert, a noted schoolmaster at Llangattock. By May 1638 Thomas was at Jesus College, Oxford, and Henry almost certainly accompanied him, though his residence is not recorded. Around 1640 Henry probably went to London to study law, though it is not known which Inn admitted him. He may have come within the orbit of the literary set of which Jonson had been the leader. He returned to Breconshie, probably at the outbreak of the Civil War, and after a spell as clerk to Sir Marmaduke Lloyd, chief justice of the sessions, he saw military service on the Royalist side. About 1646 he married Catherine Wise. They had a son, Thomas, and three daughters. His wooing of Catherine is apparently recalled in the poem 'Upon the Priory Grove' printed in Poems with the tenth Satire of Juvenal Englished (1646), his first collection. His second, Olor Iscanus (The Swan Of Usk), has a dedication bearing the date 1647, but was not published until 1651. The poems in these two volumes are almost wholly secular, including fashionable love verses and translations from *Ovid, Ausonius, *Boethius, and the Polish Jesuit Latin poet Casimir Sarbiewski (1594-1640). There is little in them that anticipates the great religious poetry of Vaughan's next volume, Silex Scintillans (Flashing Flint, 1650). The poems suggest that a profound spiritual experience, connected with the death of his brother William in 1648 and the defeat of the Royalist cause, accounted for the despair and renewal which inspired the composition of Silex. Further devotional works followed: The Mount of Olives, or Solitary Devotions (1652) and Flores Solitudinis (1654), which consists of three pious prose trnslations and a life of St Paulinus of Nola. In 1655 appeared the second edition of Silex Scintillans, with a second part added, and also a translation of the Hermetical Physick of Henry Nollius. A translation of The Chymists Key by the same author followed in 1657. Vaughan's first wife having died, he married her younger sister Elizabeth, probably in 1655. They had a son, Henry, and three daughters. According to a letter he sent to *Aubrey in 1673 he had by that date been practising physic 'for many years with good success'. There is no record of a medical degree. His brother Thomas died in 1666, and in 1678 Thalia Rediviva, containing poems by both twins, was published. His later life was marred by litigious feuds between his first and second families.



Vaughan's religious poetry is uneven, but its best moments, like the start of 'The World' ('I saw Eternity the other night'), have a quality which is wholly distinctive, and which has prevailed with critics to class him as a 'mystic': his lyrics ('The bird', 'The Water-Fall', 'The Timber') show a sense of man's unity with and God's love of creaturely life, and he believed (with his brother) that nature would be resurrected at the end of time, and that even stones had feeling. He was seized with the idea of childish innocence, and the child's recollections of prenatal glory. He writer, in 'The Retreat', of his own 'Angel infancy', when he would pause on clouds and flowers and see in them 'Some shadows of eternity'. He acknowledged, in the preface to the second part of Silex Scintillans, his great debt to G. *Herbert, 'whose holy life and verse gained many pious Converts (of whom I am the least)'. Vaughan's fascination with hermeticism, and particularly with the idea of sympathetic bonds uniting microcosm and macrocosm, is clear in his poems, many of which share ideas and even phrases with his brother Thomas's treatises. On the title pages of Olor Iscanus and Silex Scintillans Vaughan calls himself a 'Silurist', presumably because his native Brecon was anciently inhabited by the British tribe of Silures.

Works, ed. L. C. Martin (2nd ed. 1957); Complete Poems, ed. Alan Rudrum (1976); F. E. Hutchinson, Henry Vaughan: A Life and Interpretation (1947; corrected repr. 1971); S. Davies, Henry Vaughan (1995). The Vaughan Society was founded in 1994 and its journal, Scintilla, is edited by Anne *Cluysenaar.

Metaphysical religious poetry


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(Observe the two Henrys, the two Thomases, the two brothers, their three sisters each, and the brother-cousins...  )


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THOMAS TRAHERNE


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



Traherne, Thomas (1637-74), son of a shoemaker in Hereford. It seems possible that both his parents died while he and his brother Philip were infants, and the boys were brought up by a wealthy innkeeper, Philip Traherne, twice mayor of Hereford. They evidently had a good education, but no record exists of their attending Hereford Cathedral School. Thomas went up to Brasenose College, Oxford, as a commoner in March 1653, and took his BA in October 1656. In 1657 the parliamentary commissioners appointed him rector of Credenhill, Herefordshire, but he seems not to have resided there until 1661. He was ordained in 1660, and the following year took his Oxford MA. At Credenhill he joined the religious circle centring on Susanna Hopton at Kington, for whom he was to write the Centuries. During this period he evidently travelled to Oxford to work on Roman Forgeries in the Bodleian. Probably in recognition of this work he gained his BD in 1669, and also his appointment the same year as chaplain to Sir Orlando Bridgeman, lord keeper of the great seal, which necessitated his moving to London. He was buried at Teddington.

Traherne led a 'single and devout life', according to A. *Wood. He left five houses in Hereford in trust for the poor people of All Saints parish. He told *Aubrey that he had visions, seeing, on one occasion, the phantom of an apprentice who was asleep in the same house, and on another a basket of fruit sailing in the air over his bed. Traherne's Centuries and many of his poems were discovered in a notebook (now in the Bodleian) which was picked up for a few pence on a London bookstall in the winter of 1896-7 by W. T. Brooke. Bertram Dobell identified Traherne as the author, and edited the Poetic Works (1903) and the Centuries of Meditations (1908). More poems, prepared for publication by Traherne's brother Philip as 'Poems of Felicity', were discovered in a British Museum manuscript and published by H. I. Bell in 1910. A further manuscript of Select Mediatations has since come to light, and is in the collection of the late J. M. Osborn. In his lifetime Traherne published Roman Forgeries (1673), which exposes the falsifying of ecclesiastical documents by the Church of Rome, concentrating in the mid-9th-century collection known as the 'False Decretals' which had, in fact, already been decisively discredited by several 16th-century scholars. His Christian Ethicks (1675) was prepared for the press before he died. But his major achievement comprises the Centuries,  the poems and the Thanksgivings, written in exuberant, unconventional verse, and at times foreshadowing *Whitman, which appeared in 1699. He expresses a rapturous joy in creation unmatched by any other 17th-century writer, and his memories, in the Centuries, of his own early intuitions are the first convincing depiction of childhood experience in English literature. He is also among the first English writers to respond imaginatively to new ideas about infinite space, and at times virtually equates infinite space with God. The boundless potential of man's mind and spirit is his recurrent theme, as is the need for adult man to regain the wonder and simplicity of the child. In both, his thought is influenced by *Neoplatonism, especially by the Hermetic books.

Centuries, Poems and Thanksgivings, ed. H. M. Margoliouth (2 vols, 1958); Christian Ethics, ed. C. L. Marks and G. R. Guffey (1968); G. Wade, Thomas Traherne (1944); K. W. Salter, Thomas Traherne, Mystic and Poet (1964).

"Metaphysical" Religious Poetry: Herbert, Crashaw, and Vaughan

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The Legend of Sleepy Hollow





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Domingo 5 de octubre de 2014

The Kate Bush Story

(BBC, 2014)






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El Gran Teatro del Mundo

—y el pequeño teatro de la mente:

Inauguro mi blog número... 15, y me quedo corto. Apenas doy abasto a actualizarlos, pero hacemos lo que podemos y lo que no podemos.  Al igual que mi blog sobre The Story in All Stories, lo abro en Storify, y versará éste sobre teatro y teatralidad, el teatro del mundo, sobre echarle teatro a la vida, y sobre dramatismos psicológicos varios.







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Mi sombra en una cala


Mi sombra en una cala

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La evolución del dividuo social y de los espacios públicos



una publicación de Narratología evolucionista - Evolutionary Narratology.


También en ResearchGate: https://www.researchgate.net/publication/266393290

— y en diversas revistas de la Social Science Research Network, por ejemplo (Metafísico estoy) en la de Metafísica.


En la web de HERAF


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Ven que te arreglo, O'Neil



Ven que te arreglo, O'Neil


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Sábado 4 de octubre de 2014

Jokerman (3)




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Erving Goffman: The Dramaturgical Approach





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Artur Mas desobedece al Constitucional






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Viernes 3 de octubre de 2014

The Quiet Bay

The Quiet Bay




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Introduction to Theorizing Narrativity




una publicación de Narratología evolucionista - Evolutionary Narratology.


Reference Info: Theorizing Narrativity. Ed. John Pier and José Angel García Landa. (Narratologia, 12). Berlin and New York: Walter de Gruyter, 2008.



http://papers.ssrn.com/abstract=2500699

It appears under the following date (Date posted: September 26, 2014)   in the following SSRN eJournals:


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




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Jueves 2 de octubre de 2014

Andarina

Andarina


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Vladimir Nabokov and Lolita (BBC, Stephen Smith)





Georgie Dann - Una paloma blanca



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Geoffrey Chaucer - The Canterbury Tales





Geoffrey Chaucer (/ˈtʃɔːsər/; c. 1343 -- 25 October 1400), known as the Father of English literature, is widely considered the greatest English poet of the Middle Ages and was the first poet to have been buried in Poet's Corner of Westminster Abbey. While he achieved fame during his lifetime as an author, philosopher, alchemist and astronomer, composing a scientific treatise on the astrolabe for his ten year-old son Lewis, Chaucer also maintained an active career in the civil service as a bureaucrat, courtier and diplomat. Among his many works, which include The Book of the Duchess, the House of Fame, the Legend of Good Women and Troilus and Criseyde, he is best known today for The Canterbury Tales. Chaucer is a crucial figure in developing the legitimacy of the vernacular, Middle English, at a time when the dominant literary languages in England were French and Latin.

The Canterbury Tales is a collection of stories written in Middle English by Geoffrey Chaucer at the end of the 14th century. The tales (mostly written in verse although some are in prose) are told as part of a story-telling contest by a group of pilgrims as they travel together on a journey from Southwark to the shrine of Saint Thomas Becket at Canterbury Cathedral. The prize for this contest is a free meal at the Tabard Inn at Southwark on their return.

Following a long list of works written earlier in his career, including Troilus and Criseyde, House of Fame, and Parliament of Fowls, the Canterbury Tales was Chaucer's magnum opus. He uses the tales and the descriptions of its characters to paint an ironic and critical portrait of English society at the time, and particularly of the Church. Structurally, the collection resembles The Decameron, which Chaucer may have read during his first diplomatic mission to Italy in 1372.

This audio collection contains a treasury of 100 classic books and includes info on the life and times of the author, the theme of the book, the characters, the story outline, a concise yet detailed abridgement of the story and a discussion of the values that make each book one of the great classical works of literature.

© ''IntelliQuest World's 100 Greatest Books'' 1995

Jason Tondro on the Canterbury Tales


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Miércoles 1 de octubre de 2014

I Wrote Her Name upon the Strand

El soneto 75 de los Amoretti de Spenser:




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El pueblo de la otra orilla



El pueblo de la otra orilla


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La juez Alaya en Vanity Fair


Aquí una entrevista en Vanity Fair:
alaya vanity fair


Y en Vanity Fea:

alaya vanity fea


No desmerece.



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En la Universidad Aristóteles


—Allí estamos con nuestra bibliografía, en griego y en inglés, siguiendo la pista del Estagirita, en Salónica. Cierto que es más voluminosa, aunque no más espesa, que las obras de Aristóteles.





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Edmund Spenser: A Life






'Another Game in Vew': The Representation of the Poet in The Faerie Queene






Microblog de septiembre 2014




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