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

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Blog de hoy AQUÍ

Viernes 31 de enero de 2014

Where the Angels' Voices  Fear to Tread
wovenhand

Changing of the Guards—Esta es posiblemente la canción mía (mía y de Bob Dylan, digamos) más oída.
Todo un récord para mí, con más de 25.000 visitas hasta la fecha. Y subiendo, que no bajando... 

Cosas del azar, aunque no me quiero quitar méritos, que ya me los quitan otros, envidiosillos ellos. Apuntemos, empero, que ni siquiera es mi mejor versión de "Changing of the Guards". Esta canción la llevaba oyendo desde el año 78, hasta que harto un día, cogí una guitarra y ahí va.

Mi versión no es que sea street legal, claro—pero tampoco voy a arruinar a Bob Dylan. Todo lo más le daré algún seguidor, o se lo quitaré.


Jokerman







Poeta irremediable: Poe, escritor maldito


—Edgar Allan Poe, según la Historia Universal de la Literatura de Léon Thoorens:


El poeta irremediable

Edgar Allan Poe (1809-1849), el "poeta irremediable", busca una luz fatídica y misteriosa para iluminar sus portentosas experiencias y para profundizar en los abismos del alma humana.

En 1842 publicaba uno de sus poemas, en que figuraba este fragmento:
tattoo angel

En el cielo habita un espíritu
las fibras de cuyo corazón forman un laúd.
Nadie canta tan asombrosamente bien
como el ángel Israfel
y las indecisas estrellas —según dicen—
cesan en sus himnos, presas por el encanto
de su voz, enmudecidas....
...Si yo pudiera residir
donde Israfel
reside y se personifica en mí,
quizá no cantase tan singularmente bien
una melodía humana,
y una nota más intensa que ésta
 volara de mi lira hasta el cielo.

En este poema se reconoce en el acto un tono y una vibración espirituales ausentes en toda la versificación americana anterior.

Poe escribió, además, otros poemas, una novela, Las aventuras de Arthur Gordon Pym (1838), y numerosos cuentos y relatos, reunidos ahora bajo el título de Historias Extraordinarias, que Baudelaire comenzó a traducir a partir de 1848, aunque los críticos americanos seguían y siguen permaneciendo indiferentes a ellas. "Es un mal escritor, que debe su popularidad a un accidente pasajero", dice Yvor Winters, comentario que sólo concierne a Poe como poeta. Sus historias no son más que relatos populares. En cuanto al hombre en sí...  Dos días después de su muerte, el New York Tribune publicaba un artículo bilioso que decía: "pocos le echarán de menos, pues aunque tenía algunos lectores, contaba con pocos o con ningún amigo". En su opinión, la sociedad sólo estaba compuesta de canallas. No soportaba la contradicción. Ignoraba la delicadeza moral. En resumen, era un vulgar ambicioso, un hombre "diferente" y, por lo tanto, peligroso, en doloroso desacuerdo con su país, al que osaba juzgar y condenar.

Baudelaire presentía en Poe a un poeta de vida espiritual intensa en exceso, de una lucidez demasiado grande, para que pudiera acomodarse a "esta inmensa barbarie alumbrada con gas" que era América. En julio de 1856, los hermanos Goncourt descubrían su obra artística y declaraban: "Una literatura nueva, la literatura del siglo XX... Por fin la novela del futuro dedicada a contar más la historia de cuanto ocurre en el cerebro de la humanidad que lo que siente su corazón". Y más tarde, el francés-norteamericano Julien Green escribía unas frases que plantean de modo definitivo el caso trágico de un hombre que se sabía "poeta irremediable" en un país que negaba al poeta el derecho a profetizar.
poe love and death
"Me pregunto por qué su país se ha mostrado tan injusto con él. Los lectores norteamericanos le consideran morboso y a América no le gusta estar representada por tan malsano poeta. Y es rechazado con más ira todavía porque América lleva en su seno ese desequilibrio que el genio de Poe significa como una flor tenebrosa, un grandioso lirio nocturno entre los dedos de la muerte." 

 Su vida es una novela trágica y desconcertante. Hijo de actores, huérfano a los tres años y adoptado por una familia burguesa de Richmond, recibe una educación distinguida en colegios ingleses y norteamericanos, y rompe al fin sus relaciones con su familia adoptiva. A los dieciocho años de edad se alista en el ejército, es sargento mayor apenas cumplidos veinte años e ingresa en la Academia de West Point, pero al fin es expulsado de allí. Comienza entonces una dolorosa existencia de vagabundo elegante, periodista, poeta y narrador de cuentos, perpetuamente borracho y quizá también entregado a los estupefacientes. Se casa a los veintisiete años de edad con una muchacha que sólo contaba catorce y, cuando ella muere diez años después, debe defenderse de vagas acusaciones de crueldad. Colabora en diversas publicaciones, alcanza el éxito e incluso la fama, pero se arruina, bebe incesantemente y cae en una manía persecutoria, intenta suicidarse, pierde cada vez más su equilibrio mental, si no el juicio, y muere de "delirium tremens" en el hospital de Baltimore el 9 de octubre de 1849.




Edgar A. Poe, un escritor maldito

Aun con toda su aridez, los citados datos biográficos señalan un destino: un hombre afectado por circunstancias particulares, pero que no logró hallar en la sociedad en que viviía las respuestas, los valores, el contorno que le hubieran permitido reconstruirse tal como él desearea: feliz y equilibrado, dueño de su vida y de su pensamiento. Se percataba de ello y en toda su obra intenta explicarlo: no deleitándose en la descripción de su infierno, sino poniendo de relieve sus esfuerzos para salir de él.

Poe navega contra la corriente literaria de su época. Hace justicia a Cooper y a Irving, aunque no crea en su genio, pero debate contra sus epígonos Cooke, Coob, Southworth, Holmes e Ingraham, simples románticos aficionados, que mezclan lo real, lo novelesco y los convencionalismos. A las "novelas-río" de moda, Poe opone "la literatura de revista", o semanario, cuyo éxito popular, según él, no significa, "como suponen algunos críticos, una decadencia del gusto", sino que es "un genio de nuestro tiempo, de una época en que los hombres sienten necesidad de cosas breves, escuetas y bien digeridas". En este caso no se trata simplemente de una estética de la concisión opuesta a una estética de la incontinencia verbal, sino del papel que debe desempeñar el escritor ante las necesidades del público.

womancatEl mundo norteamericano en erupción, creador y destructor, triturador de cuerpos y almas, hace sentir como nunca lo que la vida acarrea consigo de misterio, de desorden y de abismos aparentemente insondables. Describir y amplificar no sirve para nada e incluso perjudica y mixtifica. En lugar de dejarse arrastrar por las olas, es preciso dominarlas, explicar su poder y su pretendida fantasía. No es tarea fácil y el público se resiste a ello. A partir de aquí, lo fantástico, casi el mundo del ocultismo, los prolegómenos de la ciencia-ficción, permiten al autor expresar libremente —aunque esta libertad procura revestirse prudente y púdica de complejos simbolismos— cosas que de otra manera desencadenarían sobre él la reprobación pública y quizá la cárcel. El lector, por su parte, puede no comprender nada o fingir que no lo entiende, al propio tiempo que se divierte con la fantasía y la habilidad asombrosas del prestidigitador.

Siendo tan compleja la realidad y los medios de tener contacto con ella tan difíciles de dominar, el poeta compone "una crónica de sensaciones más que de hechos", como dice el propio Poe en Berenice, renunciando a analizar despiadadamente las sensaciones. En La esfinge, el héroe divisa un monstruo que desciende por la colina: es un insecto deslizándose sobre un cristal. Rasgo que bien pudiera ser una de las claves principales de la obra de Poe. Se le considera, además, acertadamente, como uno de los patriarcas de la novela policíaca clásica: aquella en que el autor expone un enigma aparentemente insoluble que resolverá más tarde, únicamente mediante la inteligencia y la lógica, y demostrando que, de hecho, el lector disponía, desde la exposición de los datos, de todos los elementos necesarios para para solucionarlo por sí mismo.

Su novela Doble asesinato en la calle Morgue encaja perfectamente en esta idea, si bien sus demás relatos lo confirman: Ligeia, El escarabajo de oro, La caída de la casa Usher, El corazón revelador, El gato negro, William Wilson, El descenso al Maëlstrom, La carta robada, citando a propósito los que el propio Poe señaló como mejores. Nada hay en ellos sobrenatural ni fuerzas ocultas o misteriosas al margen del espíritu y la voluntad del ser humano. El hombre es libre y su destino aparece siempre determinado por la calidad de su raciocinio. El El escarabajo de oro, el protagonista razona adecuadamente y es recompensado por el triunfo y la fortuna; en El gato negro no lo hace así y es castigado con la muerte. Poe intenta demostrar y demostrarse a la vez que el destino es un mecanismo; ahora bien, un mecanismo estropeado puede ser reparado. Con una audacia que no excluye el terror, sino que lo incluye, por sentise débil, vulnerable y desarmado. Poe se enfrenta con lo desconocido, se deja fascinar por ello y lo expresa, en consecuencia.
the truth

Se podrá argüir que se trata sólo de símbolos, pero éstos son a veces tan densos y abrumadores que el espíritu del poeta irremediablemente escapa al dominio del "racionalista irremediable" y la lógica matemática ya no basta. Entonces todo aparece blanco como en Gordon Pym. El blanco es el color del vértigo, y Poe explica en vano que es una ilusión óptica y el resultado aparente de la fusión de los demás colores cuando se mueven con mucha rapidez. También procura evadirse: en la poesía que con él deja de ser discurso coherente, versificación y juego lírico, para convertirse en ejecutoria de la locura; evasión en el alcohol y finalmente en aquella muerte tan evocada. Poe muere vencido, o quizá debiera decirse, más exactamente, reducido a la impotencia, aunque sin haber cedido: como lo había escrito simbólicamente en Gordon Pym, convertido en libro de lectura para jóvenes a consecuencia—como en el Gulliver de Swift—de un malentendido:

La cima de la catarata se perdía por entero en la oscuridad y en el espacio. Sin embargo, era evidente que nos aproximábamos a ella con espantosa velocidad. Podían verse, a intervalos, sobre aquella sabana, enormes grietas abiertas, aunque sólo momentáneas, y a través de estas grietas, tras de las cuales se agitaba un caos de imágenes flotantes e indistintas, se precipitaban poderosas y silenciosas corrientes de aire que surcaban en su vuelo el océano inflamado.

Podría considerarse a Poe como un "caso" literario y patológico, si fuera el único en navegar en esta misteriosa embarcación arrastrada por una misteriosa corriente hacia la inmensa figura blanca que no sabemos si representa a Dios o a algún abominable cero matemático. Pero Poe tenía otros compañeros: prácticamente, todos los grandes escritores de su época.


El Big Bang de Poe




—oOo—

Brigitte Balleys, Berlioz




—oOo—


Un día más



—oOo—


Anthropólogo Top Ten

Me llega de parte del cíborg este mensaje:


Dear Jose Angel Garcia Landa:

Your paper, "THE EVOLUTION OF NARRATOLOGY", was recently listed on SSRN's Top Ten download list for: AARN: Language, Culture & Power (Topic).

As of 31 January 2014, your paper has been downloaded 49 times. You may view the abstract and download statistics at: http://ssrn.com/abstract=2372577.

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

AARN: Language, Culture & Power (Topic) Top Ten.

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

AARN: Language, Culture & Power (Topic) All Papers.


AARN quiere decir "Red de investigación sobre Antropología y Arqueología." El artículo en cuestión es un diálogo sobre narratología con Ludmila Tataru. Pantallazo:




Obsérvese que tengo no uno sino DOS artículos en este Top Ten de Antropología y Arqueología. No, es que si no lo digo yo, hay a quien se le pasa. La gente es que no estáis en lo que estáis.






Despedida de
El Mundo

Despedida del despedido. Pedro J. Ramírez, echado de la dirección de EL MUNDO por su postura de oposición al gobierno y al rey, se despide de la redacción.


Algunas reacciones y puñaladas rastreras. Decía Raúl Vilas en Twitter que "Solo hay que ver los lameculos que se alegran de la salida de Pedro J. para valorar si es una buena o mala noticia."

De todas maneras, no acaba aquí la crisis del mundo, ni la del país.

—oOo—



Encubriendo



Publica Francisco Pérez Abellán el libro Matar a Prim, en el que pone al descubierto la conspiración no sólo para matar a Prim, sino para mantener su asesinato sin investigar, y encubrir así a los culpables.

Aquí hay una entrevista interesantísima en audio.

Para este encubrimiento era esencial el apoyo de las más altas autoridades (Serrano), ya involucradas de entrada en el atentado— y de los siervos del poder: la policía que no investiga, y los forenses oficiales que no efectúan las autopsias o dan resultados falsos. O se hacen los ciegos convenientemente.

Y para que el encubrimiento siga existiendo, y para que se puedan seguir realizando casos de encubrimiento semejante, siguen estando allí los forenses oficiales vendidos al poder y al dinero, politizados hasta el tuétano. No es de extrañar que en los casos de autopsias de escándalo como los de las víctimas del 11-M, o los policías de Leganés, hayan estado las autoridades de los forenses callados como cadáveres. 

Saca Pérez Abellán otros casos curiosos a relucir, con muchos presuntos implicados implicados en ellos también—como son la mala identificación de los restos del caso Bretón, o el caso de las autopsias falsas del Yak-42. Y el estropicio de la Universidad Camilo José Cela de donde se echó a Pérez Abellán y (en masa) a muchos más.

En fin, que es una historia fascinante, con las autoridades universitarias sentando cátedra sin argumentos, y procurando desacreditar a un "advenedizo" cuyas conclusiones podrían poner en solfa algo más que la carrera académica de algún preboste. Podría salir a la luz aquí un vergonzoso conchabamiento (quién lo creería) entre la política y el mundo judicial, en este caso a través de los forenses.

En un día en que el Fiscal se opone a que se lleve a declarar a los tribunales al Ministro de Justicia, en un caso de corrupción que le atañe especialmente, por los desvíos de fondos a la Familia Real cuando era alcalde de Madrid... ¿quién podría creer semejante cosa? ¿De un alcalde que ha desactivado en lo posible la investigación del 11-M?  Prim estará muerto y desenterrado y vuelto a enterrar, pero algunos encubridores siguen muy vivos. Y algunos encubiertos también.


Estos no se han fugado
















Jueves 30 de enero de 2014

Así veo los coches

Así veo los coches





The Great American Funeral








—oOo—




Pedro Jota deja la dirección de El Mundo






Mis canciones por esos mundos de Dios
guitarrabarca
Veo que los extractores de recursos han dado con mis dos canales de música, en YouTube y Vimeo, donde cuelgo mis guitarreos. Y que ahora mis canciones han pasado al formato MP3 en este sitio llamado MP3strip —y quizás en otros que no tengo controlados. Es que aquí hay hay veinte páginas con emepetreses míos, con sus correspondientes puntuaciones e índices de descargas. No me creerán, pero se las descargan cientos—pero cientos, o miles, de personas. 

¡Vamos, que si aún no he pasado a la categoría de cantante de moda, por lo menos he llegado a la de músico pirateado! Claro que mis canciones también son todas pirateadas, o por ponerlo más suavemente, son del acervo folklórico-pop que si no es de dominio común merecería serlo.  Por ejemplo aquí está una de una ópera sobre Don Quijote, El hombre de la Mancha. La cantaba Brel... —y oye, tampoco era suya:

LA QUÊTE

Alguna otra va apareciendo a su lado por MP3strip, e irá reapareciendo por aquí.



Hemingway delira





—oOo—





Miércoles 29 de enero de 2014

Brian Boyd on Vladimir Nabokov




Vladimir Nabokov's Signs and Symbols




Dark Eyes


Una canción que tengo con más de 5.000 visitas:





Johnny Cash: The Last Great American








Orillas del Ebro filtradas


Orillas del Ebro filtradas







Pete Seeger - Rainbow Quest











Martes 28 de enero de 2014

Dos en un Top Ten

Tengo dos artículos en una lista de Top Ten sobre literatura inglesa contemporánea. Y cosa curiosa, los dos son sobre Ian McEwan. Claro que la lista casi parece copada por Harry Potter, aparte de McEwan. Son los que más interesan, y aún me toca a mí estar en el lado más sesudo del pódium. La revista no es que sea de las más concurridas—pero bueno, es la del SSRN, y eso cuenta algo. Por lo menos en este post.





An Eastern Town



Occidental Landscape








Lunes 27 de enero de 2014

According to Autocomplete

Aquí una comparativa de la búsqueda autocompletiva de Google, entre el Presidente del Gobierno y yo mismo. Según el usuario medio,

Mariano Rajoy es....

autocomplete1

Y José Angel García Landa es...

autocomplete2

Wisdom of the Crowds (?).

Esse est Percipi




Complexity Theory and Narrative Research

David Snowden:









Glorious Waters



Glorious waters





Domingo 26 de enero de 2014

The Origin of the Universe and the Arrow of Time







The Origin of Ideas







Endings & Beginnings in Little Gidding

The ending of Little Gidding—its beginning, if we take it at face value—has much to do with the hermeneutics of retrospection, and the configurative emplotment provided by hindsight. It is only by looking back that we can identify a beginning, or an ending, as one. And it is only when a phrase has ended that we can fully understand its structure. This retroactive dynamics also governs Eliot's notion of tradition in "Tradition and the Individual Talent", where any new work also generates a beginning après coup.  Everything, then, is in the making, but less so when we look backward, and revisit what was known earlier, seen earlier, with less insight and a lesser understanding. These offices, so oft as thou wilt look / shall profit thee, and much enrich thy book. I first read Little Gidding thirty years ago—maybe I'll be reading it again some day in the future, before the fire and the rose are one. But there's no telling what it will be saying then.

V

What we call the beginning is often the end
And to make an end is to make a beginning.
The end is where we start from. And every phrase
And sentence that is right (where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together)
Every phrase and every sentence is an end and a beginning,
Every poem an epitaph. And any action
Is a step to the block, to the fire, down the sea's throat
Or to an illegible stone: and that is where we start.
We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration. A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter's afternoon, in a secluded chapel
History is now and England.

With the drawing of this Love and the voice of this Calling

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, remembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always—
A condition of complete simplicity
(Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.



Understanding misreading: A Hermeneutic-Deconstructive Approach






Dawn of Time Again



Dawn of Time Again





Lenguaje y cognición






La escritura, la mano derecha, y el curso del sol








Sábado 25 de enero de 2014

Último planeta


Último planeta





Viernes 24 de enero de 2014


Narrative Time

My bibliography on narrative time—found on Scribd:


From by javier_1000






Kevin Anderson - Climate Change Cognitive Dissonance



Professor Kevin Anderson - Climate Change: Going Beyond Dangerous from DFID

Life careers gravewards at a breakneck rate....  so we drink and laugh and leave the rest to fate.

That's cognitive dissonance.




A Triangulation

P8150807






Jueves 23 de enero de 2014

Because I do not hope...

"Because I Do Not Hope..."—Un poema de T. S. Eliot, en versión de Marea Internum.






I Am Not at Rest

Yet—it seems to me I had overlooked showing to myself, or to the overhearing, overlooking, audience of this Cabinet of Curiosities, something well worth seeing—at least relatively so. It's the cover—well, the virtual covers—of a couple of electronic journals which include my paper on Carol Shields's postmodernist novel The Stone Diaries. Here they go.  First, the American Literature eJournal:

ssrn shields 1


Don't worry, the paper is shorter than its title. The other journal which has distributed it is Cognition & the Arts eJournal, is edited by none less than Mark Turner. And yes, you had better know who Mark Turner is, at least if you are doing literary theory, discourse analysis, semiotics or cognitive science.


ssrn shields 2

What would our days be without this constant trickle of sugar-coated pills, one need not wonder. I spare you the rest.

Nada es nada





Bathing Suit

Bathing suit





Estadísticas Agregadas
presenta

Me llega un informe del SSRN sobre lectores y descargas de mis 147 artículos allí incluidos hasta la fecha.  No lo incluyo aquí, que ocupa con detalles exhaustivos unas 100 páginas. Pero ésta es la sustancia:


AGGREGATE STATISTICS ON YOUR PAPERS

Your Publicly Available (Scholarly and Other Papers) and Privately Available Papers on SSRN as of 23 January 2014 have:

7,548 TOTAL DOWNLOADS
1,872 DOWNLOADS IN THE LAST 12 MONTHS
82,142 TOTAL ABSTRACT VIEWS

(Note: The totals above are calculated specifically for this author letter as of 23 January 2014 for all your papers on SSRN (summing the data on both your publicly and privately available papers) and therefore may differ slightly from the numbers on the SSRN site.)


Your Author Statistics as of 01/01/2014 (out of 244,193 authors in SSRN, based only on Publicly Available, Downloadable Papers)


2,711 is your AUTHOR RANK, based on 7,416 TOTAL DOWNLOADS.

(para ser más exactos, a fecha de hoy veo que mi Author Rank "is 2,700 out of 244,193")

1,208 is your AUTHOR RANK, based on 1,775 DOWNLOADS IN THE LAST 12 MONTHS.
18,002 is your AUTHOR RANK, based on 17 TOTAL CITATIONS.

You can find the complete table of the Top Authors Ranking by Downloads and Citations at
http://hq.ssrn.com/rankings/Ranking_display.cfm?TRN_gID=7

Total que, de 244.193 académicos estoy, según el criterio que peor me posiciona, el de las citas, en el 7,4% superior. No soy muy citado, lo reconozco. Pero pasado el dato a puntuar por orden y sobre 10, estoy entre los diez primeros, aunque no top of the top
.


Y según el criterio que mejor me posiciona, estoy en el 1,1% superior.

–o sea, de entre cien, aún no estoy el primero, pero puntuando sobre diez, en plan competitivo, saco una califación de 9,9. Según estos amables y objetivos robots.  ¿Alguien da más? 

: Pablo Fernández López, catedrático de la IESE-Universidad de Navarra, que ocupa el puesto número 1 del ránking del SSRN. El primero de los 244.193.

Ahí me espera, que yo aún voy subiendo puestos—y él no.




My author statistics







Miércoles 22 de enero de 2014

Un momento que fue

Un momento que fue











Notas sobre antropología hermenéutica, estética, fenomenología y crítica

Distribuyéndolas:

Notas sobre Verdad y Método de Hans-Georg Gadamer

Date posted: December 09, 2013  

http://papers.ssrn.com/abstract=2364913

Now available through the following eJournal Classifications
AARN Subject Matter eJournals
    
        
            
LIT Subject Matter eJournals
    
PRN Subject Matter eJournals
    
        
PRN Subject Matter eJournals
    
        
PRN Subject Matter eJournals
    
        
RCRN Subject Matter eJournals
    
        




Un fantasma viviente en Little Gidding

En la hora de luz incierta de un poema, T. S. Eliot se encuentra con un antiguo profesor, o con todos ellos. Fantasmas vivientes somos para nuestros estudiantes. Para los buenos. Para los malos, ni siquiera eso. O quizá se encuentra Eliot consigo mismo, asumiendo un papel doble—con el que será para el que fue o es ahora, maestro o alumno de sí mismo... en todo caso un futuro fantasma viviente.

In the uncertain hour before the morning
Near the ending of interminable night
At the recurrent end of the unending
After the dark dove with the flickering tongue
Had passed below the horizon of his homing
While the dead leaves still rattled on like tin
Over the asphalt where no other sound was
Between three districts whence the smoke arose
I met one walking, loitering and hurried
As if blown towards me like the metal leaves.
Before the urban dawn wind unresisting.
And as I fixed upon the down-turned face
That pointed scrutiny with which we challenge
The first-met stranger in the waning dusk
I caught the sudden look of some dead masterpoelonely
Whom I had known, forgotten, half-recalled
Both one and many; in the brown baked features
The eyes of a familiar compound ghost
Both intimate and unidentifiable.
So I assumed a double part, and cried
And heard another's voice cry: 'What! are you here?'
Although we were not. I was still the same,
Knowing myself yet being someone other—
And he a face still forming; yet the words sufficed
To compel the recognition they preceded.
And so, compliant to the common wind,
Too strange to each other for misunderstanding,
In concord at this intersection time
Of meeting nowhere, no before and after,
We trod the pavement in a dead patrol.
I said: 'The wonder that I feel is easy,
Yet ease is cause of wonder. Therefore speak:
I may not comprehend, may not remember.'
And he: 'I am not eager to rehearse
My thoughts and theory which you have forgotten.
These things have served their purpose: let them be.
So with your own, and pray they be forgiven
By others, as I pray you to forgive
Both bad and good. Last season's fruit is eaten
And the fullfed beast shall kick the empty pail.
For last year's words belong to last year's language
And next year's words await another voice.
But, as the passage now presents no hindrance
To the spirit unappeased and peregrine
Between two worlds become much like each other
So I find words I never thought to speak
In streets I never thought I should revisit
When I left my body on a distant shore.
Since our concern was speech, and speech impelled us
To purify the dialect of the tribe
And urge the mind to aftersight and foresight,
Let me disclose the gifts reserved for age
To set a crown upon your lifetime's effort.
First, the cold friction of expiring sense
Without enchantment, offering no promise
But bitter tastelessness of shadow fruit
As body and soul begin to fall asunder.
Second, the conscious impotence of rage
At human folly, and the laceration
Of laughter at that which ceases to amuse.
And last, the rending pain of re-enactment
Of all that you have done, and been; the shame
Of motives late revealed, and the awareness
Of things ill done and done to others' harm
Which once you took for exercise of virtue.
Then fools' approval stings, and honour stains.
From wrong to wrong the exasperated spirit
Proceeds, unless restored by that refinining fire
Where you must move in measure, like a dancer.'
The day was breaking. In the disfigured street
He left me, with a kind of valediction,
And faded on the blowing of the horn.


Tres historias de fantasmas














Logar

Standing on a Boat 3







Springs and Motives under Various Disguises


The Book of the World, Life as Theatre, and the character's illusion of free will in Moby Dick—a philosophical novel with a whale of a stage, from Pythagoras to the War of Afghanistan:

moby dick 2
Finally, I always go to sea as a sailor, because of the pure exercise and pure air of the fore-castle deck. For as in this world, head winds are far more prevalent than winds from astern (that is, if you never violate the Pythagorean maxim), so for the most part the Commodore on the quarter-deck gets his atmosphere at second hand from the sailors on the forecastle. He thinks he breathes it first; but not so. In much the same way do the commonalty lead their leaders in many other things, at the same time that the leaders little suspect it. But wherefore it was that after having repeatedly smelt the sea as a merchant sailor, I should now take it into my head to go on a whaling voyage; this the invisible police officer of the Fates, who has the constant surveillance of me, and secretly dogs me, and influences me in some unaccountable way—he can better answer than any one else. And, doubtless, my going on this whaling voyage, formed part of the grand programme of Providence that was drawn up a long time ago. It came in as as sort of brief interlude and solo between more extensive performances. I take it that this part of the bill must have run something like this:

"GRAND CONTESTED ELECTION FOR THE PRESIDENCY OF THE UNITED STATES.
"WHALING VOYAGE BY ONE ISHMAEL.
"BLOODY BATTLE IN AFFGHANISTAN."

Though I cannot tell why it was exactly that those stage managers, the Fates, put me down for this shabby part of a whaling voyage, when others were set down for magnificent parts in high tragedies, and short and easy parts in genteel comedies, and jolly parts in farces—though I cannot tell why this was exactly; yet, now that I recall all the circumstances, I think I can see a little into the springs and motives which being cunningly presented to me under various disguises, induced me to set about performing the part I did, besides cajoling me into the delusion that it was a choice resulting from my own unbiased freewill and discriminating judgment.


Hawthorne and Melville



Springs and Motives under Various Disguises - at Ibercampus












Lunes 20 de enero de 2014

Semiosphere of Narratology

El libro coeditado con Ludmila Tataru, en el que participamos tanto Beatriz como yo. Our first Russian publication!

Semiosphere of Narratology 1





Arena - Harold Pinter









Arena- Harold Pinter (Part 2)

En memoria de Doris Lessing









—con Ángeles de la Concha.


Visitantes de Academia

Estos son mis artículos más consultados de este último mes, según las estadísticas de Academia.edu. En la primera columna, las visitas de los últimos 30 días—en la segunda, las totales desde que colgué el artículo. Y en la última columna, la hora de la última visita a ese artículo. Muy informativo. Y curioso es ver que cosas que escribí hace más de treinta años tienen más demanda que otras más recientes, así transita Gloria.


La structure narrative dans "La Dentellière" de Pascal Lainé 130 616
Perspectiva narrativa sobre HISTORIA DEL TIEMPO, de Stephen Hawking 106 7354
Speech Act Theory and the Concept of Intention in Literary Criticism 102 2198
Science and Literature: Some Critical Parameters 90 916
A comparison between the French and RP English vowel systems 71 1199
Reflexivity in the Narrative Technique of AS I LAY DYING 64 1904
Intertextuality and Exoticism in Salman Rushdie's THE MOOR'S LAST SIGH 61 1419
El autor implícito y el narrador no fiable—según nuestro punto de vista 57 3767
Por la Galaxia Gutenberg (The Surfer's Guide) 42 1344
Samuel Johnson's RASSELAS: The Duplicity of Choice and the Sense of an Ending 35 1066
Speech Acts, Literary Tradition, and Intertextual Pragmatics 30 992
Somos Teatreros: El sujeto, la interacción dialéctica, y la estrategia de la representación según Goffman 27 1178
Retroactive Thematization, Interaction, and Interpretation: The Hermeneutic Spiral from Schleiermacher to Goffman 23 925
Enunciación, ficción y niveles semióticos en el texto narrativo 22 1012
Gender, I-deology and Addictive Representation: The Film of Familiarity 19 571
Review of CHILDREN'S LITERATURE AS COMMUNICATION, ed. Roger Sell 18 268
Reading Racism: The Assumption of Authorial Intentions in Stephen Crane's 'The Monster' 17 1112
Colonialism and Post-Colonialism 17 727
Reseña de ADAM'S TONGUE, de Derek Bickerton 17 1000


Y aquí los países que más me visitan.

Mis entradas más visitadas




Subida a mi despacho


Subida a mi despacho


Tempestad y retrospección

Un pasaje de Dickens sobre los acontecimientos cruciales, tremendos, y la memoria:

Llego ahora a un acontecimiento de mi vida tan indeleble, tan terrible, tan ligado por una variedad infinita de lazos a todos los hechos que le han precedido en las páginas, que desde el principio de mi narración le he visto aumentar cada vez más de volumen a medida que yo avanzaba, lo mismo que una gran torre en medio de una llanura, y proyectando por adelantado su sombra hasta sobre los incidentes de los días de mi niñez.

Años después de que ocurriese aún solía yo soñar con frecuencia con ese suceso. Me he despertado a veces con sobresalto y tan vivamente impresionado por él que parecía como si resonase todavía con estrépito su furor en mi cuarto tranquilo y en la noche callada. Aún hoy sueño con él a veces, aunque a intervalos más largos y menos fijos. No existe en mi alma conciencia de una asociación de ideas tan fuerte como la que establezco entre ese acontecimiento y el viento tormentoso o la simple mención de la costa del mar. Relataré el suceso con la misma claridad con que ocurrió ante mis ojos. no se trate de un recuerdo, sino de un hecho que estoy viendo ocurrir, porque otra vez ocurre delante de mí.

cao grande

(David Copperfield, cap. LV, "Tempestad")


El desván





Domingo 19 de enero de 2014

Sopor Aeternus and the Ensamble of Shadows - "Alone II"




Gótica canción sobre un poema de Edgar Allan Poe.



Un Poe-ma





Steven Pinker - The Better Angels of our Nature









Bernard Shaw - The Devil's Disciple






The Devil's Disciple. Dir. Guy Hamilton. Screenplay by John Dighton and Roland Kibbee, based on the play by G. Bernard Shaw. Cast: Burt Lancaster, Kirk Douglas, Laurence Olivier, Janette Scott, Eva LeGallienne, Harry Andrews, Basil Sydney, George Rose, Neil McCallum, Mervyn Johns, David Horne. Photog. Jack Hildyard. Music by Richard Rodney Bennett, dir. John Hollingsworth. Exec prod. Gilbert Kurland. Prod. Harold Hecht. UK: Associated British Elstree Studios, 1959.* YouTube (Althussein Thaer)
    http://youtu.be/StIhRdLRyu0





No lo pillo




No lo pillo







Sábado 18 de enero de 2014


Bernard Shaw's Caesar and Cleopatra

Bernard Shaw's Caesar and Cleopatra. Dir. Gabriel Pascal, based on the 1901 play by George Bernard Shaw. Scenario and dialogue by Bernard Shaw. Cast: Claude Rains, Vivian Leigh, Stewart Granger, Flora Robson, Francis L. Sullivan. Technicolor. Art dir. John Bryan. UK: Independent Producers / Gabriel Pascal / Eagle-Lion, 1945.
http://youtu.be/g9ELYjU7qvI







Pygmalion






Perspectiva narrativa sobre Historia del Tiempo

Ahora en ResearchGate:

Perspectiva Narrativa sobre HISTORIA DEL TIEMPO, de Stephen Hawking

José Angel García Landa
Cognition in Mathematics, Science, & Technology eJournal 11/2010; 2(19). DOI:10.2139/ssrn.1707364

light gets inReseña con resumen y comentario de HISTORIA DEL TIEMPO, de Stephen Hawking, sintetizando las tesis principales del libro y evaluándolas desde el punto de vista de una filosofía del tiempo (tanto cósmico como humano) informada por la teoría narrativa y la filosofía evolucionista. Cualquier historia o teoría del tiempo, por compleja que sea, ha de volverse más complicada una vez se tiene en cuenta el papel de las descripciones, modelos y teorías en tanto que instrumentos cognitivos históricamente situados. El lenguaje intencionalista de Hawking a la hora de describir el "diseño cósmico" también se somete a crítica.
__________

ABSTRACT - This is a review and commentary of Stephen Hawking's A Brief History of Time, summarizing some of the book's main tenets and evaluating them from the standpoint of a philosophy of time (both cosmic and human) informed by narrative theory and by evolutionary philosophy. Any account of time, however complex, is further complicated once the role of descriptions as historically situated cognitive instruments is taken into account. Hawking's intentionalist discourse as regards cosmic design is also criticized.



Also in

Cognition & Culture eJournal 2.59 (2010) -  11 November 2010

Available at SSRN: http://ssrn.com/abstract=1707364 or http://dx.doi.org/10.2139/ssrn.1707364

El principio del tiempo




Sapolsky — Emergence and Complexity










Mis vídeos más populares

Mis vídeos más populares—según ASK.  Disclaimer: Que sean los más populares no quiere decir, claro, que sean populares.









Le Rêve de D'Alembert



Le Rêve de D'Alembert








Viernes 17 de enero de 2014

Richard Heinberg - The End of Growth










Clothes Line



P8090574





After a while we took in the clothes
Nobody said very much
Just some old wild shirts and a couple pairs of pants
Which nobody really wanted to touch
Mama come in and picked up a book
An' Papa asked her what it was
Someone else asked, "What do you care?"
Papa said, "Well, just because?"
Then they started to take back their clothes
Hang'em on the line
It was January the thirtieth
And everybody was feelin' fine.

The next day, everybody got up
Seein' if the clothes were dry
The dogs were barking, a neighbor passed
Mama, of course, she said, "Hi"
"Have you heard the news?" he said with a grin
"The Vice President's gone mad"
"Where?" "Downtown." "When?" "Last night"
"Hmm, say, that's too bad"
"Well, there's nothing we can do about it," said the neighbor
"It's just something we're gonna have to forget"
"Yes, I guess so" said Ma
Then she asked me if the clothes was still wet.

I reached up, touched my shirt
And the neighbor said, "Are those clothes yours?"
I said, "Some of them, not all of them"
He said, "Ya always help out around here with the chores ?"
I said, "Sometime, not all the time"
Then my neighbor he blew his nose
Just as papa yelled outside
"Mama wants you to come back in the house and bring them clothes"
Well, I just do what I'm told so I did it, of course
I went back in the house and Mama met me
And then I shut all the doors.

    (Bob Dylan,  "Clothes Line Saga")


Por cierto, en mi fotoblog, se me olvidaba conmemorarlo, he pasado de las veinte mil fotos. Y de las veintiuna mil.

No es un récord, pero sí tengo uno: la proporción más baja entre número de fotos y número de comentarios. Ni una foto mía entre mil tiene algún comentario ni positivo ni negativo, como verán. Es... curioso. Porque es difícil concitar tanta indiferencia.








Blind Spot





The biggest question always in my mind was how to understand the Industrial Revolution—because everything up to that point is pretty easily comprehensible. We figured out agriculture ten thousand years ago, and gradually the population increased as we spread out across the planet and spread agriculture with us, and so on. But then, two hundred years ago, with the beginning of the Industrial Revolution, it's like everything goes haywire. The human population goes from fewer than one billion to six and a half billion, and the scale of the human impact on the environment increases exponentially as well. So, again, how to explain that? Well, I tried looking into the history of capitalism, and looking into our mythological, psychological interaction with nature, and so on... But then, finally, in 1998 I read a paper (...) titled "The End of Cheap Oil". And for the first time I began to understand the role of energy in human social evolution. And for several years I studied this and read books. And I realized that this was the key to understanding everything that's happened in the last two hundred years—that fossil fuels are the essence of the Industrial Revolution. So, that creates a problem, because fossil fuels are inherently finite.

Oil was created in a 90 to a hundred fifteen million years ago. And we are drying down the stock of highly concentrated fuel in an amazingly short period of time. What's two hundred years, compared to a hundred and fifteen million years? And that oil is going to be gone virtually by the end of this century.

So—the twentieth century was about using more of the stuff. And it was the great petroleum fiesta. One time only, in the history of our species. The twenty-first century is going to be all about how that party winds down. This is the most serious problem to face the human race since we've been human.

Richard Heinberg, author of Powerdown.



We, above all the other cultures in the world, are to be most challenged by the necessity of transitioning from the fossil fuels to renewables. And we will transition, either on our timetable or on geology's timetable. In the five thousand years of recorded history, the age of oil will be just a blip—about three hundred years, more or less. Then what? —then what? We are enormously smarter than we were before and I think we can live happier and more of us than we had living before the age of oil, but...

... I don't think it's going to be seven billion people.

Roscoe Bartlett, AIAA award


The world sang—

"Look, you've got a choice. You can either fix it, or I can fix it.

Except you're not going to like it—because I'm going to throw everything away."


And everything means most of us.

Solución imaginaria a problema real




Jueves 16 de enero de 2014

Peak Oil Pickle:

Great Distractions & the REAL catastrophe directly ahead




An Unpleasant Story





The Problem: Peak Oil








Nuestro futuro tras el cénit del petróleo






PLAY













On the Beach



On the Beach









WOW!


WOW! Cientos y cientos de vídeos con mis mejores (y mis peores) canciones. Menuda carrera musical que llevo.

Y aquí mi vida (o parte de ella) en imágenes. Bing también da demasiada información.

—oOo—



Miércoles 15 de enero de 2014

A World Outside Your Window




P8070476





GOD ON TRIAL




God on Trial is a 2008 BBC/WGBH Boston television play written by Frank Cottrell Boyce, starring Antony Sher, Rupert Graves and Jack Shepherd. The play takes place in Auschwitz during World War II. The Jewish prisoners put God on trial in absentia for abandoning the Jewish people. The question is if God has broken his covenant with the Jewish people by allowing the Nazis to commit genocide.

The play is based on an event described by Elie Wiesel in his book The Trial of God, though Boyce describes this tale as "apocryphal". According to Boyce, producer Mark Redhead "had been trying to turn the story into a film for almost 20 years by the time he called me in 2005 to write the screenplay."






La Bohème - Juliette Gréco

http://youtu.be/FTpE1GoxQD4







Martes 14 de enero de 2014

Quad



Ohio Impromptu











It's NOT I

Empezando en el minuto 2.50, el monólogo dramático de Beckett Not I (1972). En su versión para televisión.





Pinter as The Unnamable







Surcando






Surcando













Lunes 13 de enero de 2014

Nobel Lecture by Harold Pinter








—Texto que tradujimos: Art, Truth and Politics de Harold Pinter.


Y aquí Antonia Fraser sobre su vida con Harold Pinter.









Narrative and Identity / Narración e identidad

José Angel García Landa. "Narrative and Identity." Café Philosophy (Auckland, Nueva Zelanda) Octubre-noviembre 2011: 9-10.* (De "Rereading(,) Narrative(,) Identity(,) and Interaction).
    http://www.cafephilosophy.co.nz/
    2011
_____. "Narrative and Identity." En red en Social Science Research Network 13 enero 2014.*
    http://ssrn.com/abstract=2378357
    2014

From the point of view of hermeneutic psychology, the self is a product of action and of representation, with narratives of the self as a major representational and structuring principle. In this sense reality is interwoven with narrative fictions. Experimental fictions and reflexive narratives are therefore a prime cognitive instrument in the development of complex structures of self-identity and subjetivity.

____

Desde la perspectiva de la filosofía hermenéutica, la identidad personal es producto de la acción y de la representación, y las narraciones sobre esta identidad son en ella un elemento de representación y estructuración cuya importancia es crucial. En este sentido, la realidad está entretejida con las ficciones narrativas. Las obras de ficción experimentales y las narraciones reflexivas son por tanto un instrumento cognitivo de primera categoría a la hora de desarrollar estructuras complejas en la identidad personal y en la subjetividad.


Narración, Identidad, Interacción: Relectura







El cuadro de la pintora


P7290383



Domingo 12 de enero de 2014

Los marcos como espacios públicos

—Que viene de mi ponencia en el seminario sobre "Individuo y espacio público":

La realidad de por sí no tiene estructura—al menos no tiene estructura humana. ¿Quién la estructurará? Nosotros, con nuestras convenciones y expectativas acerca de ella. Sobre los hechos brutos se ha de edificar un sistema de hechos institucionales y culturales. Es lo que Erving Goffman denomina "marcos",  frames, en su libro Frame theory (1974). La realidad es un complejo sistema de marcos entrecruzados, si llamamos marco a un conjunto de signos que se dejan interpretar como una unidad estructural. Una vez hemos establecido un marco, podemos contrastarlo con otros marcos—por ejemplo, podemos aislar una conferencia de otra conferencia, o una conferencia de la sesión de discusión—o podemos transformar ese marco de alguna manera, ponerlo en clave de… en clave de humor, por ejemplo, si en lugar de dar una conferencia parodiamos una conferencia. Podemos insertar ese marco dentro de otro, como este texto puede insertarse en una página web.  Y así la realidad va tomando forma.

Cada marco es un pequeño espacio público—engastado en otros marcos, otros espacios públicos, que en última instancia se insertan en el gran espacio público que denominamos la realidad. No hay por tanto un solo "espacio público", sino muchos espacios más o menos públicos solapados, secuenciados o superpuestos, a veces con transiciones problemáticas entre unos y otros. marcos comoVan desde el espacio público subjetivado e interiorizado, plegado para constituir la identidad personal, al espacio de la calle donde podemos circular más o menos todos, o al espacio global de la web. Son estos marcos espacios accesibles o disponibles para unos sujetos sí y para otros no, y a los que se aplican reglas diversas y variables. Cada marco es una unidad con reglas propias, una unidad poética o drámatica podríamos decir, y en cada uno rigen reglas interaccionales que lo definen como tal marco y lo hacen utilizable para la comunicación social. Desde la palabra individual, pequeño marco, hasta la frase en que se engasta, o al discurso del rey.

Las reglas del juego, claro, no van siempre en manual de instrucciones, sino que están con frecuencia sujetas a cambio, a transformación súbita o a negociación. Parte del trabajo de interpretación de la realidad es no sólo reconocer en qué papel nos hemos metido, en qué marco estamos, sino quizá también salirnos del marco si no nos conviene, renegociar el papel, o el contrato social. La construcción de la realidad, su reconstrucción y su transformación van por tanto unidas. Y es necesaria para esto la negociación con los demás actores: saber si estamos buscando setas o relojes de oro, como decía el chiste de vascos (Van dos vascos por el bosque buscando setas, y uno se encuentra un reloj de oro. "Coño, Pachi, mira qué he encontrado, ¡un reloj de oro!" Y Pachi, "A ver a qué estamos, hostias. ¿Estamos a setas, o a relojes?"). Es decir, se requiere definir el tipo de interacción social en el que estamos participando.

Esta complicada dramaturgia social tiene consecuencias, como decíamos, para el sujeto. Lo sujeta, sí, y así lo constituye—pero lo sujeta a un sistema cambiante de roles, papeles e identidades en última instancia móviles y transitorias. O heredadas—a veces es la identidad del otro la que representamos, la de un role model, por ejemplo, con consecuencias para la nuestra. 

De hecho, la propia identidad personal surge de la internalización de este teatro social. Podríamos decir que no es otra cosa sino ese teatro de relaciones sociales, visto desde dentro, tal como es interiorizado por un sujeto que sólo mediante esa interiorización pasa a ser un sujeto humano propiamente dicho.

Para el interaccionalista simbólico (como George Herbert Mead) la propia posesión de una identidad personal significa que el actor actúa con referencia a ella—que el actor es capaz de verse a sí mismo en una situación y tener en cuenta este objeto simbólico (uno mismo en la situación) como un factor para guiar la actuación. Es una reflexividad o autoconciencia inherente al sujeto humano, que actúa por referencia a su propia identidad personal y a la identidad de los otros en los que se proyecta, y a los que interioriza como elementos de referencia, tomando el papel de los demás en una relación de circularidad hermenéutica con el suyo propio y con la situación. —Definida ésta, en gran medida, por los marcos cognitivos e interaccionales que sean aplicables en ella.

La definición de la situación


Los marcos como espacios públicos - en Ibercampus.









Una partida en la Nada





Una partida en la Nada













Guitar del Mar











Sábado 11 de enero de 2014

Arthur Schopenhauer (La Aventura del Pensamiento)














The Evolution of Narratology - Cognition & the Arts eJournal

Otro artículo, esta vez en colaboración con Ludmila Tataru, que aparece en una revista editada por el genial cognitivista Mark Turner:
ssrn cogni14


Jose Angel Garcia Landa's Author Rank is 2,688 out of 243,369


De los mil primeros del primero de los mil















Foto no mejorable del mar quieto



Foto no mejorable del mar quieto






Viernes 10 de enero de 2014

Caro Emerald in Concert (BBC Radio 2)









Mi bibliografía sobre Peter Ackroyd

—en Docdat hallada. Viene, claro, de... A Bibliography of Literary Theory, Criticism and Philology.


read more
download









Rosencrantz and Guildenstern Are Dead
















Biography in Sound: George Bernard Shaw




George Bernard Shaw



La otra orilla



La otra orilla




Jueves 9 de enero de 2014

Pygmalion (1938)

Una versión cinematográfica de la comedia de George Bernard Shaw (1913).




Bernard Shaw's PYGMALION. Dir. Anthony Asquith and Leslie Howard. Screenplay and dialogue by Bernard Shaw, scenario by W. P. Lipscomb and Cecil Lewis. Cast: Leslie Howard, Wendy Hiller, Wilfrid Lawson, Marie Lohr, Scott Sunderland, Jean Cadell, David Tree, Everley Gregg, Leueen MacGrath, Esme Percy, Violet Vanbrugh. Photog. Harry Stradling. Art dir. John Bryan. Ed. David Lean. Music Arthur Honegger. Prod. Gabriel Pascal. UK: Pascal Film Productions / Pinewood Studios, 1938.*
    http://youtu.be/tmdPj_XbF30
    2013



Para mi blog sobre teatro inglés.








The Structure of Irrelevance

La dinámica de lo relevante y de lo irrelevante en la realidad social—en Facebook se percibe agudamente, por ser espacio público comprimido, pero se aplica a todo espacio público o todo mundo social. Esto viene de Berger y Luckmann, The Social Construction of Reality:

Although the total stock of knowledge represents the everyday world in an integrated manner, differentiated according to zones of familiarity and remoteness, it leaves the totality of that world opaque. Put differently, the reality of everyday life always appears as a zone of lucidity behind which there is a background of darkness. As some zones of reality are illuminated, others are adumbrated. I cannot know everything there is to know about this reality. Even if, for instance, I am a seemingly all-powerful despot in my family,
Kim Jong Unand know this, I cannot know all the factors that go into the continuing success of my despotism. I know that my orders are always obeyed, but I cannot be sure of all the steps and all the motives that lie between the issuance and the execution of my orders. There are always things that go on 'behind my back'. This is true a fortiori when social relationships more complex than those of the family are involved—and explains, incidentally, why despots are endemically nervous. My knowledge of everyday life has the quality of an instrument that cuts a path through a forest and, as it does so, projects a narrow cone of light on what lies just ahead and immediately around; on all sides of the path there continues to be darkness. This image pertains even more, of course, to the multiple realities in which everyday life is continually transcended. This latter statement can be paraphrased, poetically if not exhaustively, by saying that the reality of everyday life is overcast by the penumbras of our dreams.

My knowledge of everyday life is structured in terms of relevances. Some of these are determind by immediate pragmaic interests of mine, others by my general situation in society. It is irrelevant to me how my wife goes about cooking my favourite goulash as long as it turns out the way I like it. It is irrelevant to me that the stock of a company is falling, if I do not own such stock; or that Catholics are modernizing their doctrine, if I am an atheist; or that it is now possible to fly non-stop to Africa, if I do not want to go there. However, my relevance structures intersect with the relevance structures of others at many points, as a result of which we have 'interesting' things to say to each other. An important element of my knowledge of everyday life is the knowledge of the relevance structures of others. Thus 'I know better' than to tell my doctor about my investment problems, my lawyer about my ulcer pains, or my accountant about my quest for religious truth. The basic relevance structures referring to everyday life are presented to me ready-made by the social stock of knowledge itself. I know that 'woman talk' is irrelevant to me as a man, that 'idle speculation' is irrelevant to me as a man of action, and so forth. Finally, the social stock of knowledge as a whole has its own relevance structure. Thus, in terms of the stock of knowledge objectivated in American society, it is irrelevant to study the movemements of the stars to predict the stock market, but it is relevant to study and individual's slips of the tongue to find out about his sex life, and so on. Conversely, in other societies, astrology may be highly relevant for economics, speech analysis quite irrelevant for erotic curiosity, and so on.

One final point should be made here about the social distribution of knowledge. I encounter knowledge in everyday life as socially distributed, that is, as possessed differently by different individuals and types of individuals. I do not share my knowledge equally with all my fellowmen, and there may be some knowledge that I share with no one. I share my professional expertise with colleagues, but not with my family, and I may share with nobody my knowledge of how to cheat at cards. The social distribution of knowledge of certain elements of everyday reality can become higly complex and even confusing to the outsider. I not only do not possess the knowledge supposedly required to cure me of a physical ailment, I may even lack the knowledge of which one of a bewildering variety of medical specialists claims jurisdiction over what ails me. In such cases, I require not only the advice of experts, but the prior advice of experts on experts. The social distribution of knowledge thus beigins with the simple fact that i do not know everything known to my fellowmen, and vice versa, and culminates in exceedingly complex and esoteric systems of expertise. Knowledge of how the socially available stock of knowledge is distributed, at least in outline, is an important element of that same stock of knowledge. In everyday life I know, at least roughly, what I can hide from whom, whom I can turn to for information on what I do not know, and generally which types of individuals may be expected to have which types of knowledge.

(from ch. 2, "Language and Knowledge in Everyday Life")


Recontextualizando


Miércoles 8 de enero de 2013


DIVIDUO

Una ponencia presento en el seminario "Individuo y espacio público" organizado por HERAF - el 10 de enero a las 11h en la Sala Angel San Vicente de la Facultad de Filosofía y Letras (Zaragoza).


 José Angel García Landa: "La evolución del dividuo social y de los espacios públicos".

Pondré aquí algunas referencias y lecturas adicionales relacionadas con la cuestión.


Sobre el título:

individuum, -ui  lat. àtomo. 

En la era atómica, el individuo ya no es lo que era—aunque siga habiéndolos.


—oOo—
 

1) Los siete papeles y edades del hombre (Shakespeare, Como gustéis, II.7)

Duque: Ya ves que no somos los únicos desdichados.
Este teatro amplio y universal
Presenta espectáculos más dolorosos que el de la escena
En la que actuamos nosotros.
Jaques:                                      Todo el mundo es un escenario,
Y los hombres y mujeres meramente actores.
Tienen sus salidas de escena y sus entradas,
Y un hombre en su tiempo representa muchos papeles,
Siendo sus actos siete edades. Primero el infante,
Maullando y vomitando en brazos de la nodriza.
Luego el colegial quejoso, con su mochila
Y cara limpia mañanera, arrastrándose como un caracol
De mala gana hacia la escuela. Y luego el amante,
Suspirando como un horno, con una doliente balada
Dedicada a la ceja de su amada. Luego un soldado,
Lleno de juramentos extraños, y barbudo como un leopardo,
Celoso de su honor, brusco, y rápido en buscar pelea,
Buscando la burbuja de la reputación
Hasta la boca misma del cañón. Y luego el juez,
Con buena tripa redonda forrada de capón,
Severos ojos y barba de corte formal,
Lleno de dichos sabios y de casos modernos;
Y así representa su papel. La sexta edad cambia
A Pantalón, viejo flaco en zapatillas,
Gafas en la nariz y bolsa al costado,
Con sus calzas de cuando era joven, bien ahorradas, anchas como un mundo
Para sus piernillas encogidas, y su voz fuerte y viril
Volviéndose otra vez en voz aguda de niño, como flauta
Da pitidos al sonar. La última escena de todas,
Que termina esta extraña historia llena de eventos,
Es la segunda niñez y el mero olvido,
Sine dientes, sine ojos, sine gusto, sine nada de todo.



2) El vasallo altivo que da voz al bien general (Hegel, Fenomenología del Espíritu §508):

            Pero la alienación tiene lugar únicamente en el lenguaje o discurso, que aparece aquí con su significación característica. En el mundo del orden ético, en la ley y en el mando, y en el mundo efectivo, en el mero consejo, el lenguaje tiene la esencia de su contenido y es la forma de ese contenido; pero aquí tiene por contenido la forma misma, la forma que el lenguaje mismo es, y tiene autoridad en tanto que lenguaje o discurso. Es el poder del habla, en tanto que es lo que lleva a cabo lo que hay que llevar a cabo. Porque es la existencia real del puro sujeto como sujeto; en el lenguaje, la consciencia de sí, en tanto que individualidad independiente separada, llega como tal a la existencia, de forma que existe para otros. De otro modo el "yo", este puro "yo", es inexistente, no está allí; en cualquier otra expresión está inmerso en la realidad, y está en un forma de la que puede retirarse a sí mismo; se refleja a sí mismo a partir de su acción, además de su expresión fisiognómica, y se disocia a sí mismo de una existencia tan imperfecta, en la que siempre hay a la vez demasiado y demasiado poco, haciendo que quede atrás sin vida. El lenguaje o discurso, sin embargo, lo contiene en su pureza, sólo él expresa al "yo", al "yo" mismo. Esta existencia real del "yo" es, en tanto que existencia real, una objetividad que tiene la naturaleza auténtica del "yo". El "yo" es este "yo" particular—pero igualmente el "yo" universal; su manifestación es asimismo a la vez la externalización y la desaparición de este "yo" particular, y como resultado de esto, el "yo" permanece en su universalidad. El "yo" que se enuncia a sí mismo es oído o percibido; es una infección en la cual ha pasado inmediatamente a formar una unidad con aquéllos para quienes es una existencia real, y es una autoconsciencia universal. Que es percibido u oído significa que su existencia real se extingue; esta su otredad ha sido reasumida en sí mismo, y su existencia real es sólo ésta: que en tanto que es un Ahora auto-consciente, en tanto que existencia real, no es una existencia real, y por medio de esta desaparición es una existencia real. Este desaparecer es por tanto en sí mismo, a la vez, su permanencia; es su propio conocerse a sí mismo, y su conocerse a sí mismo en tanto que un sujeto que ha pasado a otro sujeto que ha sido percibido y es universal.





Algunas obras mencionadas:


Aute, Luis Eduardo. "Las cuatro y diez." Rito. 1973. http://youtu.be/eNDj9Hmm4rY  
Blumer, Herbert. Symbolic Interactionism: Perspective and Method. Englewood Cliffs (NJ): Prentice-Hall, 1969.

Booth, Wayne. La retórica de la ficción. 1961. Barcelona: Bosch, 1974.
Charon, Joel M. Symbolic Interactionism An Introduction, an Interpretation, an Integration. Upper Saddle River (NJ): Prentice-Hall,  7th ed. 2001.* 

Foucault, Michel. Fearless Speech. 1983. Ed. Joseph Pearson. (Foreign Agents). Los Angeles: Semiotext(e), 2001.
Freud, Sigmund. "El poeta y la fantasía." 1908. In Freud, Psicoanálisis aplicado Madrid: Alianza, 1972. 9-19.
García Landa, J. A."Somos teatreros: El sujeto, la interacción dialéctica y la estrategia de la representación según Goffman." http://ssrn.com/abstract=2070508 
Goffman, Erving. "On Face-Work: An Analysis of Ritual Elements in Social Interaction." 1955. In Goffman, Interaction Ritual 1967. New York: Random House-Pantheon, 1982. 5-46.
_____. The Presentation of Self in Everyday Life. Rev. ed. Garden City (NY): Doubleday-Anchor, 1959.

_____. Frame Analysis: An Essay on the Organization of Experience. New York: Harper and Row, 1974.

Hegel, G. W. F. Fenomenología del espíritu. 1807.  México: FCE, 1981.
James, William. The Principles of Psychology. 2 vols. New York Henry Holt, 1890.
The King's Speech. Dir. Tom Hooper. UK:  Alliance Films, 2010.  
Laing, R. D. The Divided Self: An Existential Study in Sanity and Madness. Harmondsworth: Penguin, 1960.

Mead, George Herbert. Mind, Self and Society. Chicago: U of Chicago P, 1934.

Nietzsche, Friedrich. Genealogía de la moral. Ed. and trans. Andrés Sánchez Pascual. Madrid: Alianza, 1994.
Oregón TV "Jarcha." http://youtu.be/5z3luK4g-Dc
Pink Floyd. The Dark Side of the Moon. LP. 1973.
Shibutani, Tamotsu. "Reference Groups as Perspectives." American Journal of Sociology 60 (1955): 562-69.
Smith, Adam.  The Theory of Moral Sentiments. 1759. Vol. 1 of Glasgow Edition of the Works and Correspondence of Adam Smith. Ed. R. R Raphael and A. L. Macfie. Indianapolis: Liberty Fund, 1982. Online Library of Liberty:
http://oll.libertyfund.org/index.php?option=com_staticxt&staticfile=show.php&title=192
         2014
Veblen, Thorstein. Teoría de la clase ociosa. 1899. Madrid: Alianza Editorial, 2011.*




Misty Fog


Misty Fog









Barcos de fiesta


Barcos de fiesta







Martes 7 de enero de 2014

Theatre and the Marketplace


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

Chapter 22: Theatre and the Marketplace (1979-90)

The eighties were driven throughout by the supposedly 'Victorian values', moral and economic, of that small shopkeepers' revision of low Tory dogma which became known as Thatcherism. The decade began and ended in recession: in between, the long, slow process of redistributing wealth from rich to poor went in reverse, when tax reductions fro the wealthy failed to produce the promised 'tricle-down' effect; and such resources as remained for the welfare state (electorally popular despite the Thatcherite push for 'self-help') were stretched by the need to dole out subsistence to the swollen ranks of the unemployed. Meanwhile, a programme of 'privatizing' the public sector of the economy steadily liquidated the nation's capital assets—a process which even an ageing former Conservative prime minister, Harold Macmillan, likened to selling the family silver. Effectively, the post-war political consensus was destroyed.

At home, an autocratic prime minister overrode opposition, alike from the more accomodating 'wets' in her own cabinet and from effective political opponents—such as she found in the trades unions, which were duly emasculated, or in the largely Labour-dominated metropolitan councils, which were abolished (leaving London without a representative governing body for the first time in a century). Abroad, Margaret Thatcher found a soul-mate in the ageing movie actor Ronald Reagan, the emollient paternalism of whose eight-year presidency struck a responsive chord in his 'fellow-Americans' just as Thatcher's brusque nannying must have met some deep-seated need in a quiescent English (as distinct from British) public.

Redolent as much of the black-and-white morality of melodrama as of the B-movies of his youth, Reagan's simplistic dream of a nation (rather than a world) sheltering from nuclear attack beneath a laser-wrought umbrella was instantly named 'star wars'—after a futuristic film. The financial drain of trying to second-guess the dubious technology of the enterprise, later sensibly abandoned, was one cause of the collapse, at the end of the decade, of the Soviet Union and its satellite states—this 'evil empire', as Reagan had earlier described his necessary enemy. But the hopes consequently placed upon what was described (in the characteristic jargon of the times) as the 'peace dividend' soon gave way before the revived nationalistic hostilities and disintegrating economies of the former communist nations—now being taught, even by supposedly neutral observers, to equate 'freedom' with the ineluctable workings of the 'free market'.

Communist regimes had at least recognized the honours they vicariously accrued through lavish funding of cultural projects. Most continental democracies, too, had long acknoweldged the necessity for reasonable state subsidy—not just to protect cost-intensive national institutions, but to promote the greater accessibility of the arts through what the French called 'decentralization'. In Britain the Arts Council had, on its more modest budget, been hesitantly shadowing such examples: but the Thatcher government was disposed rather to encourage, after the American model, arts funding from private sources. Tax incentives (less generous than the American) were duly offered for business sponsorship, sometimes with matching state funding promised for its lucky recipients. (Without irony, a national lottery was also projected as an appropriate source of support for the arts).

As arts administrators frittered away disproportionate time upon the tactful, usually unrewarded composition of applications for business sponsorship, they thus found it politic to speak in terms of investments and returns, of markets and invisible exports—but were able to offer as collateral only their own, hard-to-quantify prestige. Of course, prestige for sponsors accrued more surely and safely from association with high-profile national companies than from support for experimental or small-scale work. And there was seldom a guarantee that any kind of backing would last beyond the immediate period or purpose for which it had been secured. Forward planning became a near impossibility.

To win private or public support, even the institutional theatre was expected to demonstrate its 'good housekeeping' —a much-favoured term, especially following the inquiry of the Priestley inquiry of 1983 into the running of the Royal Shakespeare Company. Expected to carp, the civil-service investigator in the event could find little to fault, and went enthusiastically native: but the resulting boost in state support for the company proved short-lived, and within a few years had to be supplemented by one of the major sponsorship deals of the decade. Thereafter, the RSC logo rode into the nineties in tandem with that of Royal Insurance.


THE DECADE OF THE MUSICAL

For the commercial theatre at large this was, beyond doubt, the decade of the musical. Ironically, the previously dominant American style, although reinvigorated (and intermittently represented) by Stephen Sondheim, now found itself outpizzazzed in London by the native British variety, resuscitated under the influence, as much entrepreneurial as musical, of Andrew Lloyd Webber. Following up his early but perennially revived Joseph and the Amazing Technicolour Dreamcoat (1968) with Jesus Christ Supertar and Evita in the seventies, Lloyd Webber—often with Trevor Nunn as his director—went on to build a show-business fortune of fabulous proportions with a steady succession of blockbusting hits, from Cats (1981) via Starlight Express (1984) to The Phantom of the Opera (1986) and Aspects of Love (1989).

Based on a combination of cleverly-hyped expectations, trendy high-tech staging, and tangy if somewhat predigested lyrics and scores, these purveyed an acceptably pasteurized sense of 'experience'—often handily doubling if not conceived as 'concept albums' for the record industry. Soon, even the national companies were lavishing their resources on musicals, whether robust revivals such as Richard Eyre's Guys and Dolls for the national or company-originated spectacles mounted with an eye to profitable transfers. Some such ventures—the National's Jean Seberg in 1983, Terry Hands's disastrous Carrie in 1989—properly came to grief; but Nunn's production for the RSC of Les Misérables (1985), illustrated alongside, was an instant popular if not critical success. It quickly and calculatedly transferred from the Barbican to the Palace in Cambridge Circus—a theatre which Lloyd Webber had purchased outright in 1982, and which, until Les Mis took up its long occupation, seemed to have become almost a permanent showcase for his own work. 

Illustration: Scene at the barricades from Les Misérables, which opened at the RSC's new, purpose-built London theatre, the Barbican, in 1985. Directed by Trevor Nunn and John Caaird, this was one of Nunn's final triumphs as artistic director of the company. The production was mounted in association with a commercial management: soon transferring to the Palace Theatre in the West End, it ran on through the decade and beyond.






 

THE ARTS COUNCIL AND THE INSTITUTIONS

The Arts Council of this period seemed chronically pregnant with reports—one of the earliest of which, The Glory of the Garden (aptly a product of 1984, a year long synonymous with doublespeak), anticipated the cultivation of 'excellence' at the expense of experiment. Later, the more fully-researched and wide-ranging Cork report into the condition of the profession went largely unimplemented. The Council now found itself besieged on the one side by clients facing cuts in their funding, and on the other by politicians who questioned the need for its existence, while the 'arm's length' principle which had previously protected it from political pressures also came under threat For this was a govrenment which believed it always knew best—and in 1985 duly blamed a miserly arts allocation on the vocal opposition to its policies of the likes of Peter Hall.

Although some further devolution of funding to regional bodies was accomplished and arguably overdue, the suspicion could not be avoided that this made it all the easier for an otherwise centralizing administration to divide and rule. But because protests from within the profession were largely limited to bleatings over inadequate funds, and thus demonstrably self-interested, they failed, advisedly or otherwise, to address the philosophy underlying the shortage. Philip Hedley, who gradually rebuilt Theatre Workshop into a thriving neighbourhood playhouse for Stratford East, was one of the very few directors who dared to sustain a full-frontal attack on government policies and survive—while other politically controversial companies, such as Joint Stock, Foco Novo, and the English 7:84 company, fell victim one by one to the Arts Council axe. (The 7:84 company was permitted to survive in Scotland—once it had quietly disposed of its founder, John McGrath).

The Royal Court, under the continuing direction of Max Stafford-Clark, also found itself regularly threatened—at one time by a bizarre proposal to transfer responsibility for its funding to the Boroguh of Kensington and Chelsea, whose attitude to this unruly presence in Sloane Squared varied from the disinterested to the downright hostile. That the Court managed to survive was thanks rather to a succession of well-calculated West End transfers than to state support, as the theatre fell from being third best-funded in Britain to sixteenth.

In consequence, the number of productions at the Court steadily diminished, and Stafford-Clark found it impossible to maintain a regular acting company—never, confessedly, a top priority at that theatre. Elsewhere, to borrow an apt culinary metaphor, the RSC's approach to company-building (as to repertoire) had always tended towards the table d'hôte, whreas at the National actors (and productions) were in these years usually offered à la carte (though the generalization at once reminds one of such undervalued exceptions as the stalwart Michael Bryant, on the acting strength of the NT, or of Bob Crowley, a regular designer of astonishing range and virtuosity).

However, for a time in the early eighties Peter Hall found himself trying to keep no fewer than five separate acting companies in mutually-compatible harness at the National—an experiment designed, it seemed, as much to secure the loyalties of the people involved as to woo audiences for their shows. Among the most successful directors of the period, following an annus mirabilis in 1983 with Guys and Dolls, The Beggar's Opera, and Schweyk in the Second World War, was Richard Eyre: and in 1988 it was Eyre who succeeded Hall as artistic director, with David Aukin as his administrative right-hand-man.

Generally, Eyre kept a looser and somehow friendlier rein on a company now settling into a middle age made enforcedly 'safer' in its choices by cointinuing economic constraints. But this did not silence grumbles that the NT remained better endowed relative to its output (and considering its failure to sustain a regular touring policy) than the Royal Shakespeare Company—which in 1982 at last transferred its London base to the purpose-built Barbican Centre. Conceived in a period of confident expansion but finally bonr into an age of austerity, the Barbican was variously regarded as a symbol of RSC empire-building and a white elephant—sometimes both. It boasted an almost impenetrable approach, a pleasant enough sweep of a main house, and a soulless, claustrophobic subterranean studio, aptly dubbed The Pit.

Like the rebuilt Memorial Theatre back in 1932, the Barbican opened with the two Henry IV plays, in new productions by Trevor Nunn. But one of its earliest successes was, of all things, Peter Pan, in a production by Nunn and John Caird designed to keep the magic while cutting the whimsy, which ran for three successive Christmas seasons. Also in 1982, Adrian Noble made surely the most propitious directing debut at Stratfrod since those of Hall and Nunn, with a King Lear which paired Michael Gambon with one of the most distinctive of the new generation of RSC players, Antony Sher, in a sort of vaudevillian double act as king and fool. It was Noble who took over when Terry Hands, who had become sole artistic director in 1988, left the company three years later, while Sher sustained his growing reputation with a spidery but astonishingly athletic Richard III,  under the direction of Bill Alexander—who now followed Ron Daniels, Howard Davies, and Barry Kyle from studio work into main-house Shakespeare.

(Illustr.): Antony Sher (b. 1949) was one of the major acting talents to emerge from the Royal Shakespeare Company during the eighties. Despite earlier successes in plays by Mike Leigh and Sam Shepard, it was his performance at Stratford in 1982 as a gangling, red-nosed Fool to Michael Gambon's Lear, in a first production for the RSC  by its future artistic director, Adrian Noble, which saw Sher's distinctive, athletic genius come to full maturity. Then, in 1984, he played the Richard III portrayed alongside: a warped hunchback whose self-animated crutches made him both boggled spider and slithering toad—yet also genuinely sexy and suavely complicit with his audiences. Sher's other roles included the revolutionary turned reactionary Martin Glass in David Edgar's Maydays (1983), the contrasting title parts in Molière's Tartuffe and Bulgakov's Molière (1983), and the leader of a band of medieval itinerants in Peter Barnes's brilliant black comedy, Red Noses (1985). Back in the West End, he wrought some stunning emotional transitions as the lithe, stiletto-heeled drag queen in Harvey Fierstein's Torch Song Trilogy (1985).

 In 1986 the RSC acquired another 'edifice'—or rather resuscitated an old one, converting the reliques of the first Memorial Theatre into the glossy but thoughtfully conceived Swan, inteded to house the work of Shakespeare's contemporaries and successors. Honourably, in the first few years of its existence it duly staged rare revivals of plays by Heywood, Tourneur, Shirley, and Brome, as well as by Jonson, Marlowe, and the more marketable Restoration writers. Despite its name, the Stratford Swan was no replica 'Elizabethan' showcase, but unexpectedly 'neutral' in the best sense, comfortable and attractive but allowing the play to command the space rather than the space the play. (Meanwhile, Sam Wanamaker's project to recreate the old Globe on the south bank, as close as possible to its original structure and near to its original site, was coming slowly closer to fruition).

(Illustration:) Kenneth Branagh in the title role of Henry V. Like Antony Sher, Branagh emerged as a major talent with the RSC, for whom he played this vulnerable, rather reserved Prince Hal in 1984; but he went on to assert his actorly independence, directing his own Romeo and Juliet (1986) and acting in his own play, Public Enemy (1987), before helping to create the Renaissance Theatre Company, whose inaugural Twelfth Night of 1987 was follow3ed by a sellout Shakespeare season at the Phoenix in the following year.


COMMERCIAL THEATRE—AND INTERNATIONAL THEATRE

Release from institutional office enabled Hall, Nunn, and Hands to draw more regular commercial dividends from their years at the subsidized workface—in 1988 the Haymarket becoming a first London base for the newly-established Peter Hall Company. This theatre had long settled into a  role as home for classy revivals, now cast to attract audiences accultured to television. Hall's repertoire largely of old and new classics was later star-spangled by Dustin Hoffman, tempted back to the stage to play The Merchant of Venice at the Phoenix in 1989.

Although its theatres were custom-built to reflect the social hierarchies now being reinstated, astronomic overheads and break-evens in the West End increasingly limited its output to shows which had not only been pre-packaged but also pre-sold. As on Broadway, nothing less than a smash hit now made economic sense, 'moderate' runs being allowable only for for a leavening of small-cast, modestly set plays—preferably by the likes of Tom Stoppard, Alan Ayckbourn, or Michael Frayn. One-person shows were also allowable—such as those in which Barry Humphries alternated the high suburban glamour of his 'housewife superstar', Dame Edna Everage, with the slovenly philistinism of his antipodean cultural attaché, Sir Les Patterson. Throughout the decade, too, over-dependence on the tourrist trade left the theatre vulnerable to changes in the international political or economic climate, a terrorist threat turning a dozen or so houses 'dark', a boom leaving good 'product' awaiting a home. Proven successes from the National and the RSC were also cost-effectively transferred.

Between recessions, in 1988, the failed businessman, best-selling pulp novelist, and loyal (if accident-prone) Thatcherite Jeffrey Archer took a nibble from his fortune to buy the Playhouse theatre on the Embankment—but neither this venture nor a brief attempt in the same year to convert the Royalty into a sort of National Theatre for middlebrows survived the ensuing slump. More worthily and successfully, the Theatre of Comedy—a brainchild of the veteran farceur turned impresario Ray Cooney, dedicated to the discovery and display of contrasting comic styles—colonized several thatres from a first base at the usually ill-starred Shaftesbury.

Two other new companies, though alike classically sustained, proved radically different in most other respects. The English Shakespeare Company, created in 1986 by Michael Bogdanov and Michael Pennington, was director-based, and happily disrespectful of bardic authority in its updating and contemporary allusions: its Wars of the Roses sequence of the Shakespearean history cycle was an international success, from Berlin to Tokyo and from the Windy City of Chicago to London's no less windy Waterloo Road. But the Renaissance Theatre Company, formed in 1987 in part as a vehicle for the precocious talents of Kenneth Branagh (whose chutzpah to my taste outshone the charisma which held others in sway) was firmly in the orthodox if largely-displaced tradition of actor-management, and remained reverential towards its posthumously resident dramatist.

Branagh's season at the Phoneix in 1988 showed that Shakespeare could still prove good box-office in the West End—at a time when, ironically, its former home, the Old Vic, was struggling to find a new identity. Following the departure of the National, from 1977 to 1981 the theatre had provided a metropolitan base for the touring Prospect Theatre, and was then purchased by the Canadian impresario Ed Mirvish: but despite the subsequent beautification, and a brief and stormy flirtration with the wayward directorial genius of Jonathan Miller, the theatre found itself lacking a distinctive mission—at the very time when, a few yards away, David Thacker was giving a purposive new lease of life to the Young Vic, a rather spartan but clean-cut house too often avoided on account of the school parties which had provided its necessary life-support.

Dwon river at Hammersmith, too, Peter James was reviving the fortunes of the Lyric—the baroque glories of the old, demolished theatre having been transplanted into an unlikely modernist shell in 1979. Here, and in the studio theatre attached, James was among several directors now beginning to give a less parochial look to the London scene. Also in Hammersmith, the more utilitarian (and more adaptable) Riverside Studios played host to numerous visitors from abroad, ranging from the depressive Pole, Tadeusz Kantor, to the irrepressible Italian, Dario Fo—whose blend of old-style commedia and new-style agitprop made him a seminal influence (and, ironically, also a West End success) esarly in the decade.

One of Peter Hall's most imaginative later appointments at the National was of Thelma Holt, formerly of the Open Space and the Round House, and now given special responsibility for bringing leading foreign companies to the South Bank—whence an eclectic blend of influences briefly wafted while Holt made a brave stab at resurrecting the Wold Theatre Seasons of old. In Cardiff, meanwhile, the Chapter Arts Centre had become a year-round receptive venue for foreign practitioners at the cutting-edge of their craft. But most resolute of those who followed in the footsteps of Peter Daubeny were a pair of young, independente entrepreneurs, Rose Fenton and Lucy Neal, who, in 1981, emerged seemingly from nowhere (having travelled seemingly everywhere) to assemble the first London International Festival of Theatre—a feat whih, almost single-handedly, they managed to repeat biannually throughout the decade and beyond.

(Illustration:) The Actors Touring Company in their adaptation of the third play, Ubu in Chains, of Alfred Jarry's proto-absurdist Ubu cycle (1985). ATC was one of several small-scale touring companies who tended in the eighties to concentrate on rejuvenating the classical repertoire. Notable among the others were the irreverently stylish, visually exciting, and always fast-moving Cheek by Jowl; Shared Experience, with a roughte,r more baroque style and concentrated narrative line; the far-flung Footsbarn company; and the vibrantly responsive, self-defining Medieval Players.


FROM ALTERNATIVE THEATRE TO CHAMBER THEATRE

In its production-intensive occupation of a profusion of both high and humble venues, LIFT was the closest the capital came to emulating the concentrated energy of the Edinburgh Festiveal—where the appointment of Frank Dunlop as artistic director had led to 'official' offerings now more truly representative of world theatre, playing alongside the more erratic but still-proliferating productions on the fringe. On the London 'fringe', meanwhile, the Old Red Lion in Islington, the Gate at Notting Hill, and the Latchmere in Battersea—where a bustling Arts Centre also flourished—were among the new venues which enlivened a decade when truly 'alternative' excitements were becoming harder to find.

Thus, the trend on the fringe (with not a little assistance from carefully directed funding) was away from political commitment and 'agitprop' towards such glitzier displays of mannered exuberance as those which earned and sustained a glowing reputation for Cheek by Jowl—who would typically take a major or minor classic, rejig it in their own extrovert manner, and let it burst afresh upon their audiences. Cultural conservatism underlying a veneer of stylistic flamboyance could also be detected in the work of such groups as the Actors' Touring Company and Theatre de Complicite (accentless by choice)–often excellent of its kind, but essentially 'chamber theatre' rather than in any meaningful sense 'alternative'. Not unexpectedly, therefore, Declan Donnellan and his designer Nick Ormerod from Cheek by Jowl made career moves to the National which were natural and contented (where Mike Alfred's earlier transition had been dissonant and fraught).

As the fringe went upwardly mobile, an increasing distance began to be felt between such small but prestigiously-maintained theatres as the Almeida at Highbury or the Donmar Warehouse (as the RSC's old Covent Garden studio was now renamed) and more makeshift venues in halls or pubs, however imaginatively fitted-up. Among the newcomers were the Finborough Arms in Fulham, the Hen and Chickens on Highbury Corner, and the Man in the Moon in Chelsea. This suggested the need for some new distinction of convenience, analogous to that separating 'off-Broadway' from 'off-off-Broadway' houses in New York.

Ethnic theatre was now able to draw upon a growing stable of writers of Afro-Caribbean or Asian roots—among them, Edgar White, Michael Abbensetts, Caryl Phillips, Tunde Ikoli, Mustapha Matura, Farrukh Dhondy, Barrie Reckord, Hanif Kureishi, and Jacqueline Rudet. Several of these were also workin in 'mainstream' theatre—as were many gay playwrights, for whom a prevalent, almost overwhelming concern, both humane and artistic, was the emergent threat of Aids. In its own constituency, gay theatre found itself under threat not only from the new prejudices thus provoked, but legally and financially too, from what became known simply as 'Clause 28'—a section of the Local Government Act of 1988 which (with dangerous vagueness) forbad support for activities promoting homosexual behaviour.



(Illustration): Jennifer Saunders, Adrian Edmondson, Dawn French, and Peter Richardson (plus Timmy the dog) in Five Go Mad in Dorset—the first Comic Strip production, transmitted on the opening night of Channel Four on 2 November 1982. This ebullient send-up of Enid Blyton's children's stories shared only its tongue-in-cheek truth to style with successors which otherwise parodied genres as various as sixties films striving to be nouvelle vague, self-consciously rough-cut television documentaries, on-the-run road movies, slow-burning westerns, and trendy feminist dystopias. Combining streetwise culture with postmodern pastiche, the series was of uneven quality, its offerings varying from the irrepressibly comic to the self-referentially clever: but all engaged energies and stretched muscles unfamiliar in television comedy. Only Blyton was twice targeted—with another saga of retarded pubescence, Five Go Mad on Mescalin (1983).


THE RISE OF ALTERNATIVE COMEDY




Some gay groups and performers, from the satirical drag act Bloolips to the high-camp but low-intensity Julian Clary, responded with an outgoing and often outrageous humour to their situation. Indeed, throughout the decade John McGrath's belief in the power of the 'compilation bill' was validated less in the work of theatre companies such as his own than through the emergence of what quickly became known as 'alternative comedy'. This is generally dated from the opening in 1979 of the Comedy Store in Dean Street, Soho—a sort of do-or-die showcase for all who dared brave its well-lubricated audiences and infamous valedictory gong, first wielded by Alexei Sayle.

Early graduates of the Comedy Store included most of the team collectivelly known as the Comic Strip—besides Sayle himself, Rik Mayall, Adrian Edmondson, Nigel Planer, Peter Richardson, Robbie Coltrane, Ben Elton, Dawn French, and Jennifer Saunders. These variously wrote, directed, and appeared in a sequence of one-off spoofs for television, displaying a wide variety of parodic styles—their common element a sort of laid-back, pre-emptive postmodernism. The first 'Comic Strip' was, significantly, transmitted in November 1982 on the opening night of Channel Four—the closest British television came to offering an 'alternative' channel, and a haven for innovatory talent before the market and the ratings supervened.

However, it was the BBC which elevated Mayall, Edmondston, and Planer into cult figures for an adolescent generation through their engagement, also in 1982, in The Young Ones, an anarchic bed-sitcom of high-pitched, chronic mid-youth crisis. By 1985 this had its mildly more mature female equivalent, when Tracy Ullman and Ruby Wax joined French and Saunders as flatmates in the appositely named Girls on Top. All these performers went on to develop their acts and stage personae far beyond their alternative origins, while remaining largely faithful to their spirit—Elton becoming the best-loved and despised of the solo comics, his chirpy stream-of-consciousness eliding satire and scatology into a radical rhetoric of humour.

More typical, of course, were the multiplicity of obscure stand-ups and double-acts who now began to appear in no less obscure pub and club venues up and down the country. Whether or not, as some claimed, comic performance thus came to define the cultural aspirations of late eighties youth as rock'n'roll had for their parents in the sixties, its resurgence as a vehicle for radical social and sexual comment was certainly surprising—for the medium had long been marked by its inherent conservatism and regular resort to sexual and racial stereotyping (explained if not justified by Bergsonian and Freudian theory).



FEMALE AND MALE

One of the minor, madder myths perpetuated by such stereotyping was that women lacked the skills—perhaps, some pontificated, the sense of humour—to command an audience in stand-up comedy. This myth was now shattered by the veritable explosion of female comic talent—not only 'alternative', but, in the work of such artists as Victoria Wood, closer to the tradition of cabaret than of the drinking club. The complacent 'post-feminist' assertion that, in the battle for equality, a ceasefire if not a victory had been achieved may have been (no, was) demonstrably false in such realms of male chauvinist piggery as the Houses of Parliament in the City of London but in the theatre it did seem that the assimilation of women into areas which had before been almost unthinkingly male-dominated was well advanced—without, confessedly, much in the way of 'affirmative action' to speed along the process.

Female directors, for example, now bcame a felt presence. Any list of notable entrants to this branch of the profession would thus have to set alongside such male newcomers as Declan Donnellan, Nicholas Hytner, Stephen Daldry (who won the Royal Court succession in 1993), and Sam Mendes a rather larger female contingent, including Susan Todd, Sue Dunderdale, Di Trevis, Deborah Warner, Jenny Topper, Katie Mitchell, Phyllida Lloyd, and Garry Hynes—not to mention those women who chose to confine their work to feminist or lesbian rather than mainstream outlets.

So far as acting was concerned, there had for many years been more women than men struggling for security in a craft which was becoming increasingly overcrowded and underemployed (leading to proposals that entrance should be limited to graduates of accredited acting schools). But whereas succcessful male performers had always included the physically atyical, the eccentric, and even the downright ugly, with only a due proportion of handsome matinee-idols, the attributes of the aspirant actress had normally been expected to include, if not beauty, at least prettiness or 'charm'. This presumption of sexual allure—which posed problems even for the most glamorous actress as she approached middle age—now began to change with what seems, in retrospect, decisive suddenness.

Any roll-call of actors who worked memorably during the eighties would thus expectedly encompass a wide range of syles and physical characteristics. Consider, not quite at random, such names (besides those of Sher, Branagh, and Gambon) as Bob Peck, Simon Callow, Alan Rickman, Gerard Murphy, Michael Pennington, Brian Cox, Rupert Everett, Ian McDiarmid, mark Rylance, and Symon Russell Beale. But now, thankfully, a similar list of actresses who emerged or fully blossomed during the decade evokes no less broad a spectrum of qualities—including beauty and charm, sure enough, but among many less conventional virtues, and with a fair dash of rough-edged quirkiness thrown in for good measure.

(Illustration:) Juliet Stevenson as an assertively masculine Rosalind, with Fiona Shaw as a fiery Celia, in Adrian Noble's RSC production of As You Like It (1985). Stevenson and Shaw were just two of the numerous actresses (some named on pages 373-4 of the text) who rode happily roughshod over older assumptions about their style and expected range—part of the process through which women began to reclaim a wider role in mainstream theatre. This resulted not only in an influx of new women writers, but a revived interest in the work of previously ignored dramatists from the historical repertoire—ranging from Aphra Behn, whose The Rover was staged in 1986 during the opening season of the RSC's new venue for experimental classical work, the Swan, to the American expressionist of the thirties, Sophie Treadwell, whose Machinal was to provide a later triumph for Fiona Shaw at the National in 1993.


A further not-quite-random sampling to suggest such infinite variety might thus include Juliet Stevenson, Harriet Walter, Julia Mackenzie, Miranda Richardson, Frances de la Tour, Patricia Routledge, Brenda Blethyn, Imelda Staunton, Zoë Wanamaker, Tilda Swinton, Maggie Steed, Maureen Lipmann, Imogen Stubbs, Kathryn Hunter, Frances Barber, Nicola McAuliffe, Alison Steadman, Josette Simon, Julie Walters, and Fiona Shaw. No less important, the many and diverse styles here represented were beginning to be served by a fairer distribution of female roles, in terms alike of quantity and of their centrality to a play's action.

Although this was in part due to the increased responsiveness of male playwrights, women writers for the theatre were also becoming more numerous. An instant recall of dramatists of the eighties could thus set such names as Louise Page, Andrea Dunbar, Sarah Daniels, Maureen Duffy, Timperlake Wertenbaker, Winsome Pinnock, Tasha Fairbanks, Ann Devlin, Charlotte Keating, and Helene Edmundson alongside those of Terry Johnson, Doug Lucie, Michael Wilcox, Peter Flannery, Nicholas Wright, Alan Bleasdale, Anthony Minghella, Robert Holman, Jim Cartwright, Willy Russell, Stephen Poliakoff, Hanif Kureishi, Ron Hutchinson, Nick Dear, and Martin Crimp—suggesting at least a widening breach in the virtual male monopoly of old.

These listings serve well enough their chief purpose—of suggesting the welcome reinforcement of women's numbers in all branches of theatre. But to resort, as I have done, to such representative roll-calls of both sexes is also implicityly (so why not explicitly?) to acknowledge the difficulty of making instant assessments of so many careers still in formative progress, let alone considering their relative significance. In the absence of consensual verdicts, trying to evaluate theatrical experiences so close to one's recent life experiences can only tempt one into the optimistic oxymorons and hopefully illuminating adjectives through which personal taste assumes a cloak of objectivity.

No less, then, will any selection of the major plays of the eighties reflect my own prejudices—in this case, a preference for those few which shared and also shed new light upon my own depressed view of the state of the nation. Among these—some obvious choices, some not—were Louise Page's Falkland Sound (183), Hare and Brenton's Pravda (1985), Churchill's Serious Money (1987), Alan Ayckbourn's A Small Family Business (1987), Doug Lucie's Fashion (1987), Peter Flannery's Singer (1989), and Hare's Racing Demon (1990) and Murmuring Judges (1991).

Aong plays which worked more allusivelly, Nick Dear's The Art of Success (1986) found its analogies in the times of Fielding and Hogarth, while Wertenbaker's Our Country's Good (1988) drew illuminatingly upon Farquhar's Recruiting Officer (with which it played in tandem at the Court) to make its points about coloniaalism and class. Brian Friel's Translations (1981) similarly explored elements of the continuing Irish 'troubles' by protraying the rape of the nation's language and cultural heritage during the nineteenth century. Translations was the inaugural production of the Field Day company, based in Derry, whoe cross-sectarian and cross-cultural approach to its community's problems valiantly spanned the decade following its creation in 1980 by Friel and the actor Stephen Rea.


(Illustration:) Brian Friel's Translations, which transferred from Hampstead Theatre Club to the National Theatre in 1981. Here a derelict tramp (Sebastian Shaw), saturated in folk knowledge of classical and pagan gods, and the pretty but uneducated Maire (Bernadette Shortt) are among the ill-assorted pupils in one of the Irish 'hedge-schools' of the 1830, through which the peasantry attempted a measure of self-education in the face of a British government concerned only with the 'translation' into English of the Irish culture and language. The play had already been presented in Ireland by the Field Day company, founded in 1980 by Friel and the actor Stephen Re. Based in Derry, Field Day worked thorughout the decade to create a non-sectarian but committed theatre for the whole of Ireland. Their later productions included Freil's The Communication Cord, The Cartaginians by Frank McGuinness, Thomas Kilroy's Double Cross, and Stewart Parker's  Pentecost.



'HERITAGE', SPECTACLE, AND THE THEATRE OF THE STREETS

In the entertainment industry as in the nation at large, however, the eighties preferred the escapist refuge offered by history to any insights it might offer into present-day problems. Indeed, with manufacturing industried being run down and even service industries deflected into the 'service' of the boom-or-bust philosophy, the 'heritage industry' seemed at times to be the only sector of the economy set for sustained expansion. The new vogue for commodifying the past led, among much else, to 'interactive' encounters with Jack the Ripper in the murky vaults below London Bridge Station, or with bucolic Chaucerian pilgrims in the shadow of Canterbury Cathedral. Even at Madame Tussaud's a homogenized history of London came complete with sounds, smells, and other environmental illusions.

The taste for spectacle reached into the future as well as synthesizing the past, and in the old Trocadero on Piccadilly Circus one could thus experience the full horror of a twenty-minute 'alien invasion'. But just as dioramas appeared primitive in the age of cinemascope, so will even the battery of computerized effects there employed seem unsophisticated before the holograhic and silicon-rooted shows of the near future—when miniaturized circuits will also be capable of sensitizing every part, including the most private, to the closeted experience of 'virtual reality'.

Of course, no foreseeable electronic wizardry will be able to supplant that sense of participation and communal celebration which humanity still seems to need—and to derive from live enterntainment before a live audience. Whether at the level of 'high' or 'low' art—of Pavarotti in the Park or of Band Aid in Wembley Stadium, to cite two contrasting mass events of the eightiess—spectacle on a grand scale thus continued intermittently in fashion. That this was in part a reaction against the domesticating tendencies of television did not, of course, deter the medium from domesticating such events for couch-potato consumption.

A humbler, partial, and more widely remunerative reaction in favour of live performance was the vogue in pubs and clubs for 'karaoke'—a Japanese-originated craze which, thorugh a suble use of backing tracks, gave amateurs the sense of personally rendering some favoured 'standard' or current hit. Consciously or not, the creators of 'karaoke' thus managed simultaneously and effectively to interweave the three instincts from which most modern participatory performance derives—the folk-rooted need to celebrate shared cultural values; the no less ancient desire of the professional entertainer to tun that need into personal profit; and its more recent manipulation, by those controlling the means of mass communication, to increased dependence upon technology.

More humbly still, as the old fruit and vegetable market left Covent Garden and an artsy-craftsy shopping precinct took its place, street entertainers began to return in force to central London—as to railway stations, subways, pedestrianized town centres, and postmodern shopping malls throughout the land. They enjoyed no subsidy or security—and remained subject to the weather and the whims of passers-by as itinerant performers have always been. Some followed a 'new age' trail by choice, turning up one week at Glastonbury, the next at the Hat Fair in Winchester, like strolling players of old: but others, the new underclass of 'masterless men', slept haplessly on the streets as well as begging a living there. A return to the roots of theatre? Or the restoration of an ignoble cultural 'heritage', as the nation reneged on its duty, only belatedly recognized, to shield its people from such deprivations?

Not that such support for the arts as remained was always happily deployed. In 1990, for example, one regional theatre chose to suspend its home-based repertoire and to double its ticket prices in order to guarantee a fixed return to the Peter Hal Company for its visiting production of The Wild Duck. In the event, derisory audiences left the theatre badly in debt—a debt it chose to expunge by closing down its theatre-in-education team. It woud be unfair to name the theatre, for in other respects it had an honourable record in the field: but the tale is only too typical of a decade of distorted values and misplaced priorities.

Also in 1990, and also for lack of funding, the RSC closed down (albeit temporarily) its Barbican stages, leaving London for the first time in thirty years without the invigorating presence of the company from Stratford. At the Aldwych, for so long its makeshift but maybe happier London home, a British star of American TV soaps, Joan Collins, was reimported in September, to lend glamour to a revival of Noël Coward's Private Lives. In a nation where—or so Margaret Thatcher had declared—there was no such thing as society, private lives were, presumably, what it was all about. By the time the production closed in January, the prime minister had herself fallen victim to the law of the jungle she espoused.



The New Theatre
















Adam Smith and Classical Economics





Alan Macfarlane on Adam Smith








La narración en el teatro


Una tesis doctoral sobre narratología teatral y la narración en el teatro:

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

 
En la que me citan, por cierto.



Yo, ejemplo de estilo




Los narratólogos en lituano

Me veo citado en este artículo lituano sobre narratología e historia, junto con muchos nombres conocidos de la narratología:

Vytautas ŽEMGULIS, "M. Jučo istorinės monografijos „Žalgirio mūšis“ naratologinė analizė"

Observen la grafía de mi nombre en lituano-aragonés—tampoco es el que sale peor parado:

Grožinio naratyvo struktūrą vieni pirmųjų imasi tyrinėti kitos prancūzų struktūrinės semiotikos mokyklos atstovai R. Bartas (R. Barthes), K. Bremondas (C. Bremond), G. Žanetas (G. Genette) ir kiti. Jų idėjų pagrindu susiformavo „klasikinė“ šiuolaikinė naratologija, kuri XX a. 8-ame dešimtmetyje sulaukė didelio susidomėjimo bei atgarsio ne tik anglosaksų kraštų, bet ir kitų šalių literatūrologų sferose. Šiandien galima išskirti atskirų šalių naratologijos mokyklas. Naratologinių tyrimų tradiciją Prancūzijoje tęsia D. Pjeras (John Pier) ir „Naratologijos Taikymo Centras“ (Centre de Naratologie Appliquee). Anglų-amerikiečių naratologinei mokyklai atstovauja klasikiniai V. Butas (W. Booth), A. Beinfildas (A. Banfield), D. Konas (D. Cohn), D. Kuleris (J. Culler), S. Četmenas (S. Chatman), F. Kermodas (F. Kermode), Ž. Princas (G. Prince), R. Šoles (R. Scholes) ir kitų darbai. Tel Avivo naratologinei mokyklai atstovauja S. Rimon-Kenanas (S. Rimon-Kenan), B. Makheilas (B. McHale), R. Ronen (R. Ronen). Vokietijoje E. Lamerto (E. Lammert) bei F. K. Stancelio (F. K. Stanzel) tyrimai paruošė dirvą novatoriškiems M. Fluderniko (M. Fludernik) darbams. Svarų įnašą į naratologinių tyrimų sritį atlieka „Naratologinių Tyrimų Grupė“, įsikūrusi Hamburgo universitete, bei Giebeno tyrimų grupė „Istorinė ir kultūrinė naratologija“, įkurta A. Nūningo (A. Nuuning). Olandijoje ir Belgijoje naratologijos srityje reiškiasi M. Beilis (M. Bal) bei L. Hermanas (L. Herman). Ispanų naratologiją reprezentuoja S. Onega (S. Onega) bei Chose Eindželas Garsia Landa (Jose Angel Garcia Landa).

También en chino me citan, en este foro de semiótica: pero sin ponerme caracteres chinos.

Una entrevista sobre narratología


Vuelve Federico dando caña

Hablando claro, que buena falta hace. Sobre la pasmosa gestión del Ejército, sobre El Discurso del Rey y sus silencios, sobre la crisis de la monarquía, sobre la imputable infanta, y Cataluña en rebeldía, sobre la inacción del gobierno Mariano, y demás... 








Un objeto en el cielo



Un objeto en el cielo



Lunes 6 de enero de 2014

Los siete papeles teatrales del hombre


Duque: Ya ves que no somos los únicos desdichados.
Este teatro amplio y universal
Presenta espectáculos más dolorosos que el de la escena
En la que actuamos nosotros.
Jaques:                                    Todo el mundo es un escenario,
Y los hombres y mujeres meramente actores.
Tienen sus salidas de escena y sus entradas,
Y un hombre en su tiempo representa muchos papeles,
Siendo sus actos siete edades. Primero el infante,
Maullando y vomitando en brazos de la nodriza.
Luego el colegial quejoso, con su mochila
Y cara limpia mañanera, arrastrándose como un caracol
De mala gana hacia la escuela. Y luego el amante,
Suspirando como un horno, con una doliente balada
Dedicada a la ceja de su amada. Luego un soldado,
Lleno de juramentos extraños, y barbudo como un leopardo,
Celoso de su honor, brusco, y rápido en buscar pelea,
Buscando la burbuja de la reputación
Hasta la boca misma del cañón. Y luego el juez,
Con buena tripa redonda forrada de capón,
Severos ojos y barba de corte formal,
Lleno de dichos sabios y de casos modernos;
Y así representa su papel. La sexta edad cambia
A Pantalón, viejo flaco en zapatillas,
Gafas en la nariz y bolsa al costado,
Con sus calzas de cuando era joven, bien ahorradas, anchas como un mundo
Para sus piernillas encogidas, y su voz fuerte y viril
Volviéndose otra vez en voz aguda de niño, como flauta
Da pitidos al sonar. La última escena de todas,
Que termina esta extraña historia llena de eventos,
Es la segunda niñez y el mero olvido,
Sine dientes, sine ojos, sine gusto, sine nada de todo.

(Shakespeare, Como gustéis, II.7)




El mundo como teatro






Pequeños top tens

Albricias, los infatigables robots del SSRN incluyen mis trabajos en varias listas de Pequeños Éxitos.

Mi diálogo con la Dra. Tataru sobre "The Evolution of Narratology" está en un top ten de artículos recientes sobre antropología lingüística del SSRN. También en varios otros: de sobre antropología cognitiva, etc. Y sobre semiótica, donde tengo de vecinos a Turner y Fauconnier—ná menos. Pero esos están en el all time hits, claro.

En el English & American Literature Research Network está incluido también en la lista—y allí tengo dos, de hecho, éste y otro también sobre narratología evolucionista.

Y en la red de antropología cognitiva también está este artículo: junto con otro, "Hierarchically Minded", que (este sí) está en la lista buena de los Top Ten. Sin que haya roto récords, seamos realistas.

Me enlazan en Washington, D.C.





Roca para pescar 2


Roca para pescar 2


Daniel Dennett: Memes peligrosos



Las ideologías y religiones como infecciones peligrosas de la mente.





Afeando su conducta a los etarras




Dos cosas: una, no vale la pena hablarles a ellos, por supuesto—esto es para que el público se entere. Otra: hace falta valor. Esto es reventarles el acto fina y educadamente a los etarras. Que, queda claro, son ante todo gente que se ha creado una realidad alternativa para no ver lo que no quieren ver ni oír lo que no quieren oír.







En Polonia también aparezco


O en ninguna parte. Aparece en una web polaca una colección de bibliografías procedentes de mi Bibliography of Literary Theory etc., y hachetemelizadas. Docdat.com, u
n sitio de diseño sobrio, si ésta es su portada, es una web de esas que en realidad parecen no estar ni en Polonia ni en ningún sitio en concreto, y probablemente es así.

Véase allí, por ejemplo, mi bibliografía sobre Sigmund Freud.  Que también aparece en un sitio sospechosamente parecido, Convdocs:
    http://es.convdocs.org/docs/index-8220.html

Si no es el mismo sitio, desde luego está en una región de Polonia muy parecida.

Lanzando redes






Domingo 5 de enero de 2014

Microsoft Academic Search

Acabo de descubrir mi página personal en Microsoft Academic Search. Bueno, la mía y la de un tal J. Landa, químico, al que confunden conmigo. Es una manera de ampliar el currículum. Pero, en fin, que está muy lejos del nivel de la de Google Academic.

Sitio de citas




Se busca lector en Bedford

Me llega este anuncio de Bedford School:

Trabajo de lector(a) en Inglaterra

Localidad:         Bedford (a una hora de Londres)
Colegio:            Bedford School (instituto privado de chicos)
                www.bedfordschool.org.uk
Trabajo:    Clases de conversación en español a chicos de entre 15-18 años en grupos reducidos.
Período:            Fin de agosto 2014 – fin de junio 2015
Horas de trabajo:    18 por semana aproximadamente.

El instituto proporcionará alojamiento y manutención gratuitos, más £120 por semana.

Posibilidades de integración en una amplia gama de actividades: deportes, música, teatro, excursionismo, visitas culturales.

Las entrevistas con los candidatos se harán en Skype en marzo.

Interesados, enviar CV breve (especificando motivos, datos personales de interés, gustos, aficiones) y foto por email a:

ahuxford@bedfordschool.org.uk

Mr Aidan JR Huxford,
Bedford School,
De Pary’s Avenue,
Bedford.
MK40 2TU





Sin Complejos: Entrevista a Cake Minuesa















Sábado 4 de enero de 2014

La cesión a la secesión

Un comentario de Pío Moa sobre la inexplicable actitud de cesiones constantes a los nacionalistas y secesionistas en la política española:






El puerto de Aguete


El puerto de Aguete

Viendo o Con de Chirleu, la isla de Tambo, y el puerto de Aguete. Desde casa se ven.




New History of Mankind


A documentary by Deek Jackson.






Viernes 3 de enero de 2014

A History of English Literature

Es el manual que más utilizan mis estudiantes de literatura inglesa. Y aquí está electronizado en Academia.edu—aunque no precisamente en el sitio de su autor.

Michael Alexander,  A HISTORY OF ENGLISH LITERATURE


más de 6000 visitas tiene, claro.

 


El Extranjero










Jueves 2 de enero de 2014

What Makes Us Human?




En este programa de la BBC (2012-13) está parte de la respuesta a esta pregunta que nos hacíamos en mayo de 2012: Qué gen buscar, cuál es el gen cuya mutación ha potenciado la conectividad de las neuronas, que es la clave para el pensamiento humano. Lo que posibilita la sintaxis, las herramientas complejas, y las fusiones conceptuales. Véase...



Qué gen buscar





Una nativa

IMG_5087



—y aquí, mis mejores fotos de 2013.










Homo Erectus



Nuestro ancestro cercano, un animal. Homo stupidus, o quizá Pitecanthropus alalus.

Aquí sigue el capítulo 5 de esta serie de la BBC, sobre el éxodo de Homo sapiens saliendo de Africa.

 









En Vene-e-cia. Vene-e-cia.


Vamos juntos hasta Italia. Me han puesto un enlace (a mi bibliografía, vamos) en la sección de Lingüística de la Universidad Ca Foscari de Venecia.  No creía yo que iría a Venecia avant que l'eau l'ait noyéee, ni tenía intención alguna de pero heme ahí. Es más, parece ser que vamos a ir a un congreso allá por el mes de julio, si llega julio, o Venecia, o llego yo.

Bueno, aquí mi enlace, que me ha hecho ilusión. Observen que no estoy en mala compañía: la Universidad de Frankfurt, la Linguist List, el Summer Institute of Linguistics—vamos, instituciones mucho más acreditadas que este menda, y con mucha más gente trabajando en ello de la que yo dispongo. Supongo que es un punto, o un puntazo, que tendré que apuntarme y dejar constancia de él, mal que me pese.

ca foscari



En Queens College











 
















Miércoles 1 de enero de 2014


Microblog de enero 2014


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31 ene 14, 20:56
JoseAngel: Bob Dylan, Danville Girl: http://mp3strip.com/dl/4O9ggxGQ5Ac/new-danville-girl-alternative-version-of-brownsville-girl.html
31 ene 14, 07:36
JoseAngel: Cospedal cree, o más bien dice, que el tratamiento de las víctimas del terrorismo es apolítico. Es más falsa que un euro de madera.
30 ene 14, 11:52
JoseAngel: Consilience and Retrospection: http://garciala.blogia.com/2014/013001-consilience-and-retrospection.php
29 ene 14, 20:31
JoseAngel: John Hull's Notes on Blindness http://www.nytimes.com/interactive/2014/01/16/opinion/16OpDoc-NotesOnBlindness.html
29 ene 14, 18:56
JoseAngel: Johnny Cash Memorial Tribute Concert: http://youtu.be/OHis_jrVwaA
28 ene 14, 12:55
JoseAngel: Anuncio del seminario HERAF en FYL: http://fyl.unizar.es/ckfinder/userfiles/files/HERAFfolleto3%284%29.pdf
28 ene 14, 00:52
JoseAngel: Morning Slowly Breaking: http://lamiradaindiscretafotoblog.blogspot.com.es/2014/01/morning-slowly-breaking.html
27 ene 14, 17:19
JoseAngel: Deep-brained Sonnets: http://zaguan.unizar.es/record/3241
27 ene 14, 13:39
JoseAngel: La UZ investigando contra la tuberculosis: http://prensa.unizar.es/noticias/1401/140127_z0_abctuber.pdf
27 ene 14, 13:33
JoseAngel: Defensa de la Filología: http://garciala.blogia.com/2014/012709-defensa-de-la-filologia.php
27 ene 14, 08:12
JoseAngel: Me ponen un enlace en la Universidad de Atenas.
27 ene 14, 00:16
JoseAngel: Sobre la narración conversacional: https://www.academia.edu/171637/
25 ene 14, 23:15
JoseAngel: Rip Van Winkle, Revisited: http://thepenngazette.com/the-visitation/
25 ene 14, 22:06
JoseAngel: "Todo lo que un filólogo no sabe que sabe hacer" http://www.youtube.com/watch?v=v994qTtZvrk
25 ene 14, 13:26
JoseAngel: El ensayo en España 1955-2005: http://www.march.es/conferencias/anteriores/voz.aspx?p1=2219&l=1
24 ene 14, 17:16
JoseAngel: John Donne, "The Good-Morrow" https://www.researchgate.net/publication/256042490
23 ene 14, 22:44
JoseAngel: Bat for Lashes - "All Your Gold" https://soundcloud.com/batforlashes/bat-for-lashes-all-your-gold-3
23 ene 14, 16:25
JoseAngel: Perros parlantes—como en "Veritas": http://prensa.unizar.es/noticias/1401/140123_z0_paisperro.pdf
22 ene 14, 19:12
JoseAngel: Richard Sennett, Sociology as Literature: http://youtu.be/4ogeGVpBFZ0
22 ene 14, 18:38
JoseAngel: Un bache en mi carrera: http://garciala.blogia.com/2014/012206-un-bache-en-mi-carrera.php
21 ene 14, 10:21
JoseAngel: No sé si he contado lo del abrazo de Poulantzas a sus Obras Completas: http://elpais.com/diario/2010/10/30/opinion/1288389613_850215.html
20 ene 14, 21:15
JoseAngel: Una que se sacó todos los dientes por olvidarse del dentista: http://www.youtube.com/watch?v=qdCJrnFjbAM
20 ene 14, 18:43
JoseAngel: Yo solito he impedido que miles de euros vayan a comunidades traidoras y ventajistas haciendo BOICOT A PRODUCTOS CATALANES Y VASCOS.
20 ene 14, 12:18
JoseAngel: Philologie (Was und Wo): http://wasundwo.org/Philologie.htm
20 ene 14, 11:50
JoseAngel: Buenas, Begoña, hay personas (educadores) que han señalado excelentes resultados con niños discapacitados - y les gusta. ¡yo probaría! Un saludo y suerte.
20 ene 14, 04:30
Begoña Abasolo: Hola, lei sobre su sistema de laprendizaje de lectoescritura , me gustaria saber si cree me pueda ser util mi hija es discapacitada intelectual. Gracias¡
20 ene 14, 04:28
Begoña Abasolo: Lei sobre el sistema de cubos, me interesa pero mi hija es discapacitada intelectual, cree que podria serle de utilidad?. Gracias¡
19 ene 14, 23:49
JoseAngel: Democratic Statecraft: Tocqueville's DEMOCRACY IN AMERICA http://www.youtube.com/watch?v=RtbZesUWMok
19 ene 14, 13:05
JoseAngel: Mi bibliografía de David Herman: http://lib2.skachate.com/docs/index-753708.html
18 ene 14, 22:02
JoseAngel: Alexis de Tocqueville & "ideal communities" as reality-constructing tools: http://youtu.be/ZAg73gGHNG0
18 ene 14, 21:16
JoseAngel: Y los sueños, vida son. (Se sigue).
18 ene 14, 20:38
JoseAngel: Macfarlane, A Map of Social Theories 1000-2000: http://youtu.be/Tf9QJ02VkhU
18 ene 14, 14:45
JoseAngel: Sapolsky, Emergence and Complexity http://youtu.be/o_ZuWbX-CyE
18 ene 14, 11:06
JoseAngel: José Luis Abellán, El pensamiento español: http://www.march.es/conferencias/anteriores/voz.aspx?p1=22622&l=1
17 ene 14, 16:27
JoseAngel: Presentación de VOX: http://new.livestream.com/VoxEspana/rueda-de-prensa
16 ene 14, 16:43
JoseAngel: Sale la Miscelánea: http://www.miscelaneajournal.net/index.php/misc/issue/archive
16 ene 14, 11:19
JoseAngel: Mis mejores (y mis peores) vídeos—todos, vamos: http://www.bing.com/videos/search?q=%22Jos%C3%A9+%C3%81ngel+Garc%C3%ADa+Landa%22&FORM=HDRSC3
16 ene 14, 09:34
JoseAngel: Lenguaje y différance en EL INNOMBRABLE: http://dialnet.unirioja.es/servlet/articulo?codigo=555064
15 ene 14, 17:11
JoseAngel: Erasmus Darwin: http://en.wikipedia.org/wiki/Erasmus_Darwin
15 ene 14, 10:31
JoseAngel: Vox: http://www.libertaddigital.com/espana/politica/2014-01-14/nace-el-partido-politico-de-abascal-y-ortega-lara-1276508230/

14 ene 14, 16:48
JoseAngel: Bibliografía sobre Daniel Defoe: http://pre.docdat.com/docs/index-111147.html
14 ene 14, 09:30
JoseAngel: En España está el autor más prominente del SSRN: http://papers.ssrn.com/sol3/cf_dev/AbsByAuth.cfm?per_id=12696
13 ene 14, 22:51
JoseAngel: Un poema sobre el 3 per cent: http://www.luminarium.org/eightlit/swift/midas.htm
13 ene 14, 21:30
JoseAngel: Primeras luces y mar blanco: http://lamiradaindiscretafotoblog.blogspot.com.es/2014/01/primeras-luces-y-mar-blanco.html
13 ene 14, 20:01
JoseAngel: A San Servolo (Venecia) iremos: http://hemingwaysociety.org/?page_id=593
13 ene 14, 16:51
JoseAngel: SSRN Top 30,000 authors: My rank today is 1208.
13 ene 14, 00:22
JoseAngel: Viendo LA LADRONA DE LIBROS, la respuesta gentil al Diario de Ana Frank. El terreno vago entre el colaboracionismo y la resistencia.
12 ene 14, 12:45
JoseAngel: La traición del PNV, y la del PP: http://esradio.libertaddigital.com/fonoteca/2014-01-11/sin-complejos-programa-completo-11012014-68485.html
11 ene 14, 20:24
JoseAngel: Enya: Greatest Hits http://youtu.be/KxGXFWXvKrQ
11 ene 14, 19:43
JoseAngel: Viendo Un Marido Ideal, aquí en la pantalla: http://www.imdb.com/title/tt0122541/
11 ene 14, 18:37
JoseAngel: En Facebook. Veo que gusto bastante por debajo de la media. Compruébenlo.
11 ene 14, 17:56
JoseAngel: La metafísica sólo tiene sentido despectivo... hasta para los metafísicos: http://youtu.be/LonLZ75qQIk
11 ene 14, 15:43
JoseAngel: Bardavío sobre EL NEGRO de Polanski http://bathtubsinfilms.blogspot.com.es/2014/01/el-escritor-ghost-writer.html?showComment=1389447145691
11 ene 14, 14:30
JoseAngel: Minuto 39: Tonerre de Brest: http://youtu.be/4zlGmkRs8lQ
10 ene 14, 23:45
JoseAngel: Me citan en FRONTERAS DE TINTA: http://fronterasdetinta.acatlan.unam.mx/wp-content/uploads/2012/08/La_frontera_del_narrador.pdf
10 ene 14, 23:33
JoseAngel: Me citan en una conferencia sobre Ishiguro: https://studentportalen.uu.se/uusp-filearea-tool/download.action%3FnodeId%3D684231%26toolAttachmentId%3D136188
10 ene 14, 19:48
JoseAngel: Ha muerto Eulalia Rodón, antigua catedrática de Latín cuando yo era estudiante.
9 ene 14, 22:13
JoseAngel: The Economist as Philosopher: Adam Smith and John Maynard Keynes: http://youtu.be/kraBLXWrE2Y
9 ene 14, 19:31
JoseAngel: Adam Smith and the Birth of Economics: http://youtu.be/J85N9zozYz8
9 ene 14, 14:26
JoseAngel: Mi bibliografía sobre EDGAR ALLAN POE: http://pre.docdat.com/docs/index-205563.html
8 ene 14, 10:45
JoseAngel: Maneras de presentar la información: "He escrito o coescrito una treintena de libros".
8 ene 14, 10:15
JoseAngel: Comentario sobre SOCIOFOBIA de César Rendueles: http://www.eldiario.es/interferencias/Sociofobia_Cesar_Rendueles_6_182391776.html
7 ene 14, 19:04
JoseAngel: El tranvía de Zaragoza descarrila: http://zgzlugares.blogspot.com.es/2013/12/el-tranvia-de-zaragoza-descarrila.html
7 ene 14, 12:24
JoseAngel: Séneca: http://es.convdocs.org/docs/index-42817.html
6 ene 14, 23:59
JoseAngel: Narrative Imagination and Everyday Life: http://www.ncrm.ac.uk/TandE/video/podcasts.php
6 ene 14, 20:34
JoseAngel: Anonymous Animals in Google Drive: http://googlesystem.blogspot.com.es/2013/04/anonymous-animals-in-google-drive.html
6 ene 14, 13:21
JoseAngel: Eau de Rochas. No la derroches.
6 ene 14, 12:32
JoseAngel: Los niños aún no se han levantado. Postponiendo la incertidumbre de si aún son niños.
6 ene 14, 12:31
JoseAngel: Mi bibliografía sobre James Joyce: http://pre.docdat.com/docs/index-181369.html
5 ene 14, 20:05
JoseAngel: Un pensador inmensamente sobreestimado y tratado con indulgencia inexplicable: http://youtu.be/ZSXzFKPuDLc
5 ene 14, 12:26
JoseAngel: Mi página de usuario en la Wikipedia: https://es.wikipedia.org/wiki/Usuario:Garciala1/Jos%C3%A9_%C3%81ngel_Garc%C3%ADa_Landa
5 ene 14, 01:32
JoseAngel: Coser las banderas: http://www.unizar.es/departamentos/filologia_inglesa/garciala/musica/sopenacoserlasbanderas.mp3
4 ene 14, 18:08
JoseAngel: Bionics & Transhumanism, minuto 29: Cerebros artificiales: http://youtu.be/cU1-YFbAifA
3 ene 14, 22:05
JoseAngel: Social Constructionism: http://en.wikipedia.org/wiki/Social_constructionism
3 ene 14, 11:55
JoseAngel: A a ANDAMAN: http://youtu.be/p6I6L8b6mQs
3 ene 14, 11:46
JoseAngel: Citan mi artículo de BRITISH POSTMODERN FICTION en "Beckett's Raw War" http://www.jonathanstephens.com/essays/samuelbeckett.html
3 ene 14, 10:54
JoseAngel: Me citan en la Wikipedia ("Fabula and syuzhet") http://en.wikipedia.org/wiki/Fabula_and_syuzhet
3 ene 14, 10:43
JoseAngel: Aquí en isni (?) http://isni-url.oclc.nl/isni/0000000110294848
2 ene 14, 19:56
JoseAngel: Violence in Literature: An Evolutionary Perspective https://www.academia.edu/5566990/Violence_in_Literature_An_Evolutionary_Perspective
2 ene 14, 00:32
JoseAngel: Ape-Man: Adventures in Human Evolution: http://youtu.be/Lq7Djd_42tM



1 de enero de 2014. 1 de enero de DOS MIL CATORCE.