Professional Documents
Culture Documents
La pragmática es, por tanto, una disciplina que toma en consideración los factores
extralingüísticos que determinan el uso del lenguaje, precisamente todos aquellos
factores a los que no puede hacer referencia un estudio puramente gramatical:
nociones como las de emisor, destinatario, intención comunicativa, contexto verbal,
situación o conocimiento del mundo van a resultar de capital importancia.
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Benveniste Fundamental (Benveniste)
- Bookmark on Page 6 | Loc. 79 | Added on Monday, August 06, 2012, 03:38 PM
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Benveniste Fundamental (Benveniste)
- Highlight on Page 5 | Loc. 66-68 | Added on Tuesday, August 07, 2012, 12:26 AM
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Benveniste Fundamental (Benveniste)
- Note on Page 8 | Loc. 119 | Added on Tuesday, August 07, 2012, 12:42 AM
platon
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Benveniste Fundamental (Benveniste)
- Highlight on Page 10 | Loc. 143-44 | Added on Tuesday, August 07, 2012, 12:46 AM
Es indudable que estamos ante un nuevo tipo de empleo de la lengua —que, empujado
por el demonio de la invención terminológica, siento la tentación de llamar
comunión jática, un tipo de discurso en el cual los nexos de unión son creados por
un simple intercambio de palabras...
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Benveniste Fundamental (Benveniste)
- Note on Page 10 | Loc. 150 | Added on Tuesday, August 07, 2012, 12:48 AM
comunion fatica
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Benveniste Fundamental (Benveniste)
- Highlight on Page 11 | Loc. 158-59 | Added on Tuesday, August 07, 2012, 12:49 AM
Una vez más el lenguaje en esta función no se nos manifiesta como un instrumento de
reflexión sino como un modo de acción.
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Benveniste Fundamental (Benveniste)
- Highlight on Page 11 | Loc. 161-63 | Added on Tuesday, August 07, 2012, 12:51 AM
Una relación personal creada, sostenida, por una forma convencional de enunciación
que vuelve sobre sí misma, se satisface con su logro, sin cargar con objeto, ni con
meta, ni con mensaje, pura enunciación de palabras convenidas, repetida por cada
enunciador.
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Literatura española III Clase I (Poemas)
- Highlight Loc. 15-16 | Added on Tuesday, August 07, 2012, 11:01 AM
no siento ¡ay! alegría, sino más desconsuelo, que en la callada noche al menos
llora sola su inmenso mal el alma mía,
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Literatura española III Clase I (Poemas)
- Highlight Loc. 23-24 | Added on Tuesday, August 07, 2012, 11:03 AM
por más que entre mil ansias te lo cuento, por más que el cielo mi dolor implora,
no amaina, no, el tormento, ni yo ¡ay! puedo cesar en mi gemido, huérfano, joven,
solo y desvalido.
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Literatura española III Clase I (Poemas)
- Highlight Loc. 26-27 | Added on Tuesday, August 07, 2012, 11:03 AM
Quiérote empero más, oh noche umbría, que la enojosa luz del triste día.
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Literatura española III Clase I (Poemas)
- Note Loc. 34 | Added on Tuesday, August 07, 2012, 11:05 AM
The Physics announces itself as dealing with ‘the science of nature,’ but offers at
the start no account of what is meant by ‘nature.’
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Aristotle (Sir David Ross)
- Highlight on Page 100 | Loc. 1533-36 | Added on Friday, August 10, 2012, 09:31
PM
The views of the ‘natural philosophers’ (as opposed to the Eleatics, who in
principle denied the existence of nature) are of two main kinds, Some hold that
there is one kind of underlying body from which all other things are generated by
condensation and rarefaction. Others hold that there are fundamental qualitative
differences between things but that all things have been sifted out of a single
mass in which all the ‘contrarieties’ were present.
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Aristotle (Sir David Ross)
- Highlight on Page 101 | Loc. 1537 | Added on Friday, August 10, 2012, 09:32 PM
What Aristotle finds common to all previous schools is that they recognise
contraries as first principles.
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Aristotle (Sir David Ross)
- Highlight on Page 101 | Loc. 1539-40 | Added on Friday, August 10, 2012, 09:33
PM
(1) They must not be generated one from another, nor from other things, and (2) all
other things must be generated from them.
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Aristotle (Sir David Ross)
- Highlight on Page 102 | Loc. 1562-63 | Added on Friday, August 10, 2012, 09:48
PM
we say ‘the man becomes musical’ and we say ‘the unmusical becomes musical.’ In the
former case that which becomes persists, in the latter it passes away.
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Aristotle (Sir David Ross)
- Highlight on Page 102 | Loc. 1564-65 | Added on Friday, August 10, 2012, 09:49
PM
The product contains two elements (a substratum and a form), but a third element is
presupposed by the change (the privation of the form).
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Aristotle (Sir David Ross)
- Highlight on Page 103 | Loc. 1565-67 | Added on Friday, August 10, 2012, 09:51
PM
The substratum, before the change, was numerically one, but included two
distinguishable elements—that which was to persist through the change and that
which was to be replaced by its opposite.
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Aristotle (Sir David Ross)
- Highlight on Page 103 | Loc. 1567 | Added on Friday, August 10, 2012, 09:51 PM
In the Cat, first, individual substances count as primary, because items from the
three remaining classes – substance kinds, lowest-level accidents and accident
kinds – all owe their existence to the fact that they are (metaphysically)
predicated of individual substances as their subjects.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 2 | Loc. 31-33 | Added on Sunday, August 12, 2012, 05:51 PM
In Phys I, the bare suggestion from the Cat that change is between contraries
becomes part of a general account of change: not just the cases of change in
accidents envisioned in the Cat, but also the coming to be and perishing of an
individual substance, where entities other than individual substances will be the
subjects of contraries.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Bookmark on Page 3 | Loc. 42 | Added on Sunday, August 12, 2012, 05:58 PM
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 3 | Loc. 41-42 | Added on Sunday, August 12, 2012, 05:58 PM
in both the early going and at the end of Phys I.5, Aristotle turns to his
predecessors for the view that all change is between contraries.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 3 | Loc. 45-46 | Added on Sunday, August 12, 2012, 05:59 PM
a review of cases indicates that the pale man turns dark, or the stingy man
generous; while if the pale man turns generous, this is because it is an accident
of the stingy man that he is also pale.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 4 | Loc. 52-54 | Added on Sunday, August 12, 2012, 06:05 PM
Having made the case that change is between contraries, Aristotle argues in I.6
that in addition to a given pair of contraries, we must also make room for what
underlies them – the subject they qualify – that persists through the exchange of
contraries.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Note on Page 4 | Loc. 54 | Added on Sunday, August 12, 2012, 06:07 PM
Aristotle agrees with his predecessors that some third entity under- lies the
contraries.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 5 | Loc. 63-64 | Added on Sunday, August 12, 2012, 06:12 PM
In the end, however, we may put down as one of the central tenets of natural
philosophy, the existence of a persisting substratum of change, with its attendant
contraries, both in genuine coming to be and destruction, but also in cases of
accidental change.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 5 | Loc. 65-66 | Added on Sunday, August 12, 2012, 06:13 PM
separates out “simply coming to be” – the coming to be (and perishing) of a thing –
from accidental change (its “coming to be something”).
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Form and Matter (Aristotle) (Frank A. Lewis)
- Note on Page 5 | Loc. 66 | Added on Sunday, August 12, 2012, 06:14 PM
Aristotle concludes that what comes to be “<something>,” as in (1) and (3) – what
underlies the change – divides into two cases: The man remains when he becomes
musical, and is a man; but the not musical, i.e., the unmusical, does not remain.
(190a10–13)
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 5 | Loc. 73-74 | Added on Sunday, August 12, 2012, 06:23 PM
And these, he says, the man and the unmusical, are one in number but two in form or
account, for “the being of man is not the same as the being of unmusical” (190a17).
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Form and Matter (Aristotle) (Frank A. Lewis)
- Note on Page 5 | Loc. 74 | Added on Sunday, August 12, 2012, 06:24 PM
But on a closer look, in the case of substances too, there is something that
underlies (and also persists) when a substance comes to be – the statue by change
of shape (here, the marble is what underlies), a house by “composition” (the bricks
and mortar underlie), and so on.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 6 | Loc. 81-84 | Added on Sunday, August 12, 2012, 06:33 PM
The underlying thing, meanwhile, “though one in number, is two in form”: on the one
hand, the man, the gold, and in general the “countable matter” (hulê arith- mêtê)
(the variety of “underlying thing” that also persists); but on the other hand, the
“privation” (the unmusical man, say, or perhaps just his lack of musicality).
Finally, we have the form: the arrangement, or the knowledge of music.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Note on Page 6 | Loc. 84 | Added on Monday, August 13, 2012, 10:59 AM
aquello que persiste, es dos en forma pq son dos formas distintas de representar lo
mismo o pq cada una lleva consigo su privacion?
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 6 | Loc. 89-91 | Added on Monday, August 13, 2012, 11:09 AM
As bronze to a statue, or wood to a bed, or the matter and the formless before it
acquires a form to anything else which has a definite form, so this [= the
underlying nature] stands to a reality, to a this, to what is.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Note on Page 6 | Loc. 91 | Added on Monday, August 13, 2012, 11:09 AM
According to Plato, the underlying thing is joint cause with the form of the things
that come to be. But the remaining contrary, the privation, is left out of Plato’s
story.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Note on Page 8 | Loc. 116 | Added on Monday, August 13, 2012, 06:41 PM
For his part, Aristotle insists on the contrast between the matter and the
privation. The privation is contrary to the form; and matter strives after the
form.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 8 | Loc. 120-21 | Added on Monday, August 13, 2012, 06:45 PM
By matter, I mean that primary underlying thing in each case, out of which as a
constitu- ent (enuparchontos) and not by virtue of an accident something comes to
be. (192a31–2)
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Form and Matter (Aristotle) (Frank A. Lewis)
- Note on Page 8 | Loc. 121 | Added on Monday, August 13, 2012, 06:45 PM
materia segun aristoteles: eso primario que persiste desde lo cual algo llega a ser
por constituyente y no por accidente
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 9 | Loc. 129-30 | Added on Monday, August 13, 2012, 06:51 PM
in their different ways, and to different degrees, both the matter and the form of
a thing qualify as its nature.
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Benveniste Fundamental (Benveniste)
- Highlight on Page 20 | Loc. 293-94 | Added on Monday, August 13, 2012, 11:23 PM
pregunta inicial
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Benveniste Fundamental (Benveniste)
- Highlight on Page 20 | Loc. 299-300 | Added on Monday, August 13, 2012, 11:28 PM
Es en y por ..el lenguaje como el hombre se constituye como sujeto; porque el solo
lenguaje funda en realidad, en su realidad que es la del ser, el concepto de “ego”.
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Benveniste Fundamental (Benveniste)
- Highlight on Page 22 | Loc. 326-28 | Added on Monday, August 13, 2012, 11:43 PM
El lenguaje no es posible sino porque cada locutor se pone como sujeto y remite a
sí mismo como yo en su discurso.
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Benveniste Fundamental (Benveniste)
- Highlight on Page 22 | Loc. 335-37 | Added on Tuesday, August 14, 2012, 11:10 AM
Es en una realidad dialéctica, que engloba los dos términos y los define por
relación mutua, donde se descubre el fundamento lingüístico de la subjetividad.
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Benveniste Fundamental (Benveniste)
- Highlight on Page 24 | Loc. 356-57 | Added on Tuesday, August 14, 2012, 11:16 AM
Ahora bien, estos pronombres se distinguen en esto de todas las designaciones que
la lengua articula: no remiten ni a un concepto ni a un individuo.
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Benveniste Fundamental (Benveniste)
- Highlight on Page 24 | Loc. 364 | Added on Tuesday, August 14, 2012, 11:17 AM
este “presente” a su vez no tiene como referencia temporal más que un dato
lingüístico: la coincidencia del acontecimiento descrito con la instancia de
discurso que lo describe.
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Benveniste Fundamental (Benveniste)
- Highlight on Page 26 | Loc. 388-89 | Added on Wednesday, August 15, 2012, 04:00
PM
Se habrá advertido en efecto que todos los verbos citados van seguidos de que y una
proposición: ésta es el verdadero enunciado, no la forma verba] personal que la
gobierna.
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Benveniste Fundamental (Benveniste)
- Highlight on Page 29 | Loc. 437-40 | Added on Wednesday, August 15, 2012, 04:17
PM
Hay que tener presente que la “3^ persona” es la forma del paradigma verbal (o
pronominal) que no remite a una persona, por estar referida a un objeto situado
fuera de la alocución. Pero no existe ni se caracteriza sino por oposición a la
persona yo del locutor que, enunciándola, la sitúa como “no-persona”. Tal es su
estatuto.
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Benveniste Fundamental (Benveniste)
- Highlight on Page 30 | Loc. 450-51 | Added on Wednesday, August 15, 2012, 04:19
PM
Los hechos deícticos deberían actuar para los lingüistas teóricos como recordatorio
del simple pero importantísimo hecho de que las lenguas naturales están diseñadas
principalmente, por decirlo así, para ser utilizadas en la interacción cara a cara,
y que solamente hasta cierto punto Pueden ser analizadas sin tener esto en cuenta
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La Deíxis (Stephen C. Levinson)
- Highlight on Page 5 | Loc. 70-72 | Added on Wednesday, August 15, 2012, 04:39 PM
Bajo este punto de vista la pragmática (al menos en parte) se ocupa de cómo, dada
una oración enunciada en un contexto, este contexto desempeña un papel a la hora de
especificar qué proposición expresa la oración en esta circunstancia de
enunciación.
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La Deíxis (Stephen C. Levinson)
- Highlight on Page 8 | Loc. 120-22 | Added on Wednesday, August 15, 2012, 09:32
PM
También deja claro que las oraciones en abstracto no suelen en absoluto expresar
proposiciones definidas; sólo las enunciaciones de éstas en contextos específicos
expresan situaciones específicas, donde el papel de los contextos es el de rellenar
los parámetros pragmáticos de los que los indéxicos son variables.
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La Deíxis (Stephen C. Levinson)
- Highlight on Page 10 | Loc. 152-53 | Added on Wednesday, August 15, 2012, 09:47
PM
Siguiendo a Fillmore (1971b), vamos a distinguir en primer lugar dos tipos de uso
deíctico, a saber, el uso gestual y el uso simbólico.
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La Deíxis (Stephen C. Levinson)
- Highlight on Page 17 | Loc. 260-62 | Added on Thursday, August 16, 2012, 10:54
AM
los usos gestuales requieren un control físico momento a momento del evento de
habla para ser interpretados, mientras que los usos simbólicos aluden solamente a
coordenadas contextúales anteriores a la enunciación a las que tienen acceso los
participantes.
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La Deíxis (Stephen C. Levinson)
- Note on Page 17 | Loc. 260 | Added on Thursday, August 16, 2012, 10:54 AM
es perfectamente posible, como observa Lyons (1977a: 676), que un término deíctico
se emplee a la vez anafóricamente y deícticamente.
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La Deíxis (Stephen C. Levinson)
- Highlight on Page 24 | Loc. 361-62 | Added on Thursday, August 16, 2012, 11:20
AM
Los vocativos son sintagmas nominales que se refieren al destinatario, pero que no
están sintáctica o semánticamente incorporados como los argumentos de un predicado;
más bien están separados prosódicamente del cuerpo de la oración que puede
acompañarlos.
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La Deíxis (Stephen C. Levinson)
- Highlight on Page 28 | Loc. 423-24 | Added on Thursday, August 16, 2012, 04:29
PM
Warrant for thinking that the matter of a thing satisfies the definition of its
nature or substance is found in Antiphon’s bed experiment (193a12–17, b8–12);
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 10 | Loc. 142-43 | Added on Monday, August 20, 2012, 06:48 PM
Aristotle’s notion of the so-called four causes – is possible, thanks to the view
that emerges in II.1, that we are to think of natural objects as consisting of the
form and the matter together – as compounds of form and matter (to ek toutôn,
193b5).
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 11 | Loc. 163-64 | Added on Monday, August 20, 2012, 06:56 PM
It is the form of a thing that above all determines its nature, or that is “the
cause of being” and “the cause of being one” for the thing (Met Z.17, H.2).
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 11 | Loc. 165-67 | Added on Monday, August 20, 2012, 06:57 PM
The kinds or secondary substances of the Cat are no longer substances at all, but
“compounds of this form and this matter, taken universally”; and for a thing to
belong to a given kind is for its matter to be informed by the form that typifies
the kind.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 11 | Loc. 169-71 | Added on Monday, August 20, 2012, 06:59 PM
When the shapeless lump is worked up into a statue, for example, surely the
shapeless lump no longer exists, once the statue is made, contrary to Aristotle’s
persistence requirement. Against this, we need to distin- guish the underlying
subject – a quantity of bronze (say), which does persist – from the compound of the
subject with the privative contrary – the (relatively) shapeless lump, which does
not persist.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 12 | Loc. 178-79 | Added on Monday, August 20, 2012, 09:17 PM
The stuffs and struc- tures that serve as matter for a living animal, for example,
cannot exist in the absence of the form that characterizes the whole.
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Form and Matter (Aristotle) (Frank A. Lewis)
- Highlight on Page 12 | Loc. 178-80 | Added on Monday, August 20, 2012, 09:18 PM
The stuffs and struc- tures that serve as matter for a living animal, for example,
cannot exist in the absence of the form that characterizes the whole. For example,
only the living eye can be part of the matter of an animal – and to be living, it
must be endowed with the form or soul of the whole creature.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 3-4 | Added on Tuesday, August 21, 2012, 10:47 AM
se mostró que muchos "enunciados" son, como Kant fue quizás el primero en sostener
sistemáticamente, sinsentidos estrictos, pese a su forma gramatical impecable.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 29 | Added on Tuesday, August 21, 2012, 10:56 AM
Pasar por alto estas posibilidades, tal como antes era común, es cometer la llamada
falacia "descriptiva".
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 30-31 | Added on Tuesday, August 21, 2012, 10:56 AM
No todos los enunciados verdaderos o falsos son descripciones; por esta razón
prefiero usar la palabra "constatativo"
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 33-35 | Added on Tuesday, August 21, 2012, 10:58 AM
el error de tomar como enunciados fácticos lisos y llanos a expresiones que son
sinsentidos de maneras interesantes, aunque no desde un punto de vista gramatical,
o bien que han sido formuladas con un propósito diferente.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 42 | Added on Tuesday, August 21, 2012, 11:00 AM
En estos ejemplos parece claro que expresar la oración (por supuesto que en las
circunstancias apropiadas) no es describir ni hacer aquello que se diría que hago
al expresarme así7, o enunciar que lo estoy haciendo: es hacerlo.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 67-68 | Added on Tuesday, August 21, 2012, 11:04 AM
Cuando, con la mano sobre los Evangelios y en presencia del funcionario apropiado,
digo "¡Sí, juro!", no estoy informando acerca de un juramento; lo estoy prestando.
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Austin JL (Como hacer cosas con palabras I-III)
- Note Loc. 68 | Added on Tuesday, August 21, 2012, 11:05 AM
Indica que emitir la expresión es realizar una acción y que ésta no se concibe
normalmente como el mero decir algo.
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Austin JL (Como hacer cosas con palabras I-III)
- Note Loc. 73 | Added on Tuesday, August 21, 2012, 11:06 AM
el realizativo
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 76-78 | Added on Tuesday, August 21, 2012, 11:07 AM
La palabra que más se aproxima a lo que necesitamos es, quizás, el término técnico
inglés "operative" ("operativo") en el sentido estricto que le dan los abogados
para aludir a aquellas cláusulas de un instrumento que sirven para realizar la
transacción
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 86-87 | Added on Tuesday, August 21, 2012, 11:12 AM
En muchos casos es posible realizar un acto exactamente del mismo tipo, no con
palabras, escritas o habladas, si no de otra manera.
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Austin JL (Como hacer cosas con palabras I-III)
- Note Loc. 87 | Added on Tuesday, August 21, 2012, 11:13 AM
expresar las palabras es, sin duda, por lo común, un episodio principal, si no el
episodio principal, en la realización del acto (de apostar o de lo que sea), cuya
realización es también la finalidad que persigue la expresión.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 95-97 | Added on Tuesday, August 21, 2012, 11:14 AM
Además, de ordinario, es menester que el que habla, o bien otras personas, deban
también llevar a cabo otras acciones determinadas "físicas" o ''mentales", o aun
actos que consisten en expresar otras palabras.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 106-7 | Added on Tuesday, August 21, 2012, 11:15 AM
de prometer
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 107-9 | Added on Tuesday, August 21, 2012, 11:16 AM
De aquí hay un solo paso a creer, o dar por sentado, que en muchas circunstancias
la expresión externa es una descripción, verdadera o falsa, del acaecimiento del
acto interno.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 111-12 | Added on Tuesday, August 21, 2012, 11:17 AM
Porque quien usa la fórmula "te prometo que.", promete, la promesa no es siquiera
nula, aunque es hecha de mala fe.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 134-36 | Added on Tuesday, August 21, 2012, 11:21 AM
Por ello llamaremos desaciertos a los infortunios del tipo A.1 a B.2, en los que no
se consigue llevar a cabo el acto para cuya realización, o en cuya realización,
sirve la fórmula verbal correspondiente. Y, por otra parte, llamaremos ABUSOS a
aquellos infortunios (los del tipo G) en los que el acto es llevado a cabo.
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Austin JL (Como hacer cosas con palabras I-III)
- Note Loc. 195 | Added on Tuesday, August 21, 2012, 02:50 PM
infortunios y abusos
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 208 | Added on Tuesday, August 21, 2012, 02:57 PM
los casos B, por oposición a los casos A, pueden llamarse Malas Ejecuciones, en
oposición a las Malas Apelaciones: el acto que se intentó está afectado, ya sea
porque hay un vicio en la realización de la ceremonia o porque ésta no se llevó a
cabo en forma completa.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 237-38 | Added on Tuesday, August 21, 2012, 03:15 PM
Por último, podencos preguntar —y aquí tendré que poner algunas de mis cartas sobre
la mesa— si la noción de infortunio se aplica a expresiones que son enunciados.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 244-45 | Added on Tuesday, August 21, 2012, 03:16 PM
¿No podemos decir que un enunciado que se refiere a algo que no existe es nulo, y
no que es falso?
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 248-50 | Added on Tuesday, August 21, 2012, 03:44 PM
Lo primero que hay que recordar es que, como al emitir nuestros realizativos
estamos sin duda, y en un sentido correcto, "realizando acciones", entonces, en
cuanto tales, esas acciones estarán expuestas a toda la gama de deficiencias a que
están expuestas las acciones en general.
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Austin JL (Como hacer cosas con palabras I-III)
- Highlight Loc. 260-61 | Added on Tuesday, August 21, 2012, 03:46 PM
El último tipo, dentro de nuestra clasificación, es el de los casos T.1 y T.2: los
actos insinceros y los que podríamos quizá llamar incumplimientos1.
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Como hacer cosas con palabras IV- (J. L. Austin)
- Highlight on Page 2 | Loc. 17-18 | Added on Friday, August 24, 2012, 01:41 PM
Las circunstancias están aquí en regla y el acto ha sido realizado, esto es, no es
nulo, pero sin embargo es insincero; sintiendo lo que sentía, yo no tenía que
felicitar a mi interlocutor o darle el pésame.
==========
Como hacer cosas con palabras IV- (J. L. Austin)
- Highlight on Page 2 | Loc. 22-23 | Added on Friday, August 24, 2012, 01:43 PM
Del mismo modo podemos distinguir: a) entre el hecho de sentir realmente lo que
sentimos y el hecho de que eso que sentimos esté justificado, y b) entre
proponernos realmente hacer algo y la circunstancia de que lo que nos proponemos
hacer sea practicable.
==========
Como hacer cosas con palabras IV- (J. L. Austin)
- Highlight on Page 4 | Loc. 49 | Added on Friday, August 24, 2012, 01:51 PM
==========
Como hacer cosas con palabras IV- (J. L. Austin)
- Highlight on Page 4 | Loc. 58-59 | Added on Friday, August 24, 2012, 01:57 PM
en los casos comunes, por ejemplo el de correr, es el hecho de que alguien esté
corriendo lo que hace que el enunciado de que está corriendo sea verdadero; o si
no, que la verdad de la expresión constatativa "él está corriendo" depende de que
esté corriendo. Mientras que en nuestro caso es la fortuna del realizativo "le pido
disculpas" lo que constituye el hecho de que estoy pidiendo disculpas, y mí
realización satisfactoria del acto de pedir disculpas depende de la fortuna de la
expresión realizativa "le pido disculpas".
==========
Como hacer cosas con palabras IV- (J. L. Austin)
- Highlight on Page 10 | Loc. 144-45 | Added on Friday, August 24, 2012, 03:55 PM
Aquí lo que no es posible es decir "el gato está sobre el felpudo" y añadir "pero
yo no lo creo". La aserción implica una creencia.
==========
Como hacer cosas con palabras IV- (J. L. Austin)
- Highlight on Page 10 | Loc. 152-53 | Added on Friday, August 24, 2012, 03:56 PM
Supongamos que digo "el gato está sobre el felpudo" cuando no es el caso que creo
que el gato está sobre el felpudo. ¿Qué diríamos entonces? Claramente es un caso de
insinceridad.
==========
Como hacer cosas con palabras IV- (J. L. Austin)
- Highlight on Page 11 | Loc. 155-57 | Added on Friday, August 24, 2012, 04:02 PM
¿Qué habremos de decir del enunciado de que "todos los hijos de Juan son calvos"
cuando Juan no tiene hijos? Hoy día es usual decir que el enunciado no es falso,
porque carece de referencia; la referencia es necesaria tanto para la verdad como
para la falsedad.
==========
Como hacer cosas con palabras IV- (J. L. Austin)
- Highlight on Page 12 | Loc. 170-71 | Added on Friday, August 24, 2012, 04:05 PM
Decir "prometo" pero no realizar el acto prometido es paralelo a decir
simultáneamente "es" y "no es".
==========
Como hacer cosas con palabras IV- (J. L. Austin)
- Highlight on Page 12 | Loc. 171-73 | Added on Friday, August 24, 2012, 04:06 PM
HABITANTE 1º. Amigo, el señor marqués de Calatrava tiene mucho copete, y sobrada
vanidad para permitir que un advenedizo sea su yerno.
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 5 | Loc. 70-72 | Added on Monday, August 27, 2012, 06:48 PM
CANÓNIGO. Paso, paso, señor militar. Los padres tienen derecho de casar a sus hijas
con quien les convenga. OFICIAL. ¿Y por qué no le ha de convenir don Álvaro?
¿Porque no ha nacido en Sevilla?... Fuera de Sevilla nacen también caballeros.
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 7 | Loc. 98-100 | Added on Monday, August 27, 2012, 06:51 PM
PRECIOSILLA. ¡Pobre niña!... ¡Qué linda que es, y qué salada!... Negra suerte le
espera... Mi madre la dijo la buenaventura, recién nacida, y siempre que la nombra
se le saltan las lágrimas... Pues el generoso don Álvaro...
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 8 | Loc. 112-13 | Added on Monday, August 27, 2012, 07:09 PM
HABITANTE 1º. Lo que es atravesar el puente hacia allá a estas horas, he visto yo a
don Álvaro tres tardes seguidas.
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Note on Page 8 | Loc. 113 | Added on Monday, August 27, 2012, 07:09 PM
algo
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 8 | Loc. 119-20 | Added on Monday, August 27, 2012, 08:26 PM
Que por el del palomar vamos las dos a volar le dijo su corazón. Abrirlo
sea lo primero (Ábrelo.) ahora lo segundo es cerrar las maletas. Pues salgan
ya de su agujero.
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 13 | Loc. 186 | Added on Monday, August 27, 2012, 08:31 PM
CURRA. Día grande. Usted la adorada esposa será del más adorable,
rico y lindo caballero que puede en el mundo hallarse, y yo la mujer de
Antonio: y a ver tierras muy distantes iremos ambas... ¡qué bueno!
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Note on Page 15 | Loc. 228 | Added on Monday, August 27, 2012, 08:34 PM
es tuya tu Leonor; mi dicha fundo en seguirte hasta el fin del ancho mundo.
Vamos, resuelta estoy, fijé mi suerte; separarnos podrá sólo la muerte.
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 24 | Loc. 363-64 | Added on Saturday, September 01, 2012,
03:35 PM
DON ÁLVARO. Ay de vuestros criados si se mueven; vos sólo tenéis derecho para
atravesarme el corazón.
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 24 | Loc. 366-69 | Added on Saturday, September 01, 2012,
03:36 PM
Vuestra hija es inocente... tan pura como el aliento de los ángeles que rodean el
trono del Altísimo. La sospecha a que puede dar origen mi presencia aquí a tales
horas concluya con mi muerte; salga envolviendo mi cadáver como si fuera mortaja...
Sí, debo morir... pero a vuestras manos. (Pone una rodilla en tierra.) Espero
resignado el golpe, no lo resistiré: ya me tenéis desarmado. (Tira la pistola, que
al dar en tierra se dispara y hiere al marqués, que cae moribundo en los brazos de
su hija y de los criados, dando un alarido.)
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 29 | Loc. 438-41 | Added on Monday, September 03, 2012, 09:58
AM
MESONERA. Que sea lo que sea; lo cierto es que le vi el rostro, por más que se lo
recataba, cuando se apeó del mulo, y que lo tiene como un sol; y eso que traía los
ojos de llorar y de polvo, que daba compasión. ESTUDIANTE. ¡Oiga! MESONERA. Sí
señor; y en cuanto se metió en ese cuarto, volviéndome siempre la espalda, me
preguntó cuánto había de aquí al convento de los Ángeles, y yo se lo enseñé desde
la ventana, que como está tan cerca se ve clarito, y...
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Note on Page 31 | Loc. 461 | Added on Monday, September 03, 2012, 10:07 AM
el estudiante es un imbecil
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 31 | Loc. 467-69 | Added on Monday, September 03, 2012, 10:08
AM
¡Qué asperezas! ¡Qué hermosa y clara luna! ¡La misma que hace un año vio la
mudanza atroz de mi fortuna, y abrirse los infiernos en mi daño!!!
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 45 | Loc. 690-95 | Added on Monday, September 03, 2012, 10:26
AM
¡Qué eternidad tan horrible la breve vida! ¡Este mundo qué calabozo profundo, para
el hombre desdichado a quien mira el cielo airado con su ceño furibundo!
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 60 | Loc. 907-10 | Added on Monday, September 03, 2012, 11:07
AM
¿Qué me importa por ventura que triunfe Carlos o no? ¿Qué tengo de Italia en pro?
¿Qué tengo? ¡Terrible suerte! Que en ella reina la muerte, y a la muerte busco yo.
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 63 | Loc. 953-55 | Added on Monday, September 03, 2012, 11:12
AM
Siento no decir verdad: (Aparte.) soy don Félix de Avendaña, que he venido a esta
campaña sólo por curiosidad. Soy teniente coronel,
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Note on Page 63 | Loc. 955 | Added on Monday, September 03, 2012, 11:13 AM
Con ella abrid, yo os lo ruego, a solas y sin testigos, una caja que en el centro
hallaréis de mi maleta. En ella con sobre y sello un legajo hay de papeles;
custodiarlos con esmero, y al momento que yo expire los daréis, amigo al fuego. D.
CARLOS. ¿Sin abrirlos? D. ÁLVARO. (Muy agitado.) Sin abrirlos, que en ellos hay un
misterio impenetrable... ¿Palabra me dais don Félix, de hacerlo?
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 81 | Loc. 1231-36 | Added on Monday, September 03, 2012, 03:36
PM
Pues trataron las estrellas por raros modos de hacernos amigos, ¿a qué oponernos a
lo que buscaron ellas? Si nos quisieron unir de mutuos y altos servicios con los
vínculos propicios, no fue, no, para reñir. Tal vez fue para enmendar la desgracia
inevitable, de que no fui yo culpable.
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 81 | Loc. 1237-40 | Added on Monday, September 03, 2012, 03:36
PM
Yo a vuestro padre no herí, le hirió sólo su destino. Y yo, a aquel ángel divino,
ni seduje, ni perdí. Ambos nos están mirando: desde el cielo: mi inocencia ven, esa
ciega demencia que os agita, condenando.
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 85 | Loc. 1293-96 | Added on Monday, September 03, 2012, 03:41
PM
SUBTENIENTE. El rey Carlos es tan testarudo... y como este es el primer caso que
ocurre, el mismo día que se ha publicado la ley... No hay esperanza; ¡esta noche
misma se juntará el consejo de guerra, y antes de tres días le arcabucean!...
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Highlight on Page 92 | Loc. 1411-13 | Added on Monday, September 03, 2012, 06:36
PM
Y todo sin fruto. Carlos, aun más duro que una peña, ha dicho que no, resuelto, y
que la ley se obedezca: mandando que en esta noche falle el consejo de guerra: Mas
aún quedan esperanzas, puede ser que el fallo sea
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Note on Page 98 | Loc. 1488 | Added on Tuesday, September 04, 2012, 10:03 AM
al verlo yo salir sin cuidarse del aguacero, ni de los truenos que hacían temblar
estas montañas, le dije por broma que parecía entre los riscos un indio bravo: y me
dio un berrido que me aturrulló... Y como vino al convento de un modo tan raro, y
nadie lo viene nunca a ver, ni sabemos dónde nació...
==========
Don Álvaro o la fuerza del sino (Duque de Rivas)
- Note on Page 103 | Loc. 1576 | Added on Tuesday, September 04, 2012, 10:17 AM
Distingo entre dos g´eneros de reglas: algunas regulan formas de conducta ex-
istentes antecedentemente; por ejemplo, las reglas de etiqueta regulan relaciones
interpersonales, pero esas relaciones existen independientemente de las reglas de
etiqueta. Algunas reglas, por otra parte, no regulan meramente, sino que crean o
definen nuevas formas de conducta. Las reglas del fu´tbol, por ejemplo, no regulan
meramente el juego del fu´tbol sino que, por as´ı decirlo, crean la posibilidad de,
o definen, esa actividad.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 65 | Added on Tuesday, September 04, 2012, 11:26 AM
Las reglas regulativas regulan una actividad preexistente, una actividad cuya
existencia es l´ogicamente independiente de la existencia de las reglas. Las reglas
constitutivas constituyen (y tambi´en regulan) una actividad cuya existencia es l
´ogicamente dependiente de las reglas2.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 69 | Added on Tuesday, September 04, 2012, 11:28 AM
Caracter´ısticamente las reglas regulativas toman la forma de, o pueden ser para-
fraseadas como, imperativos, e.g. ’Cuando cortes alimentos mant´en agarrado el
cuchillo con la mano derecha’, o ’Los oficiales han de llevar corbata en la
comida’.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 74-76 | Added on Tuesday, September 04, 2012, 11:32 AM
La acción en Sevilla, por los años de 1545, últimos del emperador Carlos V. Los
cuatro primeros actos pasan en una sola noche. Los tres restantes, cinco años
después y en otra noche.
==========
¿Qué es un acto de habla? (John Searle)
- Bookmark Loc. 87 | Added on Tuesday, September 04, 2012, 04:43 PM
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 101-3 | Added on Tuesday, September 04, 2012, 04:46 PM
La hipo´tesis subyacente al presente art´ıculo consiste en que la sem´antica de un
lenguaje puede ser contemplada como una serie de sistemas de reglas con
constitutivas, y que los actos ilocucionarios son actos realizados de acuerdo con
esos, conjuntos de reglas constitutivas.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 115-19 | Added on Tuesday, September 04, 2012, 04:50 PM
A falta de una palabra mejor propongo llamar a este contenido comu´n una proposici
´on, y describir´e esta caracter´ıstica de esos actos ilocucionarios diciendo que
en la emisi´on de cada uno de (1)–(5) el hablante expresa la proposici´on de que
Juan saldra´ de la habitaci´on.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 126 | Added on Tuesday, September 04, 2012, 04:51 PM
Podr´ıa resumirse esto diciendo que distingo entre el acto ilocucionario y el con-
tenido proposicional de un acto ´ılocucionario. Naturalmente, no todos los actos
ilocucionarios tienen un contenido proposicional, por ejemplo una emisio´n de
’¡Hur- ra!’ o ’¡Ay!’no lo tienen.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 134-37 | Added on Wednesday, September 05, 2012, 09:54 AM
Esto es, para una extensa clase de oraciones usadas para realizar actos
ilocucionarios, podemos decir para los propo´sitos de nuestro an´alisis que la
oraci´on tiene dos partes (no necesaria- mente separadas), el elemento indicador de
la proposicio´n y el dispositivo indicador de la funci´on4.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 137 | Added on Wednesday, September 05, 2012, 09:54 AM
Decir que A quiere decir algo mediante x es decir que ’A intento´ que la emisi´on
de x produjese algu´n efecto en un auditorio por medio del reconocimiento de esta
intenci´on’.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 168 | Added on Wednesday, September 05, 2012, 10:04 AM
Yo intento producir un cierto efecto en ellos, a saber, el efecto de que crean que
yo soy un soldado alem´an. Pero ¿se sigue de esta explicaci´on que cuando digo
’Kennst du das Land . . . ’ etc., lo que quiero decir es ’Soy un soldado alem´an’ ?
No solamente no se sigue sino que en este caso me parece completamente falso que
cuando emito la oraci´on alemana lo que quiero decir es ’Yo soy un soldado alem
´an’, o incluso ’Ich bin ein deutscher Offizier ’, puesto que lo que las palabras
significan es, ’¿Conoces el pa´ıs donde florecen los limoneros?’.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 208-9 | Added on Wednesday, September 05, 2012, 10:21 AM
puedo prometer no hacer algo, puedo prometer hacer algo repetidamente, y puedo
prometer estar o permanecer en cierto estado o condici´on.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 267-68 | Added on Thursday, September 06, 2012, 02:41 PM
Una distinci´on crucial entre promesas de un lado y amenazas de otro es que una
promesa es una garant´ıa de que se har´a algo para t´ı, no a t´ı, pero una amenaza
es una garant´ıa de que se te har´a algo a t´ı, no para t´ı.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 277-78 | Added on Thursday, September 06, 2012, 02:42 PM
Creo que en este caso la usamos debido a que ’Prometo’ y ’Por la presente prometo’
son dos de los recursos m´as fuertes para compromiso que proporciona el idioma
castellano.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 281-85 | Added on Thursday, September 06, 2012, 02:43 PM
Supongamos, por ejemplo, que te acuso de haberme robado el dinero. Digo: ’Tu´
robaste ese dinero, ¿no?’ Tu´ replicas: ’No, no lo hice, te prometo que no lo
hice’. ¿Has hecho en este caso una promesa? Encuentro muy poco natural describir tu
emisio´n como una promesa. Esta emisi´on se describir´ıa de manera m´as apropiada
como una negativa enfa´tica, y podemos explicar la aparicio´n del dispositivo
indicador de funcio´n ’Prometo’ como derivativo de promesas genuinas y sirviendo
aqu´ı como una expresi´on que an˜ade ´enfasis a tu negativa.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 297-99 | Added on Thursday, September 06, 2012, 02:47 PM
Est´a fuera de lugar que yo prometa hacer algo que es obvio que voy a hacer de
todos modos. Si parece que estoy haciendo una promesa tal, el u´nico modo en que mi
auditorio puede dar sentido a m´ı emisi´on es suponer que creo que no es obvio que
voy a hacer la cosa prometida.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 303-5 | Added on Thursday, September 06, 2012, 02:48 PM
Llamo a condiciones tales como (4) y (5) condiciones preparatorias. Ellas son las
sine quibus non de una promesa feliz, pero no enuncian todav´ıa la condici´on
esencial.
==========
¿Qué es un acto de habla? (John Searle)
- Bookmark Loc. 305 | Added on Thursday, September 06, 2012, 02:48 PM
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 252 | Added on Thursday, September 06, 2012, 02:49 PM
Adem´as en las promesas sinceras el hablante cree que le es posible llevar a cabo
el acto (o abstenerse de hacerlo), pero creo que la proposici´on de que ´el tiene
intenci´on de hacerlo entran˜a que ´el piensa que le es posible hacerlo (o
abstenerse de hacerlo), de modo que no estoy enunciando esto como una condici´on
extra. A esta condici´on la llamo condici´on de sinceridad.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 310 | Added on Thursday, September 06, 2012, 02:50 PM
la 6
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 311-12 | Added on Thursday, September 06, 2012, 02:51 PM
todo lo que ser´ıa necesario es que el hablante emitiese seriamente una oraci´on.
La produccio´n de todos esos efectos es simplemente una consecuencia del
conocimiento que el oyente tiene de lo que la oraci´on significa, lo cual a su vez
es una consecuencia del conocimiento del lenguaje por parte del hablante, que se
supone al principio.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 346-49 | Added on Thursday, September 06, 2012, 02:56 PM
promesas insinceras
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 350-52 | Added on Thursday, September 06, 2012, 02:58 PM
La condici´on (1) y las condiciones de las formas (8) y (9) se aplican a todos los
g´eneros de actos ilocucionarios normales, y no son peculiares de prometer.
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 384-85 | Added on Thursday, September 06, 2012, 03:00 PM
Sugiero que el equipo que en un juego ’se vende’ est´a comport´andose de una manera
estrechamente an´aloga al hablante que miente o hace promesas falsas.
==========
¿Qué es un acto de habla? (John Searle)
- Bookmark Loc. 388 | Added on Thursday, September 06, 2012, 03:01 PM
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 388-91 | Added on Thursday, September 06, 2012, 03:02 PM
Consid´erese, e.g., el dar una orden. Las condiciones preparatorias incluyen que el
hablante est´e en una posici´on de autoridad sobre el oyente, la condicio´n de
sinceridad consiste en que el hablante desea que se lleve a cabo el acto ordenado,
y la condici´on esencial tiene que ver con el hecho de que la emisi´on es un
intento de inducir al oyente a hacerlo
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 391-93 | Added on Thursday, September 06, 2012, 03:03 PM
Para las aserciones, las condiciones preparatorias incluyen el hecho de que el
hablante deba tener algunas bases para suponer que la proposicio´n aseverada es
verdadera, la condici´on de sinceridad consiste en que ´el debe creer que es
verdadera, y la condici´on esencial tiene que ver coil el hecho de que la emisi´on
es un intento de informar al oyente y convencerlo de su verdad.
==========
Rupturas y restauraciones (Octavio Paz)
- Highlight Loc. 8-9 | Added on Thursday, September 06, 2012, 03:06 PM
varios grupos de poetas y artistas que, en diversos lugares del continente europeo
pero casi al mismo tiempo, se propusieron crear un arte nuevo.
==========
Rupturas y restauraciones (Octavio Paz)
- Highlight Loc. 10-11 | Added on Thursday, September 06, 2012, 03:06 PM
arte de nuestro tiempo, un tiempo distinto a los demás, que rompía con los modos y
estilos del pasado e inauguraba una era estética
==========
Rupturas y restauraciones (Octavio Paz)
- Highlight Loc. 13-15 | Added on Thursday, September 06, 2012, 03:07 PM
todos los hombres, por el sólo hecho de serlo, tienen conciencia de su mortalidad.
Esta conciencia es más aguda en la edad moderna, que ha cerrado casi todas las
ventanas hacia el más allá.
==========
Rupturas y restauraciones (Octavio Paz)
- Highlight Loc. 56-57 | Added on Thursday, September 06, 2012, 03:17 PM
Con cierta regularidad aparecen, desaparecen y reaparecen estilos que miran hacia
el pasado y que son la negación de la vanguardia.
==========
Rupturas y restauraciones (Octavio Paz)
- Highlight Loc. 74-76 | Added on Thursday, September 06, 2012, 05:09 PM
Esta práctica introduce una confusión innecesaria: por una parte, con arrogancia
cultural, ignora al “modernismo” de Hispanoamérica y de Cataluña, que han dejado
obras memorables en la poesía y en la arquitectura; por otra, confunde modernismo
con vanguardia: son términos próximos, no equivalentes.
==========
Rupturas y restauraciones (Octavio Paz)
- Note Loc. 76 | Added on Thursday, September 06, 2012, 05:10 PM
La vanguardia, en todas sus tendencias, exaltó lo nuevo. Por esto fue una ruptura
con el arte del pasado inmediato. Y mas aún: rompió con la tradición de Occidente
que comienza en el Renacimiento.
==========
Rupturas y restauraciones (Octavio Paz)
- Highlight Loc. 113-15 | Added on Thursday, September 06, 2012, 05:19 PM
In order to develop higher order genera, we must first know how the species
promise, prediction, report, etc., differ one from another.
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 20-21 | Added on Sunday, September 09, 2012, 03:35 PM
there are different kinds of differences that enable us to say that the force of
this utterance is different from the force of that utterance.
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 29-30 | Added on Sunday, September 09, 2012, 03:45 PM
In general, one can say that the notion of illocutionary force is the resultant of
several elements of which illocutionary point is only one, though, I believe, the
most important one.
==========
A taxonomy of Illocutionary acts (John Searle)
- Note Loc. 42 | Added on Sunday, September 09, 2012, 03:54 PM
Some illocutions have as part of their illocutionary point to get the words (more
strictly, their propositional content) to match the world, others to get the world
to match the words.
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 57-59 | Added on Sunday, September 09, 2012, 04:05 PM
The detective's list has the word-to-world direction of fit (as do statements,
descriptions, assertions, and explanations); the shopper’s list has the world-to-
word direction of fit (as do requests, commands, vows, promises).
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 66-67 | Added on Sunday, September 09, 2012, 04:11 PM
I may make estimates, give diagnoses, and draw conclusions in saying “I estimate,”
“I diagnose,” and “I conclude,” but in order to estimate, diagnose, or conclude it
is not necessary to say anything at all.
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 110-12 | Added on Sunday, September 09, 2012, 04:32 PM
I may simply stand before a building and estimate its height, silently diagnose you
as a marginal schizophrenic, or conclude that the man sitting next to me is quite
drunk. In these cases, no speech act, not even an internal speech act, is
necessary.
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 121-24 | Added on Sunday, September 09, 2012, 04:36 PM
not all of the verbs listed within the classes really satisfy the definitions
given,
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 215-16 | Added on Sunday, September 09, 2012, 06:45 PM
The point or purpose of the members of the representative class is to commit the
speaker (in varying degrees) to something’s being the case, to the truth of the
expressed proposition.
==========
A taxonomy of Illocutionary acts (John Searle)
- Note Loc. 216 | Added on Sunday, September 09, 2012, 06:45 PM
representative
==========
A taxonomy of Illocutionary acts (John Searle)
- Note Loc. 231 | Added on Sunday, September 09, 2012, 06:56 PM
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 231-32 | Added on Sunday, September 09, 2012, 06:56 PM
This class will contain most of Austin’s expositives as well as many of his
verdictives for the, by now I hope obvious, reason that they all have the same
illocutionary point and differ only in other features of illocutionary force.
==========
A taxonomy of Illocutionary acts (John Searle)
- Note Loc. 232 | Added on Sunday, September 09, 2012, 06:56 PM
representativos
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 232-33 | Added on Sunday, September 09, 2012, 06:57 PM
directivos: intentos del hablante para obtener que el oyente haga algo
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 247-48 | Added on Sunday, September 09, 2012, 07:04 PM
Commissives then are those illocutionary acts whose point is to commit the speaker
(again in varying degrees) to some future course of action.
==========
A taxonomy of Illocutionary acts (John Searle)
- Note Loc. 248 | Added on Sunday, September 09, 2012, 07:06 PM
Since the direction of fit is the same for commissives and directives, it would
give us a more elegant taxonomy if we could show that they are really members of
the same category.
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 258-60 | Added on Sunday, September 09, 2012, 07:22 PM
realizativos
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 291-93 | Added on Sunday, September 09, 2012, 07:32 PM
The only exceptions to the principle that every declaration requires ¡111 extra-
linguistic institution are those declarations that concern language itself,7 as for
example when one says, “I define, abbreviate, name, call, or dub.”
==========
A taxonomy of Illocutionary acts (John Searle)
- Highlight Loc. 337-38 | Added on Sunday, September 09, 2012, 07:46 PM
The members of this class we may dub “representative declarations.” Unlike the
other declarations, they share with representatives a sincerity condition.
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 7 | Loc. 108 | Added on Tuesday, September 11, 2012, 07:33 AM
el mismo
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 11 | Loc. 167-69 | Added on Tuesday, September 11, 2012, 07:36
AM
Yo mismo indagar prefiero la verdad… mas, a ser cierta la apuesta, primero muerta
que esposa suya la quiero.
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 13 | Loc. 191 | Added on Tuesday, September 11, 2012, 07:38 AM
y vinimos a apostar quién de ambos sabría obrar peor, con mejor fortuna, en el
término de un año; juntándonos aquí hoy a probarlo. DON
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 22 | Loc. 335-38 | Added on Tuesday, September 11, 2012, 07:57
AM
y vinimos a apostar quién de ambos sabría obrar peor, con mejor fortuna, en el
término de un año; juntándonos aquí hoy a probarlo.
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 23 | Loc. 338 | Added on Tuesday, September 11, 2012, 07:57 AM
apuesta
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 23 | Loc. 349 | Added on Tuesday, September 11, 2012, 07:59 AM
que a la novicia uniré la dama de algún amigo que para casarse esté.
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 31 | Loc. 467-70 | Added on Tuesday, September 11, 2012, 08:11
AM
DON JUAN.—Partid los días del año entre las que ahí encontráis. Uno para
enamorarlas, otro para conseguirlas, otro para abandonarlas, dos para sustituirlas,
y una hora para olvidarlas.
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 35 | Loc. 534-36 | Added on Tuesday, September 11, 2012, 01:54
PM
Don Juan, en brazos del vicio desolado te abandono; me matas… mas te perdono de
Dios en el santo juicio.
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 35 | Loc. 536 | Added on Tuesday, September 11, 2012, 01:54 PM
el padre
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 36 | Loc. 538 | Added on Tuesday, September 11, 2012, 01:55 PM
don juan y don luis son el mismo caracter compitiendo con si mismo
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 41 | Loc. 621-22 | Added on Tuesday, September 11, 2012, 02:10
PM
DOÑA ANA.—La llave, pues, te daré. DON LUIS.—Y dentro yo de tu casa, venga Tenorio.
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 55 | Loc. 840-41 | Added on Tuesday, September 11, 2012, 04:15
PM
BRÍGIDA.—¡Bah! Pobre garza enjaulada, dentro la jaula nacida, ¿qué sabe ella si hay
más vida ni más aire en que volar?
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 55 | Loc. 841 | Added on Tuesday, September 11, 2012, 04:16 PM
DON JUAN.—¡Ca! otro día. Hoy no es mañana, Lucía; yo he de estar hoy con doña Ana,
y si se casa mañana, mañana será otro día.
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 62 | Loc. 945 | Added on Tuesday, September 11, 2012, 04:28 PM
¡Ay! En verdad que os envidio, venturosa doña Inés, con vuestra inocente vida, la
virtud del no saber.
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 64 | Loc. 981 | Added on Tuesday, September 11, 2012, 04:32 PM
BRÍGIDA.—Preciso es que tu amo tenga algún diablo familiar. CIUTTI.—Yo creo que sea
él mismo un diablo en carne mortal, porque a lo que él, solamente se arrojara
Satanás.
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 86 | Loc. 1307-9 | Added on Wednesday, September 12, 2012,
12:07 PM
si esto es amar, sí, le amo; pero yo sé que me infamo con esa pasión también.
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 89 | Loc. 1357-59 | Added on Wednesday, September 12, 2012,
12:10 PM
No, don Juan; en poder mío resistirte no está ya; yo voy a ti, como va sorbido al
mar ese río.
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 103 | Loc. 1577-81 | Added on Wednesday, September 12, 2012,
12:30 PM
el enamoramiento sacro de don juan por donna ines es casi un tipo de deux ex
machina
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 141 | Loc. 2160-63 | Added on Wednesday, September 12, 2012,
03:51 PM
Y heme que vengo en su nombre a enseñarte la verdad; y es: que hay una eternidad
tras de la vida del hombre. Que numerados están los días que has de vivir, y que
tienes que morir mañana mismo, don Juan.
==========
Don Juan Tenorio (José Zorrilla)
- Note on Page 142 | Loc. 2163 | Added on Wednesday, September 12, 2012, 03:52 PM
Mas del fantasma aquel, pese a mi aliento los pies de piedra caminando siento por
doquiera que voy tras de los míos. ¡Oh! Y me trae a este sitio irresistible
misterioso poder…
==========
Don Juan Tenorio (José Zorrilla)
- Highlight on Page 154 | Loc. 2356-57 | Added on Wednesday, September 12, 2012,
06:15 PM
Por lo tanto, mi principio básico será entonces valorar los hechos poéticos,
primero, sólo a partir de la forma en que sean aprehendidos por el lector y,
segundo, sólo a partir de la forma en que sean percibidos dentro del poema,
considerado éste como un texto especial y finito.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 2 | Loc. 25-27 | Added on Thursday, September 13, 2012, 10:53
AM
Bajo esta restricción de doble cara, la indirección semántica puede ocurrir bajo
tres formas posibles. La indirección puede ser producida mediante un
desplazamiento, una distorsión o mediante la creación de un sentido.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 2 | Loc. 25 | Added on Thursday, September 13, 2012, 10:53 AM
principio basico
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 2 | Loc. 27 | Added on Thursday, September 13, 2012, 10:54 AM
Hay desplazamiento cuando el signo pasa de un sentido a otro, cuando una palabra
representa a otra, así como ocurre con la metáfora y la metonimia.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 2 | Loc. 28 | Added on Thursday, September 13, 2012, 10:54 AM
desplazamiento
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 2 | Loc. 28-29 | Added on Thursday, September 13, 2012, 10:55
AM
distorsion
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 2 | Loc. 29-31 | Added on Thursday, September 13, 2012, 10:55
AM
Hay creación cuando el espacio textual sirve como principio de organización para
conformar o crear signos a partir de sentidos lingüísticos que, de otro modo, no
tendrían sentido alguno (por ejemplo: la simetría, la rima o las equivalencias
semánticas entre posiciones homólogas en las divisiones del poema).
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 2 | Loc. 31 | Added on Thursday, September 13, 2012, 10:55 AM
creacion
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 3 | Loc. 40-42 | Added on Thursday, September 13, 2012, 11:45
AM
significancia
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 3 | Loc. 46-47 | Added on Thursday, September 13, 2012, 11:46
AM
sentido/ significancia
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 4 | Loc. 48-50 | Added on Thursday, September 13, 2012, 11:50
AM
Cualquier signo que se encuentre dentro de este texto será pertinente con respecto
a su propiedad poética, la cual expresa o refleja una continua modificación de la
mimesis. Sólo de esta manera la unidad poética puede ser identificada tras la
multiplicidad de las representaciones.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 6 | Loc. 90-91 | Added on Thursday, September 13, 2012, 11:59
AM
Esta transferencia del signo de un nivel de discurso a otro, esta metamorfosis (de
lo que era un complejo significante en un nivel menor del texto) a una unidad
significativa constituye lo propio del dominio semiótico.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 7 | Loc. 96-97 | Added on Thursday, September 13, 2012, 12:01
PM
semiosis
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 7 | Loc. 100 | Added on Thursday, September 13, 2012, 12:02 PM
primera lectura
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 7 | Loc. 107-8 | Added on Thursday, September 13, 2012, 12:07
PM
competencia literaria
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 8 | Loc. 118-20 | Added on Thursday, September 13, 2012, 12:11
PM
Es por esto que, más allá de que las unidades de sentido puedan ser palabras,
frases u oraciones, la unidad de significancia siempre es el texto.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 9 | Loc. 132 | Added on Thursday, September 13, 2012, 12:15 PM
unidad de significancia
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 9 | Loc. 132-33 | Added on Thursday, September 13, 2012, 12:16
PM
Por esto debemos ver el código del poema como simbólico. El poema definitivamente
representa un algo que no es el desierto, al cual la descripción se sigue
refiriendo. Todo apunta a un sentido oculto, derivado de una palabra clave—
fecundidad—que es el opuesto exacto de la primera palabra clave, aridez.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 20 | Loc. 299 | Added on Thursday, September 13, 2012, 01:32 PM
poema simbolico
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 22 | Loc. 326-28 | Added on Thursday, September 13, 2012,
01:37 PM
No podemos, sin embargo, entender la semiosis hasta que hayamos averiguado el lugar
del texto que ahora se percibe como un signo dentro de un sistema (un signo
formalmente complejo, pero monosémico), ya que por definición un signo no puede
estar aislado. Un signo es, únicamente, la relación con algo más.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 22 | Loc. 328 | Added on Thursday, September 13, 2012, 01:37 PM
signo
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 22 | Loc. 334-36 | Added on Thursday, September 13, 2012,
01:39 PM
significancia
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 24 | Loc. 357-58 | Added on Thursday, September 13, 2012,
02:52 PM
Este texto subyacente está presente bajo el modo del paragrama o del hipograma—un
paisaje muerto que se refiere a un personaje vivo, un desierto que se ha recorrido
de cabo a rabo y que representa al viajero más que al desierto mismo, un oasis como
monumento de futuro negado o no existente.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 24 | Loc. 359 | Added on Thursday, September 13, 2012, 02:52 PM
hipograma
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 25 | Loc. 369-72 | Added on Thursday, September 13, 2012,
02:54 PM
matriz
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 25 | Loc. 373-74 | Added on Thursday, September 13, 2012,
02:55 PM
En todos estos casos la discrepancia es puesta de una manera gráfica por el hecho
de que la mímesis ocupa mucho espacio, mientras que la estructura de la matriz
puede ser resumida en una sola palabra.
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 25 | Loc. 374 | Added on Thursday, September 13, 2012, 02:55 PM
mimesis/ matriz
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 29 | Loc. 441-44 | Added on Thursday, September 13, 2012,
03:09 PM
broma/ soneto
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 31 | Loc. 464-66 | Added on Thursday, September 13, 2012,
03:12 PM
Esta regla, en su reducción al absurdo, nos llevaría a afirmar que la literatura al
decir algo puede, también, no decir nada (o, si se me permite nuevamente una
sonrisa irreverente: ya no se trataría del doughnut alrededor de un hoyo, sino del
doughnut como un hoyo).
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 31 | Loc. 466 | Added on Thursday, September 13, 2012, 03:13 PM
no decir nada
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Bookmark on Page 31 | Loc. 469 | Added on Thursday, September 13, 2012, 03:15 PM
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Highlight on Page 31 | Loc. 469-70 | Added on Thursday, September 13, 2012,
03:15 PM
Postulados y definiciones
==========
Semiotics of Poetry (trad.) (Riffaterre)
- Note on Page 34 | Loc. 510 | Added on Thursday, September 13, 2012, 03:22 PM
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 46 | Loc. 698-99 | Added on Thursday, September 20, 2012,
05:45 PM
lo primero que me llamó la atención fue que, aunque en la última página había esta
palabra latina, tan vulgar en todas las obras, finis, la verdad era que el Miserere
no estaba terminado, porque la música no alcanzaba sino hasta el décimo versículo.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 47 | Loc. 709 | Added on Thursday, September 20, 2012, 05:48
PM
Hace ya muchos años, en una noche lluviosa y oscura,
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 47 | Loc. 709 | Added on Thursday, September 20, 2012, 05:48 PM
Abrí aquel libro y en una de sus páginas encontré un gigante grito de contrición
verdadera, un salmo de David, el que comienza ¡Miserere mei, Deus! Desde el
instante en que hube leído sus estrofas, mi único pensamiento fue hallar una forma
musical tan magnífica, tan sublime, que bastase a contener el grandioso himno de
dolor del Rey Profeta.
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 48 | Loc. 722 | Added on Thursday, September 20, 2012, 05:54 PM
pero lo que mantiene más viva su memoria, es que todos los años, tal noche como la
en que se consumó, se ven brillar luces a través de las rotas ventanas de la
iglesia; se oye como una especie de música extraña y unos cantos lúgubres y
aterradores que se perciben a intervalos en las ráfagas del aire.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 49 | Loc. 748-52 | Added on Thursday, September 20, 2012,
06:00 PM
todos los años, tal noche como la en que se consumó, se ven brillar luces a través
de las rotas ventanas de la iglesia; se oye como una especie de música extraña y
unos cantos lúgubres y aterradores que se perciben a intervalos en las ráfagas del
aire. Son los monjes, los cuales, muertos tal vez sin hallarse preparados para
presentarse en el tribunal de Dios limpios de toda culpa, vienen aún del purgatorio
a impetrar su misericordia cantando el Miserere.
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 50 | Loc. 752 | Added on Thursday, September 20, 2012, 06:01 PM
el miserere de la montanna
==========
Modernidad, Mestizaje Cultural, Ethos Barroco (Bolívar Echeverría)
- Highlight on Page 112 | Loc. 1716-17 | Added on Tuesday, September 25, 2012,
07:24 AM
transculturacion
==========
Contrapunteo Cubano Del Tabaco Y El Azúcar (Fernando Ortiz and Enrico Mario Santí)
- Highlight on Page 117 | Loc. 1782-83 | Added on Tuesday, September 25, 2012,
08:41 AM
El mero paso del mar ya les cambiaba su espíritu; salían rotos y perdjdos y
llegaban señores; de dominados en su tierra pasaban a dominadores en la ajena.
==========
Contrapunteo Cubano Del Tabaco Y El Azúcar (Fernando Ortiz and Enrico Mario Santí)
- Highlight on Page 119 | Loc. 1813-17 | Added on Tuesday, September 25, 2012,
08:46 AM
Entendemos que el vocablo transculturación expresa mejor las diferentes fases del
proceso transitivo de una cultura a otra, porque éste no consiste solamente en
adquirir una distinta cultura, que es lo que en rigor indica la voz angloamericana
acculturation, sino que el proceso implica también necesariamente la pérdida o
desarraigo de una cultura precedente, lo que pudiera decirse una parcial
desculturación, y, además, significa la consiguiente creación de nuevos fenómenos
culturales que pudieran denominarse de neoculturación.
==========
Contrapunteo Cubano Del Tabaco Y El Azúcar (Fernando Ortiz and Enrico Mario Santí)
- Note on Page 119 | Loc. 1818 | Added on Tuesday, September 25, 2012, 08:46 AM
transculturacion
==========
Descarga Acústica (Julio Ramos)
- Highlight on Page 3 | Loc. 36-39 | Added on Thursday, September 27, 2012, 10:14
AM
no nos hemos propuesto componer una novela, sino dar una idea exacta, verdadera y
genuina de España, y especialmente del estado actual de su sociedad, del modo de
opinar de sus habitantes, de su índole, aficiones y costumbres.
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 142 | Loc. 2177 | Added on Thursday, September 27, 2012, 05:30 PM
costumbrismo
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 143 | Loc. 2180 | Added on Thursday, September 27, 2012, 05:32 PM
Y para ello es indispensable que, en lugar de juzgar a los españoles pintados por
manos extrañas, nos vean los demás pueblos pintados por nosotros mismos.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 169 | Loc. 2591 | Added on Thursday, September 27, 2012, 05:42
PM
amor gratuidad
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 138 | Loc. 2107-8 | Added on Friday, September 28, 2012, 08:43
AM
The hypothesis I wish to defend is simply this: In indirect speech acts the speaker
communicates to the hearer more than he actually says by way of relying on their
mutually shared background information, both linguistic and nonlinguistic, together
with the general powers of rationality and inference on the part of the hearer.
==========
Indirect Speech acts (John Searle)
- Note on Page 3 | Loc. 33 | Added on Sunday, September 30, 2012, 08:47 PM
hypothesis
==========
Indirect Speech acts (John Searle)
- Highlight on Page 4 | Loc. 55-56 | Added on Monday, October 01, 2012, 10:20 AM
The utterance of (2) in the context just given would normally constitute a
rejection of the proposal, but not in virtue of its meaning. In virtue of its
meaning it is simply a statement about Y.
==========
Indirect Speech acts (John Searle)
- Note on Page 4 | Loc. 56 | Added on Monday, October 01, 2012, 10:20 AM
We may, therefore, further say that the secondary illocutionary act is literal; the
primary illocutionary act is not literal.
==========
Indirect Speech acts (John Searle)
- Highlight on Page 7 | Loc. 104-8 | Added on Monday, October 01, 2012, 10:36 AM
In the field of indirect illocutionary acts, the area of directives is the most
useful to study because ordinary conversational requirements of politeness normally
make it awkward to issue flat imperative sentences (e.g., Leave the room) or
explicit performatives (e.g., I order you to leave the room), and we therefore seek
to find indirect means to our illocutionary ends (e.g., I wonder if you would mind
leaving the room). In directives, politeness is the chief motivation for
indirectness.
==========
Indirect Speech acts (John Searle)
- Highlight on Page 10 | Loc. 151-54 | Added on Monday, October 01, 2012, 11:23 AM
Fact 1: The sentences in question do not have an imperative force as part of their
meaning. This point is sometimes denied by philosophers and linguists, but very
powerful evidence for it is provided by the fact that it is possible without
inconsistency to connect the literal utterance of one of these forms with the
denial of any imperative intent,
==========
Indirect Speech acts (John Searle)
- Highlight on Page 11 | Loc. 168-70 | Added on Tuesday, October 02, 2012, 10:20
AM
When please is added to one of these sentences, it explicitly and literally marks
the primary illocutionary point of the utterance as directive, even though the
literal meaning of the rest of the sentence is not directive.
==========
Indirect Speech acts (John Searle)
- Note on Page 12 | Loc. 170 | Added on Tuesday, October 02, 2012, 10:20 AM
please
==========
Indirect Speech acts (John Searle)
- Highlight on Page 14 | Loc. 200-202 | Added on Tuesday, October 02, 2012, 10:37
AM
It is important to note that the intonation of these sentences when they are
uttered as indirect requests often differs from their intonation when uttered with
only their literal illocutionary force, and often the intonation pattern will be
that characteristic of literal directives.
==========
Indirect Speech acts (John Searle)
- Note on Page 14 | Loc. 202 | Added on Tuesday, October 02, 2012, 10:37 AM
different intonations
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 30 | Loc. 460 | Added on Wednesday, October 03, 2012, 10:22 AM
Yo creía al principio, ¡incauta!, que Macrocéfalo había olvidado sus rencores; mas
hoy comprendo que me hizo sabia para mi martirio. ¡Bien supo lo que hacía! Ni él ni
yo somos felices. Tarde los dos echamos de menos el placer, y daríamos todo lo que
sabemos por una aventurilla de un estudiante él, yo de un mosquito.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 36 | Loc. 544-47 | Added on Wednesday, October 03, 2012, 10:39
AM
Con el fingimiento de aprender geografía pude a mis anchas pasearme por todo el
mundo, mosca andante en busca de aventuras. Híceme una armadura de una pluma de
acero rota, un yelmo dorado con restos de una tapa de un tintero; fue mi lanza un
alfiler, y así recorrí tierras y mares, atravesando ríos, cordilleras, y sin
detenerme al dar con el Océano, como el musulmán se detuvo.
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 39 | Loc. 589 | Added on Friday, October 05, 2012, 10:21 AM
don quijote
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 41 | Loc. 617-18 | Added on Friday, October 05, 2012, 10:24 AM
El amante que haya robado alguna vez un retrato de su amada desdeñosa, y que a
solas haya saciado en él su pasión comprimida, adivinará los excesos a que me
arrojé, perdida la razón, al ver en mi poder aquella imagen fiel, exactísima, de la
mosca de oro.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 42 | Loc. 644-47 | Added on Friday, October 05, 2012, 10:34 AM
Ahora espero tan sólo, ya que no tengo el valor material que necesito para darme la
muerte, que don Eufrasio llegue a la Sintética, y sepa, bajo principio, que puede
en derecho aplastarme. Mi único placer consiste en provocarle, picando y chupando
sin cesar en aquella calva mollera, de cuyos jugos venenosos bebí en mal hora el
afán de saber, que no trae aparejada la virtud que para tanta abnegación se
necesita.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 158 | Loc. 2420-21 | Added on Wednesday, October 10, 2012,
06:31 PM
quise defenderme, hasta que al fin una Compilatio decretalium me remató: caí al
suelo sin sentido.
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 159 | Loc. 2435 | Added on Wednesday, October 10, 2012, 06:33 PM
Siguieron otras por el estilo; y siempre tuve tan mala suerte, que constantemente
paraba en los carros que recogen por las mañanas la inmundicia acumulada durante la
noche.
==========
Metaphor (Searle)
- Highlight on Page 1 | Loc. 13-14 | Added on Friday, October 12, 2012, 04:25 PM
The problem of explaining how metaphors work is a special case of the general
problem of explaining how speaker’s meaning and sentence or word meaning come
apart.
==========
Metaphor (Searle)
- Highlight on Page 2 | Loc. 16-17 | Added on Friday, October 12, 2012, 04:26 PM
Some other instances of the break between speaker’s utterance meaning and literal
sentence meaning are irony and indirect speech acts.
==========
Metaphor (Searle)
- Highlight on Page 2 | Loc. 18-20 | Added on Friday, October 12, 2012, 04:26 PM
I shall call the former speaker’s utterance meaning, and the latter, word, or
sentence, meaning. Metaphorical meaning is always speaker’s utterance meaning.
==========
Metaphor (Searle)
- Note on Page 2 | Loc. 29 | Added on Friday, October 12, 2012, 04:31 PM
But these sentences, like most sentences, only determine a set of truth conditions
against a background of assumptions that are not explicitly realized in the
semantic structure of the sentence.
==========
Metaphor (Searle)
- Note on Page 4 | Loc. 59 | Added on Sunday, October 14, 2012, 03:05 PM
contenido consabido
==========
Metaphor (Searle)
- Highlight on Page 5 | Loc. 71-73 | Added on Sunday, October 14, 2012, 03:08 PM
We know without hesitation what are the truth conditions of, “The fly is on the
ceiling”, but not of, “The cat is on the ceiling,” and this difference is not a
matter of meaning, but a matter of how our factual background information enables
us to apply the meanings of sentences.
==========
Metaphor (Searle)
- Note on Page 5 | Loc. 73 | Added on Sunday, October 14, 2012, 03:09 PM
background information
==========
Metaphor (Searle)
- Highlight on Page 6 | Loc. 78-79 | Added on Sunday, October 14, 2012, 03:14 PM
Notice finally that the notion of similarity plays a crucial role in any account of
literal utterance. This is because the literal meaning of any general term, by
determining a set of truth conditions, also determines a criterion of similarity
between objects.
==========
Metaphor (Searle)
- Note on Page 6 | Loc. 79 | Added on Sunday, October 14, 2012, 03:14 PM
First, in literal utterance the speaker means what he says; that is, literal
sentence meaning and speaker’s utterance meaning are the same; second, in general
the literal meaning of a sentence only determines a set of truth conditions
relative to a set of background assumptions which are not part of the semantic
content of the sentence; and third, the notion of similarity plays an essential
role in any account of literal predication.
==========
Metaphor (Searle)
- Note on Page 6 | Loc. 86 | Added on Sunday, October 14, 2012, 03:15 PM
Dead metaphors are especially interesting for our study, because, to speak
oxymoronically, dead metaphors have lived on. They have become dead through
continual use, but their continual use is a clue that they satisfy some semantic
need.
==========
Metaphor (Searle)
- Note on Page 8 | Loc. 120 | Added on Sunday, October 14, 2012, 03:27 PM
metaforas muertas
==========
Metaphor (Searle)
- Highlight on Page 8 | Loc. 120-22 | Added on Sunday, October 14, 2012, 03:29 PM
Confining ourselves to the simplest subject-predicate cases, we can say that the
general form of the metaphorical utterance is that a speaker utters a sentence of
the form “S is P” and means metaphorically that S is R.
==========
Metaphor (Searle)
- Note on Page 8 | Loc. 122 | Added on Sunday, October 14, 2012, 03:29 PM
My argument is starkly simple: In many cases the metaphorical statement and the
corresponding similarity statement cannot be equivalent in meaning because they
have different truth conditions.
==========
Metaphor (Searle)
- Highlight on Page 22 | Loc. 329-31 | Added on Sunday, October 14, 2012, 07:00 PM
Thus “Sally is a block of ice” means “Sally is like a block of ice”, which means
“She shares certain traits with a block of ice, in particular she is very cold”.
But since “cold” in “Sally is very cold” is also metaphorical, there must be an
underlying similarity in which Sally’s emotional state is like coldness, and when
we finally specify these respects, the metaphor will be completely analyzed.
==========
Metaphor (Searle)
- Highlight on Page 23 | Loc. 339-42 | Added on Sunday, October 14, 2012, 07:02 PM
I think the only answer to the question, “What is the relation between cold things
and unemotional people that would justify the use of ‘cold’ as a metaphor for lack
of emotion?” is simply that as a matter of perceptions, sensibilities, and
linguistic practices, people find the notion of coldness associated in their minds
with lack of emotion. The notion of being cold just is associated with being
unemotional.
==========
Metaphor (Searle)
- Highlight on Page 23 | Loc. 343-45 | Added on Sunday, October 14, 2012, 07:04 PM
English speakers (cf. Asch, 1958). Moreover, it is even becoming, or has become, a
dead metaphor. Some dictionaries (e.g. the OED) list lack of emotion as one of the
meanings of “cold”.
==========
Metaphor (Searle)
- Highlight on Page 31 | Loc. 467-69 | Added on Sunday, October 14, 2012, 07:44 PM
This suggests a strategy that underlies the first step: Where the utterance is
defective if taken literally, look for an utterance meaning that differs from
sentence meaning.
==========
Metaphor (Searle)
- Note on Page 31 | Loc. 468 | Added on Sunday, October 14, 2012, 07:44 PM
When you hear “S is P”, to find possible values of R look for ways in which S might
be like P, and to fill in the respect in which S might be like P, look for salient,
well known, and distinctive features of P things.
==========
Metaphor (Searle)
- Note on Page 32 | Loc. 479 | Added on Sunday, October 14, 2012, 07:48 PM
segundo
==========
Metaphor (Searle)
- Highlight on Page 32 | Loc. 483-85 | Added on Sunday, October 14, 2012, 07:48 PM
Go back to the S term and see which of the many candidates for the values of R are
likely or even possible properties of S.
==========
Metaphor (Searle)
- Note on Page 32 | Loc. 485 | Added on Sunday, October 14, 2012, 07:48 PM
tercero
==========
Metaphor (Searle)
- Highlight on Page 33 | Loc. 501-2 | Added on Sunday, October 14, 2012, 07:52 PM
principio 1
==========
Metaphor (Searle)
- Highlight on Page 33 | Loc. 505-6 | Added on Sunday, October 14, 2012, 08:29 PM
Principle 2. Things which are P are contingently R. Again, if the metaphor works,
the property R should be a salient or well known property of P things.
==========
Metaphor (Searle)
- Note on Page 33 | Loc. 506 | Added on Sunday, October 14, 2012, 08:30 PM
principio 2
==========
Metaphor (Searle)
- Highlight on Page 34 | Loc. 511-12 | Added on Sunday, October 14, 2012, 08:31 PM
Principle}. Things which are P are often said or believed to be R, even though both
speaker and hearer may know that R is false of P.
==========
Metaphor (Searle)
- Note on Page 34 | Loc. 512 | Added on Sunday, October 14, 2012, 08:31 PM
principio 3
==========
Metaphor (Searle)
- Highlight on Page 34 | Loc. 516-19 | Added on Sunday, October 14, 2012, 08:36 PM
Principle 4. Things which are P are not R, nor are they like R things, nor are they
believed to be R; nonetheless it is a fact about our sensibility, whether
culturally or naturally determined, that we just do perceive a connection, so that
P is associated in our minds with R properties.
==========
Metaphor (Searle)
- Note on Page 34 | Loc. 519 | Added on Sunday, October 14, 2012, 08:37 PM
principio 4
==========
Metaphor (Searle)
- Highlight on Page 35 | Loc. 524-25 | Added on Sunday, October 14, 2012, 08:39 PM
Principle /. P things are not like R things, and are not believed to be like R
things ; nonetheless the condition of being P is like the condition of being R.
==========
Metaphor (Searle)
- Note on Page 35 | Loc. 525 | Added on Sunday, October 14, 2012, 08:39 PM
principio 5
==========
Metaphor (Searle)
- Highlight on Page 35 | Loc. 528-30 | Added on Sunday, October 14, 2012, 08:40 PM
Principle 6. There are cases where P and R are the same or similar in meaning, but
where one, usually P, is restricted in its application, and does not literally
apply to S.
==========
Metaphor (Searle)
- Note on Page 35 | Loc. 530 | Added on Sunday, October 14, 2012, 08:40 PM
principio 6
==========
Metaphor (Searle)
- Highlight on Page 35 | Loc. 532-34 | Added on Sunday, October 14, 2012, 08:43 PM
Principle 7. This is not a separate principle but a way of applying principles 1-6
to simple cases which are not of the form “S is P” but relational metaphors, and
metaphors of other syntactical forms such as those involving verbs and predicate
adjectives.
==========
Metaphor (Searle)
- Note on Page 35 | Loc. 534 | Added on Sunday, October 14, 2012, 08:43 PM
principio 7
==========
Metaphor (Searle)
- Highlight on Page 36 | Loc. 550-51 | Added on Sunday, October 14, 2012, 08:47 PM
Stated very crudely, the mechanism by which irony works is that the utterance, if
taken literally, is obviously inappropriate to the situation. Since it is grossly
inappropriate, the hearer is compelled to reinterpret it in such a way as to render
it appropriate, and the most natural way to interpret it is as meaning the opposite
of its literal form.
==========
Metaphor (Searle)
- Note on Page 39 | Loc. 590 | Added on Sunday, October 14, 2012, 08:52 PM
ironia
==========
Metaphor (Searle)
- Highlight on Page 39 | Loc. 597-99 | Added on Sunday, October 14, 2012, 08:54 PM
There is a radical difference between indirect speech acts, on the one hand, and
irony and metaphor, on the other. In the indirect speech act, the speaker means
what he says. However, in addition, he means something more. Sentence meaning is
part of utterance meaning, but it does not exhaust utterance meaning.
==========
Metaphor (Searle)
- Note on Page 40 | Loc. 599 | Added on Sunday, October 14, 2012, 08:54 PM
It is in this sense that we feel that metaphors somehow are intrinsically not
paraphrasable. They are not paraphrasable, because without using the metaphorical
expression we will not reproduce the semantic content which occurred in the
hearer’s comprehension of the utterance.
==========
Metaphor (Searle)
- Note on Page 41 | Loc. 616 | Added on Sunday, October 14, 2012, 08:58 PM
2 tradicion retorica
==========
Metonymy (Panther and Thornburg)
- Highlight on Page 2 | Loc. 25-27 | Added on Tuesday, October 30, 2012, 11:25 AM
The anonymous author characterizes metonymy as ‘‘a trope that takes its expression
from near and close things [‘ab rebus propinquis et finitimis’] by which we can
comprehend a word that is not denominated by its proper word’’
==========
Metonymy (Panther and Thornburg)
- Note on Page 2 | Loc. 27 | Added on Tuesday, October 30, 2012, 11:25 AM
rhetorica ad herennium
==========
Metonymy (Panther and Thornburg)
- Highlight on Page 3 | Loc. 34-36 | Added on Tuesday, October 30, 2012, 11:27 AM
‘‘[Metonymy is] a semantic link between two senses of a lexical item that is based
on a relationship of contiguity between the referents of the expression in each of
those senses.’’
==========
Metonymy (Panther and Thornburg)
- Note on Page 3 | Loc. 35 | Added on Tuesday, October 30, 2012, 11:27 AM
Traditionally, then, metonymy has been regarded as a stand for relation in which
the name of one thing (henceforth, the source or vehicle) is used to refer to
another thing (henceforth, the target) with which it is associated or to which it
is contiguous.
==========
Metonymy (Panther and Thornburg)
- Note on Page 3 | Loc. 39 | Added on Tuesday, October 30, 2012, 11:28 AM
metonymy
==========
Metonymy (Panther and Thornburg)
- Note on Page 3 | Loc. 39 | Added on Tuesday, October 30, 2012, 11:28 AM
Under this view, the source expression 238 klaus-uwe panther and linda l. thornburg
indirectly achieves the same referential purpose as the more direct referring ex-
pression the Queen.
==========
Metonymy (Panther and Thornburg)
- Note on Page 3 | Loc. 44 | Added on Tuesday, October 30, 2012, 11:30 AM
In contrast, they regard metaphor as a mapping from one conceptual domain onto
another distinct conceptual domain, where the structure of the target is isomorphic
to that of the source (Invariance Hypothesis).
==========
Metonymy (Panther and Thornburg)
- Note on Page 5 | Loc. 64 | Added on Tuesday, October 30, 2012, 11:43 AM
Thus, in the utterance The Times hasn’t arrived yet, the noun phrase The Times
metonymically highlights a subdomain of the semantic frame it evokes—such as, a
journalist writing for the newspaper—which is usually only secondary.
==========
Metonymy (Panther and Thornburg)
- Note on Page 5 | Loc. 73 | Added on Wednesday, October 31, 2012, 02:47 PM
ejemplo
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 30 | Loc. 452 | Added on Tuesday, November 20, 2012, 11:05 AM
santuario de la sabiduría,
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 30 | Loc. 456-57 | Added on Tuesday, November 20, 2012, 11:06
AM
temia enfermarse
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 31 | Loc. 466-67 | Added on Tuesday, November 20, 2012, 11:08
AM
descripcion de la mosca
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 33 | Loc. 492-93 | Added on Tuesday, November 20, 2012, 11:12
AM
para ustedes son poemas burlescos, para mí son epopeyas grandiosas, porque un ratón
y una rana son a mis ojos verdaderos gigantes cuyas batallas asombran y no pueden
tomarse a risa. Yo leo La Batracomiomaquia como Alejandro leía La Iliada...
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 33 | Loc. 505-7 | Added on Tuesday, November 20, 2012, 11:14
AM
Pero en la misma filosofía que iba a ser causa de mi muerte hallé la salvación,
porque en el momento de prepararme el suplicio, que era un alfiler que debía
atravesarme las entrañas, don Eufrasio se rascó la cabeza, señal de que dudaba; y
dudaba, en efecto, si tenía o no tenía derecho para matarme.
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 34 | Loc. 507 | Added on Tuesday, November 20, 2012, 11:14 AM
eufrasio duda
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 34 | Loc. 511-13 | Added on Tuesday, November 20, 2012, 11:15
AM
pero como le faltaba el rabo por desollar, o sea la sintética que hace falta para
conocer el fundamento, el por qué, don Eufrasio no se decidió a matarme por ahora,
y está esperando el día en que llegue al primer principio, y desde allí descienda
por todo el sistema real de la ciencia, para acabar conmigo sin mengua del
imperativo categórico.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 34 | Loc. 515-18 | Added on Tuesday, November 20, 2012, 11:16
AM
¡Mas, con todo, yo envidio su suerte! Medir la vida por el tiempo, ¡qué necedad! La
vida no tiene otra medida que el placer, la pasión desenfrenada, los accidentes
infinitos que vienen sin que se sepa cómo ni por qué, la incertidumbre de todas las
horas, el peligro de cada momento, la variedad de las impresiones siempre intensas.
¡Esa es la vida verdadera!
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 34 | Loc. 518 | Added on Tuesday, November 20, 2012, 11:16 AM
vida placentera
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 34 | Loc. 520-21 | Added on Tuesday, November 20, 2012, 11:16
AM
—Un día —continuó la mosca— leyó don Eufrasio en la Revista de Westminster que
dentro de veinte mil años, acaso, los perros hablarían, y, preocupado con esta
idea, se empeñó en demostrar lo
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 35 | Loc. 525-26 | Added on Tuesday, November 20, 2012, 11:17
AM
Don Eufrasio se puso furioso conmigo. Otra vez había echado yo por tierra sus
teorías; pero yo no tenía la culpa.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 35 | Loc. 534-35 | Added on Tuesday, November 20, 2012, 11:25
AM
Yo iba loca de contenta. ¡El aire libre! ¡El espacio sin fin! Toda aquella
inmensidad azul me parecía poco trecho para volar.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 36 | Loc. 551-53 | Added on Tuesday, November 20, 2012, 11:27
AM
Era hermosa como la Venus negra, y en sus alas tenía todos los colores del iris;
verde y dorado era su cuerpo airoso; las extremidades eran robustas, bien
modeladas, y de movimientos tan seductores que equivalían a los seis pies de las
Gracias aquellas patas de la mosca gentil. Sobre la nariz de don Eufrasio, la
hermosa aparecida se me antojaba Safo en el salto de Leucade.
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 37 | Loc. 553 | Added on Tuesday, November 20, 2012, 11:29 AM
regalo el sabio
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 42 | Loc. 637 | Added on Tuesday, November 20, 2012, 04:59 PM
ego de la mosca
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 45 | Loc. 689 | Added on Tuesday, November 20, 2012, 07:40 PM
Al fin había sido capaz de matar una mosca.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 57 | Loc. 862-64 | Added on Tuesday, November 20, 2012, 07:43
PM
ahí tenéis a Esteban el zagal, que de algún tiempo a esta parte anda más tonto que
lo que naturalmente lo hizo Dios, que no es poco, y el cual puede haceros pasar un
rato divertido refiriendo la causa de sus continuos sustos.
==========
Española Unidad 1, textos breves (Española III)
- Highlight on Page 57 | Loc. 869-72 | Added on Tuesday, November 20, 2012, 07:44
PM
—Se refiere —prosiguió el montero— a que, según él afirma, y lo jura y perjura por
todo lo más sagrado del mundo, los ciervos que discurren por estos montes se han
dado de ojo para dejarle en paz, siendo lo más gracioso del caso que en más de una
ocasión los ha sorprendido concertando entre sí las burlas que han de hacerle, y
después que estas burlas se han llevado a término, ha oído las ruidosas carcajadas
con que las celebran.
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 57 | Loc. 872 | Added on Tuesday, November 20, 2012, 07:44 PM
Estrechado, sin embargo, por las interrogaciones de su señor y por los ruegos de
Constanza, que parecía la más curiosa e interesada en que el pastor refiriese sus
estupendas aventuras,
==========
Española Unidad 1, textos breves (Española III)
- Note on Page 58 | Loc. 886 | Added on Tuesday, November 20, 2012, 07:47 PM
flummoxed,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 15 | Loc. 219 | Added on Saturday, December 15, 2012, 01:22 AM
perplejo
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 15 | Loc. 224 | Added on Saturday, December 15, 2012, 01:26 AM
nibbling
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 16 | Loc. 240-41 | Added on Saturday, December 15, 2012, 01:33
AM
dreadful
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 16 | Loc. 242 | Added on Saturday, December 15, 2012, 01:34 AM
fender
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 16 | Loc. 246 | Added on Saturday, December 15, 2012, 01:36 AM
dim light
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 17 | Loc. 246 | Added on Saturday, December 15, 2012, 01:36 AM
sorcerous.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 17 | Loc. 255 | Added on Saturday, December 15, 2012, 03:59 PM
beard
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 17 | Loc. 255 | Added on Saturday, December 15, 2012, 03:59 PM
barba
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 19 | Loc. 286 | Added on Saturday, December 15, 2012, 04:04 PM
leapt
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 19 | Loc. 287 | Added on Saturday, December 15, 2012, 04:05 PM
plundering
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 19 | Loc. 287 | Added on Saturday, December 15, 2012, 04:05 PM
shuddered;
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Bookmark on Page 20 | Loc. 294 | Added on Saturday, December 15, 2012, 04:06 PM
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 20 | Loc. 305 | Added on Saturday, December 15, 2012, 04:14 PM
shriek
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 20 | Loc. 306 | Added on Saturday, December 15, 2012, 04:15 PM
sprang up,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 22 | Loc. 335 | Added on Saturday, December 15, 2012, 04:26 PM
scowled
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 23 | Loc. 343 | Added on Saturday, December 15, 2012, 04:33 PM
bred.”
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 24 | Loc. 367 | Added on Saturday, December 15, 2012, 04:40 PM
mighty Warrior,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 24 | Loc. 368 | Added on Saturday, December 15, 2012, 04:41 PM
blunt,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 26 | Loc. 387 | Added on Saturday, December 15, 2012, 11:57 PM
leisure
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 26 | Loc. 390 | Added on Saturday, December 15, 2012, 11:58 PM
plunder
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 27 | Loc. 403 | Added on Monday, December 17, 2012, 07:50 PM
crawl
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 27 | Loc. 408-9 | Added on Monday, December 17, 2012, 07:52 PM
sinking
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 28 | Loc. 424 | Added on Monday, December 17, 2012, 07:56 PM
shivered.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 28 | Loc. 424 | Added on Monday, December 17, 2012, 07:56 PM
tiritar
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 28 | Loc. 426 | Added on Monday, December 17, 2012, 07:57 PM
witless
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 28 | Loc. 426 | Added on Monday, December 17, 2012, 07:57 PM
estupido
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 29 | Loc. 439 | Added on Monday, December 17, 2012, 08:46 PM
stowed
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 29 | Loc. 442 | Added on Monday, December 17, 2012, 08:47 PM
humming
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 30 | Loc. 451 | Added on Monday, December 17, 2012, 08:48 PM
dismally
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 30 | Loc. 453 | Added on Monday, December 17, 2012, 08:49 PM
trifle
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 30 | Loc. 454 | Added on Monday, December 17, 2012, 08:50 PM
apron,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 30 | Loc. 454-55 | Added on Monday, December 17, 2012, 08:50
PM
lit
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 30 | Loc. 460 | Added on Monday, December 17, 2012, 08:52 PM
fluster.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 32 | Loc. 477 | Added on Monday, December 17, 2012, 08:55 PM
pocket-handkerchief!
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 32 | Loc. 483 | Added on Monday, December 17, 2012, 08:56 PM
spare hood
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 32 | Loc. 483 | Added on Monday, December 17, 2012, 08:56 PM
cloak
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 32 | Loc. 484 | Added on Monday, December 17, 2012, 08:58 PM
laden
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 33 | Loc. 494 | Added on Monday, December 17, 2012, 09:02 PM
gloomy,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 33 | Loc. 494 | Added on Monday, December 17, 2012, 09:02 PM
nasty
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 33 | Loc. 500 | Added on Tuesday, December 18, 2012, 07:51 PM
jogged on,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 33 | Loc. 502 | Added on Tuesday, December 18, 2012, 07:51 PM
willows
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 33 | Loc. 503 | Added on Tuesday, December 18, 2012, 07:56 PM
swollen
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 33 | Loc. 504 | Added on Tuesday, December 18, 2012, 07:59 PM
rags.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 33 | Loc. 505 | Added on Tuesday, December 18, 2012, 08:01 PM
supper,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 34 | Loc. 509 | Added on Tuesday, December 18, 2012, 08:05 PM
clump of trees,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 34 | Loc. 512 | Added on Tuesday, December 18, 2012, 08:12 PM
bolted.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 34 | Loc. 515 | Added on Tuesday, December 18, 2012, 08:13 PM
quarrelling
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 34 | Loc. 517 | Added on Tuesday, December 18, 2012, 08:14 PM
torches
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 34 | Loc. 520 | Added on Tuesday, December 18, 2012, 08:16 PM
seldom
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 34 | Loc. 520 | Added on Tuesday, December 18, 2012, 08:16 PM
inusual
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 35 | Loc. 529 | Added on Tuesday, December 18, 2012, 08:21 PM
canny,”
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 35 | Loc. 535 | Added on Tuesday, December 18, 2012, 08:23 PM
stirred
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 35 | Loc. 535 | Added on Tuesday, December 18, 2012, 08:23 PM
revolver
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 35 | Loc. 535 | Added on Tuesday, December 18, 2012, 08:23 PM
whisker
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 35 | Loc. 535 | Added on Tuesday, December 18, 2012, 08:24 PM
bigotes de mamiferos
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 36 | Loc. 538 | Added on Tuesday, December 18, 2012, 08:25 PM
sheltered
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 36 | Loc. 538 | Added on Tuesday, December 18, 2012, 08:25 PM
refugio
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 36 | Loc. 540 | Added on Tuesday, December 18, 2012, 08:26 PM
mutton
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 36 | Loc. 540 | Added on Tuesday, December 18, 2012, 08:26 PM
carne de oveja
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 36 | Loc. 542 | Added on Tuesday, December 18, 2012, 08:27 PM
elbow
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 36 | Loc. 542 | Added on Tuesday, December 18, 2012, 08:27 PM
codo
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 37 | Loc. 562 | Added on Tuesday, December 18, 2012, 08:37 PM
startled.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 37 | Loc. 564-65 | Added on Tuesday, December 18, 2012, 08:38
PM
skewer.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 38 | Loc. 570 | Added on Tuesday, December 18, 2012, 08:40 PM
gasping.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 38 | Loc. 572 | Added on Tuesday, December 18, 2012, 08:40 PM
blighter,”
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 38 | Loc. 576 | Added on Tuesday, December 18, 2012, 08:42 PM
lout!”
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 38 | Loc. 577 | Added on Tuesday, December 18, 2012, 08:43 PM
punno
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 38 | Loc. 582 | Added on Tuesday, December 18, 2012, 08:47 PM
paw,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 38 | Loc. 582 | Added on Tuesday, December 18, 2012, 08:47 PM
patas
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 39 | Loc. 585 | Added on Wednesday, December 19, 2012, 12:28
PM
howl.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 39 | Loc. 585 | Added on Wednesday, December 19, 2012, 12:28 PM
aullido
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 39 | Loc. 589 | Added on Wednesday, December 19, 2012, 12:30
PM
reckon
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 39 | Loc. 589 | Added on Wednesday, December 19, 2012, 12:30 PM
calculo
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 39 | Loc. 597 | Added on Wednesday, December 19, 2012, 12:34
PM
bushes
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 40 | Loc. 604 | Added on Wednesday, December 19, 2012, 12:41
PM
neatly
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 40 | Loc. 605 | Added on Wednesday, December 19, 2012, 12:42
PM
bashes
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 43 | Loc. 649 | Added on Wednesday, December 19, 2012, 12:51
PM
sheath.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 43 | Loc. 651 | Added on Wednesday, December 19, 2012, 12:53
PM
smith
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 43 | Loc. 654 | Added on Wednesday, December 19, 2012, 12:54
PM
larder.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 43 | Loc. 654 | Added on Wednesday, December 19, 2012, 12:54 PM
despensa?
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 43 | Loc. 654 | Added on Wednesday, December 19, 2012, 12:57
PM
scanty.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 44 | Loc. 660 | Added on Wednesday, December 19, 2012, 01:00
PM
nick
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 44 | Loc. 662 | Added on Wednesday, December 19, 2012, 01:00
PM
replenishing
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 44 | Loc. 662 | Added on Wednesday, December 19, 2012, 01:01 PM
llenar
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 44 | Loc. 666 | Added on Wednesday, December 19, 2012, 03:03
PM
waylaid
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 44 | Loc. 673 | Added on Wednesday, December 19, 2012, 03:05
PM
forded
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 44 | Loc. 673 | Added on Wednesday, December 19, 2012, 03:07 PM
dwelling.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 46 | Loc. 691 | Added on Wednesday, December 19, 2012, 03:13 PM
narrow
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 46 | Loc. 692 | Added on Wednesday, December 19, 2012, 03:14 PM
limitado
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 46 | Loc. 694 | Added on Wednesday, December 19, 2012, 10:35
PM
bogs,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 46 | Loc. 694 | Added on Wednesday, December 19, 2012, 10:35 PM
lodo o fango
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 46 | Loc. 696-97 | Added on Wednesday, December 19, 2012,
10:37 PM
path
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 46 | Loc. 697 | Added on Wednesday, December 19, 2012, 10:37 PM
camino trazado
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 46 | Loc. 701 | Added on Wednesday, December 19, 2012, 10:38
PM
stumble
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 46 | Loc. 701 | Added on Wednesday, December 19, 2012, 10:38 PM
tambalear
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 46 | Loc. 704 | Added on Thursday, December 20, 2012, 06:22 PM
slithered
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 46 | Loc. 704 | Added on Thursday, December 20, 2012, 06:23 PM
deslizar
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 46 | Loc. 705 | Added on Thursday, December 20, 2012, 06:23 PM
dusk
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 46 | Loc. 706 | Added on Thursday, December 20, 2012, 06:24 PM
drowsy,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 46 | Loc. 706 | Added on Thursday, December 20, 2012, 06:24 PM
sleepy
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 47 | Loc. 706 | Added on Thursday, December 20, 2012, 06:25 PM
nodded
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 47 | Loc. 708 | Added on Thursday, December 20, 2012, 06:28 PM
length
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 47 | Loc. 708 | Added on Thursday, December 20, 2012, 06:28 PM
glade
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 47 | Loc. 708 | Added on Thursday, December 20, 2012, 06:29 PM
stream.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 47 | Loc. 709 | Added on Thursday, December 20, 2012, 06:31 PM
burst
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 47 | Loc. 709 | Added on Thursday, December 20, 2012, 06:31 PM
romperse violentamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 48 | Loc. 728 | Added on Thursday, December 20, 2012, 06:35 PM
glimpses
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 48 | Loc. 728 | Added on Thursday, December 20, 2012, 06:35 PM
tease
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 48 | Loc. 731 | Added on Thursday, December 20, 2012, 06:36 PM
burlar
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 49 | Loc. 743 | Added on Thursday, December 20, 2012, 06:40 PM
brink
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 49 | Loc. 746 | Added on Thursday, December 20, 2012, 06:43 PM
shore,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 49 | Loc. 747 | Added on Thursday, December 20, 2012, 06:43 PM
foam,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 49 | Loc. 747 | Added on Thursday, December 20, 2012, 06:44 PM
bent
==========
The New Oxford American Dictionary
- Highlight Loc. 318227 | Added on Thursday, December 20, 2012, 09:36 PM
FLING
==========
The New Oxford American Dictionary
- Highlight Loc. 318226 | Added on Thursday, December 20, 2012, 09:36 PM
entries:
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 49 | Loc. 751 | Added on Thursday, December 20, 2012, 09:37 PM
flung
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 51 | Loc. 769-70 | Added on Thursday, December 20, 2012, 09:42
PM
“Whence
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 51 | Loc. 770 | Added on Thursday, December 20, 2012, 09:42 PM
remnants
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 51 | Loc. 771 | Added on Thursday, December 20, 2012, 09:44 PM
residuo o resto
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 51 | Loc. 773 | Added on Thursday, December 20, 2012, 09:46 PM
cleave
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 51 | Loc. 773 | Added on Thursday, December 20, 2012, 09:46 PM
romper o dividir
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 52 | Loc. 795 | Added on Thursday, December 20, 2012, 09:53 PM
amid
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 52 | Loc. 795 | Added on Thursday, December 20, 2012, 09:53 PM
wail
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 53 | Loc. 808 | Added on Thursday, December 20, 2012, 09:59 PM
chillido
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 53 | Loc. 811 | Added on Thursday, December 20, 2012, 10:02 PM
gaily
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 53 | Loc. 811 | Added on Thursday, December 20, 2012, 10:02 PM
de forma alegre
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 53 | Loc. 811 | Added on Thursday, December 20, 2012, 10:02 PM
swift
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 53 | Loc. 811 | Added on Thursday, December 20, 2012, 10:02 PM
rapidamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 54 | Loc. 814 | Added on Thursday, December 20, 2012, 10:04 PM
thriven
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 54 | Loc. 814 | Added on Thursday, December 20, 2012, 10:04 PM
desarrollarse vigorosamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 54 | Loc. 815 | Added on Thursday, December 20, 2012, 10:06 PM
astray
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 54 | Loc. 815 | Added on Thursday, December 20, 2012, 10:06 PM
drenched
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 54 | Loc. 827 | Added on Saturday, December 22, 2012, 03:58 PM
empapado
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 54 | Loc. 828 | Added on Saturday, December 22, 2012, 03:59 PM
whinnying
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 54 | Loc. 828 | Added on Saturday, December 22, 2012, 04:00 PM
guffawing
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 54 | Loc. 828 | Added on Saturday, December 22, 2012, 04:00 PM
risa estruendosa
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 55 | Loc. 833 | Added on Saturday, December 22, 2012, 04:01 PM
shelter.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 55 | Loc. 833 | Added on Saturday, December 22, 2012, 04:01 PM
refugio
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 54 | Loc. 828 | Added on Saturday, December 22, 2012, 04:02 PM
relinchar
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 55 | Loc. 838 | Added on Saturday, December 22, 2012, 04:03 PM
thoroughly
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 55 | Loc. 838 | Added on Saturday, December 22, 2012, 04:04 PM
nooks.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 58 | Loc. 880 | Added on Sunday, December 23, 2012, 07:33 PM
whips
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 58 | Loc. 880 | Added on Sunday, December 23, 2012, 07:33 PM
latigo
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 58 | Loc. 881 | Added on Sunday, December 23, 2012, 07:34 PM
bleating
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 58 | Loc. 885 | Added on Sunday, December 23, 2012, 07:35 PM
rummaged
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 58 | Loc. 890 | Added on Sunday, December 23, 2012, 07:38 PM
tugging
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 58 | Loc. 890 | Added on Sunday, December 23, 2012, 07:38 PM
row.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 61 | Loc. 927 | Added on Sunday, December 23, 2012, 07:47 PM
fled
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 61 | Loc. 927 | Added on Sunday, December 23, 2012, 07:47 PM
sheath.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 61 | Loc. 928 | Added on Sunday, December 23, 2012, 07:50 PM
cubierta
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 61 | Loc. 935 | Added on Monday, December 24, 2012, 02:52 PM
gleam
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 61 | Loc. 935 | Added on Monday, December 24, 2012, 02:52 PM
brillar
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 62 | Loc. 940 | Added on Monday, December 24, 2012, 02:55 PM
bow.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 62 | Loc. 940 | Added on Monday, December 24, 2012, 02:55 PM
arco
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 62 | Loc. 950 | Added on Monday, December 24, 2012, 02:58 PM
wretched
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 62 | Loc. 950 | Added on Monday, December 24, 2012, 02:58 PM
maltrecho
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 63 | Loc. 956 | Added on Tuesday, December 25, 2012, 05:22 PM
hustling
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 63 | Loc. 956 | Added on Tuesday, December 25, 2012, 05:22 PM
groped
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 64 | Loc. 968 | Added on Tuesday, December 25, 2012, 05:27 PM
tantear
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Bookmark on Page 64 | Loc. 976 | Added on Tuesday, December 25, 2012, 05:32 PM
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 64 | Loc. 976 | Added on Tuesday, December 25, 2012, 05:32 PM
sore.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 64 | Loc. 976 | Added on Tuesday, December 25, 2012, 05:32 PM
adolorida
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 64 | Loc. 978 | Added on Tuesday, December 25, 2012, 05:35 PM
shattered
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 64 | Loc. 978 | Added on Tuesday, December 25, 2012, 05:35 PM
rompio
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 64 | Loc. 980 | Added on Tuesday, December 25, 2012, 05:36 PM
slapping
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 64 | Loc. 980 | Added on Tuesday, December 25, 2012, 05:36 PM
palpando
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 64 | Loc. 981 | Added on Tuesday, December 25, 2012, 05:38 PM
hilt
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 64 | Loc. 981 | Added on Tuesday, December 25, 2012, 05:38 PM
empunnadura
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 65 | Loc. 991 | Added on Tuesday, December 25, 2012, 06:48 PM
bruises,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 65 | Loc. 991 | Added on Tuesday, December 25, 2012, 06:49 PM
moretones
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 66 | Loc. 1000 | Added on Tuesday, December 25, 2012, 07:56 PM
edge
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 66 | Loc. 1000 | Added on Tuesday, December 25, 2012, 07:56 PM
limite
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 66 | Loc. 1000 | Added on Tuesday, December 25, 2012, 07:57 PM
brink
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 66 | Loc. 1003 | Added on Tuesday, December 25, 2012, 07:58 PM
wriggling
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 66 | Loc. 1006 | Added on Tuesday, December 25, 2012, 07:59 PM
unbeknown
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 66 | Loc. 1008 | Added on Tuesday, December 25, 2012, 08:01 PM
nosing
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 66 | Loc. 1008 | Added on Tuesday, December 25, 2012, 08:01 PM
slinking
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 66 | Loc. 1011 | Added on Tuesday, December 25, 2012, 08:02 PM
paddled
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 66 | Loc. 1011 | Added on Tuesday, December 25, 2012, 08:03 PM
dangling
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 66 | Loc. 1011 | Added on Tuesday, December 25, 2012, 08:03 PM
ripple
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 66 | Loc. 1011 | Added on Tuesday, December 25, 2012, 08:03 PM
olitas
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 67 | Loc. 1014 | Added on Tuesday, December 25, 2012, 08:04 PM
prowling
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 67 | Loc. 1014 | Added on Tuesday, December 25, 2012, 08:05 PM
deambular
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 67 | Loc. 1020 | Added on Tuesday, December 25, 2012, 08:07 PM
wits.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 67 | Loc. 1023 | Added on Tuesday, December 25, 2012, 08:08 PM
hiss
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 67 | Loc. 1023 | Added on Tuesday, December 25, 2012, 08:08 PM
sss
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 68 | Loc. 1030 | Added on Tuesday, December 25, 2012, 08:10 PM
riddles,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 70 | Loc. 1068 | Added on Tuesday, December 25, 2012, 08:18 PM
spluttered.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 71 | Loc. 1076 | Added on Tuesday, December 25, 2012, 08:20 PM
flustered
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 71 | Loc. 1076 | Added on Tuesday, December 25, 2012, 08:20 PM
confundido
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 71 | Loc. 1080 | Added on Tuesday, December 25, 2012, 08:21 PM
peer
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 71 | Loc. 1081 | Added on Tuesday, December 25, 2012, 08:22 PM
haste,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 71 | Loc. 1081 | Added on Tuesday, December 25, 2012, 08:22 PM
rapido
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 75 | Loc. 1147 | Added on Tuesday, December 25, 2012, 08:37 PM
screech.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 75 | Loc. 1147 | Added on Tuesday, December 25, 2012, 08:37 PM
llanto
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 75 | Loc. 1147 | Added on Tuesday, December 25, 2012, 08:38 PM
gloom,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 75 | Loc. 1147 | Added on Tuesday, December 25, 2012, 08:38 PM
oscuridad
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 76 | Loc. 1152 | Added on Tuesday, December 25, 2012, 08:39 PM
Utterly
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 76 | Loc. 1152 | Added on Tuesday, December 25, 2012, 08:40 PM
absolutamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 77 | Loc. 1172 | Added on Tuesday, December 25, 2012, 08:48 PM
snag
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 77 | Loc. 1172 | Added on Tuesday, December 25, 2012, 08:48 PM
obstaculo inesperado
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 77 | Loc. 1178-79 | Added on Tuesday, December 25, 2012, 08:50
PM
pricked
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 78 | Loc. 1183 | Added on Tuesday, December 25, 2012, 08:52 PM
halted
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 79 | Loc. 1208 | Added on Tuesday, December 25, 2012, 09:00 PM
humped
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 79 | Loc. 1208-9 | Added on Tuesday, December 25, 2012, 09:00
PM
swayed
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 79 | Loc. 1210 | Added on Tuesday, December 25, 2012, 09:01 PM
menacingly.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 80 | Loc. 1222 | Added on Wednesday, December 26, 2012, 02:50 PM
causar horror
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 80 | Loc. 1222 | Added on Wednesday, December 26, 2012, 02:50
PM
blood-curdling
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 80 | Loc. 1224 | Added on Wednesday, December 26, 2012, 02:50
PM
faint
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 80 | Loc. 1224 | Added on Wednesday, December 26, 2012, 02:51 PM
leve
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 80 | Loc. 1224 | Added on Wednesday, December 26, 2012, 02:51
PM
menacing,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 80 | Loc. 1224 | Added on Wednesday, December 26, 2012, 02:51 PM
amenazante
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 81 | Loc. 1234 | Added on Wednesday, December 26, 2012, 02:59
PM
dazzlingly
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 81 | Loc. 1234 | Added on Wednesday, December 26, 2012, 02:59 PM
extremadamente brillante
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 82 | Loc. 1252 | Added on Wednesday, December 26, 2012, 03:49
PM
wedged
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 82 | Loc. 1252 | Added on Wednesday, December 26, 2012, 03:49 PM
abierto, estancado
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 83 | Loc. 1263 | Added on Wednesday, December 26, 2012, 03:52
PM
sink
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 83 | Loc. 1263 | Added on Wednesday, December 26, 2012, 03:52 PM
drat
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 84 | Loc. 1283 | Added on Wednesday, December 26, 2012, 03:58 PM
expresion de enojo
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 85 | Loc. 1291 | Added on Wednesday, December 26, 2012, 04:01
PM
helter-skelter
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 85 | Loc. 1291 | Added on Wednesday, December 26, 2012, 04:01 PM
en confuso desorden
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 85 | Loc. 1297 | Added on Wednesday, December 26, 2012, 04:02
PM
praise
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 86 | Loc. 1308 | Added on Wednesday, December 26, 2012, 04:04
PM
dodged
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 86 | Loc. 1308 | Added on Wednesday, December 26, 2012, 04:05 PM
limped
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 89 | Loc. 1361 | Added on Wednesday, December 26, 2012, 10:12 PM
howl
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 90 | Loc. 1369 | Added on Saturday, December 29, 2012, 08:28 PM
aullido
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Bookmark on Page 90 | Loc. 1374 | Added on Saturday, December 29, 2012, 08:30 PM
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 98 | Loc. 1498 | Added on Saturday, December 29, 2012, 09:09
PM
eyrie.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 98 | Loc. 1498 | Added on Saturday, December 29, 2012, 09:09 PM
nido
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 99 | Loc. 1506 | Added on Saturday, December 29, 2012, 09:11
PM
bids
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 99 | Loc. 1506 | Added on Saturday, December 29, 2012, 09:11 PM
ofrece
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 100 | Loc. 1530 | Added on Saturday, January 05, 2013, 08:42
PM
loaf
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 100 | Loc. 1530 | Added on Saturday, January 05, 2013, 08:42 PM
pan de molde
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 102 | Loc. 1558 | Added on Saturday, January 05, 2013, 08:49
PM
pebbly
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 102 | Loc. 1564 | Added on Saturday, January 05, 2013, 08:51
PM
plight,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 102 | Loc. 1564 | Added on Saturday, January 05, 2013, 08:51 PM
situacion dificil
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 103 | Loc. 1572 | Added on Saturday, January 05, 2013, 08:53
PM
pleading.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 104 | Loc. 1592 | Added on Saturday, January 05, 2013, 08:59
PM
cattle
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 105 | Loc. 1598 | Added on Saturday, January 05, 2013, 09:02
PM
acorns,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 105 | Loc. 1598 | Added on Saturday, January 05, 2013, 09:02 PM
pinnones
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 105 | Loc. 1602 | Added on Saturday, January 05, 2013, 09:04
PM
sting
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 105 | Loc. 1602 | Added on Saturday, January 05, 2013, 09:04 PM
aguijon
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 106 | Loc. 1613 | Added on Saturday, January 05, 2013, 09:10
PM
sleek
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 106 | Loc. 1613 | Added on Saturday, January 05, 2013, 09:10 PM
suave y brillante
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 113 | Loc. 1720 | Added on Monday, January 07, 2013, 03:58 PM
drowsy
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 113 | Loc. 1720 | Added on Monday, January 07, 2013, 03:58 PM
adormecido
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 113 | Loc. 1721 | Added on Monday, January 07, 2013, 03:58 PM
heed
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 113 | Loc. 1721 | Added on Monday, January 07, 2013, 03:58 PM
prestar atencion
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 113 | Loc. 1723 | Added on Monday, January 07, 2013, 03:59 PM
mead.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 113 | Loc. 1726 | Added on Monday, January 07, 2013, 04:00 PM
hoot
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 114 | Loc. 1746 | Added on Monday, January 07, 2013, 04:03 PM
peril.”
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 114 | Loc. 1746 | Added on Monday, January 07, 2013, 04:03 PM
peligro
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 114 | Loc. 1746 | Added on Monday, January 07, 2013, 04:03 PM
stray
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 114 | Loc. 1746 | Added on Monday, January 07, 2013, 04:03 PM
moverse azarosamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 115 | Loc. 1763 | Added on Monday, January 07, 2013, 04:09 PM
loaves
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 115 | Loc. 1763 | Added on Monday, January 07, 2013, 04:09 PM
pan de molde
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 116 | Loc. 1769-72 | Added on Monday, January 07, 2013, 04:14
PM
“I have been picking out bear-tracks,” he said at last. “There must have been a
regular bears’ meeting outside here last night. I soon saw that Beorn could not
have made them all: there were far too many of them, and they were of various sizes
too. I should say there were little bears, large bears, ordinary bears, and
gigantic big bears, all dancing outside from dark to nearly dawn.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 119 | Loc. 1820 | Added on Tuesday, January 08, 2013, 09:42 AM
steeds
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 119 | Loc. 1820 | Added on Tuesday, January 08, 2013, 09:43 AM
herds
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 121 | Loc. 1842 | Added on Tuesday, January 08, 2013, 09:50 AM
hordas
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 121 | Loc. 1850 | Added on Tuesday, January 08, 2013, 09:53 AM
eaves
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 123 | Loc. 1886 | Added on Friday, January 11, 2013, 04:04 PM
sorcerer.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 123 | Loc. 1886 | Added on Friday, January 11, 2013, 04:04 PM
wizard
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 125 | Loc. 1915 | Added on Friday, January 11, 2013, 04:16 PM
pitch-dark,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 128 | Loc. 1951 | Added on Friday, January 11, 2013, 04:42 PM
tugged,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 128 | Loc. 1951 | Added on Friday, January 11, 2013, 04:43 PM
pull
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 129 | Loc. 1965 | Added on Friday, January 11, 2013, 04:49 PM
hooves
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 129 | Loc. 1965 | Added on Friday, January 11, 2013, 04:50 PM
pl de hoof, pezunna
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 129 | Loc. 1972 | Added on Friday, January 11, 2013, 04:53 PM
hart
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 129 | Loc. 1972 | Added on Friday, January 11, 2013, 04:54 PM
venado adulto
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 131 | Loc. 2008 | Added on Saturday, January 12, 2013, 02:26
PM
grimed
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 131 | Loc. 2008 | Added on Saturday, January 12, 2013, 02:27 PM
prohibido o no invitado
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 131 | Loc. 2009 | Added on Saturday, January 12, 2013, 02:27
PM
boughs;
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 131 | Loc. 2009 | Added on Saturday, January 12, 2013, 02:28 PM
haul
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 148 | Loc. 2264 | Added on Sunday, January 27, 2013, 11:00 PM
wary.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 148 | Loc. 2264 | Added on Sunday, January 27, 2013, 11:01 PM
tame
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 152 | Loc. 2327 | Added on Monday, January 28, 2013, 01:54 PM
domesticado
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 152 | Loc. 2330 | Added on Monday, January 28, 2013, 01:54 PM
rouse
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 152 | Loc. 2330 | Added on Monday, January 28, 2013, 01:55 PM
despertar
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 153 | Loc. 2334 | Added on Monday, January 28, 2013, 01:55 PM
weary
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 153 | Loc. 2334 | Added on Monday, January 28, 2013, 01:56 PM
mostrar cansancio
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 153 | Loc. 2338 | Added on Monday, January 28, 2013, 01:57 PM
nimble,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 153 | Loc. 2338 | Added on Monday, January 28, 2013, 01:57 PM
dreariest
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 159 | Loc. 2433 | Added on Thursday, January 31, 2013, 07:57
PM
stifling,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 159 | Loc. 2433 | Added on Thursday, January 31, 2013, 07:57 PM
ahogando
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 168 | Loc. 2576 | Added on Thursday, January 31, 2013, 11:51
PM
raft
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 171 | Loc. 2609 | Added on Friday, February 01, 2013, 12:01 AM
hut,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 174 | Loc. 2665-66 | Added on Monday, February 11, 2013, 11:54
PM
patted
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 174 | Loc. 2666 | Added on Monday, February 11, 2013, 11:55 PM
palmada en la espalda
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 174 | Loc. 2666 | Added on Monday, February 11, 2013, 11:55 PM
fuss
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 174 | Loc. 2666 | Added on Monday, February 11, 2013, 11:55 PM
celebrarlo
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 176 | Loc. 2694 | Added on Tuesday, February 12, 2013, 12:03
AM
grim
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 176 | Loc. 2694 | Added on Tuesday, February 12, 2013, 12:04 AM
prohibida
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 177 | Loc. 2701 | Added on Tuesday, February 12, 2013, 12:06
AM
laden
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 177 | Loc. 2701 | Added on Tuesday, February 12, 2013, 12:06 AM
cargado pesadamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 177 | Loc. 2702 | Added on Tuesday, February 12, 2013, 12:07
AM
slanting
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 177 | Loc. 2703 | Added on Tuesday, February 12, 2013, 12:08
AM
weary
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 177 | Loc. 2703 | Added on Tuesday, February 12, 2013, 12:08 AM
mostrar cansancio
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 177 | Loc. 2705 | Added on Tuesday, February 12, 2013, 12:09
AM
bleak
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 177 | Loc. 2705 | Added on Tuesday, February 12, 2013, 12:10 AM
sin vegetacion
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 177 | Loc. 2706 | Added on Tuesday, February 12, 2013, 12:10
AM
barren,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 177 | Loc. 2706 | Added on Tuesday, February 12, 2013, 12:10 AM
wilderness
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 177 | Loc. 2709 | Added on Tuesday, February 12, 2013, 12:11 AM
region deshabitada
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 177 | Loc. 2709 | Added on Tuesday, February 12, 2013, 12:12
AM
lair.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 177 | Loc. 2709 | Added on Tuesday, February 12, 2013, 12:12 AM
guarida animal
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 178 | Loc. 2715 | Added on Tuesday, February 12, 2013, 12:16
AM
foaming
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 178 | Loc. 2715 | Added on Tuesday, February 12, 2013, 12:16 AM
shuddered.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 178 | Loc. 2723 | Added on Tuesday, February 12, 2013, 12:19 AM
foul
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 178 | Loc. 2728 | Added on Tuesday, February 12, 2013, 12:21 AM
reek.”
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 178 | Loc. 2728 | Added on Tuesday, February 12, 2013, 12:21 AM
toiled
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 179 | Loc. 2738 | Added on Tuesday, February 12, 2013, 12:24 AM
trbajar duramente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 179 | Loc. 2745 | Added on Tuesday, February 12, 2013, 12:27
AM
ledge,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 186 | Loc. 2842 | Added on Tuesday, February 12, 2013, 12:55
AM
altogether
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 186 | Loc. 2842 | Added on Tuesday, February 12, 2013, 12:55 AM
completamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 196 | Loc. 2998 | Added on Saturday, February 16, 2013, 11:44
AM
gloated.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 196 | Loc. 3001 | Added on Saturday, February 16, 2013, 11:45
AM
boasting.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 197 | Loc. 3012 | Added on Tuesday, February 19, 2013, 09:09
AM
nostrils
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 197 | Loc. 3012 | Added on Tuesday, February 19, 2013, 09:09
AM
nostrils
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 197 | Loc. 3012 | Added on Tuesday, February 19, 2013, 09:10 AM
agujeros de la nariz
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 197 | Loc. 3017 | Added on Tuesday, February 19, 2013, 09:11
AM
scorches
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 197 | Loc. 3017 | Added on Tuesday, February 19, 2013, 09:11 AM
quemaduras
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 197 | Loc. 3018 | Added on Tuesday, February 19, 2013, 09:14
AM
heels
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 197 | Loc. 3018 | Added on Tuesday, February 19, 2013, 09:14 AM
talon
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 198 | Loc. 3023 | Added on Tuesday, February 19, 2013, 09:15
AM
“Drat
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Bookmark on Page 198 | Loc. 3023 | Added on Tuesday, February 19, 2013, 09:15 AM
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 198 | Loc. 3023 | Added on Tuesday, February 19, 2013, 09:16 AM
halt
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 205 | Loc. 3129 | Added on Wednesday, February 20, 2013, 12:42 AM
parar abruptamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 211 | Loc. 3228 | Added on Thursday, February 21, 2013, 11:26
PM
dell
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 215 | Loc. 3292 | Added on Sunday, February 24, 2013, 12:24 AM
floods
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 216 | Loc. 3303 | Added on Sunday, February 24, 2013, 12:29 AM
twanged.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 216 | Loc. 3306 | Added on Sunday, February 24, 2013, 12:31 AM
throes
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 216 | Loc. 3306 | Added on Sunday, February 24, 2013, 12:31 AM
gran dolor
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 217 | Loc. 3318 | Added on Sunday, February 24, 2013, 12:39 AM
drenched
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 217 | Loc. 3318 | Added on Sunday, February 24, 2013, 12:39 AM
completamente mojado
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 224 | Loc. 3421 | Added on Monday, February 25, 2013, 04:34 PM
plight.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 224 | Loc. 3421 | Added on Monday, February 25, 2013, 04:34 PM
situacion peligrosa
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 224 | Loc. 3431 | Added on Monday, February 25, 2013, 04:36 PM
tidings.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 224 | Loc. 3431 | Added on Monday, February 25, 2013, 04:37 PM
news
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 227 | Loc. 3475 | Added on Tuesday, March 05, 2013, 01:08 AM
slain
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 227 | Loc. 3475 | Added on Tuesday, March 05, 2013, 01:08 AM
foes
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 227 | Loc. 3475 | Added on Tuesday, March 05, 2013, 01:09 AM
enemigos
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 228 | Loc. 3492 | Added on Tuesday, March 05, 2013, 01:15 AM
brooded,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 228 | Loc. 3492 | Added on Tuesday, March 05, 2013, 01:16 AM
ere
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 229 | Loc. 3502 | Added on Tuesday, March 05, 2013, 01:19 AM
before
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 229 | Loc. 3508 | Added on Tuesday, March 05, 2013, 01:20 AM
bid
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 229 | Loc. 3508 | Added on Tuesday, March 05, 2013, 01:21 AM
ofrecer
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 230 | Loc. 3513 | Added on Tuesday, March 05, 2013, 01:22 AM
besieged.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 230 | Loc. 3513 | Added on Tuesday, March 05, 2013, 01:23 AM
recklessly,
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 244 | Loc. 3731 | Added on Monday, March 11, 2013, 04:50 PM
strolled
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 258 | Loc. 3953 | Added on Tuesday, March 12, 2013, 12:02 AM
caminar ociosamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 258 | Loc. 3953 | Added on Tuesday, March 12, 2013, 12:02 AM
contentedly.
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Note on Page 258 | Loc. 3953 | Added on Tuesday, March 12, 2013, 12:02 AM
contentamente
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 260 | Loc. 3985 | Added on Tuesday, March 12, 2013, 12:09 AM
hearth
==========
The Hobbit: Or There and Back Again (J. R. R. Tolkien)
- Highlight on Page 260 | Loc. 3985 | Added on Tuesday, March 12, 2013, 12:09 AM
kettle
==========
El orden del discurso (Michel Foucault)
- Highlight Loc. 66-69 | Added on Tuesday, March 12, 2013, 09:54 AM
permite decir otra-cosa aparte del texto mismo, pero con la condición de que sea
ese mismo texto el que se diga, y en cierta forma, el que se realice.
==========
El orden del discurso (Michel Foucault)
- Note Loc. 208 | Added on Tuesday, March 12, 2013, 10:30 AM
el comentario
==========
El orden del discurso (Michel Foucault)
- Bookmark Loc. 227 | Added on Tuesday, March 12, 2013, 11:29 AM
==========
El orden del discurso (Michel Foucault)
- Highlight Loc. 247-50 | Added on Wednesday, March 13, 2013, 02:35 PM
Al del autor, porque una disciplina se define por un ámbito de objetos, un conjunto
de métodos, un corpus de proposiciones consideradas verdaderas, un juego de reglas
y de definiciones, de técnicas y de instrumentos: una especie de sistema anónimo a
disposición de quien quiera cr de quien pueda servirse de él, sin que su sentido o
su validez estén ligados a aquel que ha dado en ser el inventor.
==========
El orden del discurso (Michel Foucault)
- Note Loc. 250 | Added on Wednesday, March 13, 2013, 02:35 PM
disciplina
==========
El orden del discurso (Michel Foucault)
- Highlight Loc. 288-89 | Added on Wednesday, March 13, 2013, 02:46 PM
Mendel decía la verdad, pero no estaba «en la verdad» del discurso biológico de su
época:
==========
El orden del discurso (Michel Foucault)
- Highlight Loc. 327-29 | Added on Wednesday, March 13, 2013, 02:52 PM
Ningún mapa científico puede ser completo ni definitivo, así como ningún mapa común
liega nunca a ser idéntico al terreno.
==========
De Baugrande (La saga del análisis del discurso)
- Highlight Loc. 203-7 | Added on Sunday, March 17, 2013, 09:19 PM
contexto y hablante
==========
De Baugrande (La saga del análisis del discurso)
- Highlight Loc. 331-33 | Added on Sunday, March 17, 2013, 10:27 PM
taller de ensayo
==========
De Baugrande (La saga del análisis del discurso)
- Highlight Loc. 364-68 | Added on Sunday, March 17, 2013, 10:37 PM
TeóricamciiL» todos los ciudadanos poseen los mismos derechos humanos básicos a <a
libre expresión, la educación pública, el entrenamiento científico, etc., pero en
la práctica la gran mayoría es sistemáticamente excluida.
==========
De Baugrande (La saga del análisis del discurso)
- Note Loc. 444 | Added on Sunday, March 17, 2013, 10:57 PM
exclusion
==========
De Baugrande (La saga del análisis del discurso)
- Highlight Loc. 603-5 | Added on Monday, March 18, 2013, 08:46 AM
La rama británica del funcionalismo, liderada por lingüistas como J. l'i. Firth,
Micháel Halliday y John Sinclair, también rechazó la desconexión del “lenguaje en
sí mismo” y estudió lo que los hablantes realmente dicen.
==========
De Baugrande (La saga del análisis del discurso)
- Highlight Loc. 843-45 | Added on Monday, March 18, 2013, 01:14 PM
En lugar de mantener un sistema completo preparado con grandes conjuntos de reglas,
el procesamiento diseña su propia serie de sistemas en línea.
==========
De Baugrande (La saga del análisis del discurso)
- Highlight Loc. 866-69 | Added on Monday, March 18, 2013, 01:17 PM
Hay sin duda en nuestra sociedad, y me imagino! que también en todas las otras,
pero según un perfil y escansiones diferentes, una profunda logofobia, una especie
de sordo temor contra esos acontecimientos, contra esa masa de cosas-dichas, contra
la aparición de todos esos enunciados, contra todo lo que puede haber allí de
violento, de discontinuo, de batallador, y también de desorden y de peligro, contra
ese gran murmullo incesante y desordenado de discurso.
==========
El orden del discurso (Michel Foucault)
- Note Loc. 422 | Added on Monday, March 18, 2013, 04:51 PM
temor al discurso
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Highlight Loc. 17-19 | Added on Monday, March 18, 2013, 08:30 PM
la tarea del lingüista consiste en identificar unidades, así como los procesos que
operan sobre estas unidades, o sea, determinar la interrelación entre forma y
función en la comunicación verbal.
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Note Loc. 19 | Added on Monday, March 18, 2013, 08:30 PM
discurso
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Highlight Loc. 30-31 | Added on Monday, March 18, 2013, 08:34 PM
oral/ escrito
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Highlight Loc. 221-24 | Added on Tuesday, March 19, 2013, 07:05 AM
discurs oral
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Highlight Loc. 252-53 | Added on Tuesday, March 19, 2013, 07:08 AM
situacion oral
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Highlight Loc. 312-14 | Added on Tuesday, March 19, 2013, 07:17 AM
Lo que hace que un discurso pueda ser denominado «oral» no es el hecho de que sea
emitido de forma oral, sino de que sea producido en una situación de oraíidad, tan
importante es que el mensaje se reciba o produzca por el canal fónico, como que el
receptor tenga la posibilidad física de participar.
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Note Loc. 314 | Added on Tuesday, March 19, 2013, 07:17 AM
discurso oral
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Bookmark Loc. 314 | Added on Tuesday, March 19, 2013, 07:18 AM
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Highlight Loc. 314-15 | Added on Tuesday, March 19, 2013, 07:18 AM
En resumen, el estudioso del discurso tendrá que tener presente que hablado y
escrito no difieren en su sistematicidad.
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Highlight Loc. 321-23 | Added on Tuesday, March 19, 2013, 07:19 AM
cada género se corresponde con una manera particular de usar el lenguaje para
cumplir determinadas funciones sociales
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Note Loc. 458 | Added on Tuesday, March 19, 2013, 10:06 AM
generod dicursivo
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Highlight Loc. 463-65 | Added on Tuesday, March 19, 2013, 10:08 AM
tipos de generos
==========
El objeto de estudio del Análisis del discurso y su heterogeneidad (Camacho)
- Highlight Loc. 484-86 | Added on Tuesday, March 19, 2013, 10:10 AM
echelons
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 6 | Loc. 86 | Added on Tuesday, March 19, 2013, 10:29 AM
“witty,
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 6 | Loc. 86-87 | Added on Tuesday, March 19, 2013, 10:30 AM
mesmerizing.”
==========
De Baugrande (La saga del análisis del discurso)
- Highlight Loc. 702-3 | Added on Tuesday, March 19, 2013, 11:16 AM
En lugarde eso, lo que sostenía Bernstein era que las condiciones sociales crean
disparidades en las destrezas mentales, incluyendo las que tienen que ver con el
uso del lenguaje.
==========
Aprender/saber en el hacer (Zvi Bekerman)
- Highlight Loc. 29 | Added on Tuesday, March 19, 2013, 04:38 PM
Más aún, ser inteligente, ser genio, tiene que ver con la velocidad.
==========
Aprender/saber en el hacer (Zvi Bekerman)
- Highlight Loc. 45-46 | Added on Tuesday, March 19, 2013, 04:41 PM
la gente habla porque así vive; habla continuamente y sin parar, de todo y con
todos, y también le hablan a aquellos que aún no saben hablar, lo cual sirve como
modelo a imitar. Pero en el colegio no está permitido copiar. Al colegio le repugna
que los alumnos copien porque se considera como opuesto a entender.
==========
Aprender/saber en el hacer (Zvi Bekerman)
- Highlight Loc. 85-88 | Added on Tuesday, March 19, 2013, 04:51 PM
¿es acaso posible que aprender/saber no sólo esté relacionado con el hacer, con la
necesidad y con la acción de copiar, sino también con la posibilidad de errar sin
necesariamente tener que pagar un alto precio por el error? ¿Es acaso posible que
el hecho de aprender/saber dependa de necesitar, copiar, hacer, repetir y errar, y
todo esto en contextos (del latín contextum- ui = entejidos) de confianza y
seguridad?
==========
Aprender/saber en el hacer (Zvi Bekerman)
- Highlight Loc. 122-25 | Added on Tuesday, March 19, 2013, 04:56 PM
Creo que ésta es la gran victoria escolar (la victoria del Estado con la ayuda de
los filósofos y los psicólogos) que con su epistemología individualizante y
abstracta, y su lógica de simples causas y efectos, ha convencido a quienes
fracasan en el colegio de que la responsabilidad no es de la sociedad y sus
estructuras, sino de los individuos, por no tener las cualidades mentales
necesarias para aprender/saber.
==========
Aprender/saber en el hacer (Zvi Bekerman)
- Highlight Loc. 132-33 | Added on Tuesday, March 19, 2013, 04:57 PM
El aprender/saber tiene que ver más con los contextos que construimos para que
nuestros alumnos habiten que con las cualidades de sus mentes.
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 8 | Loc. 112-13 | Added on Tuesday, March 19, 2013, 05:07 PM
They reveal quite a different relationship from the one traditionally described,
which has Gabrielle the man-eater being mooned over by the young aristocrat.
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 9 | Loc. 128 | Added on Tuesday, March 19, 2013, 05:12 PM
carapace
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 10 | Loc. 142 | Added on Tuesday, March 19, 2013, 05:15 PM
slender.
==========
Coco Chanel (Lisa Chaney)
- Note on Page 10 | Loc. 142 | Added on Tuesday, March 19, 2013, 05:16 PM
agraciadamente delgada
==========
Introducción: discurso y dominación (Van Dijk)
- Highlight Loc. 37-39 | Added on Wednesday, March 20, 2013, 01:58 PM
posibilidad de variacion
==========
Introducción: discurso y dominación (Van Dijk)
- Highlight Loc. 98-101 | Added on Wednesday, March 20, 2013, 02:14 PM
discurso racista
==========
Introducción: discurso y dominación (Van Dijk)
- Highlight Loc. 125-27 | Added on Wednesday, March 20, 2013, 10:41 PM
ecd
==========
Introducción: discurso y dominación (Van Dijk)
- Highlight Loc. 137-40 | Added on Wednesday, March 20, 2013, 10:43 PM
Una cosa es estudiar formalmente, por ejemplo, los pronombres, las estruc turas de
argumentación o los jugadas de la interacción de una conversa ción y otra muy
diferente hacerlo, de manera igualmente rigurosa, como parte de un programa de
investigación mucho más complejo que mues tre cómo contribuyen esas estructuras a
reproducir el racismo o el se- xismo en la sociedad.
==========
Introducción: discurso y dominación (Van Dijk)
- Note Loc. 166 | Added on Wednesday, March 20, 2013, 10:51 PM
==========
Introducción: discurso y dominación (Van Dijk)
- Note Loc. 174 | Added on Wednesday, March 20, 2013, 10:53 PM
ecd
==========
Introducción: discurso y dominación (Van Dijk)
- Highlight Loc. 192-93 | Added on Wednesday, March 20, 2013, 10:56 PM
El control no sólo se ejerce sobre el discurso entendido como p rác\ tica social,
sino que también se aplica a lás mentes dé los sujetos con trolados, es decir, a su
conocimiento, a^us opiniones, sus actitudes y sus ideologías, así como a otras
representaciones personales y sociales.
==========
Introducción: discurso y dominación (Van Dijk)
- Note Loc. 222 | Added on Wednesday, March 20, 2013, 11:01 PM
ilusion de libertad
==========
Introducción: discurso y dominación (Van Dijk)
- Highlight Loc. 289-90 | Added on Thursday, March 21, 2013, 06:43 AM
El poder, en ese sentido, no debérja definirse como el poder de una persona sino,
antes bien, como el de una posición social, un poder que está organizado como parte
constitutiva del poder de una organización.
==========
Introducción: discurso y dominación (Van Dijk)
- Note Loc. 290 | Added on Thursday, March 21, 2013, 06:44 AM
En mi opinión, todo ECD, de lá índole que sea, debe prestar atención a estas tres
dimensio nes, aun cuando ocasionalmente uno quiera concentrarse en una o dos de
ellas.
==========
Introducción: discurso y dominación (Van Dijk)
- Note Loc. 383 | Added on Thursday, March 21, 2013, 07:26 AM
mollify
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 11 | Loc. 156 | Added on Thursday, March 21, 2013, 09:43 PM
respite.
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 11 | Loc. 157 | Added on Thursday, March 21, 2013, 09:44 PM
hatred,
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 11 | Loc. 158 | Added on Thursday, March 21, 2013, 09:45 PM
hurled
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 11 | Loc. 158 | Added on Thursday, March 21, 2013, 09:45 PM
Heedless
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 11 | Loc. 160 | Added on Thursday, March 21, 2013, 09:45 PM
soaked,
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 11 | Loc. 161-62 | Added on Thursday, March 21, 2013, 09:46 PM
“He was the great stroke of luck in my life . . . He had a very strong and unusual
character . . . For me he was my father, my brother, my entire family.”
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 11 | Loc. 164 | Added on Thursday, March 21, 2013, 09:46 PM
soothed
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 11 | Loc. 165 | Added on Thursday, March 21, 2013, 09:47 PM
seamstress,
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 11 | Loc. 169 | Added on Thursday, March 21, 2013, 09:48 PM
compelled
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 12 | Loc. 171-72 | Added on Thursday, March 21, 2013, 09:48 PM
guarantor
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 13 | Loc. 185 | Added on Thursday, March 21, 2013, 10:02 PM
retains
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 13 | Loc. 187 | Added on Thursday, March 21, 2013, 10:03 PM
gorges,
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 13 | Loc. 188 | Added on Thursday, March 21, 2013, 10:05 PM
silk
==========
Coco Chanel (Lisa Chaney)
- Note on Page 13 | Loc. 188 | Added on Thursday, March 21, 2013, 10:05 PM
seda
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 13 | Loc. 189 | Added on Thursday, March 21, 2013, 10:09 PM
mulberry.
==========
Coco Chanel (Lisa Chaney)
- Note on Page 13 | Loc. 189 | Added on Thursday, March 21, 2013, 10:09 PM
morera
==========
Coco Chanel (Lisa Chaney)
- Note on Page 13 | Loc. 192 | Added on Thursday, March 21, 2013, 10:11 PM
ravaged
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 14 | Loc. 200 | Added on Thursday, March 21, 2013, 10:18 PM
forsook
==========
Coco Chanel (Lisa Chaney)
- Note on Page 14 | Loc. 200 | Added on Thursday, March 21, 2013, 10:18 PM
abandonar
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 14 | Loc. 203 | Added on Thursday, March 21, 2013, 10:20 PM
dwellers,
==========
Coco Chanel (Lisa Chaney)
- Note on Page 14 | Loc. 203 | Added on Thursday, March 21, 2013, 10:20 PM
residentes
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 14 | Loc. 209 | Added on Thursday, March 21, 2013, 10:27 PM
lure,
==========
Introducción: discurso y dominación (Van Dijk)
- Highlight Loc. 518-20 | Added on Sunday, March 24, 2013, 01:35 PM
No obstante, como regla empírica general, podemos hablar de uso ilegítimo del poder
discursivo, es decir, de dominación, cuando ese discurso o sus posibles
consecuencias violan sistemáticamente los derechos humanos o civiles de las
personas.
==========
Introducción: discurso y dominación (Van Dijk)
- Highlight Loc. 550-51 | Added on Sunday, March 24, 2013, 01:47 PM
objetivo
==========
Introducción: discurso y dominación (Van Dijk)
- Note Loc. 569 | Added on Sunday, March 24, 2013, 01:51 PM
los estudiosos "criticos" del discurso ocpan un rol casi heroico en la sociedad
segun van dijk. el discurso puede engannar a cualquiera, pero no mientras haya un
estudioso there
==========
Introducción: discurso y dominación (Van Dijk)
- Note Loc. 572 | Added on Sunday, March 24, 2013, 01:52 PM
de que manera podrian siqiera existir los discursos persuasivos si todos fueran
retoricos?
==========
Introducción: discurso y dominación (Van Dijk)
- Highlight Loc. 593-95 | Added on Sunday, March 24, 2013, 04:25 PM
meager belongings
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 15 | Loc. 220 | Added on Sunday, March 24, 2013, 04:41 PM
lodgings
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 15 | Loc. 223 | Added on Sunday, March 24, 2013, 04:44 PM
cobbled
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 15 | Loc. 224 | Added on Sunday, March 24, 2013, 04:44 PM
rendered
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 15 | Loc. 224 | Added on Sunday, March 24, 2013, 04:45 PM
straddle
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 15 | Loc. 230 | Added on Sunday, March 24, 2013, 04:47 PM
haberdashery
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 17-18 | Added on Monday, March 25, 2013, 12:31 PM
In using the term ‘discourse*, I am proposing to regard lan guage use as a form of
social practice, rather than a purely individual activity or a reflex of
situations! variables. This has various implications.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 27 | Added on Monday, March 25, 2013, 12:34 PM
discourse
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 31-34 | Added on Monday, March 25, 2013, 12:36 PM
discourse is shaped and constrained by social structurein the widest sense and at
all levels:by class and other social relations at a societal level, by the
relations specific to particular institutions such as law or education, by systems
of classification, by various norms and conventions of both a discursive and a non-
discur$ive nature, and so forth.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 35 | Added on Monday, March 25, 2013, 12:37 PM
Dis course is a practice not just of representing the world, but of signifying the
world, constituting and constructing the world in meaning.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 39-41 | Added on Monday, March 25, 2013, 12:38 PM
The identity function relates to the ways in which social identities are set up in
discourse, the relational function to how social rela tionships between discourse
participants are enacted and negoti ated, the ideational function to ways in which
texts signify the world and its processes, entities and relations.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 48 | Added on Monday, March 25, 2013, 12:39 PM
functions
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 49-51 | Added on Monday, March 25, 2013, 12:45 PM
it is important that the relationship between discourse and social structure should
be seen dialectically if we are to avoid the pitfalls of overemphasizing on the pne
hand the social determina tion of discourse, and on the other hand the co n tractio
n of the social in discourse.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 71-73 | Added on Monday, March 25, 2013, 12:51 PM
Thus the discursive constitution of society does not emanate from a free play of
ideas1in people’s heads but from a social practice practices, existing relations
and identities which have themselves reified into institutions and effects of d-
scourse work in which is firmly rooted in structures.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 73 | Added on Monday, March 25, 2013, 12:52 PM
important
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 74-76 | Added on Monday, March 25, 2013, 12:57 PM
From this point of view» the capacity of the word 'discourse5 to refer to the
structures of convention which underlie actual discursive events as well as the
events themselves is a felicitous ambiguity, even if from other points of view it
can be confusing.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 76-78 | Added on Monday, March 25, 2013, 12:57 PM
structuralism pointofview
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 86-87 | Added on Monday, March 25, 2013, 01:01 PM
‘mixed genres5 which combine elements of two or more genres, such as ‘chat1 in
television chat shows, which is part conversation and part entertainment and
perform ance (see Tolson 1990 for an analysis of ‘chat').
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 115 | Added on Monday, March 25, 2013, 01:55 PM
interdiscourse
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 167-68 | Added on Monday, March 25, 2013, 02:13 PM
i.e. that there are social reasons for combining par ticular signiiiers with
particular signifieds.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 220 | Added on Monday, March 25, 2013, 03:05 PM
Text analysis can be organized under four main headings: ‘vocabulary’, ‘grammar’,
‘cohesion’, and ‘text structure5. These can be thought as ascending in scale:
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 229 | Added on Monday, March 25, 2013, 03:08 PM
text analysis
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 231-33 | Added on Monday, March 25, 2013, 03:09 PM
more analysis
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 238-40 | Added on Monday, March 25, 2013, 03:10 PM
clase construction
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 250 | Added on Monday, March 25, 2013, 03:14 PM
vocabulary investigation
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 257-60 | Added on Monday, March 25, 2013, 03:15 PM
One focus for analysis is upon alternative wordings and their political and
ideological significance, upon such issues as how domains of experience may be
‘reworded1 as part of social and political struggles (the example of rewording
'terrorists5as ‘freedom fighters' or vice-versa is well known), or how certain
domains come to be more intensively worded than others.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 260 | Added on Monday, March 25, 2013, 03:15 PM
Another focus is word meaning, and particularly how the meanings of words come into
contention within wider struggles: I shall suggest that particular structurings of
the relationships between words and the relationships between the meanings of a
word are forms of hege mony. A third focus is upon metaphor, upon the ideological
and political import of particular metaphors, and conflict between alternative
metaphors.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 263 | Added on Monday, March 25, 2013, 03:19 PM
Coffman (1981: 144) suggests a distinction between ‘animator’, the person who
actually makes the sounds, or the marks on paper; 'author', the one who puts the
words together and is responsible for the wording, and 'prin cipal9, the one whose
position is represented by the words. In newspaper articles, there is some
ambiguity about the relationship between these positions: the principal is often a
‘source’ outside the newspaper but:some reports do not make that clear, and give
the impression that the principal is the newspaper (its editor5 or a journalist);
and tests which are collectively authored are often written as if they were
authored by an individual journalist
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 289 | Added on Monday, March 25, 2013, 03:25 PM
author distinctions
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 290-94 | Added on Monday, March 25, 2013, 03:26 PM
Texts are also consumed differently in different social contexts. This is partly a
m2tter of the sort of interpretative work which is applied to them (such as close
scrutiny, or semi-focused atten tion in the course of doing other things), and
partly of the modes of interpretation which are available; recipes, for instance,
are not usually read as aesthetic texts, or academic articles as rhetorical texts,
though both kinds like production may be of reading are possible. individual or
collective: Consumption compare love letters with administrative records.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 323-24 | Added on Monday, March 25, 2013, 03:32 PM
But first I want to say a little in more general terms about the sociocognitive
aspects of production and interpretation, and to introduce two more of the seven
dimensions of analysis: ‘force5 and ‘coherence’.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 324 | Added on Monday, March 25, 2013, 03:32 PM
How context affects the interpretation of text varies from one discourse type to
another,, as Foucault pointed out
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 340-42 | Added on Monday, March 25, 2013, 09:14 PM
And differences between discourse types in this respect are socially interesting
because they point to implicit assumptions and ground rules which often have an
ideological character.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 342 | Added on Monday, March 25, 2013, 09:14 PM
The force of part of a text (often, but not always, a sentence- sized part) is its
actional component, a part of its interpersonal meaning, what it is being used to
do socially, what ‘speech act(s)’ h is being used to ‘perform’ (give an order, ask
a question, threaten, promise, etc.). Force is in contrast with ‘proposition5:
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 345 | Added on Monday, March 25, 2013, 09:16 PM
force
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 345 | Added on Monday, March 25, 2013, 09:17 PM
elocutive force
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 348-49 | Added on Monday, March 25, 2013, 09:18 PM
For instance, ‘Can you carry the suitcaseV could be a question, a request or order,
a suggestion, a complaint, and so on.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 349 | Added on Monday, March 25, 2013, 09:18 PM
context
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 362-64 | Added on Monday, March 25, 2013, 09:24 PM
Pin-pointing the context of situation in terms of this mental map provides two
bodies of information relevant to determining how context affects the
interpretation case: a reading of the situation which of text in any particular
foregrounds certain ele ments, backgrounds others» and relates elements to each
other in certain ways; and a specification of which discursive types are likely to
be relevant.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 364 | Added on Monday, March 25, 2013, 09:25 PM
context
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 364-67 | Added on Monday, March 25, 2013, 09:26 PM
Thus one effect upon interpretation of the reading of the situa tion is to
foreground or background aspects of the social identity of participants, so that
for example the gender, ethnicity, or age of the text producer are much less likely
to affect interpretation in the case of a botany textbook than in the case of a
casual con versation or a job interview.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 367-70 | Added on Monday, March 25, 2013, 09:27 PM
Thus the effect of context of situa tion upon text interpretation (and text
production) depends upon the reading of the situation. The effect of sequential
context, on the other hand, depends upon discourse type. For example, we cannot
assume that a question will always predispose to the same degree the interpretation
of the utterance which follows it as an answer; it depends on the discourse type.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 372-75 | Added on Monday, March 25, 2013, 09:28 PM
Moreover, differences between discourse types of this order are socially important:
where questions must be answered, the likelihood is that asymmetries of status
between sharply demarcated subject roles are taken as given. So investigating the
interpretative princi ples that are used to determine meaning gives insight into
the political and ideological investment of a discourse type.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 375 | Added on Monday, March 25, 2013, 09:29 PM
‘coherence5
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 375 | Added on Monday, March 25, 2013, 09:29 PM
coherence
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 383-84 | Added on Monday, March 25, 2013, 09:34 PM
That is, texts set up positions for interpreting subjects that are ‘capable’ of
making sense of them, and ‘capable’ of making accordance with relevant generate
coherent readings.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 389-91 | Added on Monday, March 25, 2013, 09:35 PM
Let me now turn to the last of the seven dimensions of analysis, and the one which
is most salient in the concerns of this- book: the connections and interpretative
principles, inferences, in necessary to ‘intertextuality’
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 391 | Added on Monday, March 25, 2013, 09:36 PM
7 dimensiones de analisis
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 391 | Added on Monday, March 25, 2013, 09:36 PM
intertextualidad
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 400-402 | Added on Monday, March 25, 2013, 09:43 PM
interiscursivity
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 402 | Added on Monday, March 25, 2013, 09:44 PM
interdiscursivity
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 402-4 | Added on Monday, March 25, 2013, 09:45 PM
On the one hand, we have the heterogeneous constitu tion of texts out of specific
other texts {manifest mtertextuafity); on the other hand, the heterogeneous
constitution of texts out of elements (types of convention) o f orders of discourse
(imerdiscmrsivity).
==========
A Social Theory of Discourse (Fairclough)
- Bookmark Loc. 413 | Added on Monday, March 25, 2013, 09:50 PM
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 412-14 | Added on Monday, March 25, 2013, 09:51 PM
the explication of precisely how participants pro duce and interpret texts on the
basis of their members1 resources. But this must be complemented with macro-
analysis in order to know the na-mre of the members' resources (including orders of
discourse) ;hat is being drawn upon in order to produce and interpret texts., and
whether it is being drawn upon in normative or creative w-sys.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 414 | Added on Monday, March 25, 2013, 09:51 PM
macro y microanalisis
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 422 | Added on Monday, March 25, 2013, 09:53 PM
The theoretical bases 1 have in mind are three important claims about ideology.
First, the claim that it has a material existence in the practices of institutions,
which opens up the way to investi gating discursive practices as material forms of
ideology. Second, the claim that ideology ‘interpellates subjects', which leads to
the view that one of the more significant 'ideological effects’ which linguists
ignore in discourse (according to Althusser 1971: 161 n. 16) is the constitution of
subjects. Third, the claim that ‘ideolo gical state apparatuses’ (institutions such
as education or the media) are both sites of and stakes in class struggle, which
points to struggle in and over discourse as a focus for an ideologicallyoriented
discourse analysis.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 436 | Added on Monday, March 25, 2013, 09:56 PM
ideology def
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 461-63 | Added on Monday, March 25, 2013, 10:04 PM
it is not pos A S ack! Theory o f Discourse m sible to ‘read o ff’ ideologies from
texts.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 466 | Added on Monday, March 25, 2013, 10:05 PM
ideologia en el texto
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 470-72 | Added on Monday, March 25, 2013, 10:06 PM
I prefer the view that ideology is located both in the structures (i.e. orders of
discourse) which constitute the outcome of past events and the conditions for
current events, and in events them selves as they reproduce and transform their
conditioning struc
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 470-72 | Added on Monday, March 25, 2013, 10:07 PM
I prefer the view that ideology is located both in the structures (i.e. orders of
discourse) which constitute the outcome of past events and the conditions for
current events, and in events them selves as they reproduce and transform their
conditioning struc tures.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 472 | Added on Monday, March 25, 2013, 10:07 PM
It should not be assumed that people are aware of the ideolo gical dimensions of
their own practice. Ideologies built into con ventions may be more or less
naturalized arid automatized, and people may find it difficult to comprehend that
their normal practices could have specific ideological investments.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 507-8 | Added on Monday, March 25, 2013, 10:14 PM
in our society to ideological investment, does not mean that all types of discourse
are ideologically invested to the same degree,
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 520-23 | Added on Monday, March 25, 2013, 10:17 PM
hegemony
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 582 | Added on Monday, March 25, 2013, 10:28 PM
T o summarize,
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 582 | Added on Monday, March 25, 2013, 10:28 PM
resumen
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 593-94 | Added on Tuesday, March 26, 2013, 06:52 AM
O n the one hand, one needs to understand processes of change as they occur in
discursive events. On the other hand, one needs an orientation to how processes of
reaniculation affect orders of discourse. I now discuss these in turn.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 594-98 | Added on Tuesday, March 26, 2013, 06:54 AM
The immediate origins and motivations of change in the discur sive event lie in the
probiematization of conventions for produc ers or interpreters, which can happen in
a variety of ways. For example, the probiematization of conventions for interaction
be tween women and men is a widespread experience in various institutions
ar.<2domains. Such problematizations have their bases in contradictions
contradictions in this case between traditional gendered subject positions into
which many of us were socialized, and new gender relations.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 600-602 | Added on Tuesday, March 26, 2013, 06:56 AM
When problematizations arise, people are faced with what Billig et a!. (1988) call
‘dilemmas’. They often try to resolve these dilemmas by adapting existing
conventions being innovative and creative, by in new ways, and so contributing to
discursive change.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 602 | Added on Tuesday, March 26, 2013, 06:57 AM
dilemma
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 607-9 | Added on Tuesday, March 26, 2013, 06:58 AM
structural contradictions
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 610-13 | Added on Tuesday, March 26, 2013, 07:00 AM
To polarize possibilities which are a great deal more complex, a discursive event
may be either a contribution to pre serving and reproducing traditional gender
relations and hegemo nies and may therefore draw upon problematized conventions, or
it may be a contribution to transforming those relations through hegemonic struggle
and may therefore try to resolve thé dilemmas through innovation.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 617-19 | Added on Tuesday, March 26, 2013, 07:01 AM
Let me illustrate
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 628 | Added on Tuesday, March 26, 2013, 07:05 AM
ejemplos
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 636-37 | Added on Tuesday, March 26, 2013, 07:07 AM
One aspect of the openness of orders of discourse to struggle is that the elements
of¡an; order of discourse do not have ideologi cal values or modes of ideological
investment of a fixed sort.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 637 | Added on Tuesday, March 26, 2013, 07:07 AM
ejemplo
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 18 | Loc. 270 | Added on Tuesday, March 26, 2013, 08:50 AM
toddler
==========
Coco Chanel (Lisa Chaney)
- Note on Page 18 | Loc. 270 | Added on Tuesday, March 26, 2013, 08:51 AM
stall
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 19 | Loc. 281 | Added on Tuesday, March 26, 2013, 09:07 AM
thrift,
==========
Coco Chanel (Lisa Chaney)
- Note on Page 19 | Loc. 281 | Added on Tuesday, March 26, 2013, 09:07 AM
cobblers,
==========
Coco Chanel (Lisa Chaney)
- Note on Page 19 | Loc. 287 | Added on Tuesday, March 26, 2013, 09:11 AM
zapatero
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 19 | Loc. 290 | Added on Tuesday, March 26, 2013, 09:12 AM
strain
==========
Coco Chanel (Lisa Chaney)
- Note on Page 19 | Loc. 290 | Added on Tuesday, March 26, 2013, 09:12 AM
gan esfuerzo
==========
Coco Chanel (Lisa Chaney)
- Note on Page 19 | Loc. 290 | Added on Tuesday, March 26, 2013, 09:12 AM
sobreesfuerzo
==========
Coco Chanel (Lisa Chaney)
- Highlight on Page 20 | Loc. 293 | Added on Tuesday, March 26, 2013, 09:16 AM
hustler
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 6-7 | Added on Tuesday, March 26, 2013, 08:17 PM
modelo de analisis
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 9-10 | Added on Tuesday, March 26, 2013, 08:19 PM
I shall be using the term ‘dis course8 where linguists 'have traditionally written
about language use*, ‘parole* or 'performance*.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 10 | Added on Tuesday, March 26, 2013, 08:19 PM
discurso en el sentido del habla saussureana
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 18 | Added on Tuesday, March 26, 2013, 08:21 PM
discourse by fairclough
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 27-28 | Added on Tuesday, March 26, 2013, 08:25 PM
Firstly, it implies that discourse is a mode of action, one form in which people
may act upon the world and especially upon each other, as well as a mode of
representation.
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 36-39 | Added on Tuesday, March 26, 2013, 08:27 PM
Let us look at an example to see how this pitfall can be avoided without
compromising the constitutiveness principle. Parentchild relationships in the
family, the determination of what posi tions of ‘mother*, ‘father1 and ‘child’ are
socially available as well as the placing of real individuals in these" positions,
the nature of the family, and of the home, course, as cumulative (and in complex
asd diverse processes are all constituted partly in dis fact contradictory)
outcomes of of talk and writing. This could easily lead to the idealist conclusion
that realities of the social world such as the family merely emanate from people’s
heads.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 66 | Added on Tuesday, March 26, 2013, 08:39 PM
no entiendo
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 74 | Added on Tuesday, March 26, 2013, 08:42 PM
estructuras discursivas
==========
A Social Theory of Discourse (Fairclough)
- Highlight Loc. 80-81 | Added on Tuesday, March 26, 2013, 08:44 PM
discourse as a mode of political and ideological prac tice that is most germane to
the concerns of this book. Discourse as a political practice establishes, sustains
and changes power relations, and the collective entities (classes, blocs,
communities, groups) between which power relations obtain.
==========
A Social Theory of Discourse (Fairclough)
- Note Loc. 88 | Added on Tuesday, March 26, 2013, 08:47 PM
escuela francesa
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 2 | Loc. 17-19 | Added on Tuesday, April 02, 2013, 04:32 PM
En este sentido, el discurso t>. un hacer-decir con una significación que combina
las prácticas sociales, los sujetos y sus lugares de interacción.
==========
El discurso, sus recorridos analíticos (Pardo)
- Note on Page 2 | Loc. 19 | Added on Tuesday, April 02, 2013, 04:32 PM
discurso
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 3 | Loc. 32-33 | Added on Tuesday, April 02, 2013, 04:34 PM
benveniste - subjetividad
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 3 | Loc. 45-48 | Added on Tuesday, April 02, 2013, 09:07 PM
charaudeau
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 4 | Loc. 59-60 | Added on Tuesday, April 02, 2013, 09:10 PM
De esta forma, acogiendo la teoría de ía enunciación, la descripción del fenómeno
comunicativo es triádiea en tanto se propone dar cuenta deias condiciones de
producción, interpretación y construcción del discurso.
==========
El discurso, sus recorridos analíticos (Pardo)
- Note on Page 4 | Loc. 60 | Added on Tuesday, April 02, 2013, 09:10 PM
comunicacion triadica
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 5 | Loc. 63-65 | Added on Tuesday, April 02, 2013, 09:11 PM
circuito externo
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 5 | Loc. 73-76 | Added on Wednesday, April 03, 2013, 01:10 PM
circuito interno
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 6 | Loc. 80-82 | Added on Wednesday, April 03, 2013, 01:11 PM
coexistencia triadica
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 6 | Loc. 90-92 | Added on Wednesday, April 03, 2013, 01:13 PM
foucault
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 7 | Loc. 101-2 | Added on Wednesday, April 03, 2013, 01:14 PM
subjetividad
==========
El discurso, sus recorridos analíticos (Pardo)
- Highlight on Page 10 | Loc. 148-51 | Added on Thursday, April 04, 2013, 08:58 AM
conversacion
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 2 | Loc. 30-31 | Added on Friday, April 05, 2013, 06:19 PM
Ante todo, es menester incluir este conjunto en otro conjunto mucho más amplío que
lo abarque: la esfera global de la comunicación social organizada.
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Note on Page 3 | Loc. 31 | Added on Friday, April 05, 2013, 06:20 PM
proceso linguistico
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 4 | Loc. 50-51 | Added on Friday, April 05, 2013, 06:24 PM
dos corrientes
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 4 | Loc. 53 | Added on Friday, April 05, 2013, 06:26 PM
sub ind
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 4 | Loc. 60 | Added on Friday, April 05, 2013, 06:30 PM
lengua = arte
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 4 | Loc. 61-66 | Added on Friday, April 05, 2013, 06:32 PM
vossler
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 7 | Loc. 105-8 | Added on Saturday, April 06, 2013, 02:49 PM
Esta es la corícepción del lenguaje, netamente estética, propuesta ior Vossler. “El
pensamiento idiomático es, en lg| esencial —dice — , pensamiento poético, la verdad
idiomática es verdad artística: es belleza llena de significación”8.
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 8 | Loc. 114-15 | Added on Saturday, April 06, 2013, 02:51 PM
Es aquí donde ti ene lugar la generación del lenguaje que posteriormente se asienta
en formas gramaticales: todo lo que llega a ser hecho gramatical, antes fue hecho
estilístico.
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 9 | Loc. 126-28 | Added on Sunday, April 07, 2013, 02:50 PM
objetivismo abstracto
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 10 | Loc. 150-51 | Added on Sunday, April 07, 2013, 02:58 PM
vossler/ saussure
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 20 | Loc. 307-8 | Added on Sunday, April 07, 2013, 10:56 PM
Es verdad que el sistema se manifiesta mediante objetos materiales que son los
signos, pero en cuanto sistema de formas normativamente idénticas es real tan sólo
en su calidad de norma social.
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Note on Page 24 | Loc. 354 | Added on Sunday, April 07, 2013, 11:03 PM
lengua. material
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Note on Page 24 | Loc. 361 | Added on Sunday, April 07, 2013, 11:05 PM
Así pues, el sistema sincrónico existe únicamente desde el punto de vista de una
conciencia subjetiva del individuo hablante que pertenece al grupo lingüístico dado
encualquiermomentodel tiempo histórico.
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 26 | Loc. 396-99 | Added on Sunday, April 07, 2013, 11:22 PM
hablante
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 28 | Loc. 416 | Added on Sunday, April 07, 2013, 11:26 PM
signo/ sennal
==========
Marxismo y la Filosofía del Lenguaje (Voloshinov)
- Highlight on Page 30 | Loc. 458-61 | Added on Monday, April 08, 2013, 10:39 AM
prohibiciones
==========
El orden del discurso (Michel Foucault)
- Highlight Loc. 70-71 | Added on Tuesday, April 09, 2013, 06:49 AM
rechazo
==========
El orden del discurso (Michel Foucault)
- Highlight Loc. 103-6 | Added on Tuesday, April 09, 2013, 06:55 AM
voluntad de verdad
==========
El orden del discurso (Michel Foucault)
- Highlight Loc. 119-21 | Added on Tuesday, April 09, 2013, 06:57 AM
las grandes mutaciones científicas quizá puedan a veces leerse como consecuencias
Me un descubrimiento, pero pueden leerse también como la aparición de formas nuevas
de la voluntad de verdad*
==========
El orden del discurso (Michel Foucault)
- Note Loc. 121 | Added on Tuesday, April 09, 2013, 06:58 AM
cambios e la v de verdad
==========
El orden del discurso (Michel Foucault)
- Highlight Loc. 132-36 | Added on Tuesday, April 09, 2013, 07:00 AM
Pues esta voluntad de verdad, como los otros sistemas de exclusión, se apoya en una
base institucional: está a la vez reforzada y acompañada por una densa serie de
prácticas cómo la pedagogía, el sistema de libros, la/edición,' las bibliotecas,
las sociedades de sabios de antaño, los laboratorios actuales. Pero es acompañadá
también, más profundamente sin duda, por la-forma que tiene el saber de ponerse en
práctica en una sociedad^ en la que es valorado, distribuido, repartido y en cierta
forma atribuido.
==========
El orden del discurso (Michel Foucault)
- Note Loc. 136 | Added on Tuesday, April 09, 2013, 07:01 AM
creo que esta voluntad de verdad apoyada en una base y una distribución
institucional, tiende a ejercer sobre los otros discursos —hablo siempre de nuestra
sociedad-una especie de presión y de poder^de coacción.
==========
El orden del discurso (Michel Foucault)
- Note Loc. 140 | Added on Tuesday, April 09, 2013, 07:02 AM
Procedimientos internos, puesto que son los discursos mismos los que ejercen su
propio control; procedimientos que juegan un tanto en calidad de principios de
clasificación, de ordenación, de distribución, como si se tratase en este caso de
dominar otra dimensión del discurso: aquella de lo que acontece y del azar.
==========
El orden del discurso (Michel Foucault)
- Note Loc. 169 | Added on Tuesday, April 09, 2013, 07:07 AM
comentario
==========
El orden del discurso (Michel Foucault)
- Highlight Loc. 210 | Added on Tuesday, April 09, 2013, 07:22 AM
El cóinentario limitaba el azar deí discurso por medio del juego de una identidad
que ten-" dría la forma de la repetición y de lo mismo. El principio del autor
limita ese mismo azar por el juego de una identidad que tiene la forma de la
individualidad y del yo.
==========
El orden del discurso (Michel Foucault)
- Note Loc. 243 | Added on Tuesday, April 09, 2013, 07:31 AM
En resumen, una proposición debe cumplir complejas y graves exigencias para poder
pertenecer al conjunto de una disciplina; antes de poder ser llamada verdadera o
falsa, debe estar, como diría Canguil-hen, «en la verdad».
==========
El orden del discurso (Michel Foucault)
- Note Loc. 280 | Added on Tuesday, April 09, 2013, 07:38 AM
tesis
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 1 | Loc. 10-12 | Added on Tuesday, April 09, 2013, 02:17 PM
Pisístrato y Tespis quisieron crear para sus fiestas un género de lírica que
superara a todos los demás, y lo lograron. Era un género que, suplementado por el
posterior de la Comedia, dio a Atenas, en el siglo V, el primado de la Poesía.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 2 | Loc. 29 | Added on Tuesday, April 09, 2013, 02:20 PM
poesia
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 3 | Loc. 34 | Added on Tuesday, April 09, 2013, 02:22 PM
democracia en la tragedia
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 3 | Loc. 46-47 | Added on Tuesday, April 09, 2013, 02:24 PM
imagen doble
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 4 | Loc. 48-52 | Added on Tuesday, April 09, 2013, 02:25 PM
Todos los problemas que interesan a una ciudad libre son presentados en escena. Los
de la libertad y la tiranía, la conquista injusta y la defensa del propio país. El
de los límites del poder, el riesgo de que éste vaya más lejos de lo debido, el del
conflicto entre poder político y ley religiosa tradicional, y tantos otros. Cierto
que entran también, a partir de un momento, problemas personales, individuales:
pero los sociales y políticos tienen primacía. Basta abrir Esquilo y Sófocles para
darse cuenta de ello.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 4 | Loc. 52 | Added on Tuesday, April 09, 2013, 02:25 PM
3. Filosofía, oratoria, historia Son los tres grandes géneros en prosa. Un género
nuevo: la filosofía de los sofistas y de Sócrates y sus inmediatos sucesores, hecha
de la antilogía y el diálogo. Otro género también nuevo: la oratoria, que ahora
produce discursos escritos. Y un género adaptado a las nuevas circunstancias: la
historia de un Heródoto y un Tucídides.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 5 | Loc. 69-71 | Added on Tuesday, April 09, 2013, 07:13 PM
extranjeros
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 8 | Loc. 115-17 | Added on Tuesday, April 09, 2013, 07:23 PM
Es bien sabido que la filosofía socrático-platónica luchaba con dos rivales cuando
trataba de educar al pueblo ateniense. Uno de ellos era la poesía, es decir,
prácticamente el teatro, que daba lecciones al pueblo todo, pero no acababa de
proponer un modelo aceptable que superara la concepción trágica del hombre;
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 8 | Loc. 117 | Added on Tuesday, April 09, 2013, 07:23 PM
nacimiento oratoria
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 10 | Loc. 149-50 | Added on Tuesday, April 09, 2013, 07:29 PM
oratoria em isocrates
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 11 | Loc. 161-66 | Added on Thursday, April 11, 2013, 11:42 AM
Pero Heródoto era un exiliado que llegó a Atenas y se encontró con la democracia
ateniense y con la literatura ateniense. Fue contagiado por el espíritu de la
Tragedia, a la que está próximo con frecuencia. Pero fue contagiado, sobre todo,
por el espíritu de la democracia. Bajo el influjo de Atenas se creó un nuevo
género, la Historia universal. Heródoto, como los sofistas, recorrió el mundo
griego y persa (gracias a la distensión de la paz de Calías) y no era un
proateniense fanático. Conocía las excelencias de unos pueblos y otros, era
relativista en un cierto sentido. Admiraba a Jos espartanos y a los atenienses,
veía en éstos cosas comunes con aquéllos, pese a todo: principalmente, el respeto
por la ley.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 11 | Loc. 166 | Added on Thursday, April 11, 2013, 11:42 AM
herodoto
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 14 | Loc. 208-12 | Added on Thursday, April 11, 2013, 11:57 AM
La situación de Atenas, a fines del siglo V y comienzos del IV, era triste. La
ciudad estaba sin murallas, sin barcos, tiranizada por un régimen colaboracionista,
el de los Treinta Tiranos, en plena crisis económica, todo ello tras la pérdida del
imperio y la guerra civil. Cundía el desánimo entre los ciudadanos, así como el
desinterés por la política: el demagogo Aguirrío hubo de instituir un salario que
se pagaba al que asistiera a la Asamblea; y ese salario hubo de ser elevado una y
otra vez, ya lo he dicho.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 14 | Loc. 212 | Added on Thursday, April 11, 2013, 11:57 AM
atenas siglo iv
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 16 | Loc. 241-43 | Added on Thursday, April 11, 2013, 12:02 PM
Pero, para volver a nuestro interés del momento, insistamos en que la forma elegida
para presentar esta teoría es diferente de las anteriores: es el diálogo, aunque
sea un diálogo menos dramático que los anteriores, en realidad mera cobertura
aparente del tratado, de la manifestación directa de las ideas del filósofo.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 16 | Loc. 243 | Added on Thursday, April 11, 2013, 12:02 PM
republica de platon
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 18 | Loc. 262-64 | Added on Thursday, April 11, 2013, 12:13 PM
los sofistas, al menos Protágoras que es aquel cuyas ideas sobre este punto mejor
conocemos, piensan que la garantía de la democracia está precisamente en el hombre.
Hay una igualdad humana basada en la común posesión del lógos, la razón. Y la
justicia es un acuerdo utilitario basado en que el hombre es capaz de raciocinio y
persuasión.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 18 | Loc. 264 | Added on Thursday, April 11, 2013, 12:13 PM
Para Protágoras todo era relativo: el hombre era la medida de todas las cosas. Y
era optimista, creía que de este modo la vida humana, individual y colectiva,
marcharía perfectamente.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 18 | Loc. 269 | Added on Thursday, April 11, 2013, 12:15 PM
principio de protagoras
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 19 | Loc. 279-81 | Added on Friday, April 12, 2013, 08:36 AM
No era Sócrates solo el que desconfiaba de los sofistas, era la mayoría del pueblo
ateniense, que llegó a confundirle con los mismos: esto se ve no solamente por. la
comedia de Aristófanes, también por su trágico destino.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 19 | Loc. 281 | Added on Friday, April 12, 2013, 08:36 AM
tucidides y la historia
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 20 | Loc. 300-301 | Added on Friday, April 12, 2013, 08:41 AM
isocrates
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 21 | Loc. 307-9 | Added on Friday, April 12, 2013, 08:50 AM
Pero al menos está seguro de una cosa: de que hay que llegar a definiciones claras
y terminantes, racionales, sí, pero válidas para todos. Que el relativismo
sofístico es insuficiente. Y lo es, desde luego, la ambivalencia trágica: hay que
orientar la vida del hombre fuera de riesgos incontrolables.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 21 | Loc. 309 | Added on Friday, April 12, 2013, 08:50 AM
Su propia vida manifiesta hasta qué punto Sócrates consideraba esencial un nuevo
giro de la paideía> la creación de un nuevo ideal de vida. Se basaba en el
moralísmo puro: el cuidado del alma, el olvido de todo lo material, el cumplimiento
del deber en cualquier circunstancia, a despecho de cualquier choque. Este
moralismo puro le llevó a la muerte.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 22 | Loc. 336 | Added on Friday, April 12, 2013, 08:56 AM
Busca una reforma radical del hombre y del Estado, aun a riesgo de introducir lo
que es en el fondo el poder absoluto de una clase dominante.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 24 | Loc. 357 | Added on Friday, April 12, 2013, 09:08 AM
socrates/ platon
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 25 | Loc. 376-77 | Added on Friday, April 12, 2013, 09:14 AM
platon
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 26 | Loc. 395-99 | Added on Friday, April 12, 2013, 09:22 AM
Pero no se trata tan sólo de teoría. Platón no renunció a la acción: sus viajes a
Sicilia, pieza fundamental de su biografía humana y filosófica, trataron de llevar
a la práctica aquellas conocidas palabras de la República (473 e), que ya hemos
citado: «A no ser que los filósofos reinen en las ciudades o que cuantos ahora se
llaman reyes y dinastas practiquen noble y adecuadamente la filosofía, no hay
tregua, querido Glaucón, para los males de las ciudades y creo que tampoco para los
de la raza humana».
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 26 | Loc. 399 | Added on Friday, April 12, 2013, 09:22 AM
fracaso de platon
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 27 | Loc. 414-17 | Added on Friday, April 12, 2013, 09:27 AM
hybris
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 32 | Loc. 477-78 | Added on Sunday, April 14, 2013, 05:02 PM
Estos son los dos momentos culminantes de la paideía del siglo V ateniense: el
trágico y el platónico.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 32 | Loc. 478 | Added on Sunday, April 14, 2013, 05:03 PM
La fe y la razón (Fides et ratio) son como las dos alas con las cuales el espíritu
humano se eleva hacia la contemplación de la verdad. Dios ha puesto en el corazón
del hombre el deseo de conocer la verdad y, en definitiva, de conocerle a Él para
que, conociéndolo y amándolo, pueda alcanzar también la plena verdad sobre sí mismo
==========
Fides et ratio (Unknown)
- Note on Page 1 | Loc. 7 | Added on Sunday, April 14, 2013, 05:14 PM
busqueda de la verdad
==========
Fides et ratio (Unknown)
- Highlight on Page 2 | Loc. 22-24 | Added on Sunday, April 14, 2013, 05:17 PM
Desde que, en el Misterio Pascual, ha recibido como don la verdad última sobre la
vida del hombre, se ha hecho peregrina por los caminos del mundo para anunciar que
Jesucristo es « el camino, la verdad y la vida »
==========
Fides et ratio (Unknown)
- Note on Page 2 | Loc. 24 | Added on Sunday, April 14, 2013, 05:17 PM
hacia la verdad
==========
Fides et ratio (Unknown)
- Highlight on Page 3 | Loc. 36-37 | Added on Sunday, April 14, 2013, 05:19 PM
filosofia
==========
Fides et ratio (Unknown)
- Highlight on Page 3 | Loc. 46-48 | Added on Sunday, April 14, 2013, 08:34 PM
filosofia implicita
==========
Fides et ratio (Unknown)
- Highlight on Page 5 | Loc. 63-65 | Added on Sunday, April 14, 2013, 08:40 PM
Cuando la razón logra intuir y formular los principios primeros y universales del
ser y sacar correctamente de ellos conclusiones coherentes de orden lógico y
deontológico, entonces puede considerarse una razón recta o, como la llamaban los
antiguos, orthòs logos, recta ratio.
==========
Fides et ratio (Unknown)
- Note on Page 5 | Loc. 65 | Added on Sunday, April 14, 2013, 08:40 PM
la verdad trascendental
==========
Fides et ratio (Unknown)
- Highlight on Page 7 | Loc. 93-94 | Added on Sunday, April 14, 2013, 08:53 PM
3 Testimoniar la verdad es, pues, una tarea confiada a nosotros, los Obispos;
==========
Fides et ratio (Unknown)
- Note on Page 7 | Loc. 103 | Added on Sunday, April 14, 2013, 08:55 PM
accion de dios
==========
Fides et ratio (Unknown)
- Highlight on Page 14 | Loc. 210-11 | Added on Sunday, April 14, 2013, 09:14 PM
libertad y fe
==========
Fides et ratio (Unknown)
- Highlight on Page 15 | Loc. 225-29 | Added on Sunday, April 14, 2013, 09:20 PM
el misterio de jesus
==========
Fides et ratio (Unknown)
- Highlight on Page 18 | Loc. 262-63 | Added on Sunday, April 14, 2013, 09:28 PM
verdad revelada
==========
Fides et ratio (Unknown)
- Highlight on Page 20 | Loc. 294-95 | Added on Sunday, April 14, 2013, 09:38 PM
No hay, pues, motivo de competitividad alguna entre la razón y la fe: una está
dentro de la otra, y cada una tiene su propio espacio de realización.
==========
Fides et ratio (Unknown)
- Note on Page 20 | Loc. 295 | Added on Sunday, April 14, 2013, 09:38 PM
razon y fe
==========
Fides et ratio (Unknown)
- Highlight on Page 22 | Loc. 323-25 | Added on Sunday, April 14, 2013, 10:05 PM
razon dentro de la fe
==========
Fides et ratio (Unknown)
- Highlight on Page 22 | Loc. 327-28 | Added on Monday, April 15, 2013, 12:43 PM
deseo de conocer
==========
Fides et ratio (Unknown)
- Highlight on Page 33 | Loc. 502-4 | Added on Monday, April 15, 2013, 02:38 PM
En definitiva, el mártir suscita en nosotros una gran confianza, porque dice lo que
nosotros ya sentimos y hace evidente lo que también quisiéramos tener la fuerza de
expresar.
==========
Fides et ratio (Unknown)
- Note on Page 33 | Loc. 504 | Added on Monday, April 15, 2013, 02:39 PM
Su búsqueda tiende hacia una verdad ulterior que pueda explicar el sentido de la
vida; por eso es una búsqueda que no puede encontrar solución si no es en el
absoluto.
==========
Fides et ratio (Unknown)
- Note on Page 34 | Loc. 508 | Added on Monday, April 15, 2013, 02:40 PM
Quedaba completamente superado el carácter elitista que su búsqueda tenía entre los
antiguos, ya que siendo el acceso a la verdad un bien que permite llegar a Dios,
todos deben poder recorrer este camino.
==========
Fides et ratio (Unknown)
- Note on Page 38 | Loc. 578 | Added on Monday, April 15, 2013, 02:51 PM
cultura vs cristianismo
==========
Fides et Ratio (Ratzinger)
- Highlight on Page 10 | Loc. 147 | Added on Monday, April 15, 2013, 10:00 PM
La Revelación no les es extraña, sino que responde a una espera interior en las
culturas mismas.
==========
Fides et Ratio (Ratzinger)
- Note on Page 10 | Loc. 147 | Added on Monday, April 15, 2013, 10:01 PM
revelacion en las culturas
==========
Fides et Ratio (Ratzinger)
- Highlight on Page 11 | Loc. 162-65 | Added on Monday, April 15, 2013, 10:06 PM
Vista más en lo hondo, nos permite reconocer un proceso en el que Dios lucha con el
hombre y le abre lentamente a su Palabra más profunda, a sí mismo: al Hijo, que es
el Logos.
==========
Fides et Ratio (Ratzinger)
- Note on Page 12 | Loc. 179 | Added on Monday, April 15, 2013, 10:10 PM
dios universal
==========
Fides et Ratio (Ratzinger)
- Highlight on Page 14 | Loc. 211-13 | Added on Monday, April 15, 2013, 10:18 PM
Que no se entrara en contacto con las religiones, sino con la filosofía, tiene que
ver con el hecho de que no se canonizó una cultura, sino que se podía entrar a ella
por donde había comenzado ella misma a salir de sí misma, por donde había iniciado
el camino de apertura a la verdad común y había dejado atrás la i nstalación en lo
meramente propio.
==========
Fides et Ratio (Ratzinger)
- Note on Page 14 | Loc. 213 | Added on Monday, April 15, 2013, 10:18 PM
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 35 | Loc. 526-28 | Added on Tuesday, April 16, 2013, 11:08 AM
El arma de la palabra era vital en estos tiempos de Atenas. Es bien sabido que el
acusado tenía que defenderse a sí mismo ante los tribunales, que el acusador tenía
que acusar y que existían profesionales, los logógrafos, que escribían discursos de
encargo que luego el cliente recitaba.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 35 | Loc. 528 | Added on Tuesday, April 16, 2013, 11:08 AM
Ahora bien, la oratoria antigua, para ser bien comprendida, debe ser colocada
dentro del ambiente de la literatura griega que la precedió. Esta literatura, ya lo
he dicho, era fundamentalmente oral.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 37 | Loc. 559 | Added on Tuesday, April 16, 2013, 11:13 AM
mezclas de discursos
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 38 | Loc. 583 | Added on Wednesday, April 17, 2013, 10:19 AM
De igual modo, la oratoria epidíctica, enlazada con la sofística de igual modo que
la política
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 39 | Loc. 591 | Added on Wednesday, April 17, 2013, 10:20 AM
De fines del siglo V y comienzos del IV nos han llegado una serie de discursos
ficticios que atribuimos al género epidíctico y que podemos clasificar así:
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 39 | Loc. 596 | Added on Wednesday, April 17, 2013, 10:22 AM
Lo primero que hay que decir es que del movimiento en torno a la oratoria nació en
Atenas, sobre precedentes sicilianos, toda la crítica y la teoría literaria.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Note on Page 41 | Loc. 628 | Added on Wednesday, April 17, 2013, 10:35 AM
El tema de «hacer fuerte el argumento débil», como máxima calificación del orador,
está en la base.
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 43 | Loc. 649-50 | Added on Wednesday, April 17, 2013, 10:43
AM
oratoria y democracia
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 44 | Loc. 663-65 | Added on Wednesday, April 17, 2013, 10:46
AM
oratoria vs filosofia
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 47 | Loc. 714 | Added on Wednesday, April 17, 2013, 10:56 AM
322 a c
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 49 | Loc. 744-47 | Added on Wednesday, April 17, 2013, 02:39
PM
extranjeros en atenas
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 51 | Loc. 770-71 | Added on Wednesday, April 17, 2013, 02:44
PM
a: ultimo ateniense
==========
Democracia y literatura en la Atenas Clásica (Rodríguez- Adrados)
- Highlight on Page 55 | Loc. 841-45 | Added on Thursday, April 18, 2013, 07:31 AM
Hans Blumenberg has suggested that philosophers began to lose interest in the
eternal toward the end of the Middle Ages, and that the sixteenth century, the
century of Bruno and Bacon, was the period in which philosophers began trying to
take time seriously.
==========
Philosophy and the Future (Rorty)
- Note on Page 1 | Loc. 12 | Added on Thursday, April 18, 2013, 07:37 AM
The combined influence of Hegel and Darwin moved philosophy away from the question
“What are we?” to the question “What might we try to become?”
==========
Philosophy and the Future (Rorty)
- Note on Page 2 | Loc. 17 | Added on Thursday, April 18, 2013, 07:38 AM
We have to agree with Marx that our job is to help make the future different from
the past, rather than claiming to know what the future must necessarily have in
common with the past. We have to shift from the kind of role that philosophers have
shared with priests and sages to a social role that has more in common with the
engineer or the lawyer.
==========
Philosophy and the Future (Rorty)
- Note on Page 2 | Loc. 22 | Added on Thursday, April 18, 2013, 07:40 AM
We can add that philosophy cannot possibly end until social and cultural change
ends.
==========
Philosophy and the Future (Rorty)
- Note on Page 2 | Loc. 29 | Added on Thursday, April 18, 2013, 11:07 AM
Since Plato invented philosophy precisely in order to escape from transitory needs,
and to rise above politics, taking time, Hegel, and Darwin seriously has often been
described as “giving up on” or “ending” philosophy. But giving up on Plato and Kant
is not the same as giving up on philosophy.
==========
Philosophy and the Future (Rorty)
- Note on Page 2 | Loc. 26 | Added on Friday, April 19, 2013, 03:30 PM
philosophers by hegel
==========
Philosophy and the Future (Rorty)
- Highlight on Page 3 | Loc. 43-44 | Added on Friday, April 19, 2013, 03:39 PM
The first is the need to reconcile the moral intuitions clothed in the language of
Christian theology with the new scientific world-picture that emerged in the
seventeenth century.
==========
Philosophy and the Future (Rorty)
- Note on Page 3 | Loc. 45 | Added on Friday, April 19, 2013, 03:45 PM
primer ejemplo
==========
Philosophy and the Future (Rorty)
- Highlight on Page 4 | Loc. 49-51 | Added on Friday, April 19, 2013, 03:45 PM
My second example is the Darwinian suggestion that we think of human beings as more
complex animals, rather than as animals with an extra added ingredient called
“intellect” or “the rational soul.”
==========
Philosophy and the Future (Rorty)
- Note on Page 4 | Loc. 51 | Added on Friday, April 19, 2013, 03:46 PM
segundo ejemplo
==========
Philosophy and the Future (Rorty)
- Highlight on Page 4 | Loc. 56 | Added on Friday, April 19, 2013, 03:46 PM
tercer ejemplo
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 1 | Loc. 3-4 | Added on Friday, April 19, 2013, 03:53 PM
civilizacion en decadencia
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 1 | Loc. 10-11 | Added on Friday, April 19, 2013, 03:54 PM
muchas negaciones
==========
La política y el idioma inglés (George Orwell)
- Note on Page 2 | Loc. 18 | Added on Friday, April 19, 2013, 03:57 PM
problema de la escritura
==========
La política y el idioma inglés (George Orwell)
- Bookmark on Page 4 | Loc. 47 | Added on Friday, April 19, 2013, 04:05 PM
==========
La política y el idioma inglés (George Orwell)
- Note on Page 4 | Loc. 47 | Added on Friday, April 19, 2013, 04:06 PM
Metáforas moribundas.
==========
La política y el idioma inglés (George Orwell)
- Note on Page 4 | Loc. 48 | Added on Friday, April 19, 2013, 04:07 PM
1 metaforas moribundas
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 4 | Loc. 59-60 | Added on Friday, April 19, 2013, 04:09 PM
2 operadores
==========
La política y el idioma inglés (George Orwell)
- Note on Page 4 | Loc. 60 | Added on Friday, April 19, 2013, 04:10 PM
Dicción pretenciosa.
==========
La política y el idioma inglés (George Orwell)
- Note on Page 5 | Loc. 74 | Added on Friday, April 19, 2013, 04:15 PM
3 diccion pretenciosa
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 6 | Loc. 88-89 | Added on Friday, April 19, 2013, 04:18 PM
perdida de significado
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 7 | Loc. 98-100 | Added on Friday, April 19, 2013, 04:21 PM
democracia
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 8 | Loc. 116 | Added on Friday, April 19, 2013, 04:29 PM
ingles moderno
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 10 | Loc. 139-40 | Added on Friday, April 19, 2013, 11:12 PM
En (4] el autor sabe más o menos lo que quiere decir, pero la acumulación de frases
trilladas ahoga el sentido como las hojas de té obstruyen un lavaplatos.
==========
La política y el idioma inglés (George Orwell)
- Note on Page 10 | Loc. 140 | Added on Friday, April 19, 2013, 11:12 PM
genial
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 10 | Loc. 143-46 | Added on Friday, April 19, 2013, 11:17 PM
En nuestra época, es una verdad general que los escritos políticos son malos
escritos.
==========
La política y el idioma inglés (George Orwell)
- Note on Page 10 | Loc. 150 | Added on Friday, April 19, 2013, 11:18 PM
escritos politicos
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 10 | Loc. 153-57 | Added on Friday, April 19, 2013, 11:19 PM
maravilloso
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 12 | Loc. 170 | Added on Friday, April 19, 2013, 11:20 PM
Dicha fraseología es necesaria cuando se quiere nombrar las cosas sin evocar sus
imágenes mentales.
==========
La política y el idioma inglés (George Orwell)
- Note on Page 12 | Loc. 170 | Added on Friday, April 19, 2013, 11:21 PM
gran frase
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 12 | Loc. 178-79 | Added on Friday, April 19, 2013, 11:22 PM
Todos los problemas son problemas políticos, y la política es una masa de mentiras,
evasiones, locura, odio y esquizofrenia.
==========
La política y el idioma inglés (George Orwell)
- Note on Page 12 | Loc. 179 | Added on Friday, April 19, 2013, 11:22 PM
politica
==========
La política y el idioma inglés (George Orwell)
- Highlight on Page 13 | Loc. 191-92 | Added on Friday, April 19, 2013, 11:24 PM
Esta invasión de la mente por frases hechas ("sentar los fundamentos", "lograr una
transformación radical"] sólo se puede evitar si se está continuamente en guardia
contra ellas, y cada una de esas frases anestesia una parte del cerebro.
==========
La política y el idioma inglés (George Orwell)
- Note on Page 13 | Loc. 192 | Added on Friday, April 19, 2013, 11:24 PM
Together they raise two questions: what is the likely future of literacy, and what
arc the likely larger-level social and cultural effects of that change?
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 1 | Loc. 7 | Added on Friday, April 19, 2013, 11:33 PM
dos preguntas
==========
El alfabetismo en la era digital (Gunther Kress)
- Highlight on Page 1 | Loc. 12-14 | Added on Friday, April 19, 2013, 11:35 PM
The world told is a different world to the world shown. The effects of the move to
the scrccn as the major medium of communication will produce far-reaching shifts in
relations of power, and not just in the sphere of communication.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 1 | Loc. 14 | Added on Friday, April 19, 2013, 11:35 PM
imagen
==========
El alfabetismo en la era digital (Gunther Kress)
- Highlight on Page 2 | Loc. 18-19 | Added on Friday, April 19, 2013, 11:36 PM
The organisation of the image, by contrast, is governed by the logic of spacc, and
by the logic of simultaneity of its visual/depicted elements in spatially organised
arrangements.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 2 | Loc. 21 | Added on Friday, April 19, 2013, 11:37 PM
imagen y espacio
==========
El alfabetismo en la era digital (Gunther Kress)
- Highlight on Page 3 | Loc. 39-40 | Added on Friday, April 19, 2013, 11:40 PM
diferentes mundos
==========
El alfabetismo en la era digital (Gunther Kress)
- Highlight on Page 3 | Loc. 41-42 | Added on Friday, April 19, 2013, 11:43 PM
The reason for that is that words arc, relatively speaking, empty of meaning, or
perhaps better, the word as sound-shape or as lctter-shapc gives no indication of
its meaning, it is there to be filled with meaning.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 4 | Loc. 59 | Added on Saturday, April 20, 2013, 01:04 PM
However, while the reading path in the image is (relatively) opeti, the image
itself and its elements are filled with meaning.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 6 | Loc. 79 | Added on Sunday, April 21, 2013, 02:28 PM
Images are plain full with meaning, whereas words wait to be filled.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 6 | Loc. 80 | Added on Sunday, April 21, 2013, 02:29 PM
Interactivity has at least two aspects: one is broadly interpersonal, for instance,
in that the user can 'write back’ to tile producer of a text with no difficulty - a
potential achievable only with very great cllort or not at all with the older
media, and it permits the user to enter into an entirely new relation with all
other texts - the notion of hypcrtcxtuality.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 7 | Loc. 99 | Added on Sunday, April 21, 2013, 02:36 PM
The technology of the new information and communication media rests among other
factors on the use of a single code for the representation of all information,
irrespective of its initial modal realisation. Music is analysed into this digital
codc just as much as image is, or graphic word, or other modes.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 7 | Loc. 102 | Added on Sunday, April 21, 2013, 02:38 PM
The new technologies allow me to ‘write back’. In the era of the book, which partly
overlapped with the era of mass communication, the flow of communication was
largely in one direction.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 8 | Loc. 114 | Added on Sunday, April 21, 2013, 04:40 PM
Ready access to all texts constitutes another challenge to the former power of
texts.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 8 | Loc. 122 | Added on Sunday, April 21, 2013, 04:43 PM
acceso inmediato
==========
El alfabetismo en la era digital (Gunther Kress)
- Highlight on Page 9 | Loc. 125-26 | Added on Sunday, April 21, 2013, 04:45 PM
Our use of language in the making of texts cannot be other than the quotation of
fragments of texts, previously encountered, in the making of new texts.
==========
El alfabetismo en la era digital (Gunther Kress)
- Highlight on Page 9 | Loc. 137-38 | Added on Sunday, April 21, 2013, 04:51 PM
One is that more books are published now than ever before; the second is, that
there is more writing than ever before, including writing on the scrccn. The third,
the most serious, takes die form of a question: what do we lose if many of die
forms of writing that we know disappear?
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 10 | Loc. 140 | Added on Sunday, April 21, 2013, 04:52 PM
tres objeciones
==========
El alfabetismo en la era digital (Gunther Kress)
- Highlight on Page 10 | Loc. 150-52 | Added on Sunday, April 21, 2013, 04:54 PM
These arc not books that can be 'read’, for instance, in anything like that older
sense of the word ‘read'. These arc books for working with, for ncdng on. So yes,
there are more ‘books' published now than ever before, but in many cases the
‘books’ of now arc not the 'books’ of then.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 10 | Loc. 152 | Added on Sunday, April 21, 2013, 04:55 PM
In other words, the potentials of these technologies imply a radical social changc,
a redistribution of semiotic power, the power to make and disseminate meanings.
==========
El alfabetismo en la era digital (Gunther Kress)
- Highlight on Page 16 | Loc. 241-43 | Added on Sunday, April 21, 2013, 05:46 PM
To use a small example, we know that levels of formality, as one index of social
power relations, have changed; this is reflected in the resources of language and
hence of literacy through their use in the contexts of the new social arrangements.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 16 | Loc. 243 | Added on Sunday, April 21, 2013, 05:46 PM
When writing appears on the scrccn, as it docs now and will continue to do, it will
increasingly - as is indeed the case now - be reshaped by this logic. Writing will
more and more become organised and shaped by the logic of the image-spacc of the
screen. This is one inescapable effect of the potentials of the screen, and the
technology of the new media.
==========
El alfabetismo en la era digital (Gunther Kress)
- Note on Page 19 | Loc. 288 | Added on Sunday, April 21, 2013, 05:58 PM
Debido a nuevas necesidades, el lenguaje del Tercer Reich incrementó el uso del
prefijo de privación ent [des-, de-],
==========
La lengua del Tercer Reich (V. Klemperer)
- Note on Page 1 | Loc. 2 | Added on Sunday, April 21, 2013, 06:15 PM
prefijo de privacion
==========
La lengua del Tercer Reich (V. Klemperer)
- Highlight on Page 3 | Loc. 35-36 | Added on Sunday, April 21, 2013, 06:22 PM
corredor de coches
==========
La lengua del Tercer Reich (V. Klemperer)
- Highlight on Page 5 | Loc. 64-65 | Added on Sunday, April 21, 2013, 06:27 PM
A partir de 1939, el lugar del coche de carreras lo ocupa el tanque; el lugar del
corredor, el conductor del blindado.
==========
La lengua del Tercer Reich (V. Klemperer)
- Note on Page 5 | Loc. 65 | Added on Sunday, April 21, 2013, 06:27 PM
tanque
==========
La lengua del Tercer Reich (V. Klemperer)
- Highlight on Page 5 | Loc. 74-75 | Added on Sunday, April 21, 2013, 06:29 PM
¡En cambio, «combativo»! Designa de un modo más general una actitud de tensión del
alma, de la voluntad, reacia a cualquier renuncia y centrada en autoafirmarse, sea
mediante ia defensa, sea mediante el ataque, en cualquier situación de la vida.
==========
La lengua del Tercer Reich (V. Klemperer)
- Note on Page 5 | Loc. 75 | Added on Sunday, April 21, 2013, 06:29 PM
combativo
==========
La lengua del Tercer Reich (V. Klemperer)
- Highlight on Page 10 | Loc. 147-50 | Added on Sunday, April 21, 2013, 06:40 PM
Observaba cada vez con mayor precisión cómo charlaban los trabajadores en la
fabrica y cómo hablaban las bestias de la Gestapo y cómo nos expresábamos en
nuestro jardín zoológico Heno de jaulas de judíos. No se notaban grandes
diferencias; de hecho, no había ninguna. Todos, partidarios y detractores,
beneficiarios y víctimas, estaban indudablemente guiados por los mismos modelos.
==========
La lengua del Tercer Reich (V. Klemperer)
- Note on Page 12 | Loc. 175 | Added on Sunday, April 21, 2013, 06:44 PM
mismo lenguaje
==========
La lengua del Tercer Reich (V. Klemperer)
- Highlight on Page 15 | Loc. 220-22 | Added on Sunday, April 21, 2013, 06:52 PM
¡Cuántas veces, por ejemplo, he oído hablar, desde mayo de 1945, en discursos
radiofónicos, en apasionadas manifestaciones antifascistas, de las cualidades de
«carácter» o de la esencia «combativa» de la democracia! Son expresiones propias
del núcleo —el Tercer Reich diría: del «centro esencial»— de la LTI.
==========
La lengua del Tercer Reich (V. Klemperer)
- Note on Page 15 | Loc. 222 | Added on Sunday, April 21, 2013, 06:53 PM
La idea de la democracia está más relacionada con la forma en que la gente está
organizada políticamente, mientras que la opinión pública tiene más que ver con lo
que la gente desea.
==========
El proceso de opinión pública (Crespi I)
- Note on Page 1 | Loc. 5 | Added on Sunday, April 21, 2013, 07:48 PM
las concepciones
==========
El proceso de opinión pública (Crespi I)
- Note on Page 4 | Loc. 59 | Added on Sunday, April 21, 2013, 08:03 PM
Edmund Burke: «el pueblo es el maestro» que expresa sus deseos y describe sus
problemas, mientas que el líder es el «artista experto» que está cualificado para
diseñar soluciones y prescribir remedios
==========
El proceso de opinión pública (Crespi I)
- Note on Page 7 | Loc. 97 | Added on Sunday, April 21, 2013, 08:15 PM
La visión populista
==========
El proceso de opinión pública (Crespi I)
- Note on Page 9 | Loc. 130 | Added on Sunday, April 21, 2013, 08:21 PM
vision populista
==========
El proceso de opinión pública (Crespi I)
- Highlight on Page 11 | Loc. 159 | Added on Sunday, April 21, 2013, 08:24 PM
El sondeo Gallup
==========
El proceso de opinión pública (Crespi I)
- Note on Page 15 | Loc. 227 | Added on Sunday, April 21, 2013, 08:37 PM
el sondeo gallup
==========
El proceso de opinión pública (Crespi I)
- Highlight on Page 15 | Loc. 228-29 | Added on Sunday, April 21, 2013, 08:38 PM
Sin embargo, Gallup afirmó, en oposición directa a las opiniones que Lippmann
acababa de observar, que sus sondeos demostraban que las opiniones colectivas del
público eran claramente más sabias que aquellas de muchos de los líderes políticos
de la nación.
==========
El proceso de opinión pública (Crespi I)
- Note on Page 15 | Loc. 229 | Added on Sunday, April 21, 2013, 08:38 PM
Estudios académicos
==========
El proceso de opinión pública (Crespi I)
- Note on Page 19 | Loc. 277 | Added on Sunday, April 21, 2013, 08:52 PM
estudios academicos
==========
La lengua del Tercer Reich (V. Klemperer)
- Highlight on Page 19 | Loc. 278 | Added on Sunday, April 21, 2013, 10:47 PM
IV Partenau
==========
La lengua del Tercer Reich (V. Klemperer)
- Note on Page 26 | Loc. 386 | Added on Monday, April 22, 2013, 08:24 AM
partenau
==========
La lengua del Tercer Reich (V. Klemperer)
- Bookmark on Page 30 | Loc. 447 | Added on Monday, April 22, 2013, 08:32 AM
==========
La lengua del Tercer Reich (V. Klemperer)
- Highlight on Page 30 | Loc. 446 | Added on Monday, April 22, 2013, 08:32 AM
20 de abril: Otra ocasión festiva, otra fiesta del pueblo: cumpleaños de Hitler.
«Pueblo» se emplea tantas veces al hablar y escribir como la sal en la comida; a
todo se le agrega una pizca de pueblo: fiesta del pueblo, camarada del pueblo,
comunidad del pueblo, cercano al pueblo, ajeno al pueblo, surgido del pueblo...
==========
La lengua del Tercer Reich (V. Klemperer)
- Note on Page 31 | Loc. 473 | Added on Monday, April 22, 2013, 08:36 AM
pueblo
==========
La lengua del Tercer Reich (V. Klemperer)
- Highlight on Page 36 | Loc. 552-53 | Added on Monday, April 22, 2013, 08:47 AM
jerga sentimental
==========
Benedict Anderson resumen
- Highlight Loc. 19 | Added on Monday, April 22, 2013, 10:24 AM
Los teóricos del nacionalismo se han sentido desconcertados ante estas tres
paradojas:
==========
Benedict Anderson resumen
- Note Loc. 19 | Added on Monday, April 22, 2013, 10:24 AM
nacion
==========
Benedict Anderson resumen
- Highlight Loc. 34 | Added on Monday, April 22, 2013, 10:28 AM
LA COMUNIDAD RELIGIOSA
==========
Benedict Anderson resumen
- Note Loc. 34 | Added on Monday, April 22, 2013, 10:28 AM
comunidad religiosa
==========
Benedict Anderson resumen
- Highlight Loc. 50-51 | Added on Monday, April 22, 2013, 10:29 AM
EL REINO DINÁSTICO
==========
Benedict Anderson resumen
- Note Loc. 51 | Added on Monday, April 22, 2013, 10:29 AM
el reino dinastico
==========
Benedict Anderson resumen
- Highlight Loc. 58-59 | Added on Monday, April 22, 2013, 10:30 AM
periodico
==========
Benedict Anderson resumen
- Highlight Loc. 79-80 | Added on Monday, April 22, 2013, 10:36 AM
El periódico es sólo una forma extrema del libro, un libro vendido en escala
colosal, pero de popularidad efímera.
==========
Benedict Anderson resumen
- Note Loc. 80 | Added on Monday, April 22, 2013, 10:36 AM
la nacion pudo ser imaginada cuando se dejo de creer en la lengua oficial, perdida
de regimenes monarquicos, perdida de una concepcion simultanea de tiempo
==========
Benedict Anderson resumen
- Highlight Loc. 88 | Added on Monday, April 22, 2013, 10:40 AM
Estas lenguas impresas echaron las bases de la conciencia nacional en tres formas
distintas.
==========
Benedict Anderson resumen
- Note Loc. 106 | Added on Monday, April 22, 2013, 10:59 AM
Rorty afirma que la filosofía es parasitaria, es una reacción a evoluciones que han
acontecido en la cultura y la sociedad.
==========
Rorty Resumen
- Note Loc. 19 | Added on Monday, April 22, 2013, 11:03 AM
filosofia parasitaria
==========
Rorty Resumen
- Highlight Loc. 46-47 | Added on Monday, April 22, 2013, 11:06 AM
La filosofía debe reconciliar lo antiguo y lo nuevo, ser intermediaria entre
generaciones, entre diferentes ámbitos culturales, entre tradiciones.
==========
Rorty Resumen
- Note Loc. 47 | Added on Monday, April 22, 2013, 11:06 AM
filosofia intermediaria
==========
Rorty Resumen
- Highlight Loc. 47-49 | Added on Monday, April 22, 2013, 11:07 AM
==========
La lengua del Tercer Reich (V. Klemperer)
- Highlight on Page 42 | Loc. 642-43 | Added on Monday, April 22, 2013, 12:41 PM
El Duce, por mucho que se le notara el esfuerzo físico con que insuflaba energía a
sus frases, con que procuraba dominar a la multitud agolpada a sus pies, el Duce
siempre seguía la corriente sonora de su lengua materna, se entregaba a ella a
pesar de toda su voluntad de dominio, era, incluso cuando se deslizaba de lo
oratorio a lo retórico, un orador sin distorsiones, sin espasmos. Hitler, en
cambio, fuera solemne, fuera sarcástico —las dos tonalidades que le gustaba
alternar—, Hitler siempre hablaba o, más bien, gritaba de manera espasmódica.
==========
La lengua del Tercer Reich (V. Klemperer)
- Note on Page 48 | Loc. 727 | Added on Monday, April 22, 2013, 12:55 PM
mussolini/ hitler
==========
Aristotle (Sir David Ross)
- Highlight on Page 265 | Loc. 4054-55 | Added on Monday, April 22, 2013, 01:54 PM
The supreme practical science—that to which all others are subordinate and
ministerial—is politics, or, as we, with our fuller consciousness of man’s
membership of communities other than the state, might be more inclined to call it,
social science.
==========
Aristotle (Sir David Ross)
- Note on Page 265 | Loc. 4057 | Added on Monday, April 22, 2013, 01:55 PM
There are two marks which the good for man must possess. It must be final,
something that is chosen always for its own sake, never as a means to anything
else. And it must be selfsufficient, something which by itself makes life worthy of
being chosen.
==========
Aristotle (Sir David Ross)
- Note on Page 270 | Loc. 4130 | Added on Monday, April 22, 2013, 07:09 PM
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 23-24 | Added on Wednesday, April 24, 2013, 08:33 PM
Pero, para esto, debió invertir radicalmente la visión que Platón tenía de la
dialéctica, en cuanto a que esta es caracterizada en sus escritos como un saber
omniabarcante y superior, esto es, como la coronación de todas las ciencias.
==========
El+Fedro+y+la+Retórica
- Note Loc. 51 | Added on Wednesday, April 24, 2013, 08:38 PM
la platonica
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 86 | Added on Thursday, April 25, 2013, 07:28 AM
que se caracteriza por no poder dar razón de su fundamento,
==========
El+Fedro+y+la+Retórica
- Note Loc. 86 | Added on Thursday, April 25, 2013, 07:28 AM
En esto consiste, pues, el intento del Fedro; en llevar al orador a las alturas del
filósofo.
==========
El+Fedro+y+la+Retórica
- Note Loc. 118 | Added on Thursday, April 25, 2013, 07:33 AM
orador y filosofo
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 124-26 | Added on Thursday, April 25, 2013, 07:34 AM
en aristoteles, el politico
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 132-33 | Added on Thursday, April 25, 2013, 07:36 AM
etica a nicomaco
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 135 | Added on Thursday, April 25, 2013, 07:36 AM
==========
El+Fedro+y+la+Retórica
- Bookmark Loc. 179 | Added on Thursday, April 25, 2013, 08:53 AM
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 179-80 | Added on Thursday, April 25, 2013, 08:53 AM
“También (son mayores) todas aquellas cosas en las que se quiere ser más bien que
parecer, pues “se acercan” más a la verdad; y por eso se dice que la justicia es un
bien pequeño, ya que es preferible parecer justo a serlo, lo que ciertamente no
ocurre con la salud”. A mi entender, aquí Aristóteles (como ocurre profusamente en
su Retórica), adopta dos perspectivas; por una parte, la verdad considerada
éticamente, y, por otra parte, la posibilidad de la utilización de la opinión común
en vistas a la argumentación persuasiva, es decir, una perspectiva técnica.
==========
El+Fedro+y+la+Retórica
- Note Loc. 208 | Added on Thursday, April 25, 2013, 09:04 AM
la relacion con la verdad se da de otra manera, no en la retorica
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 210-12 | Added on Thursday, April 25, 2013, 09:04 AM
estrategia de aristoteles
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 218-20 | Added on Thursday, April 25, 2013, 09:06 AM
‘all right,’ I said, ‘I’m glad it’s a girl. And I hope she’ll be a fool — that’s
the best thing a girl can be in this world, a beautiful little fool.”
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 351-52 | Added on Monday, April 29, 2013, 05:06 PM
“Wilson? He thinks she goes to see her sister in New York. He’s so dumb he doesn’t
know he’s alive.”
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 570 | Added on Tuesday, April 30, 2013, 08:32 AM
slender
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 709 | Added on Tuesday, April 30, 2013, 10:01 AM
tantalizing
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 771 | Added on Tuesday, April 30, 2013, 05:37 PM
clerks
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 784 | Added on Tuesday, April 30, 2013, 05:41 PM
shrewd
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 800-801 | Added on Wednesday, May 01, 2013, 01:39 AM
Every one suspects himself of at least one of the cardinal virtues, and this is
mine: I am one of the few honest people that I have ever known.
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 805 | Added on Wednesday, May 01, 2013, 01:40 AM
bootlegger,”
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 868-69 | Added on Wednesday, May 01, 2013, 04:20 PM
threadbare
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 895 | Added on Wednesday, May 01, 2013, 04:26 PM
utterly
==========
Coco Chanel (Lisa Chaney)
- Bookmark on Page 19 | Loc. 290 | Added on Wednesday, May 01, 2013, 05:57 PM
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 909 | Added on Wednesday, May 01, 2013, 11:27 PM
hearse
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 913 | Added on Wednesday, May 01, 2013, 11:29 PM
haughty
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 920 | Added on Wednesday, May 01, 2013, 11:31 PM
earnestly,
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 924 | Added on Wednesday, May 01, 2013, 11:32 PM
whereupon
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 940 | Added on Wednesday, May 01, 2013, 11:35 PM
nostrils
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 963 | Added on Wednesday, May 01, 2013, 11:39 PM
ivory.
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 977 | Added on Wednesday, May 01, 2013, 11:41 PM
gambler.”
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 979 | Added on Wednesday, May 01, 2013, 11:42 PM
staggered
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1002 | Added on Wednesday, May 01, 2013, 11:46 PM
engrossed
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1002 | Added on Wednesday, May 01, 2013, 11:46 PM
lieutenant
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1028 | Added on Wednesday, May 01, 2013, 11:51 PM
shiver,
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1074 | Added on Wednesday, May 01, 2013, 11:58 PM
wan,
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1166 | Added on Thursday, May 02, 2013, 12:19 AM
Amid
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1192 | Added on Thursday, May 02, 2013, 12:29 AM
stove
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1302 | Added on Thursday, May 02, 2013, 08:53 AM
laudable
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1407 | Added on Friday, May 03, 2013, 12:01 PM
roamed
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1410-11 | Added on Friday, May 03, 2013, 12:02 PM
hitherto
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1421 | Added on Friday, May 03, 2013, 12:05 PM
fox-trot
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1599 | Added on Friday, May 03, 2013, 02:54 PM
astounded.
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 1609 | Added on Friday, May 03, 2013, 02:55 PM
fuss.”
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 244-47 | Added on Saturday, May 04, 2013, 07:28 PM
Ahora bien, vista la opinión negativa que Platón tiene de las mayorías, el político
debe comportarse como un médico frente al enfermo, no satisfaciendo sus apetitos,
sino cuidando por su bien (Gorgias 504 e-505 a).
==========
El+Fedro+y+la+Retórica
- Note Loc. 257 | Added on Saturday, May 04, 2013, 07:31 PM
el orador y el publico
==========
El+Fedro+y+la+Retórica
- Highlight Loc. 262-63 | Added on Saturday, May 04, 2013, 07:32 PM
El Fedro intenta, como hemos visto, reconducir la política de nuevo a sus cabales.
Pero para esto es necesario superar el horizonte de lo irracional, e instalarse en
el campo de la razón.
==========
El+Fedro+y+la+Retórica
- Note Loc. 263 | Added on Saturday, May 04, 2013, 07:32 PM
el fedro y su objetivo
==========
Los+Sofistas+Covarrubias
- Highlight Loc. 70-73 | Added on Saturday, May 04, 2013, 08:01 PM
Diógenes Laercio (IX 50 ss.) afirma que este sofista “fue el primero en sostener
que sobre cualquier cuestión existen dos discursos mutuamente opuestos. Y fue el
primero en aplicarlos con aquellos con quienes departía (…). (Protágoras) dice que
el alma no es nada más que sensaciones, según dice también Platón en el Teeteto, y
que todo es verdadero”.
==========
Los+Sofistas+Covarrubias
- Note Loc. 73 | Added on Saturday, May 04, 2013, 08:01 PM
protagoras
==========
Los+Sofistas+Covarrubias
- Highlight Loc. 92-93 | Added on Saturday, May 04, 2013, 08:18 PM
opiniones
==========
Los+Sofistas+Covarrubias
- Highlight Loc. 95-97 | Added on Saturday, May 04, 2013, 08:20 PM
gorgias
==========
Los+Sofistas+Covarrubias
- Highlight Loc. 98-100 | Added on Saturday, May 04, 2013, 08:21 PM
gorgias
==========
Los+Sofistas+Covarrubias
- Highlight Loc. 121-24 | Added on Sunday, May 05, 2013, 05:37 PM
aparencia y realidad
==========
Los+Sofistas+Covarrubias
- Highlight Loc. 188 | Added on Sunday, May 05, 2013, 05:50 PM
quintiliano y el orador
==========
Los+Sofistas+Covarrubias
- Highlight Loc. 258-61 | Added on Sunday, May 05, 2013, 05:59 PM
quintiliano
==========
Los+Sofistas+Covarrubias
- Highlight Loc. 271-75 | Added on Sunday, May 05, 2013, 07:54 PM
Quintiliano, frente a esto, reserva una buena opinión para aquellos que entendieron
como propiedad de la retórica el sentir y hablar rectamente (recte sentire et
dicere), y así, poder finalmente entender la retórica como bene dicendi scientia
(Inst. orat. II, 15, 37).
==========
Los+Sofistas+Covarrubias
- Note Loc. 291 | Added on Sunday, May 05, 2013, 07:59 PM
el orator debe ser consciente del engaño como estrategia, como simulación que
finalmente posibilita la persuasión del oyente hacia lo que él estima adecuado de
ser elegido.
==========
Los+Sofistas+Covarrubias
- Note Loc. 296 | Added on Sunday, May 05, 2013, 08:01 PM
quintiliano y ciceron
==========
Los+Sofistas+Covarrubias
- Highlight Loc. 300-301 | Added on Sunday, May 05, 2013, 08:10 PM
Esta bondad, sin embargo, exige en ciertos casos que el rétor aplique todos sus
conocimientos en el ocultamiento de la verdad, precisamente para cautelar la misma
bondad de su opinión sobre las cosas.
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 16-17 | Added on Wednesday, May 08, 2013, 01:38 PM
Cada enunciado separado es, por supuesto, individual, pero cada esfera del uso de
la lengua elabora sus tipos relativamente estables de enunciados, a los que
denominamos géneros discursivos.
==========
El problema de los géneros discursivos (Bajtín)
- Note Loc. 17 | Added on Wednesday, May 08, 2013, 01:39 PM
generos discursivos
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 28-31 | Added on Wednesday, May 08, 2013, 01:40 PM
Podría parecer que la diversidad de los géneros discursivos es tan grande que no
hay ni puede haber un solo enfoque para su estudio, porque desde un mismo ángulo se
estudiarían fenómenos tan heterogéneos como las réplicas cotidianas constituidas
por una sola palabra, una novela en muchos tomos, elaborada artísticamente, una
orden militar, estandarizada y obligatoria hasta por su entonación, o bien una obra
lírica, profundamente individualizada.
==========
El problema de los géneros discursivos (Bajtín)
- Note Loc. 31 | Added on Wednesday, May 08, 2013, 01:41 PM
problmas de la linguistica
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 89-91 | Added on Wednesday, May 08, 2013, 01:50 PM
funcion/ genero
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 118-20 | Added on Wednesday, May 08, 2013, 01:55 PM
Los enunciados y sus tipos, es decir, los géneros discursivos, son correas de
transmisión entre la historia de la sociedad y la historia de la lengua. Ni un solo
fenómeno nuevo (fonético, léxico, de gramática) puede ser incluido en el sistema de
la lengua sin pasar la larga y compleja vía de la prueba de elaboración genérica.
[2]
==========
El problema de los géneros discursivos (Bajtín)
- Note Loc. 135 | Added on Wednesday, May 08, 2013, 01:57 PM
estilo/ genero
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 175-78 | Added on Wednesday, May 08, 2013, 03:47 PM
humboldt
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 193-95 | Added on Wednesday, May 08, 2013, 03:49 PM
escuela de vossler
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 211-13 | Added on Wednesday, May 08, 2013, 03:51 PM
Una comprensión pasiva del discurso percibido es tan sólo un momento abstracto de
la comprensión total y activa que implica una respuesta, y se actualiza en la
consiguiente respuesta en voz alta.
==========
El problema de los géneros discursivos (Bajtín)
- Note Loc. 213 | Added on Wednesday, May 08, 2013, 03:52 PM
hablante
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 228 | Added on Wednesday, May 08, 2013, 03:55 PM
oracion gramatical
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 350-54 | Added on Wednesday, May 08, 2013, 04:15 PM
Así, pues, el cambio de los sujetos discursivos que enmarca al enunciado y que crea
su masa firme y estrictamente determinada en relación con otros enunciados
vinculados a él, es su primer rasgo constitutivo como unidad de la comunicación
discursiva que lo distingue de las unidades de la lengua.
==========
El problema de los géneros discursivos (Bajtín)
- Note Loc. 380 | Added on Wednesday, May 08, 2013, 04:42 PM
El carácter concluso del enunciado representa una cara interna del cambio de los
sujetos discursivos; tal cambio se da tan sólo por el hecho de que el hablante dijo
(o escribió) todo lo que en un momento dado y en condiciones determinadas quiso
decir.
==========
El problema de los géneros discursivos (Bajtín)
- Note Loc. 385 | Added on Wednesday, May 08, 2013, 04:43 PM
respuesta
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 399-402 | Added on Wednesday, May 08, 2013, 04:46 PM
tres momentos
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 414-17 | Added on Wednesday, May 08, 2013, 04:49 PM
intencion
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 426-27 | Added on Wednesday, May 08, 2013, 05:00 PM
La voluntad discursiva del hablante se realiza ante todo en la elección de un
género discursivo determinado.
==========
El problema de los géneros discursivos (Bajtín)
- Note Loc. 428 | Added on Wednesday, May 08, 2013, 05:01 PM
eleccion de genero
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 454-56 | Added on Wednesday, May 08, 2013, 05:05 PM
Toda una serie de los géneros más comunes en la vida cotidiana es tan estandarizada
que la voluntad discursiva individual del hablante se manifiesta únicamente en la
selección de un determinado género y en la entonación expresiva.
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 462-63 | Added on Wednesday, May 08, 2013, 05:06 PM
Cuanto mejor dominamos los géneros discursivos, tanto más libremente los
aprovechamos, tanto mayor es la plenitud y claridad de nuestra personalidad que se
refleja en este uso
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 559-65 | Added on Wednesday, May 08, 2013, 09:23 PM
oracion aislada
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 574-75 | Added on Wednesday, May 08, 2013, 09:25 PM
enunciado
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 579-81 | Added on Wednesday, May 08, 2013, 09:26 PM
tal referencia, es decir, una valoración real, puede ser realizada sólo por el
hablante en un enunciado concreto. Las palabras son de nadie, y por sí mismas no
evalúan nada, pero pueden servir a cualquier hablante y para diferentes e incluso
contrarias valoraciones.
==========
El problema de los géneros discursivos (Bajtín)
- Note Loc. 596 | Added on Wednesday, May 08, 2013, 09:28 PM
entonacion
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 630-32 | Added on Wednesday, May 08, 2013, 10:03 PM
significado/ expresion
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 651-52 | Added on Wednesday, May 08, 2013, 10:10 PM
especificacion generica
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 653-55 | Added on Wednesday, May 08, 2013, 10:14 PM
def genero
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 674-77 | Added on Wednesday, May 08, 2013, 10:17 PM
como palabra neutra de la lengua, que no pertenece a nadie; como palabra ajena,
llena de ecos de los enunciados de otros, que pertenece a otras personas; y,
finalmente, como mi palabra, porque, puesto que yo la uso en una situación
determinada y con una intención discursiva determinada, la palabra está
compenetrada de mi expresividad.
==========
El problema de los géneros discursivos (Bajtín)
- Note Loc. 677 | Added on Wednesday, May 08, 2013, 10:17 PM
enunciado destinado
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 868-69 | Added on Wednesday, May 08, 2013, 11:22 PM
discurso intimo
==========
El problema de los géneros discursivos (Bajtín)
- Highlight Loc. 882-83 | Added on Wednesday, May 08, 2013, 11:39 PM
estilos meutrales
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 67-68 | Added on Thursday, May 09, 2013, 08:59 AM
pregunta de investigacion
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 129-32 | Added on Thursday, May 09, 2013, 09:36 AM
Específicamente en Austria, el mito era parte de una narrativa más extensa, que le
permitía a Austria y a los austríacos negar la culpa y participación en cualquiera
de los crímenes bajo el sistema NS.
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Note Loc. 137 | Added on Thursday, May 09, 2013, 09:37 AM
austriacos
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 152-54 | Added on Thursday, May 09, 2013, 09:39 AM
discurso austriaco
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 157-60 | Added on Thursday, May 09, 2013, 09:42 AM
tres generaciones
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 175-77 | Added on Thursday, May 09, 2013, 09:44 AM
El hecho de que no logremos recordar por nuestros propios medios sino que
utilicemos la memoria de otros y de que crezcamos rodeados de fenómenos y gestos,
oraciones e imágenes, arquitectura y paisajes, llenos de pasados extraños que
precedieron al sujeto le permitieron a Halbwachs afirmar que la existencia de una
“memoria colectiva”:
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Note Loc. 177 | Added on Thursday, May 09, 2013, 09:44 AM
memoria colectiva
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 195-97 | Added on Thursday, May 09, 2013, 09:47 AM
nrrativas distintas
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 201-3 | Added on Thursday, May 09, 2013, 09:48 AM
espacio publico
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 213-15 | Added on Thursday, May 09, 2013, 09:52 AM
surge un discurso casi uniforme, independiente del contexto, en el que a todos los
participantes no se les puede agrupar en una gran “categoría de víctimas” y en el
que el soldado de la Wehrmacht y un civil alemán/austríaco se convierte en EL
prototipo de víctima
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Note Loc. 215 | Added on Thursday, May 09, 2013, 09:52 AM
recontextualizacion
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 242-43 | Added on Thursday, May 09, 2013, 09:58 AM
diferentes generaciones
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 252-57 | Added on Thursday, May 09, 2013, 09:59 AM
a. ¿Cuáles son los topoi macro y micro y las estrategias utilizadas de las
entrevistas? b. ¿Qué topoi son iguales, cuáles son distintos para las distintas
generaciones? ¿Cómo se recontextualizan?
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Note Loc. 256 | Added on Thursday, May 09, 2013, 09:59 AM
4 niveles de estudio
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 303-4 | Added on Friday, May 10, 2013, 12:31 AM
metodos de analisis
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 304-8 | Added on Friday, May 10, 2013, 12:32 AM
1. Relativización:
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Note Loc. 352 | Added on Friday, May 10, 2013, 01:37 PM
relativizacion
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 354-56 | Added on Friday, May 10, 2013, 01:38 PM
2. Mediante dos estrategias se busca dar una explicación (seudo) racional causal
de los crímenes de guerra.
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Note Loc. 356 | Added on Friday, May 10, 2013, 01:38 PM
La estrategia (5) es una negación total de que los crímenes de guerra ocurrieron.
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Note Loc. 370 | Added on Friday, May 10, 2013, 01:41 PM
negacion total
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 445-46 | Added on Friday, May 10, 2013, 01:49 PM
tres generaciones
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 474-76 | Added on Friday, May 10, 2013, 01:52 PM
diferencia m1 con m2 y m3
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 478-80 | Added on Friday, May 10, 2013, 01:53 PM
En las otras dos entrevistas, la exposición es, de por sí, un tema importante.
Aunque éstas polemizan respecto de la exposición, el oficial parece verla como una
afirmación sobre “su” pasado y, de hecho, éste hace una afirmación sobre ese pasado
para contrarrestarla.
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Note Loc. 480 | Added on Friday, May 10, 2013, 01:54 PM
exposicion explicita en m2 y m3
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 488-91 | Added on Friday, May 10, 2013, 01:55 PM
entrevista m2
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Highlight Loc. 495-97 | Added on Friday, May 10, 2013, 01:56 PM
1. “Nunca vi nada”
==========
La historia en construcción/ La construcción de la historia. (Wodak)
- Note Loc. 503 | Added on Friday, May 10, 2013, 02:01 PM
primer topoi
==========
1 Getting going with genre
- Highlight Loc. 19-20 | Added on Friday, May 10, 2013, 03:26 PM
Functional linguists working in the school would have christened it an
observation/comment text,
==========
1 Getting going with genre
- Note Loc. 20 | Added on Friday, May 10, 2013, 03:27 PM
first text
==========
1 Getting going with genre
- Highlight Loc. 31-32 | Added on Friday, May 10, 2013, 03:30 PM
The linguists involved called this kind of text ? recount, and noticed that it
became more common as the literacy pedagogy known in Australia as process
writingbccame popular in schools in the eariy eighties.2
==========
1 Getting going with genre
- Note Loc. 32 | Added on Friday, May 10, 2013, 03:30 PM
For example, ihe distinction we drew between observation/comments and recounts was
based on the presence or absence of an unfolding sequence of events; and the
distinction between reports and descriptions was based on whether the facts
presented were generic or specific.
==========
1 Getting going with genre
- Note Loc. 134 | Added on Friday, May 10, 2013, 04:48 PM
genre definition
==========
1 Getting going with genre
- Highlight Loc. 142-45 | Added on Friday, May 10, 2013, 04:58 PM
In functional linguistics terms what this means is that genres are defined as a
recurrent configuration of meanings and that these recurrent configurations of
meaning enact the social practices of a given culture. This means we have to think
about more than individual genres; we need to consider how they relate to one
another.
==========
1 Getting going with genre
- Note Loc. 145 | Added on Friday, May 10, 2013, 04:58 PM
genre en la lsf
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Highlight Loc. 19-21 | Added on Saturday, May 11, 2013, 02:32 PM
it was only during the 19th century and above all in the 20th, at the time of
Petain or of the Mirguet amendment (1960) (2), that legislation on sexuality
increasingly became oppressive.
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Note Loc. 21 | Added on Saturday, May 11, 2013, 02:33 PM
legislacion opresiva
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Highlight Loc. 31-32 | Added on Saturday, May 11, 2013, 02:35 PM
And this movement, observable in police and legal practice, is unfortunately very
often supported by press campaigns, or by a system of information carried out in
the press.
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Note Loc. 32 | Added on Saturday, May 11, 2013, 02:35 PM
prensa
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Highlight Loc. 56-59 | Added on Saturday, May 11, 2013, 02:42 PM
in 1976, in Nantes, a teacher was tried for inciting minors to immoral acts, when
in fact what he had done was to supply contaceptives to the boys and girls in his
charge.
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Highlight Loc. 96-98 | Added on Saturday, May 11, 2013, 02:56 PM
Hence there is a legislation that appeals to this notion of a vulnerable
population, a "high-risk population,"as they say, and to a whole body of
psychiatric and psychological knowledge imbibed from psychoanalysis - it doesn't
really matter whether the psychoanalysis is good or bad - and this will give the
psychiatrists the right to intervene twice.
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Note Loc. 98 | Added on Saturday, May 11, 2013, 02:56 PM
The psychiatrist is the one who will be able to say: I can predict that a trauma of
this importance will occured as a result of this or that type of sexual relation.
It is therefore within the new legislative framework - basically intended to
protect certain vulnerable sections of the population with the establishment of a
new medical power - that a conception of sexuality and above all of the relations
between child and adult sexuality will be based; and it is one that is extremely
questionable.
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Note Loc. 111 | Added on Saturday, May 11, 2013, 03:00 PM
There exists then a particular category of the pervert, in the strict sense, of
monsters whose aim in life is to practice sex with children. Indeed they become
perverts and intolerable monsters since the crime as such is recognized and
constituted, and now strengthened by the whole psychoanalytical and sociological
arsenal. What we are doing is constructing an entirely new type of criminal, a
criminal so inconceivably horrible that his crime goes beyond any explanation, any
victim.
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Note Loc. 121 | Added on Saturday, May 11, 2013, 03:08 PM
This is the moral madman, Lombroso's born criminal. Indeed this idea that
legislation, the legal system, the penal system, even medicine must concern
themselves essentially with dangers, with dangerous individuals rather than acts,
dates more or less from Lombroso and so it is not at all surprising if one finds
Lombroso's ideas comming back into fashion. Society has to defend itself against
dangerous individuals. There are dangerous individuals by nature, by heredity, by
genetic code, etc.
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Note Loc. 207 | Added on Saturday, May 11, 2013, 03:47 PM
danger
==========
THE DANGER OF CHILD SEXUALITY (Michel Foucault)
- Highlight Loc. 238-39 | Added on Saturday, May 11, 2013, 03:56 PM
And to assume that a child is incapable of explaining what happened and was
incapable of giving his consent are two abuses that are intolerable, quite
unacceptable.
==========
Homosexualidad y pederastia en la institución religiosa (Lucero Chacón Suárez)
- Highlight Loc. 31-32 | Added on Saturday, May 11, 2013, 05:28 PM
La primera idea es que los sujetos con tendencias homosexuales que optan por
ingresar al sacerdocio de la iglesia lo hacen para disfrazar sus preferencias, para
no dar una gran vergüenza a sus padres, para no salir del clóset, para no echarse
encima a toda la comunidad o, simplemente, para enmascarar una psicosis.
==========
Homosexualidad y pederastia en la institución religiosa (Lucero Chacón Suárez)
- Note Loc. 44 | Added on Saturday, May 11, 2013, 05:29 PM
sujeto homosexual
==========
Homosexualidad y pederastia en la institución religiosa (Lucero Chacón Suárez)
- Highlight Loc. 71-73 | Added on Saturday, May 11, 2013, 05:37 PM
main idea
==========
Homosexualidad y pederastia en la institución religiosa (Lucero Chacón Suárez)
- Highlight Loc. 110-12 | Added on Saturday, May 11, 2013, 05:43 PM
enmascaramiento de la homosexualidad
==========
Homosexualidad y pederastia en la institución religiosa (Lucero Chacón Suárez)
- Highlight Loc. 120-23 | Added on Saturday, May 11, 2013, 05:44 PM
platon
==========
Homosexualidad y pederastia en la institución religiosa (Lucero Chacón Suárez)
- Highlight Loc. 164-66 | Added on Saturday, May 11, 2013, 05:48 PM
l represion se reproduce
==========
Homosexualidad y pederastia en la institución religiosa (Lucero Chacón Suárez)
- Highlight Loc. 166-69 | Added on Saturday, May 11, 2013, 05:58 PM
influencias de teorias
==========
1 Getting going with genre
- Highlight Loc. 240-41 | Added on Monday, May 13, 2013, 01:24 AM
contexto halliday
==========
1 Getting going with genre
- Highlight Loc. 243-45 | Added on Monday, May 13, 2013, 01:25 AM
Field refers to what is happening, to the nature of the social action that is
taking place; what it is that the participants are engaged in, in which language
figures as some essential component.
==========
1 Getting going with genre
- Note Loc. 276 | Added on Monday, May 13, 2013, 02:00 PM
campo
==========
1 Getting going with genre
- Highlight Loc. 277-83 | Added on Monday, May 13, 2013, 02:01 PM
Tenor refers to who is taking part, to the nature of the participants, their
statuses and roles: what kinds of role relationship obtain, including permanent and
temporary relationships of one kind or another, both the types of speech roles they
are taking on in the dialogue and the whole cluster of socially significant
relationships in which they are involved,
==========
1 Getting going with genre
- Note Loc. 283 | Added on Monday, May 13, 2013, 02:01 PM
tenor
==========
1 Getting going with genre
- Highlight Loc. 285-87 | Added on Monday, May 13, 2013, 02:01 PM
Mode refers to what part language is playing, what it is that the participants arc
expecting language to do for them in the situation: the symbolic organisation of
the text, the status that it has, and its function in the context (Halliday
1985:12).
==========
1 Getting going with genre
- Note Loc. 287 | Added on Monday, May 13, 2013, 02:01 PM
modo
==========
1 Getting going with genre
- Highlight Loc. 293-94 | Added on Monday, May 13, 2013, 02:05 PM
Status is equal or unequal and if unequal, is concerned with who dominates and who
defers (the vertical dimension of tenor). Solidarity is concerned with social
distance - close or distant depending on the amount and kinds of contact people
have with one another, and with the emotional charge of these relations (the
horizontal dimension of tenor).
==========
1 Getting going with genre
- Note Loc. 331 | Added on Monday, May 13, 2013, 02:08 PM
campo
==========
1 Getting going with genre
- Highlight Loc. 378-80 | Added on Monday, May 13, 2013, 04:23 PM
Mode deals with the channelling of communication, and thus with the texture of
information flow as we move from one modality of communication to another (speech,
writing, phone, SMS messages, e-mail, chat rooms, web pages, letters, radio, CD,
television, film, video, DVD etc.).
==========
1 Getting going with genre
- Note Loc. 380 | Added on Monday, May 13, 2013, 04:23 PM
modo
==========
1 Getting going with genre
- Highlight Loc. 382-85 | Added on Monday, May 13, 2013, 04:25 PM
In some contexts language may have a small role to play since attendant modalities
are heavily mediating what is going on (e,g. image, music, spatial design, action).
In other contexts language may be by and large what is going on, sometimes to the
point where its abstract phrasing is considerably removed from sensuous experience
we might expect to touch, taste, feel, hear or see.
==========
1 Getting going with genre
- Note Loc. 385 | Added on Monday, May 13, 2013, 04:25 PM
genero
==========
1 Getting going with genre
- Highlight Loc. 423-24 | Added on Monday, May 13, 2013, 05:26 PM
connotacion/ denotacion
==========
1 Getting going with genre
- Highlight Loc. 436-37 | Added on Monday, May 13, 2013, 05:28 PM
That is to say, cultures seem to involve a large but potentially definable set of
genres, that are recognisable to members of a culture, rather than an unpredictable
jungle of social situations.
==========
1 Getting going with genre
- Note Loc. 437 | Added on Monday, May 13, 2013, 05:28 PM
genero en la cultura
==========
1 Getting going with genre
- Highlight Loc. 439-42 | Added on Monday, May 13, 2013, 05:29 PM
The potential emerging from this model, for mapping cultures from a semiotic
perspective as systems of genres, together with variations in tenor, field and
mode, also resonated with Bernsteins (1971, 1977, 1990, 1996) theory of socio-
semantic codes.
==========
1 Getting going with genre
- Note Loc. 442 | Added on Monday, May 13, 2013, 05:29 PM
generos primarios
==========
1 Getting going with genre
- Bookmark Loc. 467 | Added on Monday, May 13, 2013, 05:35 PM
==========
1 Getting going with genre
- Highlight Loc. 466-67 | Added on Monday, May 13, 2013, 05:35 PM
ideologia
==========
1 Getting going with genre
- Highlight Loc. 472-77 | Added on Monday, May 13, 2013, 05:37 PM
factores de acceso
==========
1 Getting going with genre
- Highlight Loc. 477-80 | Added on Monday, May 13, 2013, 05:38 PM
teoria lsf
==========
1 Getting going with genre
- Bookmark Loc. 534 | Added on Tuesday, May 14, 2013, 12:25 AM
==========
1 Getting going with genre
- Highlight Loc. 549-50 | Added on Tuesday, May 14, 2013, 08:28 AM
SFL is called systemic because compared with other theories it foregrounds the
organisation of language as options for meaning.
==========
1 Getting going with genre
- Note Loc. 552 | Added on Tuesday, May 14, 2013, 08:32 AM
I stared at him and then at Tom, who had made a parallel discovery less than an
hour before — and it occurred to me that there was no difference between men, in
intelligence or race, so profound as the difference between the sick and the well.
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 2016 | Added on Wednesday, May 15, 2013, 06:08 PM
clutching
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Note Loc. 2027 | Added on Wednesday, May 15, 2013, 06:11 PM
scarcely
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 2348 | Added on Thursday, May 16, 2013, 12:44 PM
drizzle.
==========
The Great Gatsby (Francis Scott Fitzgerald)
- Highlight Loc. 2400-2401 | Added on Thursday, May 16, 2013, 12:53 PM
I see now that this has been a story of the West, after all — Tom and Gatsby, Daisy
and Jordan and I, were all Westerners, and perhaps we possessed some deficiency in
common which made us subtly unadaptable to Eastern life.
==========
Peter Pan (J. M. Barrie)
- Highlight Loc. 88-90 | Added on Friday, May 24, 2013, 05:01 PM
for the Neverland is always more or less an island, with astonishing splashes of
colour here and there, and coral reefs and rakish-looking craft in the offing, and
savages and lonely lairs, and gnomes who are mostly tailors, and caves through
which a river runs, and princes with six elder brothers, and a hut fast going to
decay, and one very small old lady with a hooked nose.
==========
Peter Pan (J. M. Barrie)
- Note Loc. 90 | Added on Friday, May 24, 2013, 05:01 PM
neverland
==========
Peter Pan (J. M. Barrie)
- Highlight Loc. 104 | Added on Friday, May 24, 2013, 05:05 PM
cocky
==========
Peter Pan (J. M. Barrie)
- Highlight Loc. 118-19 | Added on Saturday, May 25, 2013, 06:21 PM
She explained in quite a matter-of-fact way that she thought Peter sometimes came
to the nursery in the night and sat on the foot of her bed and played on his pipes
to her.
==========
Peter Pan (J. M. Barrie)
- Highlight Loc. 136-37 | Added on Saturday, May 25, 2013, 06:25 PM
He did not alarm her, for she thought she had seen him before in the faces of many
women who have no children.
==========
Peter Pan (J. M. Barrie)
- Note Loc. 137 | Added on Saturday, May 25, 2013, 06:25 PM
peter pan
==========
Peter Pan (J. M. Barrie)
- Highlight Loc. 142-44 | Added on Saturday, May 25, 2013, 06:27 PM
He was a lovely boy, clad in skeleton leaves and the juices that ooze out of trees
but the most entrancing thing about him was that he had all his first teeth. When
he saw she was a grown-up, he gnashed the little pearls at her.
==========
Peter Pan (J. M. Barrie)
- Note Loc. 144 | Added on Saturday, May 25, 2013, 06:28 PM
peter description
==========
Ghio 1 (Unknown)
- Highlight on Page 3 | Loc. 43-44 | Added on Sunday, May 26, 2013, 04:55 PM
1. Gramática y significado
==========
Ghio 1 (Unknown)
- Note on Page 3 | Loc. 44 | Added on Sunday, May 26, 2013, 04:55 PM
1 gramatica y significado
==========
Ghio 1 (Unknown)
- Highlight on Page 5 | Loc. 74-76 | Added on Sunday, May 26, 2013, 04:56 PM
Una gramática funcional tiene una orientación más sociológica. Le preocupa com-
prender el modo en que el uso del lenguaje, con diferentes propósitos y en
diferentes situaciones, ha configurado su estructura.
==========
Ghio 1 (Unknown)
- Note on Page 7 | Loc. 100 | Added on Sunday, May 26, 2013, 05:01 PM
gramatica funcional
==========
Ghio 1 (Unknown)
- Bookmark on Page 7 | Loc. 106 | Added on Sunday, May 26, 2013, 05:01 PM
==========
Ghio 1 (Unknown)
- Highlight on Page 8 | Loc. 121-33 | Added on Sunday, May 26, 2013, 05:02 PM
gramatica funcional
==========
Ghio 1 (Unknown)
- Highlight on Page 9 | Loc. 137-38 | Added on Sunday, May 26, 2013, 05:04 PM
realización.
==========
Ghio 1 (Unknown)
- Note on Page 10 | Loc. 149 | Added on Sunday, May 26, 2013, 05:05 PM
realizacion
==========
Ghio 1 (Unknown)
- Highlight on Page 11 | Loc. 165-66 | Added on Sunday, May 26, 2013, 05:07 PM
ejemplo de opciones
==========
Ghio 1 (Unknown)
- Highlight on Page 20 | Loc. 306-7 | Added on Monday, May 27, 2013, 01:04 AM
5. La concepción de la léxico-gramática
==========
Ghio 1 (Unknown)
- Note on Page 22 | Loc. 325 | Added on Monday, May 27, 2013, 01:31 AM
5 concepcion de la lexico-gramatica
==========
Ghio 1 (Unknown)
- Highlight on Page 22 | Loc. 329-35 | Added on Monday, May 27, 2013, 01:33 AM
• grammar: el fenómeno objeto de estudio (como la gramática del inglés, del es-
pañol, etc), • grarnmatics: la/s teoría/s gramaticales que lo conceptualizan (como
la gramática tradicional, la gramática generativa o la gramática sistèmico
funcional).
==========
Ghio 1 (Unknown)
- Note on Page 22 | Loc. 335 | Added on Monday, May 27, 2013, 01:33 AM
• Clases de palabras:
==========
Ghio 1 (Unknown)
- Note on Page 35 | Loc. 529 | Added on Monday, May 27, 2013, 01:46 AM
clases de palabras
==========
Ghio 1 (Unknown)
- Highlight on Page 62 | Loc. 947-48 | Added on Monday, May 27, 2013, 01:52 AM
6.2.2. Por encima de la cláusula: el complejo de cláusulas (la oración)
==========
Ghio 1 (Unknown)
- Note on Page 62 | Loc. 948 | Added on Monday, May 27, 2013, 01:52 AM
oracion
==========
Ghio 1 (Unknown)
- Highlight on Page 63 | Loc. 965-75 | Added on Monday, May 27, 2013, 01:55 AM
Existen dos sistemas que constituyen el marco funcional para describir el complejo
de cláusula: 1) el sistema táctico o de interdependencia (parataxis, representada
por el empleo de números arábigos (1, 2, 3); hipotaxis, representada por el empleo
de letras griegas (a, p, y) que es común a todos los tipos de complejos, 2) el
sistema lógico-semántico (expansión y proyección) que es especifico de la relación
entre cláusulas.
==========
Ghio 1 (Unknown)
- Note on Page 64 | Loc. 975 | Added on Monday, May 27, 2013, 01:55 AM
a. sistema de interdependencia
==========
Ghio 1 (Unknown)
- Highlight on Page 70 | Loc. 1063-64 | Added on Monday, May 27, 2013, 01:57 AM
(a.1) Parataxis:
==========
Ghio 1 (Unknown)
- Note on Page 70 | Loc. 1064 | Added on Monday, May 27, 2013, 01:57 AM
a.1 parataxis
==========
Ghio 1 (Unknown)
- Highlight on Page 71 | Loc. 1077-79 | Added on Monday, May 27, 2013, 01:58 AM
(a.2) Hipotaxis,
==========
Ghio 1 (Unknown)
- Note on Page 71 | Loc. 1079 | Added on Monday, May 27, 2013, 01:58 AM
a.2 hipotaxis
==========
Ghio 1 (Unknown)
- Highlight on Page 72 | Loc. 1093-95 | Added on Monday, May 27, 2013, 01:59 AM
a.3 incrustacion
==========
Ghio 1 (Unknown)
- Highlight on Page 78 | Loc. 1181-82 | Added on Monday, May 27, 2013, 02:02 AM
b. sistema logico-semantico
==========
Ghio 1 (Unknown)
- Highlight on Page 78 | Loc. 1183-84 | Added on Monday, May 27, 2013, 02:02 AM
(b.1) Expansión:
==========
Ghio 1 (Unknown)
- Note on Page 78 | Loc. 1184 | Added on Monday, May 27, 2013, 02:02 AM
b.1 expansion
==========
Ghio 1 (Unknown)
- Highlight on Page 78 | Loc. 1195-97 | Added on Monday, May 27, 2013, 02:03 AM
a. Elaboración:
==========
Ghio 1 (Unknown)
- Note on Page 79 | Loc. 1197 | Added on Monday, May 27, 2013, 02:03 AM
b. Extensión:
==========
Ghio 1 (Unknown)
- Note on Page 79 | Loc. 1206 | Added on Monday, May 27, 2013, 02:04 AM
c. Realce:
==========
Ghio 1 (Unknown)
- Note on Page 82 | Loc. 1256 | Added on Monday, May 27, 2013, 02:08 AM
otras expansiones
==========
Ghio 1 (Unknown)
- Highlight on Page 85 | Loc. 1302-3 | Added on Monday, May 27, 2013, 02:09 AM
clausulas no finitas
==========
Ghio 1 (Unknown)
- Highlight on Page 87 | Loc. 1333 | Added on Monday, May 27, 2013, 02:14 AM
(b.2) Proyección:
==========
Ghio 1 (Unknown)
- Note on Page 87 | Loc. 1333 | Added on Monday, May 27, 2013, 02:14 AM
b.2 proyeccion
==========
Ghio 1 (Unknown)
- Highlight on Page 88 | Loc. 1346-61 | Added on Monday, May 27, 2013, 02:15 AM
• Citas ("El examen se postergó’ di/o ella) estilo directo, proceso verbal,
parataxis. • Informes (Ella creía que el examen se había postergado) estilo
indirecto, proceso mental, hipotaxis. • Hechos (Que el examen se había
postergado era obvio) en este caso hay una proyección, pero no hay un proceso de
decir o de pensar; se presenta como un hecho, incrustación.
==========
Ghio 1 (Unknown)
- Note on Page 89 | Loc. 1361 | Added on Monday, May 27, 2013, 02:16 AM
c. elaboracion y parataxis
==========
Ghio 1 (Unknown)
- Highlight on Page 95 | Loc. 1444-45 | Added on Monday, May 27, 2013, 02:19 AM
• Aposición:
==========
Ghio 1 (Unknown)
- Note on Page 95 | Loc. 1445 | Added on Monday, May 27, 2013, 02:19 AM
aposicion
==========
Ghio 1 (Unknown)
- Highlight on Page 96 | Loc. 1460-61 | Added on Monday, May 27, 2013, 02:20 AM
• Ejemplificación:
==========
Ghio 1 (Unknown)
- Note on Page 96 | Loc. 1461 | Added on Monday, May 27, 2013, 02:20 AM
ejemplificacion
==========
Ghio 1 (Unknown)
- Highlight on Page 97 | Loc. 1475-77 | Added on Monday, May 27, 2013, 02:20 AM
• Clarificación:
==========
Ghio 1 (Unknown)
- Note on Page 97 | Loc. 1477 | Added on Monday, May 27, 2013, 02:21 AM
clarificacion
==========
Ghio 1 (Unknown)
- Highlight on Page 98 | Loc. 1498 | Added on Monday, May 27, 2013, 02:21 AM
• Sistema de (ransitividad
==========
Ghio2 (Unknown)
- Note on Page 5 | Loc. 71 | Added on Monday, May 27, 2013, 08:39 PM
sistema de transitividad
==========
Ghio2 (Unknown)
- Highlight on Page 6 | Loc. 91-92 | Added on Monday, May 27, 2013, 08:41 PM
• Sistema de modo
==========
Ghio2 (Unknown)
- Note on Page 6 | Loc. 92 | Added on Monday, May 27, 2013, 08:42 PM
sistema de modo
==========
Ghio2 (Unknown)
- Highlight on Page 7 | Loc. 98-102 | Added on Monday, May 27, 2013, 08:42 PM
sistema tematico
==========
Ghio2 (Unknown)
- Bookmark on Page 9 | Loc. 128 | Added on Monday, May 27, 2013, 08:43 PM
==========
Ghio2 (Unknown)
- Highlight on Page 9 | Loc. 128-30 | Added on Monday, May 27, 2013, 08:44 PM
el sistema de transitividad
==========
Ghio2 (Unknown)
- Highlight on Page 9 | Loc. 131-32 | Added on Monday, May 27, 2013, 08:44 PM
2.2 clausula
==========
Ghio2 (Unknown)
- Highlight on Page 11 | Loc. 156-57 | Added on Monday, May 27, 2013, 08:48 PM
Estos tres tipos constituyen los procesos básicos o principales del sistema de
tran- sitivídad de una lengua.
==========
Ghio2 (Unknown)
- Note on Page 15 | Loc. 226 | Added on Monday, May 27, 2013, 08:54 PM
4) procesos de comportamiento:
==========
Ghio2 (Unknown)
- Note on Page 16 | Loc. 231 | Added on Monday, May 27, 2013, 08:55 PM
5) procesos verbales:
==========
Ghio2 (Unknown)
- Note on Page 16 | Loc. 237 | Added on Monday, May 27, 2013, 08:55 PM
6) procesos existenciales:
==========
Ghio2 (Unknown)
- Note on Page 16 | Loc. 240 | Added on Monday, May 27, 2013, 08:56 PM
procesos intermedios
==========
Ghio2 (Unknown)
- Note on Page 16 | Loc. 240 | Added on Monday, May 27, 2013, 08:56 PM
1) Sujeto psicológico:
==========
Ghio2 (Unknown)
- Note on Page 23 | Loc. 346 | Added on Monday, May 27, 2013, 09:03 PM
1. sujeto psicologico
==========
Ghio2 (Unknown)
- Highlight on Page 23 | Loc. 348-49 | Added on Monday, May 27, 2013, 09:03 PM
2) Sujeto gramatical:
==========
Ghio2 (Unknown)
- Note on Page 23 | Loc. 349 | Added on Monday, May 27, 2013, 09:03 PM
2. sujeto gramatical
==========
Ghio2 (Unknown)
- Highlight on Page 24 | Loc. 355-56 | Added on Monday, May 27, 2013, 09:04 PM
3) Sujeto lógico:
==========
Ghio2 (Unknown)
- Note on Page 24 | Loc. 356 | Added on Monday, May 27, 2013, 09:04 PM
3. sujeto logico
==========
Ghio2 (Unknown)
- Highlight on Page 27 | Loc. 402-8 | Added on Monday, May 27, 2013, 09:07 PM
1) intensivo: X es A
==========
Ghio2 (Unknown)
- Note on Page 48 | Loc. 726 | Added on Monday, May 27, 2013, 09:40 PM
1. intensivo
==========
Ghio2 (Unknown)
- Highlight on Page 48 | Loc. 731-32 | Added on Monday, May 27, 2013, 09:40 PM
2) circunstancial:
==========
Ghio2 (Unknown)
- Note on Page 48 | Loc. 732 | Added on Monday, May 27, 2013, 09:40 PM
2. circunstancial
==========
Ghio2 (Unknown)
- Highlight on Page 49 | Loc. 739-40 | Added on Monday, May 27, 2013, 09:41 PM
3) posesivo:
==========
Ghio2 (Unknown)
- Note on Page 49 | Loc. 740 | Added on Monday, May 27, 2013, 09:41 PM
3. posesivo
==========
Ghio2 (Unknown)
- Highlight on Page 49 | Loc. 745-53 | Added on Monday, May 27, 2013, 09:41 PM
participantes asociados
==========
Ghio2 (Unknown)
- Highlight on Page 54 | Loc. 821-22 | Added on Monday, May 27, 2013, 09:45 PM
2.2.5. Cláusulas de procesos
==========
Ghio2 (Unknown)
- Highlight on Page 54 | Loc. 821-22 | Added on Monday, May 27, 2013, 09:45 PM
2.2.5.2
==========
Ghio2 (Unknown)
- Note on Page 59 | Loc. 899 | Added on Monday, May 27, 2013, 09:50 PM
2.2.5.3 clausula de
==========
Ghio2 (Unknown)
- Note on Page 60 | Loc. 919 | Added on Monday, May 27, 2013, 09:51 PM
2.3. La voz
==========
Ghio2 (Unknown)
- Note on Page 66 | Loc. 1004 | Added on Monday, May 27, 2013, 09:55 PM
2.3 la voz
==========
Ghio2 (Unknown)
- Highlight on Page 66 | Loc. 1005-6 | Added on Monday, May 27, 2013, 09:55 PM
==========
Ghio2 (Unknown)
- Highlight on Page 67 | Loc. 1022-32 | Added on Monday, May 27, 2013, 10:16 PM
evento
==========
Ghio2 (Unknown)
- Highlight on Page 70 | Loc. 1065-70 | Added on Monday, May 27, 2013, 10:17 PM
participante: medio
==========
Ghio2 (Unknown)
- Highlight on Page 86 | Loc. 1315-18 | Added on Monday, May 27, 2013, 10:32 PM
agente
==========
Ghio2 (Unknown)
- Highlight on Page 90 | Loc. 1373-87 | Added on Monday, May 27, 2013, 10:36 PM
El sistema de la voz funciona de esta manera. • Una cláusula sin "agencia" (sin
causa externa) no está ni en voz activa ni pasiva, sino en voz media. • Una
cláusula con "agencia" (con causa externa) está en voz electiva (no media). • La
cláusula electiva puede ser operativa o receptiva En una cláusula operativa el
sujeto es el agente y el proceso es realizado por un verbo activo. En una cláusula
receptiva el sujeto es el medio y el proceso es realizado por una frase verbal
pasiva.
==========
Ghio2 (Unknown)
- Note on Page 91 | Loc. 1387 | Added on Monday, May 27, 2013, 10:36 PM
sistema de la voz
==========
Ghio2 (Unknown)
- Highlight on Page 94 | Loc. 1436-37 | Added on Monday, May 27, 2013, 10:38 PM
resto de la clausula
==========
Ghio2 (Unknown)
- Highlight on Page 114 | Loc. 1735-36 | Added on Tuesday, May 28, 2013, 08:49 AM
3.5. El predicador
==========
Ghio2 (Unknown)
- Note on Page 116 | Loc. 1771 | Added on Tuesday, May 28, 2013, 08:51 AM
3.5 predicador
==========
Ghio2 (Unknown)
- Highlight on Page 118 | Loc. 1807-9 | Added on Tuesday, May 28, 2013, 08:53 AM
3.6. El complemento
==========
Ghio2 (Unknown)
- Note on Page 118 | Loc. 1809 | Added on Tuesday, May 28, 2013, 08:53 AM
3.6 complemento
==========
Ghio2 (Unknown)
- Highlight on Page 123 | Loc. 1875-77 | Added on Tuesday, May 28, 2013, 08:55 AM
3.7. El adjunto
==========
Ghio2 (Unknown)
- Note on Page 123 | Loc. 1877 | Added on Tuesday, May 28, 2013, 08:55 AM
3.7 el adjunto
==========
Ghio2 (Unknown)
- Highlight on Page 124 | Loc. 1898-99 | Added on Tuesday, May 28, 2013, 08:55 AM
3.8. Otras cuestiones
==========
Ghio2 (Unknown)
- Note on Page 124 | Loc. 1899 | Added on Tuesday, May 28, 2013, 08:56 AM
Halliday distingue dos tipos de modalidad, cada uria de las cuales presenta dos
subtipos: 1) Modalización (proposiciones) a) Probabilidad b) Habitualidad 2)
Modulación (propuestas) a) Obligación b) Disposición b.1) Inclinación b.2)
Habilidad
==========
Ghio2 (Unknown)
- Note on Page 130 | Loc. 1980 | Added on Tuesday, May 28, 2013, 08:59 AM
si el mundo está gobernado por la Providencia, los hombres buenos deben dirigir la
política, y, si las almas tienen un origen divino, debemos aspirar a la virtud,
dejando fuera la esclavitud a la que nos somete el cuerpo
==========
Quintiliano+Revista+Pensamiento++ISI+Andres+Covarrubias
- Note Loc. 29 | Added on Wednesday, June 19, 2013, 11:05 AM
objetivo de quintiliano
==========
Quintiliano+Revista+Pensamiento++ISI+Andres+Covarrubias
- Highlight Loc. 44-46 | Added on Wednesday, June 19, 2013, 11:09 AM
En efecto, Cicerón en De Finibus, III, 20, 68, escribe que Catón entiende que el
compromiso con la vida política viene dictado por las reglas de la naturaleza. Así,
pues, Quintiliano sigue a Cicerón, en el sentido de aprovechar al máximo la
sabiduría estoica.
==========
Quintiliano+Revista+Pensamiento++ISI+Andres+Covarrubias
- Note Loc. 95 | Added on Thursday, June 20, 2013, 08:53 AM
“Y, ciertamente, aquel Dios (Deus), primer Padre de todas las cosas (Parens rerum)
y Artífice del mundo (fabricatorque mundi), por ninguna otra cosa distinguió más al
hombre de los demás vivientes, que fuesen también mortales, que por el don del
lenguaje”.
==========
Quintiliano+Revista+Pensamiento++ISI+Andres+Covarrubias
- Note Loc. 123 | Added on Thursday, June 20, 2013, 08:58 AM
lenguaje
==========
Quintiliano+Revista+Pensamiento++ISI+Andres+Covarrubias
- Highlight Loc. 150-51 | Added on Thursday, June 20, 2013, 09:02 AM
intencion honesta
==========
Quintiliano+Revista+Pensamiento++ISI+Andres+Covarrubias
- Highlight Loc. 157-60 | Added on Thursday, June 20, 2013, 09:03 AM
==========
Quintiliano+Revista+Pensamiento++ISI+Andres+Covarrubias
- Highlight Loc. 180-82 | Added on Thursday, June 20, 2013, 11:30 AM
los oradores del tiempo de quintiliano no se preocupan de mover las pasiones como
se preocupan de educar
==========
Quintiliano+Revista+Pensamiento++ISI+Andres+Covarrubias
- Note Loc. 182 | Added on Thursday, June 20, 2013, 11:33 AM
los oradores del tiempo de quintiliano no se preocupan de mover las pasiones como
se preocupan de educar. ademas, como recalca covarrubias, los estoicos consideraban
que las pasiones desviaban la recta razon, lo que las hace casi contra naturam
==========
Quintiliano+Revista+Pensamiento++ISI+Andres+Covarrubias
- Highlight Loc. 218-19 | Added on Thursday, June 20, 2013, 11:43 AM
defensa de lo honesto
==========
Tendencias epistemologicas (José Padrón)
- Highlight on Page 5 | Loc. 63-64 | Added on Wednesday, June 26, 2013, 11:49 PM
godel
==========
Tendencias epistemologicas (José Padrón)
- Highlight on Page 6 | Loc. 82-85 | Added on Wednesday, June 26, 2013, 11:53 PM
popper y odgens
==========
Tendencias epistemologicas (José Padrón)
- Highlight on Page 6 | Loc. 85-87 | Added on Wednesday, June 26, 2013, 11:54 PM
Odgens había explicado el lenguaje como una estructura relacional entre tres
elementos: el “Referente” (las cosas, el mundo perceptible), el “Pensamiento” (la
idea o representación mental de esas cosas) y el “Símbolo” (las palabras que
expresan ese pensamiento). El primer elemento remite al plano del Objeto, el
segundo al plano del Sujeto y el tercero al plano de las relaciones entre Sujetos.
==========
Tendencias epistemologicas (José Padrón)
- Note on Page 6 | Loc. 87 | Added on Wednesday, June 26, 2013, 11:54 PM
lenguaje en odgens
==========
Tendencias epistemologicas (José Padrón)
- Highlight on Page 6 | Loc. 88-92 | Added on Wednesday, June 26, 2013, 11:55 PM
tres ‘realidades’: el mundo de las cosas objetivas (“mundo 1”, donde está todo lo
que captamos con nuestros sentidos); luego, el mundo de los contenidos subjetivos
(“mundo 2”, que incluye los contenidos de conciencia y de la vida interior del
sujeto); y en tercer lugar, el mundo de las construcciones simbólico-culturales que
trascienden al individuo para colocarse en el dominio de las sociedades (“mundo 3”,
el de las ideas y representaciones colectivas, tal como la lengua, la religión, el
arte, la ciencia, la ley, etc.).
==========
Tendencias epistemologicas (José Padrón)
- Note on Page 6 | Loc. 92 | Added on Wednesday, June 26, 2013, 11:56 PM
==========
Tendencias epistemologicas (José Padrón)
- Highlight on Page 7 | Loc. 103-6 | Added on Wednesday, June 26, 2013, 11:58 PM
cualitativa y cuantitativa.
==========
Tendencias epistemologicas (José Padrón)
- Highlight on Page 9 | Loc. 130 | Added on Thursday, June 27, 2013, 12:03 AM
==========
TEMARIO++DE+TENDENCIAS+EPISTEMOLOGICAS+DE+LA+INVESTIGACION+EN+EL+SIGLO+XXI+TEMARI
- Highlight Loc. 25-26 | Added on Thursday, June 27, 2013, 07:39 PM
empirismo / racionalismo.
==========
TEMARIO++DE+TENDENCIAS+EPISTEMOLOGICAS+DE+LA+INVESTIGACION+EN+EL+SIGLO+XXI+TEMARI
- Highlight Loc. 57 | Added on Thursday, June 27, 2013, 08:40 PM
idealismo / realismo.
==========
TEMARIO++DE+TENDENCIAS+EPISTEMOLOGICAS+DE+LA+INVESTIGACION+EN+EL+SIGLO+XXI+TEMARI
- Highlight Loc. 57-60 | Added on Thursday, June 27, 2013, 08:41 PM
El punto de partida es que todo nuestro conocimiento fáctico depende del modo en
que vemos, oímos, olemos, gustamos y tocamos el mundo exterior. El problema está en
si podemos confiar en los conocimientos generados por estas formas de contactarnos
con el mundo.
==========
TEMARIO++DE+TENDENCIAS+EPISTEMOLOGICAS+DE+LA+INVESTIGACION+EN+EL+SIGLO+XXI+TEMARI
- Highlight Loc. 335-38 | Added on Thursday, June 27, 2013, 11:33 PM
ideation
==========
ideation
- Highlight Loc. 18 | Added on Monday, July 01, 2013, 03:40 PM
ideation
==========
ideation
- Highlight Loc. 102-3 | Added on Monday, July 01, 2013, 03:58 PM
tipos de procesos
==========
ideation
- Highlight Loc. 109 | Added on Monday, July 01, 2013, 03:59 PM
Figures of ‘doing’ represent material actions: what people do, or what happens.
==========
ideation
- Note Loc. 123 | Added on Monday, July 01, 2013, 04:11 PM
But there are processes of sensing that can project. These include processes like
‘seeing’, ‘hearing’, ‘thinking’ and ‘feeling’:
==========
ideation
- Note Loc. 182 | Added on Monday, July 01, 2013, 05:02 PM
His story is, in the end, a story of waste and loss, of the failure of practical
reason to shape a life.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 2 | Loc. 28 | Added on Saturday, August 17, 2013, 05:47 PM
A man who died shot by an arrow will speak of the words of love as arrows, or
bolts, wounding the soul (219b).
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 3 | Loc. 32-33 | Added on Saturday, August 17, 2013, 05:48 PM
All these connections suggest that we need to read the work against the background
of the already legendary stories of the life, trying to recover for ourselves the
Athenian fascination with Alcibiades.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 3 | Loc. 33 | Added on Saturday, August 17, 2013, 05:48 PM
objetivo
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 3 | Loc. 37-44 | Added on Saturday, August 17, 2013, 05:51 PM
We are to love the persons so far, and only insofar, as they are good and
beautiful. Now since all too few human beings are masterworks of excellence, and
not even the best of those we have the chance to love are wholly free of streaks of
the ugly, the mean, the commonplace, the ridiculous, if our love for them is to be
only for their virtue and beauty, the individual, in the uniqueness and integrity
of his or her individuality, will never be the object of our love. This seems to me
the cardinal flaw in Plato’s theory. It does not provide for love of whole persons,
but only for love of that abstract version of persons which consists of the complex
of their best qualities. This is the reason why personal affection ranks so low in
Plato’s scala amoris. . . . The high climactic moment of fulfillment—the peak
achievement for which all lesser loves are to be “used as steps”—is the one
farthest removed from affection for concrete human
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 3 | Loc. 44 | Added on Saturday, August 17, 2013, 05:52 PM
We might want to read the whole of what he has written, and find his meaning
emerging from the arrangement of all its parts.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 4 | Loc. 57 | Added on Saturday, August 17, 2013, 05:56 PM
Its only speech that claims to tell “the truth” is the story of a consuming
passion, both sexual and intellectual, for a particular individual. There is,
indeed, at its heart a speech that challenges or denies these “truths” in the name
of the good.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 5 | Loc. 76-77 | Added on Saturday, August 17, 2013, 07:10 PM
The party took place, in fact, back “when we were boys” (173a5), the day of
Agathon’s first victory at the tragic festival—for us, in the year 416 B.C.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 5 | Loc. 77 | Added on Saturday, August 17, 2013, 07:11 PM
el banquete lugar
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 6 | Loc. 85-86 | Added on Saturday, August 17, 2013, 07:15 PM
To make sense of the “a number of years,” Bury argues, we might as well date it as
late as possible within this range, ergo in the year 400.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 6 | Loc. 86 | Added on Saturday, August 17, 2013, 07:15 PM
year 400
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 6 | Loc. 91-92 | Added on Saturday, August 17, 2013, 07:17 PM
The date 400 thus becomes impossible as a date for Glaucon’s misguided question. No
man of affairs would long have remained unaware of the death of Alcibiades.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 6 | Loc. 92 | Added on Saturday, August 17, 2013, 07:17 PM
In any case, we are surely meant to tie the dialogue very closely to the death, to
think of Alcibiades as dead, or dying, even while he speaks, and to see the
oligarch’s fear of a love that would reunite Alcibiades and Athens as one of the
fears that led to the killing.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 9 | Loc. 134-36 | Added on Saturday, August 17, 2013, 07:36 PM
when, in terms of these events, was the reported banquet, at which speeches are
made about love? Here, even more patently, Plato is precise: January of the year
416.10 Agathon, the victor, was under thirty. Alcibiades was thirty-four. Socrates
was fifty-three.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 10 | Loc. 140-42 | Added on Saturday, August 17, 2013, 07:46
PM
This incident was taken to be the most egregious case of Alcibiades’ lack of
control over his actions, the recklessness and emotional disorder that were seen
constantly to undercut his genius. The dialogue will show us this recklessness, and
show it as the recklessness of a certain sort of lover.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 10 | Loc. 142 | Added on Saturday, August 17, 2013, 07:46 PM
He wants to show us certain connections between belief and behavior, and also how
concrete experiences of a certain sort could tell for or against holding a theory.
To this end either historical or mythical-fictional characters would, of course, be
serviceable. But the historical concreteness of the Symposium permits an economy of
exposition and imagery that would have been difficult to achieve using invented
characters.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 11 | Loc. 154 | Added on Saturday, August 17, 2013, 07:51 PM
characters in symposium
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 11 | Loc. 163-64 | Added on Monday, August 19, 2013, 09:49 AM
These facts suggest that we should study the two speeches together, asking whether
they reveal a shared account of the nature of eros and its value, illuminating both
one another and the Socratic alternative.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 11 | Loc. 164 | Added on Monday, August 19, 2013, 09:49 AM
Eros is the name of this desire and pursuit of the whole (192e-193a).
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 12 | Loc. 178 | Added on Monday, August 19, 2013, 09:53 AM
We think, as men, that the human shape is something beautiful; the story gets us to
consider that, from the point of view of the whole or the god, the spherical shape
may be formally the most beautiful and adequate.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 12 | Loc. 181 | Added on Monday, August 19, 2013, 09:55 AM
From the point of view of desire, the penetration of a penis into some aperture of
the loved one’s body is an event of excitement and beauty. From the outside it just
looks peculiar, or even grotesque; it certainly seems to be without positive
aesthetic value.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 12 | Loc. 184 | Added on Monday, August 19, 2013, 09:56 AM
They want to be gods—and here they are, running around anxiously trying to thrust a
piece of themselves inside a hole; or, perhaps more comical still, waiting in the
hope that some hole of theirs will have something thrust into it.14
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 13 | Loc. 192 | Added on Monday, August 19, 2013, 09:59 AM
ridiculo
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 13 | Loc. 192-96 | Added on Monday, August 19, 2013, 10:00 AM
And, yet, we are aware that we are those creatures. If the story were told about
some completely alien race, in whom we could not see ourselves and our desires, it
would be a natural history. If it were told from the inside, it would, as we have
said, be tragedy. The comedy comes in the sudden perception of ourselves from
another vantage point, the sudden turning round of our heads and eyes to look at
human genitals and faces, our unrounded, desiring, and vulnerable parts.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 13 | Loc. 196 | Added on Monday, August 19, 2013, 10:00 AM
Justo por eso, para un pensamiento clasico de la estruc tura, del centro puede
decirse, parad6jicamente, que esta den fro de la estructura y fuera de.la
estructura. Esta en el centro de la totalidad y sin embargo, como el centro no
forma parte de ella, la totalidad tiene su centro en otro Iugar. El centro no es el
centro.
==========
Estructura, signo y juego (Derrida)
- Note on Page 2 | Loc. 22 | Added on Wednesday, August 21, 2013, 07:27 PM
A partir, pues, de lo que llamamos centro, y que, como puede estar igualmente
dentro que fuera, recibe indiferentemente los nombres de origen o de fin, de arkhe
ode telos, las repeticiones, las sustituciones, las transfor maciones, las
permutaciones quedan siempre cogidas en una historia del sentido -es decir, una
historia sin mas- cuyo origen siempre puede despertarse, o anticipar su fin, en la
for ma de la presencia.
==========
Estructura, signo y juego (Derrida)
- Note on Page 2 | Loc. 30 | Added on Wednesday, August 21, 2013, 07:31 PM
Se podria mostrar que todos los nombres del fundamento, del principio o del centro
han designado siempre lo invariante de una presencia (eidos, arche., telos,
energeia, ousfa [esencia, existencia, sustancia, sujeto], alet heia,
trascendentalidad, consciencia, Dios, hombre, etc.).
==========
Estructura, signo y juego (Derrida)
- Note on Page 3 | Loc. 38 | Added on Wednesday, August 21, 2013, 07:40 PM
==========
Estructura, signo y juego (Derrida)
- Highlight on Page 3 | Loc. 42-43 | Added on Wednesday, August 21, 2013, 08:16 PM
pero de una presencia central que no ha sido nunca ella misma, que ya desde siempre
ha estado deportada fuera de sf en su sustituto.
==========
Estructura, signo y juego (Derrida)
- Note on Page 3 | Loc. 43 | Added on Wednesday, August 21, 2013, 08:16 PM
rechazar el concepto de signo que siempre ha estado ligado al binarismo sgdo/ sgte
==========
Estructura, signo y juego (Derrida)
- Highlight on Page 5 | Loc. 67-71 | Added on Wednesday, August 21, 2013, 08:31 PM
Es la etnolo gia.
==========
Estructura, signo y juego (Derrida)
- Note on Page 6 | Loc. 88 | Added on Wednesday, August 21, 2013, 08:42 PM
Ahora bien, desde las primeras paginas de Las estructuras, Levi-Strauss, que ha
empezado prestando credito a esos conceptos, se encuentra con lo que llama un
escandalo, es decir, algo que no tolera ya la oposici6n naturale za-cultura tal
como ha sido recibida, y que parece requerir a la vez los predicados de la
naturaleza y los de la cultura. Este escandalo es la prohibici6n del incesto.
==========
Estructura, signo y juego (Derrida)
- Note on Page 8 | Loc. 118 | Added on Wednesday, August 21, 2013, 08:48 PM
lenguaje
==========
Estructura, signo y juego (Derrida)
- Highlight on Page 10 | Loc. 140-44 | Added on Wednesday, August 21, 2013, 09:08
PM
Ese mito no merece, al igual que nin gun otro, su privilegio referencial: «De
hecho, el mito bororo, que de ahora en adelante sera designado con el nombre de
"mito de referencia", no es, como vamos a intentar mostrar, nada mas que una
transformaci6n, impulsada con mas 0 me nos fuerza, de otros mitos que provienen o
de la misma socie dad o de sociedades pr6ximas o alejadas. En
==========
Estructura, signo y juego (Derrida)
- Note on Page 13 | Loc. 190 | Added on Wednesday, August 21, 2013, 09:54 PM
derrida invierte el sentido del mito referencial: en vez de funcionar como primer
modelo de los demas particulares, lo qe ese mito hace es justamente lo opuesto,
reunir los demas
==========
Estructura, signo y juego (Derrida)
- Highlight on Page 13 | Loc. 192-94 | Added on Wednesday, August 21, 2013, 10:18
PM
2. No hay unidad o fuente absoluta del mito. El foco o la fuente son siempre
sombras o virtualidades inaprehensibles, inactualizables y, en primer termino,
inexistentes. Todo empie za con la estructura, la configuraci6n o la relaci6n.
==========
Estructura, signo y juego (Derrida)
- Note on Page 13 | Loc. 194 | Added on Wednesday, August 21, 2013, 10:18 PM
It is a love that is said to be in and of the soul and body both, and of the soul’s
longings as expressed in the movements and gestures of the body (cf. 192e7-dl).
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 14 | Loc. 201 | Added on Thursday, August 22, 2013, 05:43 PM
Es eso lo que dice Levi-Strauss en Lo crudo y lo cocido, del que quisiera ahora
leer una extensa y hermosa pagina:
==========
Estructura, signo y juego (Derrida)
- Note on Page 13 | Loc. 200 | Added on Thursday, August 22, 2013, 06:42 PM
<<Como los mitos mismos, por su parte, descansan en c6digos de segundo arden (dado
que los c6digos de primer arden son aquellos en los que consiste el lenguaje), este
libra ofreceria entonces el esbozo de un c6digo de tercer arden, destinado a
asegurar la traducibilidad recipro ca de varios mitos. Por ese motivo no seria
equivocado consi derarlo un mito: de alguna manera, el mito de la mitologia».
==========
Estructura, signo y juego (Derrida)
- Note on Page 14 | Loc. 214 | Added on Thursday, August 22, 2013, 06:45 PM
Lo que quiero subrayar es s6lo que el paso mas alla de la filosofia no consiste en
pasar la pagina de Ia filosofia (lo cual equivale en casi todos los casos a filoso
far mal), sino en continuar leyendo de una cierta manera a los fil6sofos.
==========
Estructura, signo y juego (Derrida)
- Note on Page 15 | Loc. 229 | Added on Thursday, August 22, 2013, 06:49 PM
Pero en ningun caso se nos podra oponer la exigencia de un discurso mitico total.
Pues se acaba de ver que esa exigencia no tiene sentido»
==========
Estructura, signo y juego (Derrida)
- Note on Page 17 | Loc. 249 | Added on Thursday, August 22, 2013, 06:53 PM
suplementariedad
==========
Estructura, signo y juego (Derrida)
- Highlight on Page 17 | Loc. 260-62 | Added on Thursday, August 22, 2013, 07:02
PM
falta
==========
Estructura, signo y juego (Derrida)
- Highlight on Page 20 | Loc. 293-95 | Added on Thursday, August 22, 2013, 08:52
PM
Tension del juego con la historia, tension tambien del j ego con la presencia. El
juego es el rompimiento de la presencia. La presencia de un elemento es siempre una
referenda significan te y sustitutiva inscrita en un sistema de diferencias y el
movi miento de una cadena. El juego es siempre juego de ausencia y de presencia,
pero si se lo quiere pensar radicalmente, hay que pensarlo antes de la alternativa
de la presencia y de la ausen cia; hay que pensar el ser como presencia o ausencia
a partir de la posibilidad del juego, y no a la inversa.
==========
Estructura, signo y juego (Derrida)
- Note on Page 21 | Loc. 317 | Added on Thursday, August 22, 2013, 08:59 PM
La otra, que no esta ya vuelta bacia el origen, afirma el juego e intenta pasar mas
alla del hombre y del humanismo, dado que el nombre del hombre es el nombre de ese
ser que, a traves de la historia de la metafisica o de la onto-teologia, es decir,
del conjunto de su historia, ha softado con la presencia plena, el fundamento
tranquilizador, el origen y el final del juego.
==========
Estructura, signo y juego (Derrida)
- Note on Page 22 | Loc. 331 | Added on Thursday, August 22, 2013, 09:05 PM
2. REGLAS
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 53 | Added on Tuesday, August 27, 2013, 01:55 PM
reglas
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 59 | Added on Tuesday, August 27, 2013, 01:56 PM
Algunos miembros del conjunto de reglas constitutivas tienen esta forma, pero otros
tienen tambi´en la forma ’X cuenta como Y ’3.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 85 | Added on Tuesday, August 27, 2013, 02:04 PM
3. PROPOSICIONES
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 109 | Added on Tuesday, August 27, 2013, 02:08 PM
proposiciones
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 110 | Added on Tuesday, August 27, 2013, 02:09 PM
pregunta
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 110-11 | Added on Tuesday, August 27, 2013, 02:09 PM
peticion u orden
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 111 | Added on Tuesday, August 27, 2013, 02:10 PM
expresion de un deseo
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 111-12 | Added on Tuesday, August 27, 2013, 02:10 PM
Obs´ervese que no digo que la oraci´on expresa la proposici´on; no s´e c´omo podr
´ıan las oraciones realizar actos de este g´enero. Pero dir´e que en la emisi´on de
la oraci´on el hablante expresa una proposicio´n.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 127 | Added on Wednesday, August 28, 2013, 12:50 PM
4. SIGNIFICADO
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 154 | Added on Wednesday, August 28, 2013, 12:56 PM
significado
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 159 | Added on Wednesday, August 28, 2013, 12:57 PM
significado e intencion
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 161-63 | Added on Wednesday, August 28, 2013, 12:57 PM
Una diferencia crucial es que en el segundo caso intento inducirte a creer que soy
franc´es llev´andote a reconocer que mi intenci´on pretende inducirte a creer
precisamente eso. Esta es una de las cosas que trae consigo el decirte que soy
franc´es.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 180 | Added on Wednesday, August 28, 2013, 01:01 PM
al decir que soy frances, mi interlocutor sabe que mi intencion es que sepa que soy
frances
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 186-87 | Added on Wednesday, August 28, 2013, 01:02 PM
Un segundo defecto es que no logra dar cuenta de hasta qu´e punto el significado es
un asunto de reglas o convenciones.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 187 | Added on Wednesday, August 28, 2013, 01:02 PM
5. COMO PROMETER
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 219 | Added on Wednesday, August 28, 2013, 03:30 PM
como prometer
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 223-24 | Added on Wednesday, August 28, 2013, 03:32 PM
De esta manera cada condi- ci´on ser´a una condicio´n necesaria para la realizaci
´on del acto de prometer, y el conjunto de condiciones tomado colectivamente ser´a
una condicio´n suficiente para que el acto haya sido realizado.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 224 | Added on Wednesday, August 28, 2013, 03:33 PM
Otra dificultad surge de mi deseo de enunciar las condiciones sin ciertas formas de
circularidad. Deseo proporcionar una lista de condiciones para la realizacio´n de
cierto acto ilocucionario, que no hagan mencio´n ellas mismas de la realizaci´on de
ningu´n acto ilocucionario.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 241 | Added on Wednesday, August 28, 2013, 03:41 PM
1 condicion de la prmesa
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 259-60 | Added on Wednesday, August 28, 2013, 06:17 PM
2 condicion
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 261-62 | Added on Wednesday, August 28, 2013, 06:17 PM
3 condicion
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 268 | Added on Wednesday, August 28, 2013, 06:19 PM
2 y 3 condiciones de contenido proposicional
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 268-70 | Added on Wednesday, August 28, 2013, 06:19 PM
4 condicion
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 271 | Added on Wednesday, August 28, 2013, 06:20 PM
5 condicion
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 291-92 | Added on Wednesday, August 28, 2013, 06:25 PM
Por ejemplo, si pido a alguien que haga algo que es obvio que ´el est´a haciendo ya
o va a hacer, entonces mi petici´on carece de objeto, y a ese respecto es
defectuosa.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 292 | Added on Wednesday, August 28, 2013, 06:25 PM
condicion 6
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 307-9 | Added on Wednesday, August 28, 2013, 07:06 PM
en las promesas sinceras el hablante cree que le es posible llevar a cabo el acto
(o abstenerse de hacerlo), pero creo que la proposici´on de que ´el tiene intenci
´on de hacerlo entran˜a que ´el piensa que le es posible hacerlo (o abstenerse de
hacerlo), de modo que no estoy enunciando esto como una condici´on extra.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 309 | Added on Wednesday, August 28, 2013, 07:06 PM
6 condicion de sinceridad
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 310-11 | Added on Wednesday, August 28, 2013, 07:06 PM
condicion 7
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 312 | Added on Wednesday, August 28, 2013, 07:07 PM
asumir que el acto se realizara. esto distingue a las promesas de otros actos de
habla
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 318 | Added on Wednesday, August 28, 2013, 07:09 PM
condicion 8
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 325 | Added on Wednesday, August 28, 2013, 07:11 PM
objecion a la condicion 8
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 329-32 | Added on Wednesday, August 28, 2013, 07:14 PM
Creo que la respuesta correcta a esta objeci´on es que la condici´on (8) explica lo
que es para el hablante emitir ’se- riamente’ una oracio´n, i.e., emitirla y querer
decirla, pero no estoy completamente seguro ni acerca de la fuerza de la objeci´on
ni acerca de la respuesta.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 332 | Added on Wednesday, August 28, 2013, 07:15 PM
respuesta a la objecion
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 332-33 | Added on Wednesday, August 28, 2013, 07:15 PM
(9) Las reglas sem´anticas del dialecto hablado por H y S son tales que O se emite
correcta y sinceramente si y so´lo si se dan las condiciones
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 333 | Added on Wednesday, August 28, 2013, 07:15 PM
condicion 9
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 342-46 | Added on Wednesday, August 28, 2013, 07:18 PM
relaboracion de la condicion 6
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 352-53 | Added on Wednesday, August 28, 2013, 07:21 PM
reglas
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 357-58 | Added on Wednesday, August 28, 2013, 07:23 PM
Regla 1.:
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 358 | Added on Wednesday, August 28, 2013, 07:23 PM
regla 1
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 361 | Added on Wednesday, August 28, 2013, 07:23 PM
Regla 2.:
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 361 | Added on Wednesday, August 28, 2013, 07:24 PM
regla 2
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 366 | Added on Wednesday, August 28, 2013, 07:24 PM
Regla 3.:
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 366 | Added on Wednesday, August 28, 2013, 07:24 PM
regla 3
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 369-70 | Added on Wednesday, August 28, 2013, 07:24 PM
Regla 4.:
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 370 | Added on Wednesday, August 28, 2013, 07:24 PM
regla 4
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 373 | Added on Wednesday, August 28, 2013, 07:25 PM
Regla 5.:
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 373 | Added on Wednesday, August 28, 2013, 07:25 PM
regla 5
==========
¿Qué es un acto de habla? (John Searle)
- Highlight Loc. 376-80 | Added on Wednesday, August 28, 2013, 07:26 PM
Obs´ervese que mientras que las reglas 1–4 toman la forma de cuasi imperativos,
i.e., son de la forma: emite P si X la regla 5 tiene la forma: la emisi´on de P
cuenta como Y . As´ı, la regla 5 pertenece al g´enero peculiar a los sistemas de
reglas constitutivas que he discutido en la secci´on 2.
==========
¿Qué es un acto de habla? (John Searle)
- Note Loc. 380 | Added on Wednesday, August 28, 2013, 07:26 PM
Ahora bien, la palabra comunicación, que nada nos autoriza a despreciar como
palabra inicialmente y a empobrecer en tanto que palabra polisémica, abre un campo
semántico que precisamente no se limita a la semántica, a la semiótica, todavía
menos a la lingüística.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 21 | Added on Wednesday, August 28, 2013, 09:02 PM
ESCRITURA Y TELECOMUNICACIÓN
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 64 | Added on Thursday, August 29, 2013, 12:17 PM
escritura y telecomunicacion
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 65-67 | Added on Thursday, August 29, 2013, 12:18 PM
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 87-90 | Added on Thursday, August 29, 2013, 12:26 PM
Si los hombres escriben es porque tienen algo que comunicar, porque lo que tienen
que comunicar, es su «pensamiento», sus «ideas», sus representaciones. El
pensamiento representativo precede y rige la comunicación que transporta la «idea»,
el contenido significado, porque los hombres se encuentran ya en situación de
comunicar y de comunicarse su pensamiento cuando inventan, de manera continua, este
medio de comunicación que es la escritura.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 90 | Added on Thursday, August 29, 2013, 12:27 PM
economia de la escritura
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 102-6 | Added on Thursday, August 29, 2013, 12:32 PM
Marcar [Tracer] quiere decir, según él, expresar, representar, recordar, hacer
presente («la pintura debe su origen probablemente a la necesidad de marcar
[tracer] así nuestros pensamientos, y esta necesidad sin duda ha cooperado a
conservar el lenguaje de acción como aquel que podría ser más fácilmente pintado»)
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 139 | Added on Thursday, August 29, 2013, 12:41 PM
Pero esta ausencia ¿no es sólo una presencia lejana, diferida o, bajo una forma u
otra, idealizada en su representación? No lo parece, o al menos esta distancia,
esta separación, este aplazamiento, esta diferencia deben poder ser referidas a un
cierto absoluto de la ausencia para que la estructura de escritura, suponiendo que
exista la escritura, se constituya. Ahí es donde la diferencia como escritura no
podría ser ya una modificación (ontológica) de la presencia.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 175 | Added on Thursday, August 29, 2013, 04:47 PM
Toda escritura debe, pues, para ser lo que es, poder funcionar en la ausencia
radical de todo destinatario empíricamente determinado en general.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 189 | Added on Thursday, August 29, 2013, 04:54 PM
muerte de la presencia
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 192-94 | Added on Thursday, August 29, 2013, 04:59 PM
Lo que vale para el destinatario, vale también por las mismas razones para el
emisor o el productor. Escribir es producir una marca que constituirá una especie
de máquina productora a su vez, que mi futura desaparición no impedirá que siga
funcionando y dando, dándose a leer y a reescribir.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 197 | Added on Thursday, August 29, 2013, 09:16 PM
Para que un escrito sea un escrito es necesario que siga funcionando y siendo
legible incluso si lo que se llama el autor del escrito no responde ya de lo que ha
escrito, de lo que parece haber firmado, ya esté ausente provisionalmente ya este
muerto, o en general no haya sostenido con su intención o atención absolutamente
actual y presente, con la plenitud de su querer-decir, aquello que parece haberse
escrito «en su nombre».
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 202 | Added on Thursday, August 29, 2013, 09:17 PM
esto podria discutirse si para serle hay siempre una intencion que los
interlocutores subentienden
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 228-32 | Added on Thursday, August 29, 2013, 09:28 PM
siempre podemos tomar un sintagma escrito fuera del encadenamiento en el que está
tomado o dado, sin hacerle perder toda posibilidad de funcionamiento, si no toda
posibilidad de «comunicación», precisamente. Podemos, llegado el caso, reconocerle
otras inscribiéndolo o injertándolo en otras cadenas. Ningún contexto puede
cerrarse sobre él. Ni ningún código, siendo aquí el código a la vez la posibilidad
y la imposibilidad de la escritura, de su iterabilidad esencial
(repetición/alteridad).
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 231 | Added on Thursday, August 29, 2013, 09:29 PM
Estos tres predicados con todo el sistema que aquí se adjunta, ¿se reservan, como
tan a menudo se cree, a la comunicación «escrita», en el sentido estricto de esta
palabra? ¿No los encontramos de nuevo en todo lenguaje, por ejemplo en el lenguaje
hablado y en el límite en la totalidad de la «experiencia» en tanto que ésta no se
separa de este campo de la marca, es decir, en la red de borrarse y de la
diferencia, de unidades de iterabilidad, de unidades separables de su contexto
interno o externo y separables de sí mismas, en tanto que la iterabilidad misma que
constituye su identidad no les permite nunca ser una unidad de identidad consigo
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 242 | Added on Thursday, August 29, 2013, 09:33 PM
los tres elementos esenciales de la com escrita son eseciales al lenguaje entero
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 248-50 | Added on Thursday, August 29, 2013, 09:36 PM
Esta posibilidad estructural de ser separado del referente o del significado (por
tanto, de la comunicación y de su contexto) me parece que hace de toda marca,
aunque sea oral, un grafema en general, es decir, como ya hemos visto,
lapermanencia no-presente de una marca diferencial separada de su pretendida
«producción» u origen. Y yo extendería esta ley incluso a toda «experiencia» en
general si aceptamos que no hay experiencia de presencia pura, sino sólo cadenas de
marcas diferenciales.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 253 | Added on Thursday, August 29, 2013, 09:50 PM
Así pues, solamente en un contexto determinado por una voluntad de saber, por una
intención epistémica, por una relación consciente con el objeto como objeto de
conocimiento en un horizonte de verdad, en este campo contextual orientado «el
verde es o» es inaceptable. Pero, como «el verde es o» o «abracadabra» no
constituyen su contexto en sí mismos nada impide que funcionen en otro contexto a
título de marca significante (o de índice, diría Husserl).
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 298 | Added on Thursday, August 29, 2013, 10:00 PM
Esto no supone que la marca valga fuera de contexto, sino al contrario, que no hay
más que contextos sin ningún centro de anclaje absoluto.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 307 | Added on Thursday, August 29, 2013, 10:07 PM
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 341-45 | Added on Thursday, August 29, 2013, 11:15 PM
Uno de estos elementos esenciales -y no uno entre otros- sigue siendo clásicamente
la conciencia, la presencia consciente de la intención del sujeto hablante con
respecto a la totalidad de su acto locutorio.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 351 | Added on Thursday, August 29, 2013, 11:19 PM
Esto es tanto más curioso, en todo rigor insostenible, cuanto que Austin denuncia
con ironía el fetiche de la oposición value/fact.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 375 | Added on Thursday, August 29, 2013, 11:32 PM
parece inicialmente evidente que el fracaso -por más que haya comenzado a
interesarnos vivamente (o no haya conseguido hacerlo) a propósito de ciertos actos
que consisten (totalmente o en parte) en pronunciar palabras-, sea un mal al que
están expuestos todos los actos que tienen el carácter de un rito o de una
ceremonia: así pues, todos los actos convencionales.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 380 | Added on Friday, August 30, 2013, 12:15 AM
fracaso
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 384-88 | Added on Friday, August 30, 2013, 12:19 AM
?
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 403-7 | Added on Friday, August 30, 2013, 12:23 AM
El segundo acto de esta exclusión concierne más directamente a nuestro propósito.
Se trata justamente de la posibilidad para toda enunciación performativa (y a
priori para cualquier otra) de ser «citada». Ahora bien, Austin excluye esta
eventualidad (y la teoría general que daría cuenta de ella) con una especie de
empeño lateral, lateralizante, pero por ello tanto más significativo. Insiste sobre
el hecho de que esta posibilidad sigue siendo anormal, parasitaria, que constituye
una especie de extenuación, incluso de agonía del lenguaje que es preciso mantener
fuertemente a distancia o de la que es preciso desviarse resueltamente.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 407 | Added on Friday, August 30, 2013, 12:23 AM
¿la generalidad del riesgo admitido por Austin rodea? el lenguaje como una suerte
de foso, de lugar de perdición externo del que la locución podría siempre no salir,
cosa que podría evitar quedándose en su casa, al abrigo de su esencia o de
su telos? ¿O bien este riesgo es, por el contrario su condición de posibilidad
interna y positiva?, ¿este afuera su adentro?, ¿la fuerza misma y la ley de su
surgimiento?
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 428 | Added on Friday, August 30, 2013, 12:58 AM
?
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 438-40 | Added on Friday, August 30, 2013, 01:08 AM
Tomaré ahora las cosas del lado de la posibilidad positiva y no sólo ya del
fracaso; un enunciado performativo ¿sería posible si un doble citacional no viniera
a escindir, disociar de sí misma la singularidad pura del acontecimiento?
==========
Firma, Acontecimiento y contexto (Derrida)
- Bookmark Loc. 446 | Added on Friday, August 30, 2013, 01:10 AM
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 446-49 | Added on Friday, August 30, 2013, 01:10 AM
primera consecuencia
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 468-71 | Added on Friday, August 30, 2013, 01:33 AM
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 479-81 | Added on Friday, August 30, 2013, 01:38 AM
act). Simplemente, estos efectos no excluyen lo que en general se les opone término
a término, lo presuponen, por el contrario, de manera disimétrica, como el espacio
general de su posibilidad.
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 481 | Added on Friday, August 30, 2013, 01:38 AM
Esta noción de fuente -cuyo juego es tan evidente- reaparece a menudo más adelante
y gobierna todo el análisis en la fase que examinamos. Ahora bien, no sólo no duda
Austin de que la fuente de un enunciado oral en primera persona del presente de
indicativo (en voz activa) esté presente en la enunciación y en el enunciado (he
tratado de explicar por qué teníamos razones para no creerlo), sino que no duda en
mayor medida de que el equivalente de esta ligadura con la fuente en las
enunciaciones escritas sea simplemente evidente y asegurado en la firma:
==========
Firma, Acontecimiento y contexto (Derrida)
- Note Loc. 498 | Added on Friday, August 30, 2013, 01:44 AM
mantenimiento en la firma
==========
Firma, Acontecimiento y contexto (Derrida)
- Highlight Loc. 514-20 | Added on Friday, August 30, 2013, 01:46 AM
Epistemology of the Closet proposes that many of the major nodes of thought and
knowledge in twentieth-century Western culture as a whole are structured —indeed,
fractured —by a chronic, now endemic crisis of homo/heterosexual definition,
indicatively male, dating from the end of the nineteenth century.
==========
Epistemology of the Closet (Eve Kosofsky)
- Note Loc. 52 | Added on Wednesday, September 04, 2013, 12:33 PM
primera contradiccion
==========
Epistemology of the Closet (Eve Kosofsky)
- Note Loc. 63 | Added on Wednesday, September 04, 2013, 12:40 PM
The second is the contradiction between seeing same-sex object choice on the one
hand as a matter of liminality or transitivity between genders, and seeing it on
the other hand as reflecting an impulse of separatism —though by no means
necessarily political separatism —within each gender.
==========
Epistemology of the Closet (Eve Kosofsky)
- Note Loc. 65 | Added on Wednesday, September 04, 2013, 12:43 PM
segunda contradiccion: ver objetos del mismo sexo como una transicion entre generos
vs verlos como reflejando un impulso separatista desde cada genero
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 2-3 | Added on Thursday, September 05, 2013, 07:04 PM
anamnesis/ reminiscencia
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 9-10 | Added on Thursday, September 05, 2013, 07:05 PM
When Plato reconstructs the process whereby one, not-knowing, comes to know, he
insists (as in the dialogue Meno 82b-85b) that the knower actually already knows.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 10 | Added on Thursday, September 05, 2013, 07:05 PM
esclavo en el menon
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 24-25 | Added on Thursday, September 05, 2013, 07:13 PM
More than likely, the image of Socrates as a midwife bringing forth the ideas from
the (womb) soul is only a surface metaphor, not a deep one.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 25 | Added on Thursday, September 05, 2013, 07:14 PM
socrates as a midwife
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 28-29 | Added on Thursday, September 05, 2013, 07:15 PM
After all, the soul and the ideas are of the same sort—both are “divine.”
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 29 | Added on Thursday, September 05, 2013, 07:16 PM
Also, there can never be an absolute identity between the soul and the ideas since
the latter always exist separately for Plato, separate not only from sensible
things, but separate also from the soul, even though attached to it in virtue of
the soul’s preexistence with the ideas.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 59 | Added on Friday, September 20, 2013, 01:13 PM
In the Symposium, whose theme is passionate love (eros), Plato attempts to purify
that love so that it can function as the drive to make its devotees rise to the
good and the beautiful.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 65 | Added on Friday, September 20, 2013, 01:16 PM
eros en el banquete
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 68-69 | Added on Friday, September 20, 2013, 01:18 PM
According to one of the myths expressed in the Symposium, eros becomes a yearning
after a wholeness that has been lost.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 69 | Added on Friday, September 20, 2013, 01:18 PM
Such a passion, in Plato’s view, is neither beautiful nor ugly, neither wisdom nor
ignorance, but something in between (Symposium 202c-d).
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 75 | Added on Friday, September 20, 2013, 01:20 PM
However, this love of young men is not to be understood as a love that would
deceive them and take advantage of their inexperience; it is not to be a vulgar
love that would love the body rather than the soul. According to Plato, that sort
of boy-love is quite properly forbidden by law. The proper sort of love would be
one that includes the recognition of the boy’s intelligence and would be life-long,
the lover and beloved coming together in the practice of the love of wisdom
(Symposium 18Id and ff.).
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 83 | Added on Friday, September 20, 2013, 01:28 PM
The Greek word here, kalon, has the meaning of beauty; but it combines with it the
notion of the good as well.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 86 | Added on Friday, September 20, 2013, 01:32 PM
Further, since the Good is the highest of the ideas for Plato, it is no accident
that beauty becomes one of the most important ideas, since, combined with eros, it
becomes the impetus for getting to that highest idea. And the beauty that Plato has
in mind is the beauty of the male youth, a beauty he describes as of divine shape
or form (fheoeides, Phaedrus 251a).
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 88 | Added on Friday, September 20, 2013, 01:33 PM
The teacher does not lose the knowledge he or she possesses in passing it on to the
pupil. On the contrary, it is reinforced, and leads to new and deeper insights. In
Plato “birth in beauty” becomes synonymous with growth in wisdom and virtue, not
simply the begetting of the beautiful and the good in the beloved, but also in the
begetter.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 95 | Added on Friday, September 20, 2013, 01:37 PM
el amor por la belleza puede darle alas al alma para posibilitar su ascenso a las
ideas; lo acerca al bien
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 118-19 | Added on Saturday, September 21, 2013, 04:13 PM
It is apparent that the sort of love Plato takes as the driving force for the love
of wisdom, the sexual metaphor employed for human knowing of like attracting like,
is that of male homosexual love.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 119 | Added on Saturday, September 21, 2013, 04:13 PM
homosexual love
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 120 | Added on Saturday, September 21, 2013, 04:13 PM
Plato proceeds to transform that love (eros) into an active search for the love
(philia) of wisdom.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 120 | Added on Saturday, September 21, 2013, 04:13 PM
In the Symposium (211b), for example, such erotic love is referred to as loving
boys in the right way (orthos paiderastein). Clearly, the qualifying word “rightly”
or the phrase “after the fashion of philosophy” adds the word “Platonic” to the
sort of homosexual love he has in mind.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 122 | Added on Saturday, September 21, 2013, 04:14 PM
In the “growing of wings” there may be kisses and embraces in the common search for
truth, but there is no encouragement to sexual intercourse. On the contrary, Plato
speaks consistently against such homosexual intercourse, as is indicated in the
Republic (403b), as also in the last of his dialogues, the Laws (839a, 84 le).
Indeed, Vlastos is undoubtedly correct in noting that the phrase in the Phaedrus
(250e), “going down on all fours [like a four-footed beast] as if to beget
offspring in the flesh,” is not a contemptuous reference to heterosexual
intercourse; rather, it is a condemnation of homosexual anal intercourse.4
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 127 | Added on Saturday, September 21, 2013, 04:16 PM
The attempt to make the younger beloved totally dependent upon the older lover is
castigated as the wrong sort of eros.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 135 | Added on Saturday, September 21, 2013, 04:19 PM
eros incorrecto
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 137-38 | Added on Saturday, September 21, 2013, 04:20 PM
The educational model, the metaphor of human knowing proposed by Plato is, then,
that of eros, more specifically same-sex love without intercourse.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 140 | Added on Saturday, September 21, 2013, 05:52 PM
conclusion
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 144 | Added on Sunday, September 22, 2013, 10:45 AM
The epistemological message of the Phaedrus is that true being dwells above the
heavens (247c).
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 144 | Added on Sunday, September 22, 2013, 10:46 AM
And the soul of the philosopher recovers its wings when it sees a beautiful young
man (250d), since it is then that it is near in memory to the divine ideas (249c),
above all that of the ideal Beauty.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 146 | Added on Sunday, September 22, 2013, 10:47 AM
It is clear that the sexual metaphor in Plato is that of homosexual, rather than
heterosexual, love. With women there can be no true communion, no harmonía, he
says. Whereas between members of the same sex there can be a communion that lasts
all through life (Laws VIII, 837b). It is true that in the Laws (VIII, 839b) Plato
indicates the possibility that there may exist friendship (philia) between men and
their wives. The suggestion is not further pursued, however. Women, it may be
noted, were never associated with the Academy. Heterosexual love is a rejected
metaphor. There is no congeniality here.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 150 | Added on Sunday, September 22, 2013, 10:48 AM
On the other hand, the relationship between the soul and the ideas, like that
between male lover and male beloved, is based upon oikeion, a kinship, the fact
that they are, literally, of the same (“divine”) household (cf. Lysis 222a).
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 152 | Added on Sunday, September 22, 2013, 10:49 AM
oikeion: kinship
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Highlight Loc. 163 | Added on Sunday, September 22, 2013, 10:51 AM
The sense-perception is always of the particular, for example the man Callias.
However, when a human being sees Callias (a particular), he or she cannot help but
“see” a human being (a universal); for that is what Callias is.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 175 | Added on Sunday, September 22, 2013, 10:57 AM
The act of penetration leads inexorably back to separation and inactivity, never to
any more lasting or more thoroughgoing union.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 16 | Loc. 238 | Added on Tuesday, September 24, 2013, 12:52 PM
One miracle presupposes a greater miracle: to get to be the whole, you first have
to be willing to be the half.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 17 | Loc. 259-61 | Added on Tuesday, September 24, 2013, 12:59
PM
Here we meet, unexpectedly, a second comedy. For what they thought they most wanted
out of their passionate movement turns out to be a wholeness that would put an end
to all movement and all passion. A sphere would not have intercourse with anyone.
It would not eat, or doubt, or drink. It would not, as Xenophanes shrewdly
observed, even move this way or that, because it would have no reason; it would be
complete.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 18 | Loc. 261 | Added on Tuesday, September 24, 2013, 01:00 PM
This need that makes us pathetically vulnerable to chance is a need whose ideal
outcome is the existence of a metal statue, an artifact.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 18 | Loc. 263 | Added on Thursday, September 26, 2013, 01:36 PM
But the fact remains that it took an external intervention to convince him that
clinging to certain beliefs required abandoning others. Without this, he would
presumably have continued living with incompatibles, without seeing how they clash.
Socrates’ teacher is a priestess named Diotima. Since she is a fiction, we are
moved to ask about her name, and why Plato should have chosen it.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 19 | Loc. 279 | Added on Thursday, September 26, 2013, 01:40 PM
el discurso de socrates es dado por diotima. nussbaum quiere averiguar por que
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 19 | Loc. 280-83 | Added on Thursday, September 26, 2013,
01:41 PM
diotima es una sacerdote que prefiere las relaciones mentales a las carnales
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 21 | Loc. 319-20 | Added on Tuesday, October 01, 2013, 10:04
AM
So far there is some beauty loved by the lover: Alcibiades loves the beauty of
Agathon. From this it follows only that Alcibiades lacks that beauty—not that he
lacks all beauty.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 21 | Loc. 320 | Added on Tuesday, October 01, 2013, 10:04 AM
if Alcibiades is kalon in physical appearance, can he not still love and lack the
beautiful soul of Socrates? What we now see is that Socrates’ argument depends on a
strong hidden assumption: that all beauty, qua beauty, is uniform, the same in
kind.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 22 | Loc. 325 | Added on Tuesday, October 01, 2013, 10:05 AM
All manifestations of the kalon must be sufficiently like one another that if you
lack one kind it is natural to conclude that you lack them all.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 22 | Loc. 326 | Added on Tuesday, October 01, 2013, 10:06 AM
The young lover beginning the ascent—always under the direction of a “correct”
guide (210a6-7)— will begin by loving a single body, or, more exactly, the beauty
of a single body: “Then he must see that the beauty in any one body is closely
related (adelphon) to the beauty in another body; and that if he must pursue the
beauty of form, it is great mindlessness not to consider the beauty of all bodies
to be one and the same” (210a5).
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 22 | Loc. 333 | Added on Tuesday, October 01, 2013, 10:09 AM
el ascenso al bien comienza con el amor a la belleza de un solo cuerpo. la belleza
se reconoce desde lo particular a lo general
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 23 | Loc. 348-52 | Added on Tuesday, October 01, 2013, 10:14
AM
The teacher leads him, makes him see (210c7), until at last he is able to conceive
of the whole of beauty as a vast ocean, whose components are, like droplets,
qualitatively indistinguishable: And looking towards the great extent of the
beautiful, he will no longer, like some servant, loving the beauty of a particular
boy or a particular man or of one set of customs, and being the slave of this,
remain contemptible and of no account. But turned towards the wide sea of the
beautiful and contemplating, he gives birth to many beautiful and grand speeches
and reasonings in his abundant love of wisdom. (210c7-d6)
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 23 | Loc. 352 | Added on Tuesday, October 01, 2013, 10:14 AM
It is also becoming a free man instead of a servant. Diotima connects the love of
particulars with tension, excess, and servitude, the love of a uniform “sea” with
health, freedom, and creativity. The claim for the change of perception and belief
involved in the ascent is not so much that the new ones lead to a truer
understanding.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 24 | Loc. 356 | Added on Tuesday, October 01, 2013, 10:16 AM
el hombre que ama la idea es un hombre mas libre que aquel que ama el particular
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 24 | Loc. 367-69 | Added on Wednesday, October 02, 2013, 10:09
AM
The philosopher is free of all this. Her contemplative love for all beauty carries
no risk of loss, rejection, even frustration. Speeches and thoughts are always in
our power to a degree that emotional and physical intercourse with loved
individuals is not.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 25 | Loc. 369 | Added on Wednesday, October 02, 2013, 10:10 AM
el filosofo esta libre del amor antojadizo que convoca sentimientos y emociones
adversas
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 25 | Loc. 384-86 | Added on Wednesday, October 02, 2013, 10:13
AM
Or don’t you understand that there alone, where he sees the beautiful with that
faculty to which it is visible, it will be possible for him to give birth not to
simulacra of excellence, since it is no simulacrum he is grasping, but to true
excellence, since he is grasping truth?
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 26 | Loc. 386 | Added on Wednesday, October 02, 2013, 10:14 AM
excelencia verdadera
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 26 | Loc. 390-92 | Added on Wednesday, October 02, 2013, 10:15
AM
The really attractive promise of the ascent, the one she repeatedly stresses, is
that, at its end, we will have an object of love and understanding that is
perfectly unchanging and always available to be loved and contemplated—a loved one
that will to the highest degree satisfy our longing to “be with” the beloved all
the time.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 26 | Loc. 392 | Added on Wednesday, October 02, 2013, 10:16 AM
As Socrates concludes, we are moved to think back through this story (which, we now
recall, is being told to us through Aristodemus, a convert and “lover” of Socrates,
as reported by Apollodorus, another formerly wretched person whom philosophy has
made happy), and to look at the life and behavior of Socrates as exemplifying the
benefits of ascent.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 27 | Loc. 404 | Added on Thursday, October 24, 2013, 12:00 PM
imitar a socrates
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 28 | Loc. 415-16 | Added on Thursday, October 24, 2013, 12:03
PM
He really seems to think of himself as a being whose mind is distinct from his
body, whose personality in no way identifies itself with the body and the body’s
adventures.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 28 | Loc. 416 | Added on Thursday, October 24, 2013, 12:03 PM
socrates disocia cuerpo y alma, afirmando que las afeciones del cuerpo no lo
afectan
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 28 | Loc. 417-22 | Added on Thursday, October 24, 2013, 12:05
PM
We see him, at the beginning of the walk to the party, “turning his attention in
some way in upon himself” (174d), so that he becomes, at a point, actually
forgetful of the world. He falls behind the group; they find him much later,
standing in a neighbor’s porch, literally deaf to all entreaties. The sounds that
enter in at the well-functioning ears never penetrate to the mind. There is a gulf.
“Leave him alone,” warns Aristodemus. “This is a habit of his. Sometimes he stops
and stands wherever he happens to be.” These details have usually been read as
intriguing pieces of biography. Perhaps they are. But they are also more than that.
They show us what Diotima could only abstractly tell: what a human life starts to
look like as one makes the ascent.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 28 | Loc. 422 | Added on Thursday, October 24, 2013, 12:05 PM
The summit of the ascent, Diotima tells us, is marked by a revelation: “All at once
(exaiphnes) he will see a beauty marvelous in its nature, for the sake of which he
had made all his previous efforts.”
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 28 | Loc. 429 | Added on Thursday, October 24, 2013, 12:07 PM
ascenso y belleza
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 29 | Loc. 433-35 | Added on Thursday, October 24, 2013, 12:08
PM
The form of the beautiful appeared to the mind’s eye alone, looking “not like some
face or hands or anything else that partakes in body” (211a); it was “unalloyed,
pure, unmixed, not stuffed full of human flesh and colors and lots of other mortal
rubbish” (21 le).
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 29 | Loc. 435 | Added on Thursday, October 24, 2013, 12:08 PM
Asked to speak about Love, Alcibiades has chosen to speak of a particular love; no
definitions or explanations of the nature of anything, but just a story of a
particular, contingent passion for a particular contingent individual. Asked to
make a speech, he gives us the story of his own life: the understanding of eros he
has achieved through his own intimate experience.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 30 | Loc. 451 | Added on Thursday, October 24, 2013, 12:12 PM
But his opening remarks indicate that Alcibiades is not simply ignorant of these
philosophical objections. He anticipates criticism. He anticipates, in fact, that
the philosopher will not allow his truths, or not allow their claim to be the
truth. And he asserts, in the face of this danger, that, nonetheless, what he will
tell will be truth—that the truth can and will be told in just this way, in a story
about individuals, and through images.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 30 | Loc. 457 | Added on Thursday, October 24, 2013, 12:13 PM
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 32 | Loc. 478-80 | Added on Friday, October 25, 2013, 01:17 PM
Nobody loves a half or a whole, unless that half or whole is beautiful and good.
Socrates claims to have episteme of erotic matters (177d); and episteme, unlike
Alcibiades’ pathonta gnonai, is deductive, scientific, concerned with universals.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 32 | Loc. 480 | Added on Friday, October 25, 2013, 01:17 PM
The correct Socratic lover comes to see each particular only as an instance of
something repeatable, one more droplet in the sea. The revelation of the beautiful
can count as truth for him only because it is not an image (212a) and does not
present itself through images.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 32 | Loc. 488 | Added on Friday, October 25, 2013, 01:21 PM
The entire speech is an attempt to grasp and communicate that uniqueness, to make
credible and imaginable for us an experience and a feeling that is by its nature
difficult to describe.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 34 | Loc. 508 | Added on Saturday, October 26, 2013, 10:38 AM
gropes
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 34 | Loc. 511 | Added on Saturday, October 26, 2013, 10:40 AM
tantear
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 34 | Loc. 514-18 | Added on Saturday, October 26, 2013, 10:41
AM
Two things in the speech, above all, strike us as strange. Using them as clues we
may perhaps be able to understand more fully its teaching and its relationship to
Socratic teaching. The first is its confusion about sexual roles. Alcibiades begins
as the beautiful eromenos, but seems to end as the active erastes, while Socrates,
apparently the eras tés, becomes the eromenos (222b). The second is Alcibiades’ odd
habit of incarnation— the way he speaks of his soul, his reason, his feelings and
desires, as pieces of flesh that can experience the bites, burns, and tears that
are the usual lot of flesh.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 34 | Loc. 518 | Added on Saturday, October 26, 2013, 10:41 AM
The eromenos, in Greek homosexual custom (as interpreted in Sir Kenneth Dover’s
authoritative study),32 is a beautiful creature without pressing needs of his own.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 34 | Loc. 520 | Added on Saturday, October 26, 2013, 10:43 AM
eromenos
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 35 | Loc. 524-26 | Added on Saturday, October 26, 2013, 10:45
AM
But two things he will not allow, in the works of art and the literary testimonies
that have come down to us. He will not allow any orifice of his body to be
penetrated; only hairy satyrs so open themselves. And he will not allow the arousal
of his own desire to penetrate the other. In all of surviving Greek art, there are
no boys with erections.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 35 | Loc. 526 | Added on Saturday, October 26, 2013, 10:45 AM
The presence of Socrates makes him feel, first of all, a terrifying and painful
awareness of being perceived. He wants, with part of himself, to “hold out” (216a),
to remain an eromenos. His impulse, in service of this end, is to run away, hide,
stop up his ears—orifices that can be entered, willy-nilly, by penetrating words
(216ab).
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 35 | Loc. 535 | Added on Saturday, October 26, 2013, 01:49 PM
“There’s something I feel with nobody else but Socrates—something you would not
have thought was in me—and that is a sense of shame. He is the only person who
makes me feel shame. . . . There are times when I’d gladly see him dead. But if
that happened, you understand, I’d be worse off than ever” (216a-c).
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 36 | Loc. 539 | Added on Saturday, October 26, 2013, 01:50 PM
alcibiades avergonzado
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 36 | Loc. 544-45 | Added on Saturday, October 26, 2013, 01:52
PM
And yet now he wants, and needs, the penetration and illumination of the other’s
presence. The sphere has become a thing full of holes.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 36 | Loc. 545 | Added on Saturday, October 26, 2013, 01:52 PM
More confusing still, he feels, at the same time, a deep desire to know Socrates—a
desire as conventionally inappropriate as his desire to be known. His speech makes
repeated and central use of the image of opening up the other: an image which is
essentially sexual, and inseparable from his sexual aims and imaginings, but which
is also epistemic, intended to convey to us his desire “to hear everything that he
knew” (217a) and to know everything that he was.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 36 | Loc. 548 | Added on Saturday, October 26, 2013, 01:53 PM
Alcibiades sees his sexual aim, the fullest fulfillment of which demands both
physical intimacy and philosophical conversation, as a kind of epistemic aim, the
aim to achieve a more complete understanding of this particular rich portion of the
world.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 37 | Loc. 563 | Added on Monday, October 28, 2013, 02:24 PM
It is easy enough to see structural parallels between sexual desire and the desire
for wisdom. Both are directed towards objects in the world, and aim at somehow
grasping or possessing these objects. The fulfilled grasp of the object brings, in
both cases, satiety and the temporary cessation of desire: no sphere seduces, “no
god does philosophy” (204a).
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 37 | Loc. 566 | Added on Monday, October 28, 2013, 02:25 PM
But Alcibiades appears to want to claim something more controversial and anti-
Socratic than this parallelism. With his claims that a story tells the truth and
that his goal is to open up and to know, he asserts, I believe, that the lover’s
knowledge of the particular other, gained through an intimacy both bodily and
intellectual, is itself a unique and uniquely valuable kind of practical
understanding, and one that we risk losing if we take the first step up the
Socratic ladder.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 38 | Loc. 570 | Added on Monday, October 28, 2013, 02:26 PM
alcibiades
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 38 | Loc. 580-81 | Added on Monday, October 28, 2013, 06:19 PM
This does not mean that my judgments and responses are not rational. Indeed,
Alcibiades would claim that a Socratic adherence to rule and refusal to see and
feel the particular as such is what is irrational.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 38 | Loc. 581 | Added on Monday, October 28, 2013, 06:19 PM
“The universal must come from the particulars; and of these one must have
perception, and this is nous” (EN 1143b4-5).36
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 39 | Loc. 586 | Added on Monday, October 28, 2013, 06:21 PM
Second, both kinds of understanding, not just the Socratic kind, are concerned with
truths. Alcibiades is claiming not just an ineffable familiarity with Socrates, but
the ability to tell the truth about Socrates. He wants to claim that through a
lover’s intimacy he can produce accounts (stories) that are more deeply and
precisely true—that capture more of what is characteristic and practically relevant
about Socrates, that explain more about what Socrates does and why—than any account
that could be produced by a form-lover who denied himself the cognitive resources
of the senses and emotions.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 39 | Loc. 594 | Added on Tuesday, October 29, 2013, 01:39 PM
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 40 | Loc. 599-601 | Added on Tuesday, October 29, 2013, 01:41
PM
But there is no denying, either, that with the failure of sexual intimacy a certain
part of practical understanding is lost to Alcibiades. There is a part of Socrates
that remains dark and mysterious to him, a depth of intuitive responsiveness to
this particular man, an aptness of speech, movement, and gesture, that he can never
develop, a kind of “dialectic” that is missing.38
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 40 | Loc. 608 | Added on Tuesday, October 29, 2013, 01:44 PM
It is, then, in his openness to such knowing that Alcibiades stands revealed as no
proper eromenos.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 40 | Loc. 610 | Added on Tuesday, October 29, 2013, 01:44 PM
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 41 | Loc. 619-22 | Added on Tuesday, October 29, 2013, 01:47
PM
Both the lover’s epistemic aim and his felt vulnerability are captured for us in
the central image of Alcibiades’ story: the lightning bolt.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 41 | Loc. 627 | Added on Monday, November 04, 2013, 07:26 PM
lighting bolt
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 42 | Loc. 643-47 | Added on Monday, November 04, 2013, 07:29
PM
Our reading has now put us in a position to move from the interpretation of the
images used by Alcibiades to the interpretation of the image that Alcibiades is, as
he presents himself before us. He makes his appearance “crowned with a thick crown
of ivy and violets” (212el-2), making dress itself an image that tells the truth.40
The crown of violets is, first of all, a sign of Aphrodite (cf. H. Horn. 5.18,
Solon 11.4).
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 43 | Loc. 647 | Added on Monday, November 04, 2013, 07:29 PM
This hardly surprises us, except for the strange fact (of which we shall speak more
later) that this aggressively masculine figure sees himself as a female divinity.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 43 | Loc. 648 | Added on Monday, November 04, 2013, 07:30 PM
alcibiades se feminiza
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Bookmark on Page 43 | Loc. 648 | Added on Monday, November 04, 2013, 07:30 PM
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 43 | Loc. 651-56 | Added on Monday, November 04, 2013, 07:31
PM
But the violet crown stands for something else as well: for the city of Athens
herself. In a fragment from Pindar (only one of the poems that use this apparently
well-known epithet) she is addressed: O glistening and violet-crowned and famous in
song, Bulwark of Hellas, glorious Athens, Fortunate city. The crown of violets is
the delicate, growing sign of the fortunate flourishing of this strange and fragile
democracy, now, in the time of Alcibiades, in its greatest danger. By so crowning
himself, Alcibiades indicates that his own attentiveness to the particular and the
contingent, to persons rather than repeatable properties, intuitions rather than
rules, is the fruit of this city’s education.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 43 | Loc. 656 | Added on Monday, November 04, 2013, 07:32 PM
The ivy is, of course, the sign of Dionysus, god of wine, god of irrational
inspiration. (The ivy is a symbol of the bodily fertility of the inspired lover,
who is, and sees himself as, one of the burgeoning and chancy growing things of the
natural world, mutable and green.)
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 44 | Loc. 664 | Added on Monday, November 04, 2013, 07:38 PM
There is one more feature of Dionysus to which the ivy crown particularly directs
us: he is the god who dies. He undergoes, each year, a ritual death and a rebirth,
a cutting back and a resurgence, like the plant, like desire itself. Among
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 45 | Loc. 678 | Added on Tuesday, November 05, 2013, 09:13 PM
el eros tambien muere y vive
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THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 45 | Loc. 679-80 | Added on Tuesday, November 05, 2013, 09:14
PM
And yet, miraculously, he restores himself and burgeons like the ivy. So may,
perhaps, the city grow from death. So also, it is hoped, love.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 45 | Loc. 680 | Added on Tuesday, November 05, 2013, 09:15 PM
All this shows us the case for Alcibiades. But the speech is also, implicitly,
Plato’s indictment. We have seen him invent a priestess whose job it is to save men
from plagues, and we have suggested that personal eros, and the lover’s knowledge,
are this plague. We want now to discover the origins of this condemnation. What
makes eros intolerable? What gives rise to this overwhelming need to get above it
and away from it?
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 45 | Loc. 683 | Added on Friday, November 08, 2013, 01:12 PM
Is he, then, in love, truly happy or good? The dialogue makes us wonder. No present
fortune is guarantee of its own stability (cf. 200b-e). Therefore, as the dialogue
indicates, fears, jealousies, and the threat of loss may be an intimate part of
even the best experiences of loving.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 46 | Loc. 706 | Added on Friday, November 08, 2013, 01:18 PM
We tried to think of a life in which eros would play its part along with other
component goods—intellectual, political, social. But the nature of personal erotic
passion may be such as to be always unstable, always threatening, when given a
part, to overwhelm the whole.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 48 | Loc. 721 | Added on Friday, November 08, 2013, 01:25 PM
es imposible equiparar al eros personal con las demas ideas; no obstante, esta
pasion siempre es inestable
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Highlight on Page 48 | Loc. 721-23 | Added on Friday, November 08, 2013, 01:28
PM
Aristophanes said that the erotic needs of his mythical creatures made them
indifferent to eating, drinking, and “all other pursuits.” We see Alcibiades’
jealous and exclusive passions making him indifferent to truth and goodness.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 48 | Loc. 723 | Added on Friday, November 08, 2013, 01:28 PM
But the story brings a further problem: it shows us clearly that we cannot simply
add the love of Alcibiades to the ascent of Diotima; indeed, that we cannot have
this love and the kind of stable practical rationality, the orderly and respectful
goodness, that she revealed to us.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 49 | Loc. 742 | Added on Friday, November 08, 2013, 04:54 PM
I can follow Socrates only if, like Socrates, I am persuaded of the truth of
Diotima’s account; and Alcibiades robs me of this conviction. He makes me feel that
in embarking on the ascent I am sacrificing a beauty; so I can no longer view the
ascent as embracing the whole of beauty. The minute I think “sacrifice” and
“denial,” the ascent is no longer what it seemed, nor am I, in it, self-sufficient.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 50 | Loc. 759 | Added on Friday, November 08, 2013, 05:13 PM
I can, on the other hand, follow Alcibiades, making my soul a body. I can live in
eros, devoted to its violence and its sudden light. But once I have listened to
Diotima, I see the loss of light that this course, too, entails—the loss of
rational planning, the loss, we might say, of the chance to make a world. And then,
if I am a rational being, with a rational being’s deep need for order and for
understanding, I feel that I must be false to eros, for the world’s sake.44
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 50 | Loc. 762 | Added on Friday, November 08, 2013, 05:14 PM
The Symposium now seems to us a cruel and terrifying book. It starkly confronts us
with a choice, and at the same time it makes us see so clearly that we cannot
choose anything. We see now that philosophy is not fully human; but we are
terrified of our humanity and what it leads to. It is our tragedy: it floods us
with light and takes away action.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 50 | Loc. 765 | Added on Friday, November 08, 2013, 05:15 PM
The ambitions of the soul conceal the body of Socrates from his awareness. Just as
drink did not make him drunk, cold did not make him freeze, and the naked body of
Alcibiades did not make him erect, so now sleeplessness does not make him stop
philosophizing. He goes about his business with all the equanimity of a rational
stone.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 51 | Loc. 771 | Added on Sunday, November 10, 2013, 06:08 PM
Meanwhile, the comic and tragic poets sleep together, tucked in by the cool hand of
philosophy (223d). Those two—philosophy and literature—cannot live together or know
each other’s truths, that’s for sure. Not unless literature gives up its attachment
to the contingent and the vulnerable, and makes itself an instrument of Diotima’s
persuasion. But that would be to leave its own truths behind.
==========
THE SPEECH OF ALCIBIADES: A READING OF PLATO’S SYMPOSIUM (Martha Nussbaum)
- Note on Page 51 | Loc. 774 | Added on Sunday, November 10, 2013, 06:09 PM
Plutarch tells us that the night before his death Alcibiades dreamed that he was
dressed in women’s clothes.
==========
FREUD Y LA ESCENA DE LA ESCRITURA (Derrida)
- Highlight Loc. 20-22 | Added on Monday, November 11, 2013, 03:22 PM
All he requires is the midwifery of Socrates to draw out of him, to bring to birth
by proper questioning, what the slave boy, in fact, knows but does not know that he
knows.
==========
knowledge as sexual metaphor - Seidel (Plato - Aristotle - Plotinus) (Autor
desconocido)
- Note Loc. 11 | Added on Monday, November 11, 2013, 03:29 PM
Sin duda alguna, los procesos del caminante pueden registrarse en mapas urbanos
para transcribir sus huellas (aquí pesadas, allá ligeras) y sus trayectorias (pasan
por aquí pero no por allá). Pero estas sinuosidades en los trazos gruesos y en los
más finos de su caligrafía remiten solamente, como palabras, a la ausencia de lo
que ha pasado.
==========
ANDAR EN LA CIUDAD (Rodrigo)
- Highlight Loc. 175-76 | Added on Tuesday, June 03, 2014, 06:25 PM
La huella sustituye a la práctica. Manifiesta la propiedad (voraz) que tiene el
sistema geográfico de poder metamorfosear la acción para hacerla legible, pero la
huella hace olvidar una manera de ser en el mundo.
==========
ANDAR EN LA CIUDAD (Rodrigo)
- Highlight Loc. 180-81 | Added on Tuesday, June 03, 2014, 06:25 PM
El “Body Art” que adquiere fuerza entre la vanguardia hacia finales de esta década,
sitúa al cuerpo como el medio con que el artista lleva a cabo su obra,
transformando a la experiencia sensorial en la substancia de la obra de arte. Vito
Acconci, uno de los principales referentes del nuevo movimiento artístico, trabajo
en sus obras problemáticas como la manipulación del espacio y la participación
tácita del observador en la obra de arte.
==========
Artaud (Rodrigo)
- Highlight Loc. 18-19 | Added on Friday, June 06, 2014, 11:42 AM
Todo cuanto actúa es una crueldad. Con esta idea de una acción extrema llevada a
sus últimos límites debe renovarse el teatro.
==========
Artaud (Rodrigo)
- Highlight Loc. 28-30 | Added on Friday, June 06, 2014, 11:44 AM
Intentaremos así que el drama se concentre en personajes famosos, crímenes atroces,
devociones sobrehumanas, sin el auxilio de las imágenes muertas de los viejos
mitos, pero capaz de sacar a la luz las fuerzas que se agotan en ellos.
==========
Artaud (Rodrigo)
- Highlight Loc. 33-36 | Added on Friday, June 06, 2014, 11:45 AM
Queremos transformar al teatro en una realidad verosímil, y que sea para el corazón
y los sentidos esa especie de mordedura concreta que acompaña a toda verdadera
sensación. Así como nos afectan los sueños, y la realidad afecta los sueños,
creemos que las imágenes del pensamiento pueden identificarse con un sueño, que
será eficaz si se lo proyecta con la violencia precisa.
==========
Artaud (Rodrigo)
- Note Loc. 36 | Added on Friday, June 06, 2014, 11:45 AM
Y el público creerá en los sueños del teatro, si los acepta realmente como sueños y
no como copia servil de la realidad, si le permiten liberar en él mismo la libertad
mágica del sueño, que sólo puede reconocer impregnada de crueldad y terror.
==========
Artaud (Rodrigo)
- Highlight Loc. 47-49 | Added on Friday, June 06, 2014, 11:47 AM
Hablando prácticamente, queremos resucitar una idea del espectáculo total, donde el
teatro recobre del cine, del music-hall, del circo y de la vida misma lo que
siempre fue suyo.
==========
Artaud (Rodrigo)
- Highlight Loc. 85-86 | Added on Friday, June 06, 2014, 12:17 PM
El teatro sólo podrá ser nuevamente el mismo, ser un medio de auténtica ilusión,
cuandcTproporcione al espectador verdaderos, precipitados de sueños, donde su gusto
por el crimen, sus obsesiones eróticas, su salvajismo, sus quimeras, su sentido
utópico de la vid# y de las cosas y hasta su canibalismo desborden en un plano no
fingido e ilusorio, sino interioír
==========
The Fault in Our Stars (John Green)
- Highlight on Page 5 | Loc. 71-72 | Added on Tuesday, June 17, 2014, 06:34 PM
The Support Group, of course, was depressing as hell. It met every Wednesday in the
basement of a stone-walled Episcopal church shaped like a cross.
==========
The Fault in Our Stars (John Green)
- Highlight on Page 10 | Loc. 145-46 | Added on Wednesday, June 18, 2014, 10:41 AM
“My name is Augustus Waters,” he said. “I’m seventeen. I had a little touch of
osteosarcoma a year and a half ago, but I’m just here today at Isaac’s request.”
==========
The Fault in Our Stars (John Green)
- Highlight on Page 115 | Loc. 1759 | Added on Friday, July 04, 2014, 01:41 AM
Ragging on
==========
The Fault in Our Stars (John Green)
- Highlight on Page 148 | Loc. 2256 | Added on Saturday, July 05, 2014, 05:27 PM
All I know of heaven and all I know of death is in this park: an elegant universe
in ceaseless motion, teeming with ruined ruins and screaming children.
==========
Deluxe (Dana Thomas)
- Highlight on Page 8 | Loc. 115-17 | Added on Saturday, July 12, 2014, 06:19 PM
THE WAY WE DRESS reflects not only our personality but also our economic,
political, and social standing and our self-worth.
==========
Deluxe (Dana Thomas)
- Highlight on Page 9 | Loc. 128-29 | Added on Saturday, July 12, 2014, 10:01 PM
The display of luxury signified one’s power and achievements and brought on both
scorn and envy.
==========
Deluxe (Dana Thomas)
- Highlight on Page 9 | Loc. 130-31 | Added on Saturday, July 12, 2014, 10:02 PM
The Etruscans wore gold and imported amber from the Baltics and had beautiful
engraved gemstones like jasper and carnelian.
==========
Deluxe (Dana Thomas)
- Highlight on Page 10 | Loc. 141-42 | Added on Saturday, July 12, 2014, 10:05 PM
It was during the reign of the Bourbons and the Bonapartes in France that luxury as
we know it today was born.
==========
Deluxe (Dana Thomas)
- Highlight on Page 10 | Loc. 143-47 | Added on Saturday, July 12, 2014, 10:06 PM
With the fall of monarchy and the rise of industrial fortunes in the late
nineteenth century, luxury became the domain of old-moneyed European aristocrats
and elite American families—such as the Vanderbilts, the Astors, and the Whitneys—
who moved in closed social circles. Luxury wasn’t simply a product. It denoted a
history of tradition, superior quality, and often a pampered buying experience.
Luxury was a natural and expected element of upper-class life, like belonging to
the right clubs or having the right surname.
==========
Deluxe (Dana Thomas)
- Highlight on Page 10 | Loc. 147 | Added on Saturday, July 12, 2014, 10:07 PM
==========
Deluxe (Dana Thomas)
- Note on Page 11 | Loc. 154 | Added on Saturday, July 12, 2014, 10:09 PM
dior
==========
Deluxe (Dana Thomas)
- Highlight on Page 11 | Loc. 154-59 | Added on Friday, July 25, 2014, 02:20 PM
Dior believed that Europe was still the epicenter of luxury creation and production
because of its steady stream of megalomaniacal kings and popes who, over the
centuries, commissioned the construction of sumptuous palaces and cathedrals. “[We]
inherited a tradition of craftsmanship rooted in the anonymous artisans who…
expressed their genius in chiseled stone gargoyles and cherubs,” he said. “Their
descendents—skilled automobile mechanics, cabinet makers, masons, plumbers,
handymen—are proud of their métiers. They feel humiliated if they’ve done a shoddy
job. Similarly, my tailors [and] seamstresses constantly strive for perfection.”
==========
Deluxe (Dana Thomas)
- Highlight on Page 11 | Loc. 165-66 | Added on Friday, July 25, 2014, 02:22 PM
The average consumer is also far more educated and well traveled than a generation
ago and has developed a taste for the finer things in life.
==========
Deluxe (Dana Thomas)
- Highlight on Page 16 | Loc. 236-39 | Added on Sunday, August 03, 2014, 03:10 PM
The luxury industry has changed the way people dress. It has realigned our economic
class system. It has changed the way we interact. It has become part of our social
fabric. To achieve this, it has sacrificed its integrity, undermined its products,
tarnished its history, and hoodwinked its consumers. In order to make luxury
“accessible,” tycoons have stripped away all that has made it special. Luxury has
lost its luster.
==========
Deluxe (Dana Thomas)
- Highlight on Page 17 | Loc. 249-50 | Added on Sunday, August 03, 2014, 03:11 PM
“That’s an old definition. For me, luxury is about pleasing yourself, not dressing
for other people.”
==========
Deluxe (Dana Thomas)
- Note on Page 17 | Loc. 250 | Added on Sunday, August 03, 2014, 03:11 PM
marc jacobs
==========
Incidents (Roland Barthes)
- Highlight on Page 21 | Loc. 316-20 | Added on Monday, September 22, 2014, 10:07
PM
Mohammed L., encountered one morning around ten, is still half-asleep; he just got
up, he says, because last night he composed some verses for a play he’s writing—”no
characters, no plot,” etc.—and stayed up very late. Another Mohammed, the little
one, told me he wrote poetry “to keep from being bored.” In this country poetry
allows you to go to bed too late.
==========
Incidents (Roland Barthes)
- Highlight on Page 29 | Loc. 441-49 | Added on Tuesday, September 23, 2014, 03:09
PM
In the Rue Samarine, I was walking against the current of this human stream. I had
the feeling (nothing erotic about it) that each one had a zob (Arab argot for
penis) and that all these zobs, as I passed them, were lined up like a mass-
produced object rhythmically stamped out by a mold. In this stream, but dressed in
the same rough cloth, in the same colors, the same rags, from time to time, a zob
missing.
==========
Incidents (Roland Barthes)
- Note on Page 30 | Loc. 449 | Added on Tuesday, September 23, 2014, 03:09 PM
zobs
==========
Incidents (Roland Barthes)
- Highlight on Page 30 | Loc. 450-53 | Added on Tuesday, September 23, 2014, 03:09
PM
marrakesh schoolteacher
==========
Incidents (Roland Barthes)
- Bookmark on Page 31 | Loc. 463 | Added on Tuesday, September 23, 2014, 03:11 PM
==========
Incidents (Roland Barthes)
- Highlight on Page 30 | Loc. 460-64 | Added on Tuesday, September 23, 2014, 03:12
PM
A very poor hitchhiker moving from town to town looking for work (very nice eyes)
tells me a grim story of a group taxi (we’re driving through a sort of woods) whose
driver was murdered by four passengers disguised as women. “But those jitney
drivers never have much money.” “It doesn’t matter: a thief’s a thief.” “Monsieur,
remember, you should never give a lift to a Moroccan you don’t know,” says this
Moroccan to whom I’m giving a lift and whom I don’t know.
==========
Incidents (Roland Barthes)
- Note on Page 31 | Loc. 464 | Added on Tuesday, September 23, 2014, 03:12 PM
Three young Chleuhs, on the cliff, ask for a French lesson. “How do you say . . .?”
Answering them, I realize that the sexual organ preserves a consonantal paradigm:
cul/con/queue. The three young fellows, instant philologists, are amazed.
==========
Incidents (Roland Barthes)
- Note on Page 32 | Loc. 489 | Added on Tuesday, September 23, 2014, 03:35 PM
consonantal paradigm
==========
Incidents (Roland Barthes)
- Highlight on Page 33 | Loc. 502-7 | Added on Tuesday, September 23, 2014, 07:54
PM
Happiness at Mehiula: the huge kitchen, at night, the storm outside, the simmering
harrira, the big butane lamps, the whole ballet of little visits, the warmth, the
djellaba, and reading Lacan! (Lacan de- feated by this trivial comfort.)
==========
Incidents (Roland Barthes)
- Highlight on Page 36 | Loc. 545-48 | Added on Tuesday, September 23, 2014, 08:03
PM
from the theater it originally was (and several times over), everything has been
preserved: stage, curtain, balcony, orchestra (transformed into a splendid dance
floor, but from which you can see the show, standing or sitting on cushions), the
great swathes of red velvet: inveterate emotion: to climb a staircase and emerge
into a huge space, crisscrossed with lights and shadows, suddenly to enter, like an
initiate, the sacred space of representation
==========
Incidents (Roland Barthes)
- Highlight on Page 36 | Loc. 549-52 | Added on Tuesday, September 23, 2014, 08:04
PM
Theater: this Greek word comes from a verb that means “to see.” Le Palace is
certainly a site dedicated to looking: you spend your time looking at the hall;
and, when you come back from the dancing, you look some more.
==========
Incidents (Roland Barthes)
- Highlight on Page 36 | Loc. 552-57 | Added on Tuesday, September 23, 2014, 08:05
PM
Le Palace is well proportioned. This means that you are not afraid here (you would
not mind sleeping in it): too small, a theater is stifling; too big, chilling. Here
you can circulate—up, down, changing places according to your whim—a freedom always
frustrated in other theaters, where everyone is assigned a seat, the one
corresponding to his money.
==========
Incidents (Roland Barthes)
- Note on Page 37 | Loc. 557 | Added on Tuesday, September 23, 2014, 08:05 PM
proportions
==========
Incidents (Roland Barthes)
- Highlight on Page 37 | Loc. 557-59 | Added on Tuesday, September 23, 2014, 08:06
PM
Yet freedom is not enough to make a good space. Certain experiments have shown that
the little white mouse suffers great anxiety when placed in an empty arena lacking
any point of reference. To feel comfortable in a space, I must in fact be able to
proceed from one reference point to another, to inhabit a corner as well as a
platform, and, like Robinson happy on his island, to make my way in comfort from
one domicile to the next.
==========
Incidents (Roland Barthes)
- Note on Page 37 | Loc. 559 | Added on Tuesday, September 23, 2014, 08:06 PM
familiar places
==========
Incidents (Roland Barthes)
- Highlight on Page 38 | Loc. 569 | Added on Tuesday, September 23, 2014, 08:10 PM
prowess
==========
Incidents (Roland Barthes)
- Highlight on Page 38 | Loc. 568-71 | Added on Wednesday, September 24, 2014,
09:51 AM
The remarkable thing is not the technological prowess (though that is rare enough
in Paris), but the appearance of a new art, in its material (a mobile light) and in
its practice; for this is actually a public art, in that it is achieved among the
public and not in front of it, and a total art (the old Greek and Wagnerian dream),
where scintillation, music, and desire unite.
==========
Incidents (Roland Barthes)
- Note on Page 38 | Loc. 571 | Added on Wednesday, September 24, 2014, 09:51 AM
total art
==========
Incidents (Roland Barthes)
- Highlight on Page 38 | Loc. 582-88 | Added on Wednesday, September 24, 2014,
09:54 AM
not a boite
==========
Incidents (Roland Barthes)
- Highlight on Page 39 | Loc. 588-92 | Added on Wednesday, September 24, 2014,
09:54 AM
All this combined creates something very old, which is called la Fête and which is
quite different from Amusement or Distraction: a whole apparatus of sensations
destined to make people happy, for the interval of a night.
==========
Incidents (Roland Barthes)
- Note on Page 39 | Loc. 592 | Added on Wednesday, September 24, 2014, 09:54 AM
la fete
==========
Incidents (Roland Barthes)
- Highlight on Page 39 | Loc. 595-602 | Added on Wednesday, September 24, 2014,
09:56 AM
Would Proust have liked it? I don’t know: there are no duchesses anymore. Yet,
leaning down over the dance floor of Le Palace throbbing with colored beams and
dancing silhouettes, divining around me in the shadow of levels and of open loges
an entire ebullition of young bodies busy in their unsuspected circuits, I seemed
to recognize, transposed to the modern, something I had read in Proust: that
evening at the Opéra, where the house and the boxes form, under the young
Narrator’s impassioned eye, an aquatic milieu, gently illuminated by aigrettes, by
glances, by jewels, by faces, by gestures suggestive of those made by undersea
deities, amid which sat enthroned the duchess of Guermantes.
==========
Incidents (Roland Barthes)
- Highlight on Page 41 | Loc. 618-28 | Added on Wednesday, September 24, 2014,
07:30 PM
In the Métro, quite full, it seemed to me, of young foreigners (perhaps from the
Gare du Nord and the Gare de l’Est), a guitarist (American folk songs) passing the
hat in one car; I carefully chose the next car, but at Odéon he changed cars and
got in mine (he probably works the whole train); seeing which, I got right off and
returned to the car he had just left (passing the hat always embarrasses me as a
form of hysteria and blackmail, and an arrogance as well, as if it was self-evident
that such music or any music always gives me pleasure).
==========
Incidents (Roland Barthes)
- Note on Page 41 | Loc. 628 | Added on Wednesday, September 24, 2014, 07:31 PM
I make the mistake—a bizarre, uncustomary idea—of ordering a pear brandy with a
second cigar and extending the evening; whence a rather intense stomachache.
==========
Incidents (Roland Barthes)
- Note on Page 49 | Loc. 750 | Added on Friday, September 26, 2014, 09:40 AM
I asked myself if I was really so mistaken (the received wisdom about giving money
to a hustler in advance!), and concluded that since I really didn’t want him all
that much (nor even to make love), the result was the same: sex or no sex, at eight
o’clock I would find myself back at the same point in my life; and since mere eye
contact and an exchange of words eroticizes me, it was that pleasure I paid for.
==========
Incidents (Roland Barthes)
- Note on Page 51 | Loc. 768 | Added on Sunday, September 28, 2014, 04:14 PM
Wedged
==========
Incidents (Roland Barthes)
- Note on Page 51 | Loc. 781 | Added on Monday, September 29, 2014, 12:14 AM
cunna
==========
Incidents (Roland Barthes)
- Highlight on Page 53 | Loc. 800-804 | Added on Monday, September 29, 2014, 12:20
AM
Darlame talked a lot (very fast, a little drunk on the wine); I realized after a
while that this was more or less for my benefit (to seduce me); for a long while
there has been some sort of dispute between us, and now, for the first time, there
was a positive act of speech on his part; but I was embarrassed by the presence of
Eric M. and J.-L. P. When I left, early, he wanted to leave with me; in the
elevator, I kissed him, rested my head on his shoulder; but whether this wasn’t his
sort of thing, or because of some other reticence, he responded only vaguely.
==========
Incidents (Roland Barthes)
- Highlight on Page 55 | Loc. 838-39 | Added on Monday, September 29, 2014, 12:25
AM
Each time I insist, in order to make him say he’s ready to go to bed with me, he
answers: “I’m free.” I wake up in the middle of the night—five o’clock; I think
bitterly and sadly of my relation with J.-L. P.
==========
Incidents (Roland Barthes)
- Highlight on Page 57 | Loc. 861-65 | Added on Monday, September 29, 2014, 12:29
AM
me—F.W. announces that one of these days I’ll have to explain myself about the
rejected aspects of my sexuality (in this case, sadomasochism), about which I never
speak; I feel a certain irritation at this: first of all, quite logically, how
could I explain myself about what does not exist? All I can do is report; and then,
it’s so discouraging, this fashion—this doxa—of constituting sadomasochism as a
norm, as normal, so that any failure to acknowledge it has to be explained—
accounted for.
==========
Incidents (Roland Barthes)
- Highlight on Page 57 | Loc. 872-74 | Added on Monday, September 29, 2014, 12:32
AM
Coming home alone, I climb the stairs and pass my own floor without realizing it,
as if I were returning to our apartment on the fifth floor, as if it were the old
days and Mam were there waiting for me.
==========
Incidents (Roland Barthes)
- Highlight on Page 58 | Loc. 886-93 | Added on Monday, September 29, 2014, 12:35
AM
That evening we go to the little Chinese restaurant in the Rue de Tournon with
Bernard G. and his (new Italian friend, Ricardo; at first nothing much, but
gradually he appeals to me because of a kind of bodily freshness (hands, chest in
the unbuttoned white shirt): the trio of Desire inevitably forms, B. G. having, by
his choice, designated whom I should desire. I envy their being together and going
to Vienna tomorrow. I leave them tenderly—but a little bitterly, as far as I’m
concerned, since they’re going away for a long time, and besides, in any case...
==========
Incidents (Roland Barthes)
- Highlight on Page 60 | Loc. 917-18 | Added on Monday, September 29, 2014, 12:42
AM
she introduces a handsome Moroccan who is quite willing to make contact and gives
me a long stare; he will wait in the dining room until I come back down, seems
disappointed that I don’t take him right away (vague date for tomorrow).
==========
Incidents (Roland Barthes)
- Highlight on Page 62 | Loc. 944-47 | Added on Monday, September 29, 2014, 12:44
AM
Yet it was the evening when the proposition made in July was to be settled, Saul
was to give me his answer. But I no longer desired him, I was tired, without even
the energy to finish the matter. I said nothing about it, as did he, of course.
After all, that’s what a double answer is. Excellent method to erase desire: a
long-term contract; it drops of its own accord.
==========
Incidents (Roland Barthes)
- Highlight on Page 63 | Loc. 956-63 | Added on Monday, September 29, 2014, 12:48
AM
I was faintly apprehensive about how we would say goodnight (still hesitating about
the management of Desire), but at the same time feeling relaxed. We had been having
a good conversation, and Olivier seemed comfortable (what fine eyes he has!). We
took a cup of tea in a café on the Place du Chatelet; it was a bit odd. The
separation went easily enough; O. didn’t want to come back to the house—which I had
anticipated, and I was afraid of that anyway (because of my desire and because I
was sleepy); we made a date for Sunday lunch and separated in the Place du
Chatelet; he didn’t kiss me, but I wasn’t hurt by that as would once have been the
case. I walked home, taking the Boulevard Saint-Michel and the Rue Saint-Andre-des-
Arts; tired as I was, I still wanted to see boys’ faces; but so many were so young
that I began to feel depressed.
==========
Incidents (Roland Barthes)
- Highlight on Page 66 | Loc. 1010-14 | Added on Monday, September 29, 2014, 04:30
PM
Yesterday, Sunday, Olivier G. came for lunch; waiting for him, welcoming him, I had
manifested the solicitude that usually indicates that I am in love. But as soon as
lunch began, his timidity or his remoteness intimidated me; no euphoria of relation
—far from it. I asked him to come and sit beside me on the bed during my nap; he
came willingly enough, sat on the edge of the bed, looked at an art book; his body
was very far away—if I stretched out an arm toward him, he didn’t move,
uncommunicative: no obligingness; moreover he soon went into the other room.
==========
Slouching Towards Bethlehem (Joan Didion)
- Highlight on Page 3 | Loc. 45-46 | Added on Monday, September 29, 2014, 10:08 PM
If I was to work again at all, it would be necessary for me to come to terms with
disorder.
==========
Slouching Towards Bethlehem (Joan Didion)
- Note on Page 3 | Loc. 46 | Added on Monday, September 29, 2014, 10:08 PM
I suppose almost everyone who writes is afflicted some of the time by the suspicion
that nobody out there is listening, but it seemed to me then (perhaps because the
piece was important to me) that I had never gotten a feedback so universally beside
the point.
==========
Slouching Towards Bethlehem (Joan Didion)
- Highlight on Page 5 | Loc. 70-71 | Added on Tuesday, September 30, 2014, 02:11
PM
I do not like to make telephone calls, and would not like to count the mornings I
have sat on some Best Western motel bed somewhere and tried to force myself to put
through the call to the assistant district attorney.
==========
Slouching Towards Bethlehem (Joan Didion)
- Highlight on Page 5 | Loc. 70-73 | Added on Tuesday, September 30, 2014, 02:13
PM
I do not like to make telephone calls, and would not like to count the mornings I
have sat on some Best Western motel bed somewhere and tried to force myself to put
through the call to the assistant district attorney. My only advantage as a
reporter is that I am so physically small, so temperamentally unobtrusive, and so
neurotically inarticulate that people tend to forget that my presence runs counter
to their best interests. And it always does.
==========
Slouching Towards Bethlehem (Joan Didion)
- Highlight on Page 7 | Loc. 104-5 | Added on Tuesday, September 30, 2014, 02:30
PM
The future always looks good in the golden land, because no one remembers the past.
==========
Slouching Towards Bethlehem (Joan Didion)
- Highlight on Page 9 | Loc. 125 | Added on Tuesday, September 30, 2014, 02:42 PM
Lucille Miller
==========
Slouching Towards Bethlehem (Joan Didion)
- Bookmark on Page 14 | Loc. 203 | Added on Monday, October 06, 2014, 08:57 PM
==========
Slouching Towards Bethlehem (Joan Didion)
- Highlight on Page 14 | Loc. 203 | Added on Monday, October 06, 2014, 08:57 PM
It seemed curious to the detectives, too, that a sudden stop from 35 m. p. h. —the
same jolt which was presumed to have knocked over a gasoline can in the back seat
and somehow started the fire—should have left two milk cartons upright on the back
floorboard, and the remains of a Polaroid camera box lying apparently undisturbed
on the back seat.
==========
Slouching Towards Bethlehem (Joan Didion)
- Highlight on Page 15 | Loc. 230 | Added on Thursday, October 09, 2014, 09:35 PM
As it happened I did not grow up to be the kind of woman who is the heroine in a
Western, and although the men I have known have had many virtues and have taken me
to live in many places I have come to love, they have never been John Wayne, and
they have never taken me to that bend in the river where the cottonwoods grow.
==========
Slouching Towards Bethlehem (Joan Didion)
- Note on Page 26 | Loc. 398 | Added on Sunday, October 12, 2014, 08:03 PM
not a western heroin
==========
Slouching Towards Bethlehem (Joan Didion)
- Highlight on Page 28 | Loc. 423-24 | Added on Sunday, October 12, 2014, 08:11 PM
“I licked the Big C,” John Wayne announced, as John Wayne would, reducing those
outlaw cells to the level of any other outlaws, but even so we all sensed that this
would be the one unpredictable confrontation, the one shootout Wayne could lose.
==========
Slouching Towards Bethlehem (Joan Didion)
- Note on Page 28 | Loc. 424 | Added on Sunday, October 12, 2014, 08:12 PM
outlaw cells
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Highlight on Page 3 | Loc. 39-43 | Added on Monday, November 10, 2014, 02:29 AM
It argues that two different aspects of appraisal need to be considered: the kinds
of attitudinal lexis (in terms of evaluative standards which are inscribed in this
lexis) and the kinds of attitudinal targets or types of attitudinal assessment, and
that this distinction has not been sufficiently considered in appraisal theory so
far.
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 3 | Loc. 43 | Added on Monday, November 10, 2014, 02:29 AM
usefulness of patterns
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 6 | Loc. 86 | Added on Monday, November 10, 2014, 02:32 AM
emotions vs evaluations
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Highlight on Page 7 | Loc. 97-111 | Added on Monday, November 10, 2014, 02:34 AM
Additionally I would argue that emotion (affect) can be sub-divided into overt
affect and covert affect. Resources of overt affect directly name an emotional
response of Emoters (fear, love, hate), whereas resources of covert affect only
indirectly denote such an emotional response. This distinction roughly corresponds
to what Hunston calls ‘reflective’ vs. ‘constitutive’ affect:
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 8 | Loc. 111 | Added on Monday, November 10, 2014, 02:34 AM
examples of covert
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 10 | Loc. 144 | Added on Monday, November 10, 2014, 02:37 AM
questions
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Highlight on Page 11 | Loc. 165-74 | Added on Monday, November 10, 2014, 08:42
AM
questions of patterns
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 13 | Loc. 187 | Added on Monday, November 10, 2014, 08:43 AM
examples of patterns
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Highlight on Page 15 | Loc. 228-37 | Added on Monday, November 10, 2014, 08:49
AM
On the other hand, the findings suggest that it might be worthwhile to consider
covert affect on its own terms rather than including it in either appreciation or
affect, even though it is to be © 2009. John Benjamins Publishing Company All
rights reserved seen as more closely associated with opinion than with emotion (in
terms of pattern behaviour).
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 16 | Loc. 237 | Added on Monday, November 10, 2014, 08:49 AM
we can see that instances of covert affect can involve labels associated both with
opinion (evaluative category) and emotion (evaluating response or overt affect):
(1) Horses [Thing evaluated] are pretty [Evaluative category] to look at
[Restriction] (2) Benjamin [Evaluator] had been rather overawed [Evaluating
Response] to meet one of the Billington family [Thing evaluated] (3) This
[Thing evaluated] is very distressing [Evaluating Response] for Carol [Evaluator]
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 17 | Loc. 255 | Added on Monday, November 10, 2014, 08:50 AM
As becomes apparent, example 3 (with covert affect lexis) shares similarities both
with opinion/evaluative categories (the noun group at the beginning of the pattern
realizes the Evaluated Thing rather than the Evaluator) and emotion/ evaluating
responses (the adjective indicates an emotional response rather than an evaluative
quality, and an Evaluator is present).
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 17 | Loc. 260 | Added on Monday, November 10, 2014, 08:52 AM
double appraisal nture
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Highlight on Page 17 | Loc. 260-62 | Added on Monday, November 10, 2014, 08:53
AM
intermediate category
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 18 | Loc. 264 | Added on Monday, November 10, 2014, 08:53 AM
bridge figure
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Highlight on Page 18 | Loc. 265-70 | Added on Monday, November 10, 2014, 09:03
AM
In fact, Table 2 above suggests that the affect patterns (person feels affect about
something/that; it makes person feel affect that) seem to be relatively good tools
for diagnosing (one type of) overt affect. Here is a more detailed analysis of
these patterns, starting with occurrences for I feel adj about/that in the BNC:8 I
feel adj about:
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 25 | Loc. 371 | Added on Monday, November 10, 2014, 09:07 AM
affect patterns
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Highlight on Page 28 | Loc. 416-33 | Added on Monday, November 10, 2014, 09:08
AM
modality
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Highlight on Page 56 | Loc. 846-48 | Added on Monday, November 10, 2014, 09:12
AM
Then we can talk about ‘judging’ lexis used to appreciate things, ‘importance’
lexis used to judge people or used to appreciate things, ‘appreciating’ lexis used
to judge behaviour, ‘affective’ lexis used to appreciate situations etc.
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 58 | Loc. 885 | Added on Monday, November 10, 2014, 09:14 AM
kinds of targets
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 61 | Loc. 927 | Added on Monday, November 10, 2014, 10:39 AM
With (the affective noun) pity the fact that it occurs in a pattern that is
normally associated with opinion rather than emotion (nouns denoting emotion are
usually non-count) has resulted in the fact that its meaning has changed.
Naturally, such examples are not classified as covert affect, because there is no
implication of the emotion of pity. In contrast, It is a surprise that still does
convey emotion (covert affect).
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 66 | Loc. 1000 | Added on Monday, November 10, 2014, 10:44 AM
pattern clashes
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Highlight on Page 68 | Loc. 1029-31 | Added on Monday, November 10, 2014, 10:46
AM
Finally, an area that remains for future research is the question of whether
specific patterns are used to evaluate a) things/situations, and b) persons/their
behaviour; and c) attribute emotional responses to Emoters.
==========
Bednarek+2009+Patterns+and+Attitude_publishedVersion.desbloqueado (Unknown)
- Note on Page 68 | Loc. 1031 | Added on Monday, November 10, 2014, 10:46 AM
cline of implicitness
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 4 | Loc. 57-58 | Added on Monday, November 10, 2014, 01:19 PM
track not just explicit expressions of attitude but the relations these contract
with implicit forms of evaluation and their cumulative significance.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 4 | Loc. 58 | Added on Monday, November 10, 2014, 01:19 PM
invoked attitude
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 7 | Loc. 102-3 | Added on Monday, November 10, 2014, 06:30 PM
It is through prosodies of attitude and the patterns these generate enter into that
a text axiology is built.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 7 | Loc. 103 | Added on Monday, November 10, 2014, 06:30 PM
While narratives are full of interpersonal meanings, only some meanings gather
freight in the text as a whole. Our framework of analysis needs to account not just
for evaluative choices within a text but also for choices made salient by the text.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 8 | Loc. 111 | Added on Monday, November 10, 2014, 06:31 PM
locally or globally
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 8 | Loc. 113-17 | Added on Monday, November 10, 2014, 06:32 PM
Then there is the third challenge of accounting for the culture and institution-
specific nature of evaluation and its impact on elaboration of systems of choices
within appraisal as a whole. In our work in literary interpretation, we have found
it necessary to develop culture-specific systems of choice within the appraisal
framework.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 8 | Loc. 117 | Added on Monday, November 10, 2014, 06:32 PM
contextual specificity
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 10 | Loc. 147-55 | Added on Monday, November 10, 2014, 06:34
PM
The attitude system has some defining features: explicit attitudinal wordings are
inherently gradable (they can be intensified and compared); they are biased in
their loading, being primarily either positive or negative; and realizations tend
to sprawl (prosodic realization), especially in the case of invoked attitude.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 11 | Loc. 155 | Added on Monday, November 10, 2014, 06:34 PM
characteristics of attitude
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 11 | Loc. 162 | Added on Monday, November 10, 2014, 06:35 PM
inscribed affect
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 16 | Loc. 235 | Added on Monday, November 10, 2014, 06:37 PM
judgemnt
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 19 | Loc. 286 | Added on Monday, November 10, 2014, 06:40 PM
appreciation
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 21 | Loc. 321-31 | Added on Monday, November 10, 2014, 06:42
PM
(10) CLICK is a very didactic short story. Of all attitude types, appreciation is
the most sensitive to context. This field sensitivity has resulted in repeated
modification of appreciation network options to capture the evaluation preferences
of specific discourse contexts, texts and topics. We take up this issue in our
discussion of the institution-specific nature of appraisal.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 22 | Loc. 330 | Added on Monday, November 10, 2014, 06:42 PM
invoked attitude
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 23 | Loc. 346-57 | Added on Monday, November 10, 2014, 06:43
PM
tokens of attitude
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 24 | Loc. 362-66 | Added on Monday, November 10, 2014, 06:43
PM
those provoked by the presence of lexical metaphor within the clause or phase and
those invited by a range of linguistic or co-textual cues at the clause, phase or
whole text levels.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 24 | Loc. 366 | Added on Monday, November 10, 2014, 06:43 PM
metaphor or cotext
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 25 | Loc. 380 | Added on Monday, November 10, 2014, 06:44 PM
cline of directness
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 25 | Loc. 377-78 | Added on Monday, November 10, 2014, 06:46
PM
cline of directness. This cline moves from more direct encodings of evaluation
requiring less inferencing by readers to less direct encodings requiring more
inferencing - more sensitive to reading position.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 26 | Loc. 399-403 | Added on Monday, November 10, 2014, 06:52
PM
However, in our research we have also needed to recognize more overt and covert
contextual triggers that assume cultural knowledge on the part of the reader. These
may be ideational meanings that refer to relevant texts and defining events in
history, like the holocaust, the stolen generations and 9/11 that afford
evaluations. Such allusions resonate with the reader and act as ‘bonding icons, to
borrow Stenglin’s term (2008). More covertly, these triggers include statements
that connote cultural values that the writer and reader are assumed to share.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 27 | Loc. 403 | Added on Monday, November 10, 2014, 06:52 PM
evoked
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 28 | Loc. 421 | Added on Monday, November 10, 2014, 07:01 PM
graduation
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 28 | Loc. 423-25 | Added on Monday, November 10, 2014, 07:01
PM
Managing the volume and precision of our stance is crucial to academic expertise
and graduation is the name for those resources by which we achieve this.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 28 | Loc. 425 | Added on Monday, November 10, 2014, 07:01 PM
There are three modes for realizing graduation: isolating graders (grammatical
items with a grading function); infused graders (lexical items that fuse evaluative
meanings with a grading function); and repetition (at the sentence or whole text
levels).
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 31 | Loc. 462 | Added on Monday, November 10, 2014, 07:04 PM
force figure
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 31 | Loc. 474-75 | Added on Monday, November 10, 2014, 07:05
PM
The figure represents the network options for each system, moving from most general
categories (on the left) to most delicate ones (on the right). We can now return to
the challenges mentioned earlier and our attempts to respond to them.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 31 | Loc. 475 | Added on Monday, November 10, 2014, 07:05 PM
delicacy
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 31 | Loc. 476 | Added on Monday, November 10, 2014, 07:07 PM
three challenges
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 32 | Loc. 484-87 | Added on Monday, November 10, 2014, 08:49
PM
Our response to the question is to put indeterminacy at the centre of the task and
to make this a feature of the account rather than something to be pushed to the
margins (as an embarrassment in the analysis). This means making space for the
dance of implicit and explicit evaluation, for the different co-textual and
contextual frames within which evaluation occurs and for the situation- and
culture- specific nature of the analytical enterprise.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 32 | Loc. 487 | Added on Monday, November 10, 2014, 08:49 PM
The speakers attitudes and assessments, his judgements of validity and probability;
his choice of speech function, the mode of exchange in dialogue - such things are
not discrete elements that belong at some particular juncture but semantic features
that inform continuous stretches of discourse. It is natural that they should be
realized not segmentally but prosodically, by structures (if that term is still
appropriate) that are not particulate but held- like. The linguist’s tree is an
inappropriate construct for representing structures of this
kind.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 33 | Loc. 499 | Added on Monday, November 10, 2014, 08:51 PM
prosodies
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 34 | Loc. 512-19 | Added on Monday, November 10, 2014, 08:52
PM
intimacy
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014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 39 | Loc. 593-94 | Added on Monday, November 10, 2014, 08:57
PM
The third challenge emerging in our research has to do with the relationship
between lexical data (an evaluative expression such as ‘great’, ‘damn, ‘crying’)
and the larger cultural or institutional system that gives the data significance.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 40 | Loc. 610 | Added on Monday, November 10, 2014, 08:59 PM
contextual polarization
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 42 | Loc. 643-51 | Added on Tuesday, November 11, 2014, 02:18
PM
key choices
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 44 | Loc. 662 | Added on Tuesday, November 11, 2014, 02:18 PM
extended composition
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 45 | Loc. 687-93 | Added on Tuesday, November 11, 2014, 02:20
PM
syndromes of evaluation
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014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 46 | Loc. 693-99 | Added on Tuesday, November 11, 2014, 02:20
PM
So we need to attend not just to one explicit instance (inscribed attitude) but its
combination with tokens of invoked affect, judgement or appreciation. Readers are
more likely to be able to read the implicature in the final metaphor of a narrative
if they have ‘tuned in’ to the subtle power of covert evaluation in choices made in
earlier phases of the text.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Highlight on Page 46 | Loc. 701-3 | Added on Tuesday, November 11, 2014, 02:20
PM
Our point is that we need to take account of the cumulative force and organizing
logic of the text’s global development in our approach to appraisal analysis too.
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 47 | Loc. 720 | Added on Tuesday, November 11, 2014, 02:21 PM
1. First, identify the choices you believe to be loaded in the text. Identify
the target of the appraisal and the appraiser (source). As you identify items that
carry evaluation, start with explicit choices (inscribed attitude) and then move to
implicit choices (invoked appraisal). Identify choices that graduate attitude
either through force or focus. 2. Next, describe the cumulative effect of
these choices (in terms of their impact on you as a reader). For example, consider
attitudinal choices that confirm a feeling tone in a phase of text, contrasts in
choices, loadings, levels of force and contrasts in choices for graduation. 3.
Map syndromes of choices in one part (or stage) of the text against other parts as
the co-text shapes your apprehension of their significance. A useful strategy is to
highlight syndromes in colour and thus to get a sense of appraisal choices at a
glance (see Hood 2006 for more coding strategies of this nature). 4. Code
choices using the appraisal systems explained earlier: including attitude,
realization, loading, graduation (and again, sources of evaluation if this is
possible). Note that we have not dealt with engagement systems in this chapter.
Identify any cultural references (e.g. stolen generations, 9/11, the holocaust)
that carry evaluation in a broader context. How do choices in this text and
culturally salient references (or icons) position you (variously) as a reader?
Institutional values shape our coding of appraisal and we need to be explicit about
these our analysis. 5. Note any cases of double or triple coding and identify
these in terms of choices made salient in the text as a whole. Sometimes evaluation
carries an emotional and ethical charge; appreciation can involve Valuation, which
is both aesthetic and ethical in implication. 6. If you are dealing with a
multi-vocal text (more than one voice, for example), then decide how you will weigh
the evaluative choices made
==========
014+Macken-+Horarik+Appraising_Appraisal_Offprint+copy (Unknown)
- Note on Page 54 | Loc. 827 | Added on Tuesday, November 11, 2014, 02:25 PM
Empire is the political subject that effectively regulates these global exchanges,
the sovereign power that governs the world.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 10 | Loc. 147 | Added on Tuesday, December 02, 2014, 11:10 AM
The decline in sovereignty of nationstates, however, does not mean that sovereignty
as such has declined}
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Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 11 | Loc. 156 | Added on Tuesday, December 02, 2014, 11:12 AM
sovereignity
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Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 11 | Loc. 160 | Added on Tuesday, December 02, 2014, 11:12 AM
why new
==========
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- Highlight on Page 11 | Loc. 164 | Added on Tuesday, December 02, 2014, 11:13 AM
empire vs imperialism
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Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 11 | Loc. 167-68 | Added on Tuesday, December 02, 2014, 11:14
AM
imperialism
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Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 12 | Loc. 173-78 | Added on Tuesday, December 02, 2014, 11:15
AM
the role of industrial factory labor has been reduced and priority given instead to
communicative, cooperative, and affective labor.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 13 | Loc. 185 | Added on Tuesday, December 02, 2014, 11:16 AM
in production or in ideoloy
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Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 13 | Loc. 195-99 | Added on Tuesday, December 02, 2014, 11:19
AM
The United States does not, and indeed no nation-state can today, form the center
of an imperialist project. Imperialism is over. No nation will be world leader in
the way modern European nations were.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 13 | Loc. 199 | Added on Tuesday, December 02, 2014, 11:19 AM
no nation state
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 13 | Loc. 199-211 | Added on Tuesday, December 02, 2014, 11:21
AM
The United States does indeed occupy a privileged position in Empire, but this
privilege derives not from its similarities to the old European imperialist powers,
but from its differences. These differences can be recognized most clearly by
focusing on the properly imperial (not imperialist) foundations of the United
States constitution, where by ‘‘constitution’’ we mean both the formal
constitution, the written document along with its various amendments and legal
apparatuses, and the material constitution, that is, the continuous formation and
re-formation of the composition of social forces. Thomas Jefferson, the authors of
the Federalist, and the other ideological founders of the United States were all
inspired by the ancient imperial model; they believed they were creating on the
other side of the Atlantic a new Empire with open, expanding frontiers, where power
would be effectively distributed in networks. This imperial idea has survived and
matured throughout the history of the United States constitution and has emerged
now on a global scale in its fully realized form.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 14 | Loc. 211 | Added on Tuesday, December 02, 2014, 11:21 AM
We should emphasize that we use ‘‘Empire’’ here not as a metaphor, which would
require demonstration of the resemblances between today’s world order and the
Empires of Rome, China, the Americas, and so forth, but rather as a concept, which
calls primarily for a theoretical approach.2
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 15 | Loc. 216 | Added on Tuesday, December 02, 2014, 11:22 AM
empire is eternity
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 15 | Loc. 223-25 | Added on Tuesday, December 02, 2014, 11:23
AM
Third, the rule of Empire operates on all registers of the social order extending
down to the depths of the social world. Empire not only manages a territory and a
population but also creates the very world it inhabits. It not only regulates human
interactions but also seeks directly to rule over human nature.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 15 | Loc. 225 | Added on Tuesday, December 02, 2014, 11:23 AM
form of biopower.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 15 | Loc. 226-27 | Added on Tuesday, December 02, 2014, 11:24
AM
Globalization, of course, is not one thing, and the multiple processes that we
recognize as globalization are not unified or univocal. Our political task, we will
argue, is not simply to resist these processes but to reorganize them and redirect
them toward new ends. The
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 16 | Loc. 232 | Added on Tuesday, December 02, 2014, 11:25 AM
reorganuize globaliation
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 16 | Loc. 232-33 | Added on Tuesday, December 02, 2014, 11:27
AM
creative forces of the multitude that sustain Empire are also capable of
autonomously constructing a counter-Empire, an alternative political organization
of global flows and exchanges.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 16 | Loc. 233 | Added on Tuesday, December 02, 2014, 11:27 AM
The realm of production is where social inequalities are clearly revealed and,
moreover, where the most effective resistances and alternatives to the power of
Empire arise.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 18 | Loc. 268 | Added on Tuesday, December 02, 2014, 11:31 AM
tacitus
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 19 | Loc. 286 | Added on Tuesday, December 02, 2014, 11:33 AM
limitations of the notion of international order and points beyond it toward a new
notion of global order. One could certainly analyze the U.N. juridical structure in
purely negative terms and dwell on the declining power of nation-states in the
international context, but one should also recognize that the notion of right
defined by the U.N. Charter also points toward a new positive source of juridical
production, effective on a global scale—a new center of normative production that
can play a sovereign juridical role. The U.N. functions as a hinge in the genealogy
from international to global juridical structures.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 21 | Loc. 317 | Added on Tuesday, December 02, 2014, 11:37 AM
For Kelsen, the partial ordering of the domestic law of nation-states led back
necessarily to the universality and objectivity of the international ordering. The
latter is not only logical but also ethical, for it would put an end to conflicts
between states of unequal power and affirm instead an equality that is the
principle of real international community. Behind the formal sequence that Kelsen
described, then, there was a real and substantial drive of Enlightenment
modernization. Kelsen sought, in Kantian fashion, a notion of right that could
become an “organization of humanity and [would] therefore be one with the supreme
ethical idea.’’4
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 22 | Loc. 333 | Added on Tuesday, December 02, 2014, 11:40 AM
The transition we wish to study consists precisely in this gap between the formal
conception that grounds the validity of the juridical process in a supranational
source and the material realization of this conception. The life of the United
Nations, from its foundation to the end of the cold war, has been a long history of
ideas, compromises, and limited experiences oriented more or less toward the
construction of such a supranational ordering.
==========
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- Note on Page 23 | Loc. 347 | Added on Tuesday, December 02, 2014, 11:44 AM
material benches to un
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 24 | Loc. 367-68 | Added on Tuesday, December 02, 2014, 11:48
AM
In both cases, however, the new global power is presented merely in analogy with
the classical conception of the national sovereign power of states.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 25 | Loc. 372 | Added on Tuesday, December 02, 2014, 11:50 AM
The concept comes down to us through a long, primarily European tradition, which
goes back at least to ancient Rome, whereby the juridico-political figure of Empire
was closely linked to the Christian origins of European civilizations. There the
concept ofEmpire united juridical categories and universal ethical values, making
them work together as an organic whole.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 28 | Loc. 422 | Added on Tuesday, December 02, 2014, 11:55 AM
it pushes the coincidence and universality of the ethical and the juridical to the
extreme: in Empire there is peace, in Empire there is the guarantee of justice for
all peoples.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 28 | Loc. 426 | Added on Tuesday, December 02, 2014, 11:55 AM
a unitary power that maintains the social peace and produces its ethical truths.
And in order to achieve these ends, the single power is given the necessary force
to conduct, when necessary, ‘‘just wars’’ at the borders against the barbarians and
internally against the rebellious.15
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 28 | Loc. 428 | Added on Tuesday, December 02, 2014, 02:05 PM
This juridical concept involves two fundamental tendencies: first, the notion of a
right that is affirmed in the construction of a new order that envelops the entire
space of what it considers civilization, a boundless, universal space; and second,
a notion of right that encompasses all time within its ethical foundation. Empire
exhausts historical time, suspends history, and summons the past and future within
its own ethical order. In other words, Empire presents its order as permanent,
eternal, and necessary.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 29 | Loc. 434 | Added on Tuesday, December 02, 2014, 02:07 PM
In the Germanic-Roman tradition that thrived throughout the Middle Ages, these two
notions of right went hand in hand.16 Beginning in the Renaissance, however, with
the triumph of secularism, these two notions were separated and each developed
independently. On the one hand, there emerged in modern European political thought
a conception of international right, and on the other, there developed utopias of
‘‘perpetual peace.’’
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 29 | Loc. 438 | Added on Tuesday, December 02, 2014, 02:10 PM
reinassance separation
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 30 | Loc. 453-58 | Added on Tuesday, December 02, 2014, 02:13
PM
One symptom, for example, is the renewed interest in and effectiveness of the
concept of bellum justum, or ‘‘just war.’’ This concept, which was organically
linked to the ancient imperial orders and whose rich and complex genealogy goes
back to the biblical tradition, has begun to reappear recently as a central
narrative of political discussions, particularly in the wake of the Gulf War.17
==========
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- Note on Page 30 | Loc. 458 | Added on Tuesday, December 02, 2014, 02:13 PM
bellum justum
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 31 | Loc. 463-66 | Added on Tuesday, December 02, 2014, 02:17
PM
traditional concept of just war involves the banalization of war and the
celebration of it as an ethical instrument, both of which were ideas that modern
political thought and the international community of nation-states had resolutely
refused. These two traditional characteristics have reappeared in our postmodern
world: on the one hand, war is reduced to the status of police action, and on the
other, the new power that can legitimately exercise ethical functions through war
is sacralized.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 31 | Loc. 466 | Added on Tuesday, December 02, 2014, 02:17 PM
Today the enemy, just like the war itself, comes to be at once banalized (reduced
to an object of routine police repression) and absolutized (as the Enemy, an
absolute threat to the ethical order).
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 31 | Loc. 475 | Added on Tuesday, December 02, 2014, 02:18 PM
The systemic totality has a dominant position in the global order, breaking
resolutely with every previous dialectic and developing an integration of actors
that seems linear and spontaneous. At the same time, however, the effectiveness of
the consensus under a supreme authority of the ordering appears ever more clearly.
All conflicts, all crises, and all dissensions effectively push forward the process
of integration and by the same measure call for more central authority. Peace,
equilibrium, and the cessation of conflict are the values toward which everything
is directed. The development of the global
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 33 | Loc. 495 | Added on Tuesday, December 02, 2014, 02:21 PM
As Thucydides, Livy, and Tacitus all teach us (along with Machiavelli commenting on
their work), Empire is formed not on the basis of force itself but on the basis of
the capacity to present force as being in the service of right and peace.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 34 | Loc. 518 | Added on Tuesday, December 02, 2014, 02:24 PM
As Carl Schmitt has taught us, however, crisis on the terrain of the application of
law should focus our attention on the ‘‘exception’’ operative in the moment of its
production.26 Domestic and supranational law are both defined by their
exceptionality.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 36 | Loc. 541 | Added on Tuesday, December 02, 2014, 02:27 PM
universal values
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 38 | Loc. 568-74 | Added on Tuesday, December 02, 2014, 02:33
PM
not will but ethical claims to justice start the supranational power action
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 39 | Loc. 584-87 | Added on Tuesday, December 02, 2014, 02:36
PM
How can we reconcile the legitimation of this order through prevention and policing
with the fact that crisis and war themselves demonstrate the very questionable
genesis and legitimacy of this concept of justice? As we have already noted, these
techniques and others like them indicate that what we are witnessing is a process
of the material constitution of the new planetary order, the consolidation of its
administrative machine, and the production of new hierarchies of command over
global space.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 39 | Loc. 587 | Added on Tuesday, December 02, 2014, 02:36 PM
Who will decide on the definitions of justice and order across the expanse of this
totality in the course of its process of constitution? Who will be able to define
the concept of peace? Who will be able to unify the process of suspending history
and call this suspension just? Around these questions the problematic of Empire is
completely open, not closed.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 39 | Loc. 590 | Added on Tuesday, December 02, 2014, 02:38 PM
with the appearance of Empire, we are confronted no longer with the local
mediations of the universal but with a concrete universal itself.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 40 | Loc. 600 | Added on Tuesday, December 02, 2014, 09:56 PM
when local power enters normal times and contitute interna hegemony empire
exceptional power is confronted
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 41 | Loc. 616 | Added on Tuesday, December 02, 2014, 10:00 PM
corruption
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 42 | Loc. 631 | Added on Tuesday, December 02, 2014, 10:02 PM
biopolitical production
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 43 | Loc. 645 | Added on Tuesday, December 02, 2014, 10:05 PM
biopower
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 44 | Loc. 660-63 | Added on Tuesday, December 02, 2014, 10:07
PM
soiety of control
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 44 | Loc. 671-75 | Added on Tuesday, December 02, 2014, 10:09
PM
Biopower is a form of power that regulates social life from its interior, following
it, interpreting it, absorbing it, and rearticulating it. Power can achieve an
effective command over the entire life of the population only when it becomes an
integral, vital function that every individual embraces and reactivates of his or
her own accord. As Foucault says, ‘‘Life has now become ... an object of power.’’3
The highest function of this power is to invest life through and through, and its
primary task is to administer life. Biopower thus refers to a situation in which
what is directly at stake in power is the production and reproduction of life
itself.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 44 | Loc. 675 | Added on Tuesday, December 02, 2014, 10:09 PM
Civil society is absorbed in the state, but the consequence of this is an explosion
of the elements that were previously coordinated and mediated in civil society.
Resistances are no longer marginal but active in the center of a society that opens
up in networks; the individual points are singularized in a thousand plateaus.
==========
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- Note on Page 46 | Loc. 702 | Added on Tuesday, December 02, 2014, 10:12 PM
civil society is absorbed by the stte
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 46 | Loc. 702-5 | Added on Tuesday, December 02, 2014, 10:12
PM
What Foucault constructed implicitly (and Deleuze and Guattari made explicit) is
therefore the paradox of a power that, while it unifies and envelops within itself
every element of social life (thus losing its capacity effectively to mediate
different social forces), at that very moment reveals a new context, a new milieu
of maximum plurality and uncontainable singularization—a milieu of the event.8
==========
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- Note on Page 46 | Loc. 705 | Added on Tuesday, December 02, 2014, 10:12 PM
paradox of power
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 47 | Loc. 709-11 | Added on Tuesday, December 02, 2014, 10:13
PM
All the intermediary elements of the process have in fact fallen aside, so that the
legitimacy of the international order can no longer be constructed through
mediations but must rather be grasped immediately in all its diversity.
==========
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- Note on Page 47 | Loc. 711 | Added on Tuesday, December 02, 2014, 10:13 PM
destruction of mdiations
==========
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- Note on Page 48 | Loc. 732 | Added on Tuesday, December 02, 2014, 10:16 PM
production of life
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 49 | Loc. 745-51 | Added on Tuesday, December 02, 2014, 10:18
PM
It does not seem, however, that Foucault—even when he powerfully grasped the
biopolitical horizon of society and defined it as a field of immanence—ever
succeeded in pulling his thought away from that structuralist epistemology that
guided his research from the beginning. By structuralist epistemology here we mean
the reinvention of a functionalist analysis in the realm of the human sciences, a
method that effectively sacrifices the dynamic of the system, the creative
temporality of its movements, and the ontological substance of cultural and social
reproduction.13 In fact, if at this point we were to ask Foucault who or what
drives the system, or rather, who is the ‘‘bios,’’ his response would be ineffable,
or nothing at all. What Foucault fails to grasp finally are the real dynamics of
production in biopolitical society.14
==========
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- Note on Page 49 | Loc. 751 | Added on Tuesday, December 02, 2014, 10:18 PM
critic of oucault
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 50 | Loc. 755-60 | Added on Tuesday, December 02, 2014, 10:19
PM
They focus our attention clearly on the ontological substance of social production.
Machines produce. The constant functioning of social machines in their various
apparatuses and assemblages produces the world along with the subjects and objects
that constitute it. Deleuze and Guattari, however, seem to be able to conceive
positively only the tendencies toward continuous movement and absolute flows, and
thus in their thought, too, the creative elements and the radical ontology of the
production of the social remain insubstantial and impotent. Deleuze and Guattari
discover the productivity of social reproduction (creative production, production
of values, social relations, affects, becomings), but manage to articulate it only
superficially and ephemerally, as a chaotic, indeterminate horizon marked by the
ungraspable event.15
==========
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- Note on Page 50 | Loc. 760 | Added on Tuesday, December 02, 2014, 10:19 PM
After a new theory of value, then, a new theory of subjectivity must be formulated
that operates primarily through knowledge, communication, and language.
==========
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- Highlight on Page 51 | Loc. 782-85 | Added on Tuesday, December 02, 2014, 10:25
PM
The productivity of bodies and the value of affect, however, are absolutely central
in this context. We will elaborate the three primary aspects of immaterial labor in
the contemporary economy: the communicative labor of industrial production that has
newly become linked in informational networks, the interactive labor of symbolic
analysis and problem solving, and the labor of the production and manipulation of
affects (see Section 3.4).
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 52 | Loc. 785 | Added on Tuesday, December 02, 2014, 10:25 PM
The U.N. organizations, along with the great multi- and transnational finance and
trade agencies (the IMF, the World Bank, the GATT, and so forth), all become
relevant in the perspective of the supranational juridical constitution only when
they are considered within the dynamic of the biopolitical production of world
order.
==========
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- Note on Page 53 | Loc. 806 | Added on Tuesday, December 02, 2014, 10:28 PM
int corporations dont give abstract commands but organize life iself
==========
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- Highlight on Page 54 | Loc. 827-32 | Added on Tuesday, December 02, 2014, 10:32
PM
The great industrial and financial powers thus produce not only commodities but
also subjectivities. They produce agentic subjectivities within the biopolitical
context: they produce needs, social relations, bodies, and minds—which is to say,
they produce producers.22 In the biopolitical sphere, life is made to work for
production and production is made to work for life. It is a great hive in which the
queen bee continuously oversees production and reproduction. The deeper the
analysis goes, the more it finds at increasing levels of intensity the interlinking
assemblages of interactive relationships.23
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 55 | Loc. 832 | Added on Tuesday, December 02, 2014, 10:32 PM
At this point we can begin to address the question of the legitimation of the new
world order. Its legitimation is not born of the previously existing international
accords nor of the functioning of the first, embryonic supranational organizations,
which were themselves created through treaties based on international law. The
legitimation of the imperial machine is born at least in part of the communications
industries, that is, of the transformation of the new mode of production into a
machine. It is a subject that produces its own image of authority. This is a form
of legitimation that rests on nothing outside itself and is reproposed ceaselessly
by developing its own languages of self-validation.
==========
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- Note on Page 56 | Loc. 853 | Added on Wednesday, December 03, 2014, 09:11 AM
intervention
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 58 | Loc. 882-85 | Added on Wednesday, December 03, 2014,
09:16 AM
intervention is internalized
==========
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- Highlight on Page 59 | Loc. 893-96 | Added on Wednesday, December 03, 2014,
09:17 AM
beginning not directly with its weapons of lethal force but rather with its moral
instruments. What we are calling moral intervention is practiced today by a variety
of bodies, including the news media and religious organizations, but the most
important may be some of the so-called non-governmental organizations (NGOs),
which, precisely because they are not run directly by governments, are assumed to
act on the basis of ethical or moral imperatives.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 59 | Loc. 896 | Added on Wednesday, December 03, 2014, 09:17 AM
These NGOs conduct ‘‘just wars’’ without arms, without violence, without borders.
Like the Dominicans in the late medieval period and the Jesuits at the dawn of
modernity, these groups strive to identify universal needs and defend human rights.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 59 | Loc. 901 | Added on Wednesday, December 03, 2014, 09:18 AM
Through their language and their action they first define the enemy as privation
(in the hope of preventing serious damage) and then recognize the enemy as sin.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 60 | Loc. 913-15 | Added on Wednesday, December 03, 2014,
09:20 AM
Moral intervention often serves as the first act that prepares the stage for
military intervention. In such cases, military deployment is presented as an
internationally sanctioned police action.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 60 | Loc. 915 | Added on Wednesday, December 03, 2014, 09:20 AM
This kind of continual intervention, then, which is both moral and military, is
really the logical form of the exercise of force that follows from a paradigm of
legitimation based on a state of permanent exception and police action.
Interventions are always exceptional even though they arise continually; they take
the form of police actions because they are aimed at maintaining an internal order.
In this way intervention is an effective mechanism that through police deployments
contributes directly to the construction of the moral, normative, and institutional
order of Empire.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 62 | Loc. 944 | Added on Wednesday, December 03, 2014, 09:25 AM
royal prerogatives
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 63 | Loc. 955-58 | Added on Wednesday, December 03, 2014,
09:30 AM
In effect, one might say that the sovereignty of Empire itself is realized at the
margins, where borders are flexible and identities are hybrid and fluid. It would
be difficult to say which is more important to Empire, the center or the margins.
In fact, center and margin seem continually to be shifting positions, fleeing any
determinate locations. We could even say that the process itself is virtual and
that its power resides in the power of the virtual.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 63 | Loc. 958 | Added on Wednesday, December 03, 2014, 09:30 AM
Our claim, rather, is that we are dealing here with a special kind of sovereignty—a
discontinuous form of sovereignty that should be considered liminal or marginal
insofar as it acts ‘‘in the final instance,’’ a sovereignty that locates its only
point of reference in the definitive absoluteness of the power that it can
exercise.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 63 | Loc. 963 | Added on Wednesday, December 03, 2014, 09:31 AM
If we wanted to take up again Max Weber’s famous three- part formula of the forms
of legitimation of power, the qualitative leap that Empire introduces into the
definition would consist in the unforeseeable mixture of (1) elements typical of
traditional power, (2) an extension of bureaucratic power that is adapted
physiologically to the biopolitical context, and (3) a rationality defined by the
‘‘event’’ and by ‘‘charisma’’ that rises up as a power of the singularization of
the whole and of the effectiveness of imperial interventions.35 The logic that
characterizes this neo-Weberian perspective would be functional rather than
mathematical, and rhizo- matic and undulatory rather than inductive or deductive.
It would deal with the management of linguistic sequences as sets of machinic
sequences of denotation and at the same time of creative, colloquial, and
irreducible innovation.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 65 | Loc. 990 | Added on Wednesday, December 03, 2014, 09:35 AM
weberian mix
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 66 | Loc. 1002 | Added on Wednesday, December 03, 2014, 09:39 AM
Flirting with Hegel, one could say that the construction of Empire is good in
itself but notfor itself} One of the most powerful operations of the modern
imperialist power structures was to drive wedges among the masses of the globe,
dividing them into opposing camps, or really a myriad of conflicting parties.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 67 | Loc. 1017 | Added on Wednesday, December 03, 2014, 09:40 AM
dividing workers
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 67 | Loc. 1024-27 | Added on Wednesday, December 03, 2014,
09:43 AM
One might even say that the construction of Empire and its global networks is a
response to the various struggles against the modern machines of power, and
specifically to class struggle driven by the multitude’s desire for liberation. The
multitude called Empire into being.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 67 | Loc. 1027 | Added on Wednesday, December 03, 2014, 09:43 AM
The end of the dialectic of modernity has not resulted in the end of the dialectic
of exploitation.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 68 | Loc. 1034 | Added on Wednesday, December 03, 2014, 09:43 AM
Today the operative syllogism at the heart of the various forms of ‘‘local’’
Leftist strategy seems to be entirely reactive: If capitalist domination is
becoming ever more global, then our resistances to it must defend the local and
construct barriers to capital’s accelerating flows. From this perspective, the real
globalization of capital and the constitution of Empire must be considered signs of
dispossession and defeat. We maintain, however, that today this localist position,
although we admire and respect the spirit of some of its proponents, is both false
and damaging.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 70 | Loc. 1059 | Added on Wednesday, December 03, 2014, 09:48 AM
againt localism
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 70 | Loc. 1059-73 | Added on Wednesday, December 03, 2014,
09:49 AM
In many characterizations the problem rests on a false dichotomy between the global
and the local, assuming that the global entails homogenization and undifferentiated
identity whereas the local preserves heterogeneity and difference. Often implicit
in such arguments is the assumption that the differences of the local are in some
sense natural, or at least that their origin remains beyond question. Local
differences preexist the present scene and must be defended or protected against
the intrusion of globalization. It should come as no surprise, given such
assumptions, that many defenses of the local adopt the terminology of traditional
ecology or even identify this ‘‘local’’ political project with the defense of
nature and biodiversity. This view can easily devolve into a kind of primordialism
that fixes and romanticizes social relations and identities. What needs to be
addressed, instead, is precisely the production of locality, that is, the social
machines that create and recreate the identities and differences that are
understood as the local.4 The differences of locality are neither preexisting nor
natural but rather effects of a regime of production. Globality similarly should
not be understood in terms of cultural, political, or economic homog- enization.
Globalization, like localization, should be understood instead as a regime of the
production of identity and difference, or really of homogenization and
heterogenization.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 70 | Loc. 1072 | Added on Wednesday, December 03, 2014, 09:49 AM
The better framework, then, to designate the distinction between the global and the
local might refer to different networks of flows and obstacles in which the local
moment or perspective gives priority to the reterritorializing barriers or
boundaries and the global moment privileges the mobility of deterritorializing
flows. It is false, in any case, to claim that we can (re)establish local
identities that are in some sense outside and protected against the global flows of
capital and Empire.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 71 | Loc. 1077 | Added on Wednesday, December 03, 2014, 09:51 AM
deleuzian framework
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 72 | Loc. 1089 | Added on Wednesday, December 03, 2014, 09:51 AM
res gestae
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 74 | Loc. 1124-30 | Added on Wednesday, December 03, 2014,
02:42 PM
our reasoning here is based on two methodological approaches that are intended to
be nondialectical and absolutely immanent: the first is critical and decon-
structive, aiming to subvert the hegemonic languages and social structures and
thereby reveal an alternative ontological basis that resides in the creative and
productive practices of the multitude; the second is constructive and ethico-
political, seeking to lead the processes of the production of subjectivity toward
the constitution of an effective social, political alternative, a new constituent
power.6
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 74 | Loc. 1130 | Added on Wednesday, December 03, 2014, 02:42 PM
Rather than thinking of the struggles as relating to one another like links in a
chain, it might be better to conceive of them as communicating like a virus that
modulates its form to find in each context an adequate host.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 78 | Loc. 1194 | Added on Wednesday, December 03, 2014, 02:53 PM
revolution as virus
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 80 | Loc. 1224 | Added on Wednesday, December 03, 2014, 02:56 PM
Our point here is that all of these diverse forms of labor are in some way subject
to capitalist discipline and capitalist relations of production. This fact of being
within capital and sustaining capital is what defines the proletariat as a class.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 82 | Loc. 1247 | Added on Wednesday, December 03, 2014, 02:58 PM
All these struggles, which pose really new elements, appear from the beginning to
be already old and outdated—precisely because they cannot communicate, because
their languages cannot be translated.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 85 | Loc. 1298 | Added on Friday, December 05, 2014, 09:29 AM
marx mole
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 87 | Loc. 1327-28 | Added on Friday, December 05, 2014, 09:48
AM
cycle defined not by the communicative extension of the struggles but rather by
their singular emergence, by the intensity that characterizes them one by one.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 87 | Loc. 1328 | Added on Friday, December 05, 2014, 09:48 AM
how can this exist. why it would be good. how ca it articulate. i hink this is
false
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 88 | Loc. 1337-43 | Added on Friday, December 05, 2014, 09:50
AM
Every insurrectional event that erupts within the order of the imperial system
provokes a shock to the system in its entirety. From this perspective, the
institutional frame in which we live is characterized by its radical contingency
and precariousness, or really by the unforeseeability of the sequences of events—
sequences that are always more brief or more compact temporally and thus ever less
controllable.22
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 90 | Loc. 1378 | Added on Saturday, December 06, 2014, 07:03 PM
this is false. there are void insurrections. this contradicts the paradox of
communicability stated early
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 91 | Loc. 1387-92 | Added on Saturday, December 06, 2014,
07:04 PM
New figures of struggle and new subjectivities are produced in the conjuncture of
events, in the universal nomadism, in the general mixture and miscegenation of
individuals and populations, and in the technological metamorphoses of the imperial
biopolitical machine. These new figures and subjectivities are produced because,
although the struggles are indeed antisystemic, they are not posed merely against
the imperial system—they are not simply negative forces. They also express,
nourish, and develop positively their own constituent projects; they work toward
the liberation of living labor, creating constellations of powerful singularities.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 91 | Loc. 1392 | Added on Saturday, December 06, 2014, 07:04 PM
new subjectivities
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 93 | Loc. 1421 | Added on Saturday, December 06, 2014, 07:06 PM
political manifesto
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 95 | Loc. 1446-47 | Added on Saturday, December 06, 2014,
07:08 PM
In other words, whereas the Marx-Engels manifesto traces a linear and necessary
causality, the Machiavellian text poses rather a project and a utopia.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 95 | Loc. 1447 | Added on Saturday, December 06, 2014, 07:09 PM
causality vs utopia
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 96 | Loc. 1464-65 | Added on Saturday, December 06, 2014,
07:10 PM
In the cold placidness ofpostmodernity, what Marx and Engels saw as the co-presence
of the productive subject and the process of liberation is utterly inconceivable.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 96 | Loc. 1465 | Added on Saturday, December 06, 2014, 07:10 PM
Perhaps we need to reinvent the notion of the materialist teleology that Spinoza
proclaimed at the dawn of modernity when he claimed that the prophet produces its
own people.2 Perhaps along with Spinoza we should recognize prophetic desire as
irresistible, and all the more powerful the more it becomes identified with the
multitude.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 97 | Loc. 1480 | Added on Saturday, December 06, 2014, 07:12 PM
passages of sovereignity
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 98 | Loc. 1498 | Added on Saturday, December 06, 2014, 07:14 PM
two europes
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 100 | Loc. 1520-24 | Added on Saturday, December 06, 2014,
07:20 PM
plane of immanence
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 101 | Loc. 1535-38 | Added on Saturday, December 06, 2014,
07:22 PM
Humans declared themselves masters of their own lives, producers of cities and
history, and inventors of heavens. They inherited a dualistic consciousness, a
hierarchical vision of society, and a metaphysical idea of science; but they handed
down to future generations an experimental idea of science, a constituent
conception of history and cities, and they posed being as an immanent terrain of
knowledge and action.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 101 | Loc. 1538 | Added on Saturday, December 06, 2014, 07:22 PM
materiality emerges
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 101 | Loc. 1540-46 | Added on Saturday, December 06, 2014,
07:23 PM
against dualism.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 103 | Loc. 1571-73 | Added on Saturday, December 06, 2014,
07:25 PM
In those origins of modernity, then, knowledge shifted from the transcendent plane
to the immanent, and consequently, that human knowledge became a doing, a practice
of transforming nature.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 103 | Loc. 1573 | Added on Saturday, December 06, 2014, 07:25 PM
transforming nature
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 105 | Loc. 1598-99 | Added on Saturday, December 06, 2014,
07:28 PM
By the time we arrive at Spinoza, in fact, the horizon of immanence and the horizon
of the democratic political order coincide completely.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 105 | Loc. 1599 | Added on Saturday, December 06, 2014, 07:28 PM
modernity as crisis
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 107 | Loc. 1640-43 | Added on Saturday, December 06, 2014,
09:59 PM
crisis of modernity
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 108 | Loc. 1655-61 | Added on Saturday, December 06, 2014,
10:01 PM
weak trascendentalism
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 113 | Loc. 1720-25 | Added on Sunday, December 07, 2014, 03:34
AM
kant
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 114 | Loc. 1741-47 | Added on Tuesday, December 09, 2014,
11:14 AM
sovereignity mchine
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 122 | Loc. 1870-72 | Added on Tuesday, December 09, 2014,
01:35 PM
Foucault refers to this transition as the passage from the paradigm of sovereignty
to that of governmentality, where by sovereignty he means the transcendence of the
single point of command above the social field, and by governmentality he means the
general economy of discipline that runs throughout society.34 We prefer to conceive
of this as a passage within the notion of sovereignty, as a transition to a new
form of transcendence.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 123 | Loc. 1882 | Added on Tuesday, December 09, 2014, 01:37 PM
Foucault, however, goes still further to claim that the disciplinary processes,
which are put into practice by the administration, delve so deeply into society
that they manage to configure themselves as apparatuses that take into account the
collective biological dimension of the reproduction of the population. The
realization of modern sovereignty is the birth of biopower.35
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 124 | Loc. 1889 | Added on Tuesday, December 09, 2014, 01:39 PM
biopower
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 126 | Loc. 1919-20 | Added on Tuesday, December 09, 2014,
01:44 PM
Everything is different and nothing seems to have changed. Is this the coming of a
new human power?
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 126 | Loc. 1920 | Added on Tuesday, December 09, 2014, 01:44 PM
This antihumanism, however, need not conflict with the revolutionary spirit of
Renaissance humanism we outlined earlier from Cusano to Marsi- lius. In fact, this
antihumanism follows directly on Renaissance humanism’s secularizing project, or
more precisely, its discovery of the plane of immanence. Both projects are founded
on an attack on transcendence.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 127 | Loc. 1940 | Added on Tuesday, December 09, 2014, 01:47 PM
These concepts reify sovereignty in the most rigid way; they make the relation of
sovereignty into a thing (often by naturalizing it) and thus weed out every residue
of social antagonism. The nation is a kind of ideological shortcut that attempts to
free the concepts ofsovereignty and modernity from the antagonism and crisis that
define them.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 132 | Loc. 2020 | Added on Tuesday, December 09, 2014, 01:59 PM
The political victory of the bourgeoisie, as the English and French revolutions
show well, corresponded to the perfecting of the concept of modern sovereignty
through that of national sovereignty.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 133 | Loc. 2026 | Added on Tuesday, December 09, 2014, 02:00 PM
Luxemburg’s most powerful argument, rather, was that nation means dictatorship and
is thus profoundly incompatible with any attempt at democratic organization.
Luxemburg recognized that national sovereignty and national mythologies effectively
usurp the terrain of democratic organization by renewing the powers of territorial
sovereignty and modernizing its project through the mobilization of an active
community.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 134 | Loc. 2042 | Added on Tuesday, December 09, 2014, 02:08 PM
Sovereignty, Bodin claimed, cannot be produced by the unity of the Prince and the
multitude, the public and the private, nor can its problem be resolved so long as
one holds to either a contractu- alist or a natural right framework. Really, the
origin of political power and the definition of sovereignty consist in the victory
of one side over the other, a victory that makes the one sovereign and the other
subject. Force and violence create the sovereign.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 135 | Loc. 2061 | Added on Tuesday, December 09, 2014, 02:11 PM
the ‘‘genius’’ that works history. The nation becomes finally the condition of
possibility of all human action and social life itself.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 139 | Loc. 2120 | Added on Tuesday, December 09, 2014, 02:18 PM
What Is the Third Estate? he linked the concept of nation to that of the Third
Estate, that is, the bourgeoisie. Sieyes tried to lead the concept of sovereignty
back to its humanist origins and rediscover its revolutionary possibilities. More
important for our purposes, Sieyes’s intense engagement with revolutionary activity
allowed him to interpret the concept of nation as a constructive political concept,
a constitutional mechanism.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 140 | Loc. 2132 | Added on Tuesday, December 09, 2014, 02:21 PM
Although ‘‘the people’’ is posed as the originary basis of the nation, the modern
conception of the people is in fact a product of the nation-state, and survives
only within its specific ideological context.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 141 | Loc. 2153 | Added on Wednesday, December 10, 2014, 12:56 PM
subaltern nationalism
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 145 | Loc. 2213-17 | Added on Wednesday, December 10, 2014,
01:04 PM
Outside of Europe, however, the concept of nation has often functioned very
differently. In some respects, in fact, one might even say that the function of the
concept of nation is inverted when deployed among subordinated rather than dominant
groups. Stated most boldly, it appears that whereas the concept of nation promotes
stasis and restoration in the hands of the dominant, it is a weapon for change and
revolution in the hands of the subordinated.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 145 | Loc. 2217 | Added on Wednesday, December 10, 2014, 01:04 PM
The concept of nation also served as an ideological weapon to ward off the dominant
discourse that figured the dominated population and culture as inferior; the claim
to nationhood affirmed the dignity of the people and legitimated the demand for
independence and equality.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 146 | Loc. 2224 | Added on Wednesday, December 10, 2014, 01:05 PM
The flip side of the structure that resists foreign powers is itself a dominating
power that exerts an equal and opposite internal oppression, repressing internal
difference and opposition in the name of national identity, unity, and security.
Protection and oppression can be hard to tell apart. This strategy of ‘‘national
protection’’ is a double-edged sword that at times appears necessary despite its
destructiveness.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 146 | Loc. 2231 | Added on Wednesday, December 10, 2014, 01:07 PM
double faceted structure of the subaltern nation. defense against exterior at the
price of internal oppresion
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 146 | Loc. 2236-40 | Added on Wednesday, December 10, 2014,
01:08 PM
In cases of diasporic populations, too, the nation seems at times to be the only
concept available under which to imagine the community of the subaltern group—as,
for example, the Aztlan is imagined as the geographical homeland of ‘‘la Raza,’’
the spiritual Latino nation in North America. It may be true, as Benedict Anderson
says, that a nation should be understood as an imagined community—but here we
should recognize that the claim is inverted so that the nation becomes the only way
to imagine community!
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 147 | Loc. 2240 | Added on Wednesday, December 10, 2014, 01:08 PM
community is impoverished
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 149 | Loc. 2272-74 | Added on Wednesday, December 10, 2014,
01:11 PM
touissant
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 156 | Loc. 2390 | Added on Wednesday, December 10, 2014, 06:32 PM
In fact, Las Casas can think equality only in terms of sameness. The Amerindians
are equal to Europeans in nature only insofar as they are potentially European, or
really potentially Christian: ‘‘The nature of men is the same and all are called by
Christ in the same way.’’2
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 158 | Loc. 2413 | Added on Wednesday, December 10, 2014, 06:35 PM
The point here is not simply to denounce the irrationality of the bourgeoisie, but
to understand how slavery and servitude can be perfectly compatible with capitalist
production, as mechanisms that limit the mobility of the labor force and block its
movements. Slavery, servitude, and all the other guises of the coercive
organization of labor—from coolieism in the Pacific and peonage in Latin America to
apartheid in South Africa—are all essential elements internal to the processes of
capitalist development.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 165 | Loc. 2529 | Added on Thursday, December 11, 2014, 09:40 AM
The deterritorializing desire of the multitude is the motor that drives the entire
process of capitalist development, and capital must constantly attempt to contain
it.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 167 | Loc. 2555 | Added on Thursday, December 11, 2014, 09:44 AM
dterritorializing
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 167 | Loc. 2555 | Added on Thursday, December 11, 2014, 09:44 AM
production of alterity
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 167 | Loc. 2561-64 | Added on Thursday, December 11, 2014,
09:46 AM
The identity of the European Self is produced in this dialectical movement. Once
the colonial subject is constructed as absolutely Other, it can in turn be subsumed
(canceled and raised up) within a higher unity. The absolute Other is reflected
back into the most proper. Only through opposition to the colonized does the
metropolitan subject really become itself.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 172 | Loc. 2629 | Added on Thursday, December 11, 2014, 09:54 AM
The only possible strategy is one of reversal or inversion of the colonialist logic
itself. ‘‘The unity which will come eventually, bringing all oppressed peoples
together in the same struggle,’’ Sartre proclaims, ‘‘must be preceded in the
colonies by what I shall call the moment of separation or negativity: this
antiracist racism is the only road that will lead to the abolition of racial
differences.’’28
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 175 | Loc. 2671 | Added on Thursday, December 11, 2014, 01:02 PM
not dialectical, and no idealist rhetorical gymnastics can make them conform to the
dialect. The strategy of negativity, however, the moment of the boomerang, appears
in an entirely different light when it is cast in a nondialectical form and in
political rather than cultural terms. Fanon, for example, refuses the cultural
politics of negritude with its consciousness of black identity and poses the
revolutionary antithesis instead in terms of physical violence. The original moment
of violence is that of colonialism: the domination and exploitation of the
colonized by the colonizer. The second moment, the response of the colonized to
this original violence, can take all sorts of perverted forms in the colonial
context. ‘‘The colonized man will first manifest this aggressiveness which has been
deposited in his bones against his own people.’’31 The violence among the colonized
population, sometimes thought to be the residues of ancient tribal or religious
antagonisms, is really the pathological reflections of the violence of colonialism
that most often surfaces as superstitions, myths, dances, and mental disorders.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 176 | Loc. 2695 | Added on Thursday, December 11, 2014, 01:05 PM
For both Fanon and Malcolm X, however, this negative moment, this violent
reciprocity, does not lead to any dialectical synthesis; it is not the upbeat that
will be resolved in a future harmony.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 177 | Loc. 2704 | Added on Thursday, December 11, 2014, 01:07 PM
only violnce to open the political terrain for future positive action
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 177 | Loc. 2707 | Added on Thursday, December 11, 2014, 01:07 PM
poisoned gift of national liberation
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 179 | Loc. 2741-44 | Added on Thursday, December 11, 2014,
01:11 PM
Conservatory of the passive revolution, the national state now proceeds to find for
‘‘the nation’’ a place in the global order of capital, while striving to keep the
contradictions between capital and the people in perpetual suspension. All politics
is now sought to be subsumed under the overwhelming requirements of the state-
representing-the-nation.36
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 179 | Loc. 2744 | Added on Thursday, December 11, 2014, 01:11 PM
The entire logical chain of representation might be summarized like this: the
people representing the multitude, the nation representing the people, and the
state representing the nation. Each link is an attempt to hold in suspension the
crisis of modernity.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 180 | Loc. 2747 | Added on Thursday, December 11, 2014, 01:11 PM
contagion
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 181 | Loc. 2772-73 | Added on Thursday, December 11, 2014,
01:14 PM
The contemporary processes ofglobalization have torn down many of the boundaries of
the colonial world. Along with the common celebrations of the unbounded flows in
our new global village, one can still sense also an anxiety about increased contact
and a certain nostalgia for colonialist hygiene. The dark side of the consciousness
of globalization is the fear of contagion.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 183 | Loc. 2795 | Added on Friday, December 12, 2014, 09:05 AM
globalization as contagion
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 183 | Loc. 2795-96 | Added on Friday, December 12, 2014, 09:05
AM
If we break down global boundaries and open universal contact in our global
village, how will we prevent the spread of disease and corruption?
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 184 | Loc. 2807 | Added on Friday, December 12, 2014, 09:06 AM
symptoms of passage
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 184 | Loc. 2818-25 | Added on Friday, December 12, 2014, 09:08
AM
The various postmodernist and postcolonialist theories that have emerged since the
1980s give us a first view of this passage, but the perspective they offer proves
to be quite limited. As the prefix ‘‘post-’’ should indicate, postmodernist and
postcolonialist theorists never tire of critiquing and seeking liberation from the
past forms of rule and their legacies in the present. Postmodernists continually
return to the lingering influence of the Enlightenment as the source of domination;
postcolonialist theorists combat the remnants of colonialist thinking. We suspect
that postmodernist and postcolonialist theories may end up in a dead end because
they fail to recognize adequately the contemporary object of critique, that is,
they mistake today’s real enemy.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 185 | Loc. 2825 | Added on Friday, December 12, 2014, 09:08 AM
This new enemy not only is resistant to the old weapons but actually thrives on
them, and thus joins its would-be antagonists in applying them to the fullest. Long
live difference! Down with essentialist binaries!
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 186 | Loc. 2841 | Added on Friday, December 12, 2014, 09:10 AM
politics of difference
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 188 | Loc. 2871-78 | Added on Friday, December 12, 2014, 09:15
AM
When postmodernists propose their opposition to a modernity and an Enlightenment
that exalt the universality of reason only to sustain white male European
supremacy, it should be clear that they are really attacking the second tradition
of our schema (and unfortunately ignoring or eclipsing the first). It would be more
accurate, in other words, to pose postmodernist theory as a challenge neither to
the Enlightenment nor to modernity in toto but specifically to the tradition of
modern sovereignty. More precisely still, these various theoretical contestations
are brought together most coherently in a challenge to the dialectic as the central
logic of modern domination, exclusion, and command—for both its relegating the
multiplicity of difference to binary oppositions and its subsequent subsumption of
these differences in a unitary order. If modern power itself is dialectical, the
logic goes, then the postmodernist project must be nondialectical.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 188 | Loc. 2878 | Added on Friday, December 12, 2014, 09:15 AM
bhabha
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 193 | Loc. 2951-53 | Added on Friday, December 12, 2014, 02:15
PM
The utopia Bhabha points toward after the binary and totalizing structures of power
have been fractured and displaced is not an isolated and fragmentary existence but
a new form of community, a community of the ‘‘unhomely,’’ a new internationalism, a
gathering of people in the diaspora. The affirmation of difference and hybridity is
itself, according to Bhabha, an affirmation of community: ‘‘To live in the unhomely
world, to find its ambivalences and ambiguities enacted in the house of fiction, or
its sundering and splitting performed in the work of art, is also to affirm a
profound desire for social solidarity.’’8
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 193 | Loc. 2958 | Added on Friday, December 12, 2014, 02:17 PM
bhabhas utopia
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 194 | Loc. 2963-66 | Added on Friday, December 12, 2014, 02:18
PM
This is why, for example, he can say ‘‘hierarchical or binary’’ as if the two terms
were interchangeable: from his perspective hierarchy as such is necessarily
grounded in binary divisions, so that the mere fact of hybridity has the power to
destroy hierarchy tout court.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 194 | Loc. 2965 | Added on Friday, December 12, 2014, 02:18 PM
Islamic radicalisms are indeed primarily based on ‘‘original thought’’ and the
invention of original values and practices, which perhaps echo those of other
periods of revivalism or fundamentalism but are really directed in reaction to the
present social order. In both cases, then, the fundamentalist ‘‘return to
tradition’’ is really a new invention.15
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 198 | Loc. 3027 | Added on Friday, December 12, 2014, 02:34 PM
truth comissions
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 206 | Loc. 3146 | Added on Tuesday, December 16, 2014, 01:38
PM
In fact, a stable and defined place in which to live, a certain immobility, can on
the contrary appear as the most urgent need.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 206 | Loc. 3147 | Added on Tuesday, December 16, 2014, 01:39 PM
necesidad de inmovilidad
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 206 | Loc. 3148-56 | Added on Tuesday, December 16, 2014,
01:40 PM
The postmodernist epistemological challenge to ‘‘the Enlightenment’’—its attack on
master narratives and its critique of truth— also loses its liberatory aura when
transposed outside the elite intellectual strata of Europe and North America.
Consider, for example, the mandate of the Truth Commission formed at the end of the
civil war in El Salvador, or the similar institutions that have been established in
the post-dictatorial and post-authoritarian regimes of Latin America and South
Africa. In the context of state terror and mystification, clinging to the primacy
of the concept of truth can be a powerful and necessary form of resistance.
Establishing and making public the truth of the recent past—attributing
responsibility to state officials for specific acts and in some cases exacting
retribu- tion—appears here as the ineluctable precondition for any democratic
future. The master narratives of the Enlightenment do not seem particularly
repressive here, and the concept of truth is not fluid or unstable—on the contrary!
The truth is that this general ordered the torture and assassination of that union
leader, and this colonel led the massacre of that village.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 206 | Loc. 3156 | Added on Tuesday, December 16, 2014, 01:40 PM
truth as liberatory
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 207 | Loc. 3162-67 | Added on Tuesday, December 16, 2014,
01:41 PM
Difference, hybridity, and mobility are not liberatory in themselves, but neither
are truth, purity, and stasis. The real revolutionary practice refers to the level
of production. Truth will not make us free, but taking control of the production of
truth will. Mobility and hybridity are not liberatory, but taking control of the
production of mobility and stasis, purities and mixtures is. The real truth
commissions of Empire will be constituent assemblies of the multitude, social
factories for the production of truth.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 207 | Loc. 3167 | Added on Tuesday, December 16, 2014, 01:41 PM
Sometimes, when it has not been a good lecture, it would need very little, just one
question, to put everything straight. However, this question never comes. The group
effect in France makes any genuine discussion impossible. And as there is no
feedback, the course is theatricalized. My relationship with the people there is
like that of an actor or an acrobat. And when I have finished speaking, a sensation
of total solitude
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 13 | Loc. 187 | Added on Monday, December 29, 2014, 02:50 PM
la soledad de foucault
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 19 | Loc. 285-90 | Added on Monday, December 29, 2014, 02:55
PM
THIS YEAR I WOULD like to begin studying something that I have called, somewhat
vaguely, bio-power.[1] By this I mean a number of phenomena that seem to me to be
quite significant, namely, the set of mechanisms through which the basic biological
features of the human species became the object of a political strategy, of a
general strategy of power, or, in other words, how, starting from the eighteenth
century, modern western societies took on board the fundamental biological fact
that human beings are a species.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 19 | Loc. 290 | Added on Monday, December 29, 2014, 02:55 PM
biopower def
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 21 | Loc. 314-16 | Added on Monday, December 29, 2014, 02:59
PM
But what I am doing - I don’t say what I am cut out to do, because I know nothing
about that - is not history, sociology, or economics. However, in one way or
another, and for simple factual reasons, what I am doing is something that concerns
philosophy, that is to say, the politics of truth, for I do not see many other
definitions of the word “philosophy” apart from this.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 21 | Loc. 316 | Added on Monday, December 29, 2014, 02:59 PM
domain, the imperative discourse that consists in saying “love this, hate that,
this is good, that is bad, be for this, beware of that,” seems to me, at present at
any rate, to be no more than an aesthetic discourse that can only be based on
choices of an aesthetic order. And the imperative discourse that consists in saying
“strike against this and do so in this way,” seems to me to be very flimsy when
delivered from a teaching institution or even just on a piece of paper. In any
case, it seems to me that the dimension of what is to be done can only appear
within a field of real forces, that is to say within a field of forces that cannot
be created by a speaking subject alone and on the basis of his words, because it is
a field of forces that cannot in any way be controlled or asserted within this kind
of imperative discourse. So, since there has to be an imperative, I would like the
one underpinning the theoretical analysis we are attempting to be quite simply a
conditional imperative of the kind: If you want to struggle, here are some key
points, here are some lines of force, here are some constrictions and blockages. In
other words, I would like these imperatives to be no more than tactical pointers.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 22 | Loc. 329 | Added on Monday, December 29, 2014, 03:01 PM
But this is, after all, the circle of struggle and truth, that is to say,
precisely, of philosophical practice.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 22 | Loc. 331 | Added on Monday, December 29, 2014, 03:02 PM
Putting it in a still absolutely general way, the apparatus of security inserts the
phenomenon in question, namely theft, within a series of probable events. Second,
the reactions of power to this phenomenon are inserted in a calculation of cost.
Finally, third, instead of a binary division between the permitted and the
prohibited, one establishes an average considered as optimal on the one hand, and,
on the other, a bandwidth of the acceptable that must not be exceeded. In this way
a completely different distribution of things and mechanisms takes shape.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 25 | Loc. 380 | Added on Monday, December 29, 2014, 03:08 PM
apparatus of security
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 28 | Loc. 415-20 | Added on Monday, December 29, 2014, 03:14
PM
So, there is not a series of successive elements, the appearance of the new causing
the earlier ones to disappear. There is not the legal age, the disciplinary age,
and then the age of security. Mechanisms of security do not replace disciplinary
mechanisms, which would have replaced juridico-legal mechanisms. In reality you
have a series of complex edifices in which, of course, the techniques themselves
change and are perfected, or anyway become more complicated, but in which what
above all changes is the dominant characteristic, or more exactly, the system of
correlation between juridico-legal mechanisms, disciplinary mechanisms, and
mechanisms of security.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 28 | Loc. 420 | Added on Monday, December 29, 2014, 03:14 PM
state must be like an edifice in relation to these three elements. The peasants, of
course, are the foundations of the edifice, in the ground, under the ground, unseen
but ensuring the solidity of the whole. The common parts, the service quarters of
the edifice, are, of course, the artisans. As for the noble quarters, the living
and reception areas, these are the sovereign’s officers and the sovereign himself.§
On the basis of this architectural metaphor, the territory must also comprise
foundations, common parts, and noble parts.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 35 | Loc. 530 | Added on Monday, December 29, 2014, 03:30 PM
mockinjay
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 42 | Loc. 644-45 | Added on Monday, December 29, 2014, 03:41
PM
I think the management of these series that, because they are open series can only
be controlled by an estimate of probabilities, is pretty much the essential
characteristic of the mechanism of security.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 45 | Loc. 677 | Added on Monday, December 29, 2014, 05:24 PM
ambiente def
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 46 | Loc. 694-97 | Added on Monday, December 29, 2014, 05:26
PM
The milieu, then, will be that in which circulation is carried out. The milieu is a
set of natural givens - rivers, marshes, hills - and a set of artificial givens -
an agglomeration of individuals, of houses, etcetera. The milieu is a certain
number of combined, overall effects bearing on all who live in it. It is an element
in which a circular link is produced between effects and causes, since an effect
from one point of view will be a cause from another.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 46 | Loc. 697 | Added on Monday, December 29, 2014, 05:26 PM
In inverted commas in the manuscript, p. 16. Foucault writes: “To say that this is
the sudden emergence of the "naturalness" of the human species in the field of
techniques of power would be excessive. But what [before] then appeared above all
in the form of need, insufficiency, or weakness, illness, now appears as the
intersection between a multiplicity of living individuals working and coexisting
with each other in a set of material elements that act on them and on which they
act in turn.”
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 856 | Loc. 13119 | Added on Monday, December 29, 2014, 05:29 PM
lecture two
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 53 | Loc. 812-14 | Added on Monday, December 29, 2014, 05:41
PM
What happens to grain between seeding and the time when it will have finally
produced all the profits that it can? The unit of analysis will no longer be the
market therefore, with its effects of scarcity-dearness, but grain with everything
that may happen to it and will happen to it naturally, as it were, according to a
mechanism and laws in which the quality of the land, the care with which it is
cultivated, the climatic conditions of dryness, heat, and humidity, and finally the
abundance or scarcity, of course, and its marketing and so forth, will also play a
part. The event on which one tries to get a hold will be the reality of grain, much
more than the obsessive fear of scarcity.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 60 | Loc. 910 | Added on Monday, December 29, 2014, 05:58 PM
It means allowing prices to rise where their tendency is to rise. We allow the
phenomenon of dearness-scarcity to be produced and develop on such and such a
market, on a whole series of markets, and this phenomenon, this reality which we
have allowed to develop, will itself entail precisely its own self-curbing and
selfregulation. So there will no longer be any scarcity in general, on condition
that for a whole series of people, in a whole series of markets, there was some
scarcity, some dearness, some difficulty in buying wheat, and consequently some
hunger, and it may well be that some people die of hunger after all.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 66 | Loc. 1012 | Added on Monday, December 29, 2014, 06:14 PM
But by letting these people die of hunger one will be able to make scarcity a
chimera and prevent it occurring in this massive form of the scourge typical of the
previous systems.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 67 | Loc. 1017-21 | Added on Monday, December 29, 2014, 06:15
PM
They really act as members of the population. But suppose that precisely in a given
market, in a given town, instead of waiting, instead of putting up with scarcity,
instead of accepting costly grain, instead of accepting consequently to buy little,
instead of accepting hunger, and instead of [waiting][37] for the wheat to arrive
in sufficient quantity so that prices fall or the rise is at any rate attenuated or
slows down a bit, suppose that instead of all this, on the one hand, the people
throw themselves on the supplies, that they even seize them without paying, and, on
the other hand, suppose some people hold back grain irrationally on the basis of
bad calculations, and everything jams. The result will be revolt on the one hand,
and monopolization on the other, or monopolization and revolt. Fine, says Abeille,
all this proves that these people do not really belong to the population. What are
they? Well, this is the people. The people comprises those who conduct themselves
in relation to the management of the population, at the level of the population, as
if they were not part of the population as a collective subject-object, as if they
put themselves outside of it, and consequently the people is those who, refusing to
be the population, disrupt the
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 69 | Loc. 1048 | Added on Monday, December 29, 2014, 06:21 PM
discipline is centripetal
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 71 | Loc. 1079-81 | Added on Monday, December 29, 2014, 06:28
PM
The disciplinary mechanism also constantly codifies in terms of the permitted and
forbidden, or rather the obligatory and the forbidden, which means that the point
on which the disciplinary mechanism focuses is not so much the things one must not
do as the things that must be done. A good discipline tells you what you must do at
every moment. If we take monastic life as a model of disciplinary saturation, and
monasticism was actually the point of departure and matrix of discipline, then what
the monk does is entirely regulated, from morning to night and from night to
morning, and the only thing undetermined is what is not said and what is therefore
forbidden. In the system of the law, what is undetermined is what is permitted; in
the system of disciplinary regulation, what is determined is what one must do, and
consequently everything else, being undetermined, is prohibited.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 73 | Loc. 1105 | Added on Monday, December 29, 2014, 06:54 PM
We could even say that the law works in the imaginary, since the law imagines and
can only formulate all the things that could and must not be done by imagining
them. It imagines the negative. Discipline works in a sphere that is, as it were,
complementary to reality. Man is wicked, bad, and has evil thoughts and
inclinations, etcetera. So, within the disciplinary space a complementary sphere of
prescriptions and obligations is constituted that is all the more artificial and
constraining as the nature of reality is tenacious and difficult to overcome.
Finally security, unlike the law that works in the imaginary and discipline that
works in a sphere complementary to reality, tries to work within reality, by
getting the components of reality to work in relation to each other, thanks to and
through a series of analyses and specific arrangements. So, I think we arrive at
this idea that is essential for the thought and organization of modern political
societies: that the task of politics is not to see to the establishment within
men’s behavior of the set of laws imposed by God or necessitated by men’s evil
nature. Politics has to work in the element of a reality that the physiocrats
called, precisely, physics, when they said that economics is a physics.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 74 | Loc. 1124 | Added on Monday, December 29, 2014, 06:58 PM
More precisely and particularly, freedom is nothing else but the correlative of the
deployment of apparatuses of security. An apparatus of security, in any case the
one I have spoken about, cannot operate well except on condition that it is given
freedom, in the modern sense [the word][43] acquires in the eighteenth century: no
longer the exemptions and privileges attached to a person, but the possibility of
movement, change of place, and processes of circulation of both people and things.
I think it is this freedom of circulation, in the broad sense of the term, it is in
terms of this option of circulation, that we should understand the word freedom,
and understand it as one of the facets, aspects, or dimensions of the deployment of
apparatuses of security.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 76 | Loc. 1154 | Added on Monday, December 29, 2014, 07:02 PM
chapter three
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 78 | Loc. 1188-91 | Added on Monday, December 29, 2014, 07:09
PM
I would even say instead that, if it is true that the law refers to a norm, and
that the role and function of the law therefore - the very operation of the law -
is to codify a norm, to carry out a codification in relation to the norm, the
problem that I am trying to mark out is how techniques of normalization develop
from and below a system of law, in its margins and maybe even against it.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 78 | Loc. 1190 | Added on Monday, December 29, 2014, 07:09 PM
discipline normalizes
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 78 | Loc. 1193-96 | Added on Saturday, January 03, 2015, 11:47
PM
The second thing is that with regard to the morbidity or mortality considered to be
normal, one tries to arrive at a finer analysis that will make it possible to
disengage different normalities in relation to each other. One will get the
“normal” distribution* of cases of and deaths due to smallpox (la petite vérole)§
for every age, in each region, town, and different areas of the town, and in terms
of different occupations. Thus one will have the normal, overall curve, and
different curves considered to be normal. What technique will be used in relation
to this? It will be to try to reduce the most unfavorable, deviant normalities in
relation to the normal, general curve, to bring them in line with this normal,
general curve.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 101 | Loc. 1543 | Added on Sunday, January 04, 2015, 12:04 AM
diffferent normalities
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 101 | Loc. 1543 | Added on Sunday, January 04, 2015, 12:04 AM
In the disciplines one started from a norm, and it was in relation to the training
carried out with reference to the norm that the normal could be distinguished from
the abnormal. Here, instead, we have a plotting of the normal and the abnormal, of
different curves of normality, and the operation of normalization consists in
establishing an interplay between these different distributions of normality and
[in] acting to bring the most unfavorable in line with the more favorable. So we
have here something that starts from the normal and makes use of certain
distributions considered to be, if you like, more normal than the others, or at any
rate more favorable than the others. These distributions will serve as the norm.
The norm is an interplay of differential normalities.*
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 103 | Loc. 1567 | Added on Sunday, January 04, 2015, 12:10 AM
Second, I would like to note that these three phenomena, or three problems rather -
the street, grain, and contagion, or the town, scarcity, and epidemics - share the
fact that they all more or less turn on the problem of circulation. I mean, of
course, circulation in the very broad sense of movement, exchange, and contact, as
form of dispersion, and also as form of distribution, the problem being: How should
things circulate or not circulate?
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 105 | Loc. 1596 | Added on Sunday, January 04, 2015, 12:13 AM
problem of circulation
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 106 | Loc. 1615-21 | Added on Sunday, January 04, 2015, 12:15
AM
Now it seems to me that through the obviously very partial phenomena that I have
tried to pick out we see the emergence of a completely different problem that is no
longer that of fixing and demarcating the territory, but of allowing circulations
to take place, of controlling them, sifting the good and the bad, ensuring that
things are always in movement, constantly moving around, continually going from one
point to another, but in such a way that the inherent dangers of this circulation
are cancelled out. No longer the safety (sûreté) of the prince and his territory,
but the security (sécurité) of the population and, consequently, of those who
govern it. I think this is another very important change.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 106 | Loc. 1621 | Added on Sunday, January 04, 2015, 12:15 AM
They do not attempt, at least not primarily or in a fundamental way, to make use of
a relationship of obedience between a higher will, of the sovereign, and the wills
of those subjected to his will. In other words, the mechanism of security does not
function on the axis of the sovereign-subjects relationship, ensuring the total and
as it were passive obedience of individuals to their sovereign. They are connected
to what the physiocrats called physical processes, which could be called natural
processes, and which we could also call elements of reality. These mechanisms do
not tend to a nullification of phenomena in the form of the prohibition, “you will
not do this,” nor even, “this will not happen,” but in the form of a progressive
self-cancellation of phenomena by the phenomena themselves. In a way, they involve
the delimitation of phenomena within acceptable limits, rather than the imposition
of a law that says no to them. So mechanisms of security are not put to work on the
sovereign-subjects axis or in the form of the prohibition.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 107 | Loc. 1631 | Added on Sunday, January 04, 2015, 12:17 AM
What was called the population was basically the contrary of depopulation. That is
to say, “population” was understood as the movement by which a deserted territory
was repopulated after a great disaster, be it an epidemic, war, or food shortage,
after one of these great dramatic moments in which people died with spectacular
rapidity and intensity. Let’s say that the problem of population was posed in
relation to the desert or desertification due to major human catastrophes.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 109 | Loc. 1666 | Added on Sunday, January 04, 2015, 12:21 AM
In fact, the variables on which population depends are such that to a very
considerable extent it escapes the sovereign’s voluntarist and direct action in the
form of the law. If one says to a population “do this,” there is not only no
guarantee that it will do it, but also there is quite simply no guarantee that it
can do it.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 128 | Loc. 1957 | Added on Sunday, January 04, 2015, 12:50 AM
population is not subjected to wills but nature
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 128 | Loc. 1961-69 | Added on Sunday, January 04, 2015, 12:57
AM
We could also say that the naturalness of the population appears in a second way in
the fact that this population is of course made up of individuals who are quite
different from each other and whose behavior, within a certain limit at least,
cannot be accurately predicted. Nevertheless, according to the first theorists of
population in the eighteenth century, there is at least one invariant that means
that the population taken as a whole has one and only one mainspring of action.
This is desire. Desire is an old notion that first appeared and was employed in
spiritual direction (to which, possibly, we may be able to return),* and it makes
its second appearance within techniques of power and government.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 130 | Loc. 1983 | Added on Sunday, January 04, 2015, 12:59 AM
desire
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 130 | Loc. 1983-94 | Added on Sunday, January 04, 2015, 01:02
AM
Every individual acts out of desire. One can do nothing against desire. As Quesnay
says: You cannot stop people from living where they think they will profit most and
where they desire to live, because they desire that profit. Do not try to change
them; things will not change.- However - and it is here that this naturalness of
desire thus marks the population and becomes accessible to governmental technique -
for reasons to which we will have to come back and which are one of the important
theoretical elements of the whole system, this desire is such that, if one gives it
free play, and on condition that it is given free play, all things considered,
within a certain limit and thanks to a number of relationships and connections, it
will produce the general interest of the population. Desire is the pursuit of the
individual’s interest. In his desire the individual may well be deceived regarding
his personal interest, but there is something that does not deceive, which is that
the spontaneous, or at any rate both spontaneous and regulated play of desire will
in fact allow the production of an interest, of something favorable for the
population. The production of the collective interest through the play of desire is
what distinguishes both the naturalness of population and the possible
artificiality of the means one adopts to manage it.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 130 | Loc. 1994 | Added on Sunday, January 04, 2015, 01:02 AM
person who can say no to any individual’s desire, the problem being how to
legitimize this “no” opposed to individuals’ desire and found it on the will of
these same individuals. Now through the economic-political thought of the
physiocrats we see a completely different idea taking shape, which is that the
problem of those who govern must absolutely not be how they can say no, up to what
point they can say no, and with what legitimacy they can say no. The problem is how
they can say yes; it is how to say yes to this desire. The problem is not therefore
the limit of concupiscence or the limit of self-esteem in the sense of love of
oneself, but concerns rather everything that stimulates and encourages this
selfesteem, this desire, so that it can produce its necessary beneficial effects.
We have here therefore the matrix of an entire, let’s say, utilitarian philosophy.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 132 | Loc. 2017 | Added on Sunday, January 04, 2015, 01:04 AM
[We have]** a set of elements that, on one side, are immersed within the general
regime of living beings and that, on another side, offer a surface on which
authoritarian, but reflected and calculated transformations can get a hold.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 145 | Loc. 2214 | Added on Sunday, January 04, 2015, 01:08 AM
relation of popultion
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 148 | Loc. 2266-75 | Added on Sunday, January 04, 2015, 01:09
AM
** M.F.: but humaine)” and begin to be called “the human species (l’espèce
humaine).”* With the emergence of mankind as a species, within a field of the
definition of all living species, we can say that man appears in the first form of
his integration within biology.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 149 | Loc. 2275 | Added on Sunday, January 04, 2015, 01:09 AM
From one direction, then, population is the human species, and from another it is
what will be called the public. Here again, the word is not new, but its usage is.-
The public, which is a crucial notion in the eighteenth century, is the population
seen under the aspect of its opinions, ways of doing things, forms of behavior,
customs, fears, prejudices, and requirements; it is what one gets a hold on through
education, campaigns, and convictions.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 149 | Loc. 2281 | Added on Sunday, January 04, 2015, 01:10 AM
the public
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 163 | Loc. 2496-98 | Added on Sunday, January 04, 2015, 09:31
PM
Consider now the case of natural history and biology. Basically, as you know, the
essential role and function of natural history was to determine the classificatory
characteristics of living beings that would enable them to be distributed to this
or that case of the table.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 163 | Loc. 2498 | Added on Sunday, January 04, 2015, 09:31 PM
I think we could say the same thing with regard to the transition from general
grammar to historical philology.* General grammar was the analysis of the relations
between linguistic signs and representations of any speaking subject whomsoever, or
of the speaking subject in general. The birth of philology became possible when a
series of investigations in different countries, particularly in central Europe,
and also in Russia for political reasons, succeeded in identifying the relationship
between a population and a language, and in which, as a result, the problem was how
in the course of history, and in terms of the specific regularities, not of the
population, but of its language, the population, as collective subject, could
transform the language it spoke. Here again, I think it is the introduction of the
subject-population that makes possible the transition from general grammar to
philology.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 170 | Loc. 2597 | Added on Sunday, January 04, 2015, 09:33 PM
century, and throughout the period going roughly from the middle of the sixteenth
to the end of the eighteenth century, there is a flourishing development of a
significant series of treatises that do not exactly present themselves as advice to
the prince, nor yet as political science, but which, between advice to the prince
and treatises of political science, are presented as arts of government I think
that the general problem of "government”“ suddenly breaks out in the sixteenth
century
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 175 | Loc. 2677 | Added on Monday, January 05, 2015, 11:59 AM
chapter four
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 175 | Loc. 2678-82 | Added on Monday, January 05, 2015, 12:00
PM
There is the problem of the government of oneself, for example The sixteenth
century return to Stoicism revolves around this reactualization of the problem of
how to govern oneself There is also the problem of the government of souls and of
conduct, which was, of course, the problem of Catholic or Protestant pastoral
doctrine There is the problem of the government of children, with the emergence and
development of the great problematic of pedagogy in the sixteenth century And then,
perhaps only the last of these problems, there is that of the government of the
state by the prince How to govern oneself, how to be governed, by whom should we
accept to be governed, how to be the best possible governor?
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 175 | Loc. 2682 | Added on Monday, January 05, 2015, 12:00 PM
problems of guvernamentality
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 175 | Loc. 2684-87 | Added on Monday, January 05, 2015, 12:02
PM
There is, of course, the process that, dismantling feudal structures, organizes and
sets up the great territorial, administrative, and colonial states Then there is a
completely different movement, but with complex interactions with the first - there
is no question of analyzing all this here - that, with the Reformation and then the
Counter Reformation, questions how one wishes to be spiritually directed here on
earth for one’s salvation
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 176 | Loc. 2687 | Added on Monday, January 05, 2015, 12:02 PM
the link that binds him to his principality is one of violence, or tradition, or
one established through the compromise of treaties and the complicity or agreement
of other princes, it is, in any case, a purely synthetic link, there is no
fundamental, essential, natural, and juridical connection between the Prince and
his principality externality, the Prince’s transcendence, is the principle A
corollary of this principle is, of course, that inasmuch as it is an external
relationship, it is fragile and constantly under threat It is threatened from
outside, by the Prince’s enemies who want to take, or re-conquer, his principality,
and it is also threatened internally, for there is no a priori or immediate reason
for the Prince’s subjects to accept his rule
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 179 | Loc. 2733 | Added on Monday, January 05, 2015, 12:07 PM
In any case, you can see that the essential component, the central element in this
continuity, both in the Prince’s education and in police, is the government of the
family, which is called precisely "economy” The art of government essentially
appears in this literature as having to answer the question of how to introduce
economy - that is to say, the proper way of managing individuals, goods, and
wealth, like the management of a family by a father who knows how to direct his
wife, his children, and his servants, who knows how to make his family’s fortune
prosper, and how to arrange suitable alliances for it - how to introduce this
meticulous attention, this type of relationship between father and the family, into
the management of the state? The essential issue of government will be the
introduction of economy into political practice
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 183 | Loc. 2804 | Added on Monday, January 05, 2015, 12:13 PM
Rousseau still poses the problem in the same terms, saying roughly The word
"economy” originally designates "the wise government of the house for the common
good of the whole family ”* The problem, Rousseau says, is how to introduce this
wise government of the family, mutatis mutandis, and with the discontinuities that
we will note, within the general management of the state 1 To govern a state will
thus mean the application of economy, the establishment of an economy, at the level
of the state as a whole, that is to say, [exercising]1 supervision and control over
its inhabitants, wealth, and the conduct of all and each, as attentive as that of a
father’s over his household and goods An expression that was important in the
eighteenth century describes this very well Quesnay speaks of good government as
"economic government
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 184 | Loc. 2817 | Added on Monday, January 05, 2015, 12:14 PM
the art of government is precisely to exercise power in the form, and according to
the model, of economy
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 185 | Loc. 2823 | Added on Monday, January 05, 2015, 12:15 PM
From the Middle Ages to the sixteenth century, sovereignty is not exercised on
things, but first of all on a territory, and consequently on the subjects who
inhabit it In this sense we can say that the territory really is the fundamental
element both of Machiavelli’s principality and of the juridical sovereignty of the
sovereign as defined by philosophers or legal theorists Obviously, these
territories may be fertile or barren, they may be densely or sparsely populated,
the people may be rich or poor, active or idle, but all these elements are only
variables in relation to the territory that is the very foundation of the
principality or of sovereignty
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 186 | Loc. 2842 | Added on Monday, January 05, 2015, 02:14 PM
Now we can see that in La Perrière’s text the definition of government does not
refer to the territory in any way one governs things What does La Perrière mean
when he says that government governs "things’? I do not think it is a matter of an
opposition between things and men, but rather of showing that government is not
related to the territory, but to a sort of complex of men and things The things
government must be concerned about, La Perrière says, are men in their
relationships, bonds, and complex involvements with things like wealth, resources,
means of subsistence, and, of course, the territory with its borders, qualities,
climate, dryness, fertility, and so on "Things” are men in their relationships with
things like customs, habits, ways of acting and thinking Finally, they are men in
their relationships with things like accidents, misfortunes, famine, epidemics, and
death
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 186 | Loc. 2850 | Added on Monday, January 05, 2015, 02:15 PM
What do jurists and theologians say when we look at the real content that they give
to this common good? They say that the common good exists when all subjects obey
the law without fail, perform their appointed tasks well, practice the trades to
which they are assigned, and respect the established order, insofar as this order
conforms to the laws imposed by God on nature and men That is to say, the public
good is essentially obedience to the law, either to the earthly sovereign’s law, or
to the law of the absolute sovereign, God In any case, what characterizes the end
of sovereignty, this common or general good, is ultimately nothing other than
submission to this law This means that the end of sovereignty is circular, it
refers back to the exercise of sovereignty The good is obedience to the law, so
that the good proposed by sovereignty is that people obey it There is an essential
circularity that, whatever its theoretical structure, moral justification, or
practical effects, is not so far removed from Machiavelli saying that the Prince’s
main objective must be to preserve his principality, we always come back to this
circular relationship of sovereignty, or the principality, to itself
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 188 | Loc. 2868 | Added on Monday, January 05, 2015, 02:17 PM
Now, with La Pemere’s new definition, with his search for a definition of defined
by La Pernere as a right way of arranging (disposer) things in order to lead
(conduire) them, not to the form of the "common good,” as the texts of the jurists
This imp lies, first of all, a plurality of specific ends For example, the
government will have to ensure that the greatest possible amount of wealth is
produced, that the people are provided with sufficient means of subsistence, and
that the population can increase So, the objective of government will be a series
of specific finalities And one will arrange (disposer) things to achieve these
different ends This word “disposer" is important because, what enabled sovereignty
to achieve its aim of obedience to the laws, was the law itself, law and
sovereignty were absolutely united Here, on the contrary, it is not a matter of
imposing a law on men, but of the disposition of things, that is to say, of
employing tactics rather than laws, or, of as far as possible employing laws as
tactics, arranging things so that this or that end may be achieved through a
certain number of means
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 188 | Loc. 2882 | Added on Monday, January 05, 2015, 02:18 PM
I think this marks an important break Whereas the end of sovereignty is internal to
itself and gets its instruments from itself in the form of law, the end of
government is internal to the things it directs (diriger), it is to be sought in
the perfection, maximization, or intensification of the processes it directs, and
the instruments of government will become diverse tactics rather than laws
Consequently, law recedes, or rather, law is certainly not the major instrument in
the perspective of what government should be
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 189 | Loc. 2887 | Added on Monday, January 05, 2015, 02:20 PM
from the sixteenth century the theory of the art of government was linked to the
development of the administrative apparatus of the territorial monarchies (the
emergence of government apparatuses and relays, etcetera) It was also linked to a
set of analyses and forms of knowledge that began to develop at the end of the
sixteenth century and increased in scope in the seventeenth century, essentially
knowledge of the state in its different elements, dimensions, and the factors of
its strength, which was called, precisely, "statistics,” meaning science of the
state
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 191 | Loc. 2917 | Added on Monday, January 05, 2015, 02:28 PM
statistics
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 195 | Loc. 2986-96 | Added on Tuesday, January 06, 2015, 03:20
PM
How in fact did the problem of population moke possible the release of the ort of
government? The perspective of population, the reality of phenomena specific to
population, mokes it possible to eliminate the model of the family opd to re-focus
the notion of economy on something else In fact, statistics, which had hitherto
functioned within administrative frameworks, opd so in terms of the functioning of
(Paris R Laffenlpl 1947) p 279 "POTae fam'LesUe5thateuamedals ^Republics" ^
sovereignty, now discovers and gradually reveals that the population possesses its
own regularities its death rate, its incidence of disease, its regularities of
accidents Statistics also shows that the population also involves specific,
aggregate effects and that these phenomena are irreducible to those of the family
major epidemics, endemic expansions, the spiral of labor and wealth Statistics
[further] shows that, through its movements, its customs, and its activity,
population has specific economic effects Statistics enables the specific phenomena
of population to be quantified and thereby reveals that this specificity is
irreducible [to the] small framework of the family Apart from some residual themes,
such as moral or religious themes, the family disappears as the model of government
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 196 | Loc. 2996 | Added on Tuesday, January 06, 2015, 03:20 PM
statistics help to release the art of governmnt from the familiar model
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 196 | Loc. 2997-3007 | Added on Tuesday, January 06, 2015,
03:21 PM
On the other hand, the family now appears as an element within the population and
as a fundamental relay in its government In other words, prior to the emergence of
the problematic of population, the art of government could only be conceived on the
basis of the model of the family, in terms of economy understood as management of
the family When, however, the population appears as absolutely irreducible to the
family, the result is that the latter falls to a lower level than the population,
it appears as an element within the population It is therefore no longer a model,
it is a segment whose privilege is simply that when one wants to obtain something
from the population concerning sexual behavior, demography, the birth rate, or
consumption, then one has to utilize the family The family will change from being a
model to being an instrument, it will become a privileged instrument for the
government of the population rather than a chimerical model for good government The
shift from the level of model to that of instrument in relation to the population
is absolutely fundamental And in actual fact, from the middle of the eighteenth
century, the family really does appear in this instrumental relation to the
population, in the campaigns on mortality, campaigns concerning marriage,
vaccinations, and inoculations, and so on What enables population to unblock the
art of government is that it eliminates the model of the family
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 197 | Loc. 3007 | Added on Tuesday, January 06, 2015, 03:21 PM
Second, population will appear above all as the final end of government What can
the end of government be? Certainly not just to govern, but to improve the
condition of the population, to increase its wealth, its longevity, and its health
And the instruments that government will use to obtain these ends are, in a way,
immanent to the field of population, it will be by acting directly on the
population itself through campaigns, or, indirectly, by, for example, techniques
that, without people being aware of it, stimulate the birth rate, or direct the
flows of population to this or that region or activity Population, then, appears as
the end and instrument of government rather than as the sovereign’s strength it is
the subject of needs and aspirations, but also the object of government
manipulation, vis-à-vis government,
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 197 | Loc. 3013 | Added on Tuesday, January 06, 2015, 03:23 PM
think we should note that, from the eighteenth century, these three movements -
government, population, political economy - form a solid series that has certainly
not been dismantled even today
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 199 | Loc. 3050 | Added on Tuesday, January 06, 2015, 03:25 PM
threee movements
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 200 | Loc. 3054 | Added on Tuesday, January 06, 2015, 03:26 PM
governmentality
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 200 | Loc. 3065-76 | Added on Tuesday, January 06, 2015, 03:28
PM
We know the fascination that the love or horror of the state exercises today, we
know our attachment to the birth of the state, to its history, advance, power, and
abuses I think this overvaluation of the problem of state is basically found in two
forms An immediate, affective, and tragic form is the lyricism of the cold monster1
confronting us But there is a second way of overvaluing the problem of the state
that is paradoxical because apparently reductive This analysis consists in reducing
the state to a number of functions like, for example, the development of the
productive forces and the reproduction of the relations of production But this
reductive view of the relative importance of the state in comparison with something
else nonetheless makes the state absolutely essential as the target to be attacked
and, as you well know, as the privileged position to be occupied But the state,
doubtless no more today than in the past, does not have this unity, individuality,
and rigorous functionality, nor, I would go so far as to say, this importance After
all, maybe the state is only a composite reality and a mythicized abstraction whose
importance is much less than we think Maybe What is important for our modernity,
that is to say for our present, is not then the state’s takeover (étatisation) of
society, so much as what I would call the “governmentalization" of the state
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 201 | Loc. 3076 | Added on Tuesday, January 06, 2015, 03:28 PM
And maybe, in a completely general, rough, and therefore inexact way, we could
reconstruct the major forms, the major economies of power in the following way
first, the state of justice, born in a feudal type of territoriality and broadly
corresponding to a society of customary and written law, with a whole interplay of
commitments and litigations, second, the administrative state that corresponds to a
society of regulations and disciplines, and finally, a state of government that is
no longer essentially defined by its territoriality, by the surface occupied, but
by a mass the mass of the population, with its volume, its density, and, for sure,
the territory it covers, but which is, in a way, only one of its components This
state of government, which essentially bears on the population and calls upon and
employs economic knowledge as an instrument, would correspond to a society
controlled by apparatuses of security
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 202 | Loc. 3090 | Added on Tuesday, January 06, 2015, 03:31 PM
how the state power has historically deployed
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 202 | Loc. 3097 | Added on Tuesday, January 06, 2015, 03:32 PM
Why attack the strong and the dense with the feeble, diffuse, and lacunary?
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 204 | Loc. 3128 | Added on Thursday, January 08, 2015, 06:15 PM
kind of method entails going behind the institution and trying to discover in a
wider and more overall perspective what we can broadly call a technology of power
In the same way, this analysis allows us to replace a genetic analysis through
filiation with a genealogical analysis - genealogy should not be (“The Menial
HealthSpecialist, the Hygienist andthe Philanthropist" Seeonpp 1 ¿12-143 (trans pp
28-38 (“Criminal, Ctodd Beggar, Poor Wage-earner andMadperscn”)" § I2id ih 5, pp
208-215 (“Les opérateurs politiques*), trans, i2id pp 171-180 (The Pditiial
Operators') confused with genesis and filiation - which reconstructs a whole
network of alliances, communications, and points of support So, the first
methodological principle is to move outside the institution and replace it with the
overall point of view of the technology of power"
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 206 | Loc. 3156 | Added on Thursday, January 08, 2015, 06:19 PM
The second shift, the second transfer to the outside, concerns the function Take
the case of the prison, for example We could of course analyze the prison on the
basis of the functions we expect it to perform, those defined as its ideal
functions, and of the optimal way of exercising them (which is, broadly speaking,
what Bentham did in his Panopticon7) Starting from there, we could see what real
functions were assured by the prison and establish an historical balance sheet of
functional pluses and minuses, or anyway of what was intended and what was actually
achieved But, here again, studying the prison from the angle of the disciplines
involved short-circuiting, or rather moving outside in relation to the functional
point view, and putting the prison back in a general economy of power As a result,
we noticed that the real history of the prison is undoubtedly not governed by the
successes and failures of its functionality, but is in fact inserted within
strategies and tactics that find support even in these functional defects
themselves So, the second principle is to substitute the external point of view of
strategies and tactics for the internal point of view of the function
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 207 | Loc. 3167 | Added on Thursday, January 08, 2015, 06:20 PM
Finally the third de-centering the third shift to the outside, concerns the object
Taking the point of view of the disciplines involved refusing to give oneself a
ready-made object, be it mental illness, delinquency, or sexuality It involved not
seeking to measure institutions, practices, and knowledges in terms of the criteria
and norms of an already given object Instead, it involved grasping the movement by
which a field of truth with objects of knowledge was constituted through these
mobile technologies We can certainly say that madness "does not exist,”*1 but this
does not mean it is nothing All in all, it was a matter of doing the opposite of
what phenomenology had taught us to say and think, the phenomenology that said,
roughly Madness exists, which does not mean that it is a thing
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 208 | Loc. 3176 | Added on Thursday, January 08, 2015, 06:21 PM
govern (gouverner) someone during his supper is to speak with him But it may also
refer to a sexual relationship "A fellow who had a sexual relationship with
(gouvernait) the wife of his neighbor, and saw her regularly”
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 213 | Loc. 3263 | Added on Thursday, January 08, 2015, 06:29 PM
sexalidad. governar
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 214 | Loc. 3271-76 | Added on Thursday, January 08, 2015,
06:30 PM
Anyway, one thing clearly emerges through all these meanings, which is that one
never governs a state, a territory, or a political structure Those whom one governs
are people, individuals, or groups When one speaks of a town that governs itself
(se gouverne), and which is governed on the basis of its drapery, it means that
people get their means of subsistence, their food, their resources, and their
wealth from drapery It is not therefore the town as a political structure, but the
people, individuals, or group Those whom one governs are people*
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 214 | Loc. 3276 | Added on Thursday, January 08, 2015, 06:30 PM
Now the idea of governing people is certainly not a Greek idea, and nor do I think
it is a Roman idea In Greek literature at least, there is the fairly frequent
metaphor of the radder, the helmsman, the pilot, and the person who steers the
ship, to designate the activity of the person who is the head of the city-state and
who has a number of duties and responsibilities with regard to the city Take, for
example, Oedpus the Ktng > In Oedpus the Ktng, frequently, or at several points,
there is the metaphor of the king who is responsible for the city-state and must
conduct it as a good pilot properly governs his ship, avoiding reefs and guiding it
to port I But in these metaphors, which identify the king as a helmsman and the
city as a ship, we should note that what is governed, what the metaphor designates
as the object of government, is the city-state itself which is like a ship
threatened by reefs, a ship caught in the storm, a ship that has to steer a course
avoiding pirates and enemies, and a ship that must be lead to safe harbor
Individuals are not the object of government, the action of government is not
brought to bear on individuals The captain or pilot of the ship does not govern the
sailors, he governs the ship In the same way, the king governs the city-state, but
not the men of the city The object or target of government is the city-state in its
substantial reality, its unity, and its possible survival or disappearance Men are
only governed indirectly, insofar as they have boarded the ship
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 215 | Loc. 3291 | Added on Thursday, January 08, 2015, 06:31 PM
I think we can say that the origin of the idea of a government of men should be
sought in the East, in a pre- Christian East first of all, and then in the
Christian East, and in two forms first, in the idea and organization of a pastoral
type of power, and second, in the practice of spiritual direction, the direction of
souls
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 216 | Loc. 3301 | Added on Thursday, January 08, 2015, 06:32 PM
First, the idea and organization of a pastoral power The theme of the king, god, or
chief as a shepherd (berger) of men, who are like his flock, is frequently found
throughout the Mediterranean East It is found in Egypt,* Assyria,1 Mesopotamia,1
and above all, of course, in the Hebrews In Egypt, for example, but also in the
Assyrian and Babylonian monarchies, the king is actually designated, in a
completely ritual way, as the shepherd (berger) of men On his coronation, for
example, the Pharaoh receives the insignia of the shepherd The shepherd’s crook is
placed in his hands and he is declared the shepherd of men The title of shepherd
(pdtre) or pastor ('pasteur) of men, is one of the royal titles for the Babylonian
monarchs It was also a term designating the relationship of the gods, or god, with
men God is the pastor of men In an Egyptian hymn, we can read something like this
"Oh Ra who
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 217 | Loc. 3313 | Added on Thursday, January 08, 2015, 09:54 PM
ruler as sheperd
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 217 | Loc. 3326-29 | Added on Thursday, January 08, 2015,
09:55 PM
The shepherd’s power is not exercised over a territory but, by definition, over a
flock, and more exactly, over the flock in its movement from one place to another
The shepherd’s power is essentially exercised over a multiplicity in movement The
Greek god is a territorial god, a god entra muros, with his privileged place, his
town or temple The Hebrew God, on the other hand, is the God moving from place to
place, the God who wanders The presence of the Hebrew God is never more intense and
visible than when his people are on the move, and when, in his people’s wanderings,
in the movement that takes them from the town, the prairies, and pastures, he goes
ahead and shows his people the direction they must follow The Greek god, rather,
appears on the walls to defend his town The Hebrew God appears precisely when one
is leaving the town, when one is leaving the city walls behind and taking the path
across the prairies "O God, when you set out at the head of your people,” say the
Psalms * In
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 220 | Loc. 3361 | Added on Thursday, January 08, 2015, 09:58 PM
Power is defined by its ability to triumph over enemies, defeat them, and reduce
them to slavery Power is also defined by the possibility of conquest and by the
territories, wealth, and so on it has accumulated Beneficence is only one of a
whole bundle of features by which power is defined However, pastoral power is, I
think, entirely defined by its beneficence, its only raison d’etre is doing good,
and in order to do good In fact the essential objective of pastoral power is the
salvation (salut)" of the flock In this sense we can say that we are assuredly not
very far from the objective traditionally fixed for the sovereign, that is to say
the salvation of one’s country,
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 221 | Loc. 3379 | Added on Thursday, January 08, 2015, 10:01 PM
the salvation that must be assured to the flock has a very precise meaning in this
theme of pastoral power Salvation is first of all essentially subsistence The means
of subsistence provided, the food assured, is good pasture The shepherd is someone
who feeds and who feeds directly, or at any rate, he is someone who feeds the flock
first by leading it to good pastures, and then by making sure that the animals eat
and are properly fed Pastoral power is a power of care It looks after the flock, it
looks after the individuals of the flock, it sees to it that the sheep do not
suffer, it goes in search of those that have strayed of course, and it treats those
that are injured
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 221 | Loc. 3386 | Added on Thursday, January 08, 2015, 10:01 PM
A rabbinic commentary, which is a bit late but which absolutely reflects this,
explains how and why Moses was chosen by God to lead the flock of Israel It was
because when Moses was a shepherd in Egypt he knew how to graze his sheep and knew,
for example, that when he came to pasture he had to send the youngest sheep first
to eat the most tender grass, then those a little older, and then the eldest and
most robust who could eat the toughest grass In this way each category of sheep had
the grass it needed and enough to eat Moses presided over this just, calculated,
and reflected distribution of food, and Yahweh, seeing this, said to him "Since you
know how to pity the sheep, you will have pity for my people, and I will entrust
them to you”1
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 222 | Loc. 3391 | Added on Thursday, January 08, 2015, 10:02 PM
effort The shepherd (pasteur) directs all his care towards others and never towards
himself This is precisely the difference between the good and the bad shepherd The
bad shepherd only thinks of good pasture for his own profit, for fattening the
flock that he will be able to sell and scatter, whereas the good shepherd thinks
only of his flock and of nothing else
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 223 | Loc. 3407 | Added on Thursday, January 08, 2015, 10:04 PM
Finally, the last feature, which confirms some of things I have been saying, is the
idea that pastoral power is an individualizing power That is to say, it is true
that the shepherd directs the whole flock, but he can only really direct it insofar
as not a single sheep escapes him The shepherd counts the sheep, he counts them in
the morning when he leads them to pasture, and he counts them in the evening to see
that they are all there, and he looks after each of them individually He does
everything for the totality of his flock, but he does everything also for each
sheep of the flock
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 223 | Loc. 3417 | Added on Thursday, January 08, 2015, 10:05 PM
here that we come to the famous paradox of the shepherd, which takes two forms On
the one hand, the shepherd must keep his eye on all and on each, omnes et
senguiatim,1 which will be the great problem both of the techniques of power in
Christian pastorship, and of the, let’s say, modern techniques of power deployed in
the technologies of population I have spoken about Omnes et s/ngilatm And then, in
an even more intense manner, the second form taken by the paradox of the shepherd
is the problem of the sacrifice of the shepherd for his flock, the sacrifice of
himself for the whole of his flock, and the sacrifice of the whole of his flock for
each of the sheep What I mean is that, in this Hebrew theme of the flock, the
shepherd owes everything to his flock to the extent of agreeing to sacrifice
himself for its salvation 1 But, on the other hand, since he must save each of the
sheep, will he not find himself in a situation in which he has to neglect the whole
of the flock in order to save a single sheep?
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 224 | Loc. 3427 | Added on Thursday, January 08, 2015, 10:06 PM
called the paradox of the shepherd the sacrifice of one for all, and the sacrifice
of all for one, which will be at the absolute heart of the Christian problematic of
the pastorate
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 225 | Loc. 3436 | Added on Thursday, January 08, 2015, 10:07 PM
The Christian Church coagulated all these themes of pastoral power into precise
mechanisms and definite institutions, it organized a pastoral power that was both
specific and autonomous, it implanted its apparatuses within the Roman Empire, and
at the heart of the Empire it organized a type of power that I think was unknown to
any other civilization This really is the paradox and the subject on which I would
like to focus in the next lectures Of all civilizations, the Christian West has
undoubtedly been, at the same time, the most creative, the most conquering the most
arrogant, and doubtless the most bloody At any rate, it has certainly been one of
the civilizations that has deployed the greatest violence But, at the same time,
and this is the paradox I would like to stress, over millennia Western man has
learned to see himself as a sheep in a flock, something that assuredly no Greek
would have been prepared to accept Over millennia he has learned to ask for his
salvation from a shepherd ('pasteur) who sacrifices himself for him The strangest
form of power, the form of power that is most typical of the West, and that will
also have the greatest and most durable fortune, was not born in the steppe or in
the towns This form of power so typical of the West, and unique, I think, in the
entire history of civilizations, was born, or at least took its model from the
fold, from politics seen as a matter of the sheepfold
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 226 | Loc. 3461 | Added on Thursday, January 08, 2015, 10:09 PM
christian institutionalization of sheepfold
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 226 | Loc. 3462 | Added on Thursday, January 08, 2015, 10:09 PM
ch six
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 228 | Loc. 3490 | Added on Friday, January 09, 2015, 10:42 AM
It is rare, with the one obvious, major and crucial exception of Plato. There you
have a whole series of texts in which the good magistrate, the ideal magistrate is
seen as the shepherd (berger). To be a good shepherd (pasteur) is to be not only
the good magistrate, but quite simply the true, ideal magistrate. You find this in
Critias,- The Republic} The Laws,§ and The Statesman.[53] I think The Statesman
should be examined separately. Let us leave it aside for a moment and take up the
other texts in which Plato employs the metaphor of the shepherd- magistrate. What
do we see? I think in these other texts, apart from The Statesman that is, the
metaphor of the shepherd is employed in
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 234 | Loc. 3575 | Added on Friday, January 09, 2015, 10:53 AM
who can be in charge, and who in fact is in charge of this? It is at this point
that the principle of the singleness, the uniqueness of the shepherd, is
immediately challenged, and we see the birth of what Plato calls the rivals of the
king, the rivals of the king in shepherding. If the king is in fact defined as
shepherd (pasteur), why not say that the farmer who feeds men, or the baker who
makes bread and provides them with food, is just as much the shepherd of humanity
as the shepherd who leads the flock of sheep to grass or gets them to drink? The
farmer and the baker are rivals of the king as shepherds of humanity. But the
doctor who takes care of those who are sick is equally a shepherd (berger), he
performs the function of shepherd (pâtre); the gymnastics master and the teacher,
who watch over the good education and health of children, over the vigor of their
bodies and their abilities, are also equally shepherds in relation to the human
flock. All may lay claim to being shepherds (pasteurs) and are therefore rivals of
the politician.[58]
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 241 | Loc. 3696 | Added on Friday, January 09, 2015, 11:08 AM
la politica ha desaparecido
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 244 | Loc. 3728 | Added on Friday, January 09, 2015, 11:11 AM
The gods have withdrawn and men are obliged to direct each other, that is to say,
they need politics and politicians.
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 244 | Loc. 3728 | Added on Friday, January 09, 2015, 11:11 AM
Politics, like the art of the weaver, can only develop on the basis of and with the
help of certain auxiliary or preparatory actions. For the weaver to carry out his
task, the wool must have been sheared, the yarn must have been twisted, and the
carder must have done his work. Similarly, a whole series of auxiliary arts are
required to help the politician. Making war, giving good judgments in tribunals, as
well as persuading assemblies with the art of rhetoric, are not exactly politics
but the conditions of its practice.[61]
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 245 | Loc. 3748 | Added on Friday, January 09, 2015, 11:14 AM
It will be to join together, as the weaver joins the warp and the weft. The
politician will bind the elements together, the good elements formed by education;
he will bind together the virtues in their different forms, which are distinct from
and sometimes opposed to each other; he will weave and bind together different
contrasting temperaments, such as, for example, spirited and moderate men; and he
will weave them together thanks to the shuttle of a shared common opinion. So the
royal art is not at all that of the shepherd, but the art of the weaver, which is
an art that consists in bringing together these lives “in a community [I am
quoting; M.F.] that rests on concord and friendship.”
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 245 | Loc. 3754 | Added on Friday, January 09, 2015, 11:15 AM
We should no doubt say, if not with more precision, at least a bit more accurately,
that the pastorate begins with a process that is absolutely unique in history and
no other example of which is found in the history of any other civilization: the
process by which a religion, a religious community, constitutes itself as a Church,
that is to say, as an institution that claims to govern men in their daily life on
the grounds of leading them to eternal life in the other world, and to do this not
only on the scale of a definite group, of a city or a state, but of the whole of
humanity.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 248 | Loc. 3795 | Added on Friday, January 09, 2015, 09:55 PM
“regimen of souls,” the “government of souls,” is the ars artium. Now this phrase
should not only be understood as a fundamental principle, but also in its polemical
force, since what was the ars artium, the techne technon, the episteme epistemon,
before Gregory Nazianzen? It was philosophy. That is to say, well before the
seventeenth and eighteenth centuries, what took over from philosophy in the
Christian West was not another philosophy, and it was not even theology; it was the
pastorate. This was the art by which some people were taught the government of
others, and others were taught to let themselves be governed by certain people. It
was this game of the government of some by others, of everyday government, of
pastoral government, that was reflected for fifteen centuries as the science par
excellence, the art of all arts, the knowledge (savoir) of all knowledges
(savoirs).
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 252 | Loc. 3864 | Added on Friday, January 09, 2015, 10:05 PM
Finally, there remains the problem, or rather, when Christianity had established
the organization and precise territoriality of parishes during the Middle Ages,tt
the problem arises of whether parish priests can be seen as pastors. You know that
this was one of the problems that, if they did not exactly give rise to the
Reformation, at least provoked a series of crises, challenges, and debates that
finally led to the Reformation. The parishes had no sooner been set up than the
problem arose of whether parish priests were pastors. Yes, said Wyclif.** A whole
series of protestant churches will say yes, each in their way. The Jansenists of
the seventeenth and eighteenth century will also say yes.[71] To which the Catholic
Church will obstinately reply: No, parish priests are not pastors.- Still in 1788*
Marius Lupus published De parochiis, which fundamentally challenged the thesis
that, in a pre- and post-council atmosphere, would broadly be accepted, that parish
priests are pastors.§
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 256 | Loc. 3923 | Added on Friday, January 09, 2015, 10:12 PM
Finally, the absolutely fundamental and essential feature of this overall pastoral
power is that throughout Christianity it remained distinct from political power.
This does not mean that religious power only took on the task of caring for
individual’s souls. On the contrary, pastoral power - and this is one of its
fundamental features, and one of its paradoxes, to which I will come back next
week[72] - is only concerned with individual souls insofar as this direction
(conduite) of souls also involves a permanent intervention in everyday conduct
(conduite), in the management of lives, as well as in goods, wealth, and things. It
concerns not only the individual, but [also] the community, and a text of Saint
John Chrysostom says that the bishop must watch over everything; the bishop must
have a thousand eyes since he must be concerned not just with individuals, but with
the whole town and ultimately - the text is found De sacerdotio - [with] the orbis
terrarum, [with the] whole world.t It is, then, a form of power that really is a
terrestrial power even though it is directed towards the world beyond.
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 258 | Loc. 3944 | Added on Sunday, January 11, 2015, 12:56 AM
in the Western Church it has always remained a power that is completely distinct
from [political]* power. Doubtless we should hear this separation resonating in
Valentinian’s famous apostrophe to Saint Ambrose when he sent the latter to govern
Milan. He sent him to govern Milan, “not as a magistrate, but as a pastor.”§ I
think the formula will remain as a sort of principle or fundamental law throughout
the history of Christianity.
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 258 | Loc. 3950 | Added on Sunday, January 11, 2015, 12:57 AM
ch seven i think
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 263 | Loc. 4024-27 | Added on Sunday, January 11, 2015, 01:04
AM
The God of the Hebrews is indeed a pastor-God, but there were no pastors within the
political and social regime of the Hebrews So, the pastorate in Christianity gave
rise to a dense, complicated, and closely woven institutional network that claimed
to be, and was in fact, coextensive with the entire Church, and so with
Christianity, with the entire Christian community Hence the institutionalization of
the pastorate is a much more complicated theme
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 263 | Loc. 4027 | Added on Sunday, January 11, 2015, 01:04 AM
and it is this that I would like to stress, is that in Christianity the pastorate
gave rise to an art of conducting, directing leading, guiding taking in hand, and
manipulating men, an art of monitoring them and urging them on step by step, an art
with the function of taking charge of men collectively and individually throughout
their life and at every moment of their existence
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 263 | Loc. 4031 | Added on Sunday, January 11, 2015, 01:05 AM
I do not think that this pastorate, this pastoral power, can be assimilated to or
confused with the methods used to subject men to a law or to a sovereign Nor can it
be assimilated to the methods used to train children, adolescents, and young people
It cannot be assimilated to the formulae employed to convince, persuade, and lead
men more or less in spite of themselves In short, the pastorate does not coincide
with politics, pedagogy, or rhetoric It is something entirely different It is an
art of "governing men,”" and I think this is where we should look for the origin,
the point of formation, of crystallization, the embryonic point of the
governmentality whose entry into politics, at the end of the sixteenth and in the
seventeenth and eighteenth centuries, marks the threshold of the modern state
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 264 | Loc. 4040 | Added on Sunday, January 11, 2015, 01:07 AM
transfer
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 272 | Loc. 4156-60 | Added on Monday, January 12, 2015, 09:33
AM
The third principle is that of sacrificial reversal, which is once again completely
specific to the Christian pastorate In fact, if it is true that the pastor is lost
along with his sheep - according to the general form of that kind of global
solidarity I have been talking about - he must also lose himself for his sheep, and
in their place That is to say, the pastor must be prepared to die to save his sheep
"The pastor,” writes Saint eohn, "defends the sheep against wolves and wild beasts
He gives his life for them ”
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 272 | Loc. 4160 | Added on Monday, January 12, 2015, 09:33 AM
sacrificial reversal
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Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 272 | Loc. 4164-72 | Added on Monday, January 12, 2015, 09:35
AM
He must agree to take the sins of the sheep on his shoulders so that they do not
have to pay, and so that he is the one who pays So, if it comes to it, the pastor
must expose himself to temptation, taking upon himself everything the sheep could
shed if, through this kind of transfer, it freed itself both from temptation and
the risk it had of spiritual death This theme, which appears decidedly theoretical
and moral, assumed concrete actuality with the problem of spiritual direction,
which I will talk about later What, in some if not all its aspects, did spiritual
direction involve? The question was this Will not the person who directs and
explores the recesses of someone else’s conscience, the person to whom one confides
one’s sins and the temptations to which one has been exposed, will not this person
who is called upon to see, observe, and discover evil, be exposed to temptation?
Will not the evil of which he relieves the conscience of the person he directs, by
the very act of relieving it, expose [him] to temptation? Will not learning of such
horrible sins, seeing such beautiful sinners, precisely expose him to the risk of
the death of his own soul at the moment he saves the soul of this
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 273 | Loc. 4172 | Added on Monday, January 12, 2015, 09:35 AM
The fourth principle, the fourth mechanism that we find in the definition of the
Christian pastor is what could be called, again in a completely schematic and
arbitrary way, the principle of alternate correspondence If in fact it is true that
the sheep’s merit constitutes the shepherd’s merit, then can we not also say that
the shepherd’s merit would not amount to much if all the sheep were always
perfectly worthy of merit? Is not the shepherd’s merit due, at least in part, to
the sheep being recalcitrant, exposed to danger, and always about to fall? And the
shepherd’s merit, which earns his salvation, will be precisely that he has
constantly struggled against these dangers, brought back the stray sheep, and that
he has had to struggle against his own flock Thus, Saint Benedict says "If his
subordinates are unruly, then the pastor will be absolved”" Conversely, we can also
say, equally paradoxically, that the pastor’s weaknesses may contribute to the
salvation of the flock How can the pastor’s frailties contribute to the flock’s
salvation? Certainly, the pastor should be perfect, as far as possible The pastor’s
example is fundamental, it is essential for the virtue, merit, and salvation of the
flock As Saint Gregory says in The Book of Pastoral Rule, II [2]1 "Should not the
hand that would clean the dirt from others be proper and clean?”1 So, the pastor
must be proper and clean But if the pastor has no weaknesses, if he is too proper
or too clean, will he not take something like pride in this perfection, and, again
from Saint Gregory’s Liber pastoralis, "will not the loftiness that he conceives as
due to [his own perfection] constitute a precipice from which he will fall in the
eyes of God?”§ “ It is good, then, for the pastor to have imperfections, to know
them, and not to hide them hypocritically from his faithful It is good that he
repents of them explicitly and is humbled by them, so as to maintain himself in a
self-abasement that will edify the faithful, just as carefully hiding his own
frailties would produce a scandal11 Consequently, just as on one side the pastor’s
merit and salvation are due to the weaknesses of his sheep, so too the pastor’s
faults and weaknesses contribute to the edification of his sheep and are part of
the movement, the process of guiding them towards salvation
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 274 | Loc. 4200 | Added on Monday, January 12, 2015, 09:45 AM
a whole detailed economy of merits and faults between which, in the end, God
decides For here too there is a fundamental element In the end, neither the
pastor’s nor his sheep’s certain and definitive salvation is guaranteed by this
economy of merits and faults that the pastor constantly has to manage In the end,
the actual production of salvation eludes one’s grasp, it is entirely in God’s
hands Whatever the pastor’s skill, merit, virtue, or holiness, he is not the one
who brings about either his sheep’s or his own salvation
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 275 | Loc. 4210 | Added on Monday, January 12, 2015, 09:46 AM
Consider now the problem of the law I think we could carry out a somewhat similar
analysis and show that the pastor is not fundamentally a man of the law, or at any
rate, it is in no way typical and specific about the pastor that he speaks the law
Very broadly speaking, in a schematic and caricatural way, the Greek citizen - and
obviously I am talking about the citizen and not the slave or those who, for
whatever reason, are minors in relation to the right of citizenship and the effects
of the law - basically does not let himself be directed, and is only prepared to be
directed by two things by the law and by persuasion, that is to say, by the
injunctions of the city-state or by the rhetoric of men
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 276 | Loc. 4219 | Added on Monday, January 12, 2015, 09:48 AM
by rhetoric or by law
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 276 | Loc. 4228-32 | Added on Tuesday, January 13, 2015, 10:16
AM
The Christian pastorate has, I think, organized something completely different that
seems to me to be foreign to Greek practice, and this is what we could call the
insistence on "pure obedience,”" that is to say, on obedience as a unitary, highly
valued type of conduct in which the essence of its raison d’etre is in itself
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 276 | Loc. 4232 | Added on Tuesday, January 13, 2015, 10:16 AM
What I mean is this Everyone knows - and here again, to start with, we do not go
much beyond the Hebraic theme - that Christianity is not a religion of the law, it
is a religion of God’s will, a religion of what God wills for each in particular
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 277 | Loc. 4233 | Added on Tuesday, January 13, 2015, 10:17 AM
The Poor In each and every historical period a social subject that is ever-present
and everywhere the same is identified, often negatively but nonetheless urgently,
around a common living form. This form is not that of the powerful and the rich:
they are merely partial and localized figures, quantitate signatae. The only non-
localizable ‘‘common name’’ of pure difference in all eras is that of the poor. The
poor is destitute, excluded, repressed, exploited—and yet living! It is the common
denominator of life, the foundation of the multitude. It is strange, but also
illuminating, that postmodernist authors seldom adopt this figure in their
theorizing. It is strange because the poor is in a certain respect an eternal
postmodern figure: the figure of a transversal, omnipresent, different, mobile
subject; the testament to the irrepressible aleatory character of existence.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 208 | Loc. 3177 | Added on Tuesday, January 13, 2015, 10:20 AM
Only the poor lives radically the actual and present being, in destitution and
suffering, and thus only the poor has the ability to renew being. The divinity of
the multitude of the poor does not point to any transcendence. On the contrary,
here and only here in this world, in the existence ofthe poor, is the field
ofimmanence presented, confirmed, consolidated, and opened. The poor is god on
earth.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 208 | Loc. 3185 | Added on Tuesday, January 13, 2015, 10:23 AM
Vogelfrei, ‘‘birdfree,’’ is the term Marx used to describe theproletar- iat, which
at the beginning of modernity in the processes of primitive accumulation was freed
twice over: in the first place, it was freed from being the property of the master
(that is, freed from servitude); and in the second place, it was “freed’’from the
means of production, separated from the soil, with nothing to sell but its own
labor power. In this sense, the proletariat was forced to become the pure
possibility of wealth. The dominant stream of the Marxist tradition, however, has
always hated the poor, precisely for their being ‘‘free as birds,’’for being immune
to the discipline of the factory and the discipline necessary for the construction
of socialism. Consider how, when in the early 1950s Vittorio De Sica and Cesare
Zavattini set the poor to fly away on broomsticks at the end of their beautiful
film Miracle in Milan, they were so violently denounced for utopianism by the
spokesmen of socialist realism. The Vogelfrei is an angel or an intractable demon.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 210 | Loc. 3212 | Added on Tuesday, January 13, 2015, 10:26 AM
vogelfrei birdfree
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 210 | Loc. 3217-18 | Added on Tuesday, January 13, 2015, 10:27
AM
exagerating
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 210 | Loc. 3218-29 | Added on Tuesday, January 13, 2015, 10:29
AM
The story goes that at the root of the postmodernist sensibility and the
construction of the concept of postmodernism are those French socialist
philosophers who in their youth celebrated factory discipline and the shining
horizons of real socialism, but who became repentant after the crisis of 1968 and
gave up, proclaiming the futility of the pretense of communism to reappropriate
social wealth. Today these same philosophers cynically deconstruct, banalize, and
laugh at every social struggle that contests the universal triumph of exchange
value. The media and the culture of the media tell us that those philosophers are
the ones who recognized this new era of the world, but that is not true. The
discovery of postmodernity consisted in the reproposition of the poor at the center
of the political and productive terrain. What was really prophetic was the poor,
bird-free laugh of Charlie Chaplin when, free from any utopian illusions and above
all from any discipline of liberation, he interpreted the ‘‘modern times’’ of
poverty, but at the same time linked the name of the poor to that of life, a
liberated life and a liberated productivity.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 211 | Loc. 3229 | Added on Tuesday, January 13, 2015, 10:29 AM
network power
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 213 | Loc. 3256-62 | Added on Tuesday, January 13, 2015, 10:36
AM
‘‘returning to origins’’ and at the same time developing new languages and new
social forms that mediate between the one and the multiple. Against the tired
transcendentalism of modern sovereignty, presented either in Hobbesian or in Rous-
seauian form, the American constituents thought that only the republic can give
order to democracy, or really that the order of the multitude must be born not from
a transfer of the title of power and right, but from an arrangement internal to the
multitude, from a democratic interaction of powers linked together in networks. The
new sovereignty can arise, in other words, only from the constitutional formation
of limits and equilibria, checks and balances, which both constitutes a central
power and maintains power in the hands of the multitude. There is no longer any
necessity or any room here for the transcendence of power.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 213 | Loc. 3262 | Added on Tuesday, January 13, 2015, 10:36 AM
not ttrascendent sovereigniy but immanent power emerging from the multitude
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 214 | Loc. 3270-75 | Added on Tuesday, January 13, 2015, 10:37
AM
What takes shape here is an extraordinarily secular and immanentist idea, despite
the profound religiousness that runs throughout the texts of the Founding Fathers.
It is an idea that rediscovers the revolutionary humanism of the Renaissance and
perfects it as a political and constitutional science. Power can be constituted by
a whole series of powers that regulate themselves and arrange themselves in
networks. Sovereignty can be exercised within a vast horizon of activities that
subdivide it without negating its unity and that subordinate it continually to the
creative movement of the multitude.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 214 | Loc. 3275 | Added on Tuesday, January 13, 2015, 10:37 AM
The second Machiavellian principle at work here is that the social base of this
democratic sovereignty is always conflictual. Power is organized through the
emergence and the interplay of counterpowers. The city is thus a constituent power
that is formed through plural social conflicts articulated in continuous
constitutional processes.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 215 | Loc. 3287 | Added on Tuesday, January 13, 2015, 10:39 AM
Polybius’ model of imperial Rome grounded more solidly the republican process of
the mediation of social powers and brought it to a conclusion in a synthesis of
diverse forms of government. Polybius conceived the perfect form of power as
structured by a mixed constitution that combines monarchic power, aristocratic
power, and democratic power.5 The new political scientists in the United States
organized these three powers as the three branches of the republican constitution.
Any disequilibrium among these powers, and this is the second sign of Polybius’
influence, is a symptom of corruption. The Machiavellian Constitution of the United
States is a structure poised against corruption—the corruption of both factions and
individuals, of groups and the state. The Constitution was designed to resist any
cyclical decline into corruption by activating the entire multitude and organizing
its constituent capacity in networks of organized counterpowers, in flows of
diverse and equalized functions, and in a process of dynamic and expansive self-
regulation.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 216 | Loc. 3301 | Added on Tuesday, January 13, 2015, 10:42 AM
extensive empire
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 217 | Loc. 3326-30 | Added on Tuesday, January 13, 2015, 10:50
AM
Protestantism all developed this idea of productivity. In line with the Protestant
ethic, one might say that only the productive power of the multitude demonstrates
the existence of God and the presence of divinity on earth.8 Power is not something
that lords over us but something that we make. The American Declaration of
Independence celebrates this new idea of power in the clearest terms. The
emancipation of humanity from every transcendent power is grounded on the
multitude’s power to construct its own political institutions and constitute
society.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 218 | Loc. 3330 | Added on Tuesday, January 13, 2015, 10:50 AM
This is the second characteristic of the U.S. notion of sovereignty. In the process
of the constitution of sovereignty on the plane of immanence, there also arises an
experience of finitude that results from the conflictive and plural nature of the
multitude itself. The new principle of sovereignty seems to produce its own
internal limit. To prevent these obstacles from disrupting order and completely
emptying out the project, sovereign power must rely on the exercise of control. In
other words, after the first moment of affirmation comes a dialectical negation of
the constituent power of the multitude that preserves the teleology of the project
of sovereignty.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 218 | Loc. 3337 | Added on Tuesday, January 13, 2015, 10:51 AM
That outcome is a constant threat, but after having recognized these internal
limits, the new U.S. concept of sovereignty opens with extraordinary force toward
the outside, almost as if it wanted to banish the idea of control and the moment of
reflection from its own Constitution. The third characteristic of this notion of
sovereignty is its tendency toward an open, expansive project operating on an
unbounded terrain. Although the text of the U.S. Constitution is extremely
attentive to the self-reflective moment, the life and exercise of the Constitution
are instead, throughout their jurisprudential and political history, decidedly open
to expansive movements, to the renewed declaration of the democratic foundation of
power. The principle of expansion continually struggles against the forces of
limitation and control.9
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 219 | Loc. 3346 | Added on Tuesday, January 13, 2015, 10:52 AM
network power must be distinguished from other, purely expansionist and imperialist
forms of expansion. The fundamental difference is that the expansiveness of the
immanent concept of sovereignty is inclusive, not exclusive. In other words, when
it expands, this new sovereignty does not annex or destroy the other powers it
faces but on the contrary opens itself to them, including them in the network. What
opens is the basis ofconsensus, and thus, through the constitutive network of
powers and counterpowers, the entire sovereign body is continually reformed.
Precisely because of this expansive tendency, the new concept of sovereignty is
profoundly reformist.11
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 219 | Loc. 3358 | Added on Tuesday, January 13, 2015, 10:57 AM
Imperial sovereignty must always overcome barriers and boundaries both within its
domain and at the frontiers. This continuous overcoming is what makes the imperial
space open. The enormous internal barriers between black and white, free and slave,
blocked the imperial integration machine and deflated the ideological pretense to
open spaces. Abraham Lincoln was certainly
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 227 | Loc. 3473 | Added on Tuesday, January 13, 2015, 02:15 PM
state repression still lives on, even if the names of its primary perpetrators
(such as Frick, Carnegie, Mellon, and Morgan) now only serve to grace the mantels
of philanthropic foundations.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 229 | Loc. 3509 | Added on Tuesday, January 13, 2015, 02:23 PM
us repression names
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 231 | Loc. 3537-46 | Added on Tuesday, January 13, 2015, 02:30
PM
It is true that the League of Nations, the crowning glory of the Wilsonian project
for European and world peace, never got past the veto power of Congress; but his
concept of world order based on the extension of the U.S. constitutional project,
the idea of peace as product of a new world network of powers, was a powerful and
long-lasting proposal.22 This proposal corresponded to the original logic of the
U.S. Constitution and its idea of expansive Empire. European modernists could not
help mocking this proposal of a postmodern Empire: the chronicles are full of the
ironies and insults of Georges Clemenceau and Lloyd George, along with the
fascists, who all declared that the refusal of the Wilsonian project was a central
element of their projects of dictatorship and war. Yet poor maligned Wilson appears
today in a rather different light: a utopian, yes, but lucid in his foresight of
the horrible future that awaited the Europe of nations in the coming years; the
inventor of a world government of peace, which was certainly unrealizable, but the
vision proved nonetheless an efficient promoter of the passage to Empire. This is
all true even if Wilson did not recognize it. Here in fact we begin to touch
concretely the difference between imperialism and Empire, and we can see in those
Wilsonian utopias the intelligence and foresight of a great idiot.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 232 | Loc. 3546 | Added on Tuesday, January 13, 2015, 02:30 PM
american imperialism
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Highlight on Page 237 | Loc. 3621-23 | Added on Tuesday, January 13, 2015, 02:42
PM
The importance of the Gulf War derives rather from the fact that it presented the
United States as the only power able to manage international justice, not as a
function of its own national motives but in the name of global right.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 237 | Loc. 3623 | Added on Tuesday, January 13, 2015, 02:42 PM
The great international institutions, which had been born on the limited basis of
negotiations and pacts, led to a proliferation of organisms and actors that began
to act as if there were a central authority sanctioning right.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 238 | Loc. 3640 | Added on Tuesday, January 13, 2015, 02:47 PM
jiducialization of diplomacy
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 15 | Loc. 220-21 | Added on Thursday, January 15, 2015, 06:42
PM
critica al patriarcado
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 16 | Loc. 233-36 | Added on Thursday, January 15, 2015, 06:44
PM
jviera carrera
==========
LOBE- (Joaquín Trujillo)
- Note on Page 17 | Loc. 250 | Added on Thursday, January 15, 2015, 06:45 PM
la dessaparicion de lo manso
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 22 | Loc. 328-32 | Added on Thursday, January 15, 2015, 06:52
PM
Vino entonces otro –uno liberal– y los Manso tenían un par de primos liberales,
como tenían también un par de tíos, un par de cuñados y de concuñados
pertenecientes a distintos colores, logias y diversos tentáculos del catolicismo.
Había uno para cada grupo, quien se encargaba de proteger al resto. Los hermanos
menores ingresaron a la Universidad, varias generaciones de mujeres cayeron en la
vida religiosa santiaguina y los nombres de los Manso aparecíeron en letras de
molde.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 22 | Loc. 332 | Added on Thursday, January 15, 2015, 06:52 PM
los Manso por fin conocían una nueva manera de no tomarse en serio el mundo que
circundaba el mundo verdadero, cuando el presidente Balmaceda se derrumbó dejando
un cráter de ayuno.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 23 | Loc. 339 | Added on Thursday, January 15, 2015, 06:52 PM
pasaje oscuro
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 23 | Loc. 349-50 | Added on Thursday, January 15, 2015, 06:53
PM
Nada cambió para los Manso. A veces eran inspeccionados, pero tenían un tesoro
escondido con el cual pagar los sobornos al oficial. Este siempre les visitaba.
Aunque cambiara de individuo, el oficial siempre hallaba la casa. Estaba señalizada
en su frontis con las iniciales del prohombre Manso, la mismas iniciales con que
hacía marcar sus novillos. Hoy los grafiteros marcan paredes ajenas, señal de que
el mal gusto ha retrocedido.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 25 | Loc. 370 | Added on Thursday, January 15, 2015, 06:56 PM
una cuestión por todos llamada “la cuestión social” comenzaba a cuestionar algunos
asuntos mal vistos desde el tiempo de los descubrimientos del conde de Saint-Simon.
En esa época se hablaba todo el día de los pobres, bien para alabarlos, bien para
ningunearlos. Y cada pobre conocía a uno aún más pobre, al punto que cada uno se
sentía más rico que algún otro; por lo que hablar de los pobres se volvió hablar de
los otros, o sea, conversar animadamente.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 26 | Loc. 397 | Added on Thursday, January 15, 2015, 06:58 PM
alessandri
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 27 | Loc. 410-11 | Added on Thursday, January 15, 2015, 07:00
PM
Así estaban los Manso, aguardando alguna señal, ansiándola porque lo que a ella
seguiría, aniquilaría la orgía, cuando sobrevino de golpe, el Golpe y entonces, el
Reino de Chile se derrumbó, sin dejar siquiera restos para levantar un museo con
una buena excusa.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 29 | Loc. 434 | Added on Thursday, January 15, 2015, 07:02 PM
e golpe de estado
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 29 | Loc. 439-41 | Added on Thursday, January 15, 2015, 07:03
PM
sabdo igante
==========
LOBE- (Joaquín Trujillo)
- Note on Page 31 | Loc. 475 | Added on Thursday, January 15, 2015, 07:04 PM
otro capitulo
==========
LOBE- (Joaquín Trujillo)
- Note on Page 32 | Loc. 481 | Added on Thursday, January 15, 2015, 07:04 PM
de n esesta cita
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 32 | Loc. 491 | Added on Thursday, January 15, 2015, 07:05 PM
Luisa era envuelta en una toalla blanca como guarecida por la pupa de una mariposa
que todavía no era.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 33 | Loc. 491 | Added on Thursday, January 15, 2015, 07:05 PM
estaba no era
==========
LOBE- (Joaquín Trujillo)
- Note on Page 33 | Loc. 492 | Added on Thursday, January 15, 2015, 07:05 PM
gelido de nuevo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 34 | Loc. 518-25 | Added on Thursday, January 15, 2015, 07:07
PM
El kindergarten era lo que podría llamarse una guardería para mayores de cuatro
años. Prestaba servicios a mujeres emprendedoras, a menudo madres solteras con
algún oficio, que requerían más que educación para sus hijos, alguien que los
vigilase. La jornada comenzaba quince minutos antes de la hora en que las madres
debían estar en sus trabajos, y se terminaba a la hora en que las madres los
abandonaban. Los niños permanecían todo el día allí jugando y durmiendo. Las tres
parvularias oficiaban de verdaderas esclavas. Al final del día, sus delantales
estaban manchados de barro, yogurt, y por lo general, sangre de narices. A la
salida, Marisol despedía a los chicos al borde de las lágrimas.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 35 | Loc. 535 | Added on Thursday, January 15, 2015, 07:08 PM
la niniez y la sacerdotisa
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 38 | Loc. 571-72 | Added on Thursday, January 15, 2015, 07:11
PM
la once
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 41 | Loc. 624-26 | Added on Friday, January 16, 2015, 08:45 AM
A partir de esa noche, Luisa manifestó preocupación por los temas teológicos –tan
propia de la edad mental de los niños, según Comte–, preocupación no carente de
frivolidad y ansias de triunfar en las discusiones de su salita.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 41 | Loc. 626 | Added on Friday, January 16, 2015, 08:45 AM
perversion religiosa
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 46 | Loc. 705-6 | Added on Friday, January 16, 2015, 09:01 AM
Se acordó de los lefevbristas, esos herejes que querían obligar al Papa a hablar en
latín para así no entender lo que les exigía.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 47 | Loc. 706 | Added on Friday, January 16, 2015, 09:01 AM
Alguien dejó caer la idea de que los niños cuyos dos apellidos eran similares no
tenían papá. Por supuesto, quien afirmaba eso, respaldaba la veracidad de su
afirmación en la autoridad de su padre. Como se era de esperar, se generó un
revuelo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 48 | Loc. 723 | Added on Friday, January 16, 2015, 09:02 AM
controlado. Jamás la sacaban de sus casillas. Una voz profundísima generaba una
helada disciplinaria, y debido a que era alta y media regordeta, cuando se decidía
a atravesar la salita poniendo las cosas en su lugar, podía experimentarse la
dimensión física de una autoridad contenida. Todo cuanto se sabía observado por tía
Luciana recuperaba inmediatamente su sitio al interior de la sala. La mirada suya
iba rápidamente buscando la mancha de caos. Como un río absorbido por la montaña
del que procede, toda mancha allí se succionaba a sí misma, y aparecía tras ella el
iris culposo del niño suplicando perdón.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 49 | Loc. 745 | Added on Friday, January 16, 2015, 09:05 AM
autoridad contenida
==========
LOBE- (Joaquín Trujillo)
- Note on Page 49 | Loc. 740 | Added on Friday, January 16, 2015, 09:05 AM
luisa manso
==========
LOBE- (Joaquín Trujillo)
- Note on Page 50 | Loc. 755 | Added on Friday, January 16, 2015, 09:07 AM
gradacion
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 58 | Loc. 883-84 | Added on Friday, January 16, 2015, 09:13 AM
resurreccion
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 61 | Loc. 929-37 | Added on Friday, January 16, 2015, 09:16 AM
la leccion de tango
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 62 | Loc. 945-47 | Added on Friday, January 16, 2015, 09:19 AM
Al día siguiente, los intentos de Luisa por no mirar a tía Marisol como a una
cómplice, fracasaron. Se había convertido por su culpa en una amiga de su tía. Cosa
rara. Luisa supo que la vida de su tía Lorena no constituía un mundo inmodificable.
Ella había introducido a Marisol en él.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 62 | Loc. 947 | Added on Friday, January 16, 2015, 09:19 AM
–¿Cómo me llamo? –Luisa María Teresa del Carmen Manso Manso –le dijo maquinalmente
a costa del ensueño. (Esta pregunta la había respondido mil veces). –¿Por qué llevo
dos apellidos iguales? –Porque tus padres eran primos. –Ahora estaba despierta. –¿Y
por qué se casaron primos? –Porque se querían. –El sueño arremetía nuevamente. –¿No
conocían a nadie más? Lorena se dormía. –Se creían reyes visigodos –y se lamentó
mencionarle palabras tan nuevas, palabras que seguramente encenderían, a esas horas
de la noche, la curiosidad de Luisa Manso.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 64 | Loc. 975 | Added on Friday, January 16, 2015, 09:21 AM
el nombre y los visigodos.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 65 | Loc. 987 | Added on Friday, January 16, 2015, 09:22 AM
cancer
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 66 | Loc. 1004-8 | Added on Friday, January 16, 2015, 09:27 AM
–Le aconsejo, señora Carrasco, que matricule a esta niñita en el colegio particular
–dijo mientras, meneando la cabeza, trataba de percibir las miradas distantes de
ambas señoritas. A Luisa le disgustó lo de “esta niña”. –Pasamos por un apretón
económico.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 66 | Loc. 1008 | Added on Friday, January 16, 2015, 09:27 AM
esta ninita
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 67 | Loc. 1022-23 | Added on Friday, January 16, 2015, 09:28
AM
Luisa Manso fue abandonada en el lugar donde lo único que sonreía –en cierta
medida– era el retrato del nuevo presidente; Aylwin se llamaba.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 67 | Loc. 1023 | Added on Friday, January 16, 2015, 09:28 AM
aylwin
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 67 | Loc. 1026-28 | Added on Friday, January 16, 2015, 09:28
AM
–Como usted se habrá “percatado” –y ocupaba esta palabra cual una preciosa
condecoración de su léxico– a este lugar concurre gente muy… digámoslo así…
humilde.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 67 | Loc. 1028 | Added on Friday, January 16, 2015, 09:28 AM
gente humilde
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 69 | Loc. 1045-48 | Added on Friday, January 16, 2015, 09:34
AM
–En fin… Vamos a lo que importa: al parecer usted será su apoderado… Mire… ¿cómo
decírselo? Los niños aquí son revoltosos, chismosos, malintencionados, envidiosos,
vulgares y tienen los dientes cariados y hay una verdadera epidemia de pediculosis…
–prosiguió diciendo–. Yo no sé cuánto puedan hacer sufrir a esta señorita. Son
verdaderamente salvajes. Así se lo dí a entender desde un principio…
==========
LOBE- (Joaquín Trujillo)
- Note on Page 69 | Loc. 1048 | Added on Friday, January 16, 2015, 09:34 AM
ninios revoltosos
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 69 | Loc. 1050-55 | Added on Friday, January 16, 2015, 09:34
AM
–Señorita Carrasco… Me pareció que en ese instante usted se dio por aludida –las
silabas de la palabra “aludida” fueron pronunciadas una a una–. A esta muchachita
le harán sufrir lo indecible… éste no es su ambiente. Mire el caso de mis hijos.
¿Cree usted que los podría educar en este lugar? Los tres realizan sus estudios en
el colegio particular, una institución exigente, donde la disciplina no está para
evitar vandalismo sino para formar elementos de excelencia académica. Además,
llevan corbatas coloridas. No son las corbatas azules fiscales. ¿Cómo esta
muchachita no va a preferir los colores llamativos?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 69 | Loc. 1055 | Added on Friday, January 16, 2015, 09:34 AM
preferir lo privado
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 72 | Loc. 1099-1101 | Added on Friday, January 16, 2015, 09:38
AM
«Nosotras dos. Ambas damas cristianas. Acabamos de ser maltratadas por un moro, sin
que hubiera ningún hombre para defendernos, y ella, inconsciente, jugando y riendo
como si nada.»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 72 | Loc. 1101 | Added on Friday, January 16, 2015, 09:38 AM
mas enfasis
==========
LOBE- (Joaquín Trujillo)
- Note on Page 73 | Loc. 1115 | Added on Friday, January 16, 2015, 09:39 AM
frances
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 75 | Loc. 1138-47 | Added on Friday, January 16, 2015, 09:50
AM
–¡Siempre ha sido así esta vieja! –interrumpió una voz en el fondo contra la cual
se manifestaron reprobaciones. Inmovilizada por los rostros curiosos, Lorena
Carrasco buscó el rostro de Luisa. Ella estaba siendo transportada por las ancianas
que habían encontrado la ocasión propicia para acariciar a esta niña rara. –¡Pero
si es una bebe! –Y es tan bonita la niña. –Parece que es de aquí. –Luchita… –
comenzó por decir Lorena, pero Luisa no la oía– Luchita… –y como lo decía
murmurando la espera de Luisa se hacía agotadora– …Luchita, venga…
==========
LOBE- (Joaquín Trujillo)
- Note on Page 75 | Loc. 1147 | Added on Friday, January 16, 2015, 09:50 AM
la debilidad de un mayor
==========
LOBE- (Joaquín Trujillo)
- Note on Page 78 | Loc. 1183 | Added on Friday, January 16, 2015, 09:53 AM
el jumper
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 80 | Loc. 1226-29 | Added on Friday, January 16, 2015, 09:56
AM
piscina láctea. A continuación, los escolares regresaban con los jarros vacíos para
devolverlos a las cocineras, llamadas en la nómina del ministerio de educación:
“manipuladoras de alimentos”. Al ver ese desperdicio, esa libación de la infantil
inconsciencia al dios de la nada, concurrido por los niños para vomitar sin
previamente haber tragado; viendo aquel espectáculo, esa laguna blanca mojando el
terreno contiguo (había musgos y vegetación podrida), Luisa Manso no pudo evitar
soltar una lagrima. «Será que llora porque quería tomársela ella», se dijeron los
niños, mientras se lanzaban a jugar a la pelota.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 82 | Loc. 1249 | Added on Friday, January 16, 2015, 09:58 AM
tercer cap
==========
LOBE- (Joaquín Trujillo)
- Note on Page 87 | Loc. 1334 | Added on Friday, January 16, 2015, 10:03 AM
piano
==========
LOBE- (Joaquín Trujillo)
- Note on Page 92 | Loc. 1410 | Added on Sunday, January 18, 2015, 03:12 AM
joenes fascistas
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 93 | Loc. 1411-12 | Added on Sunday, January 18, 2015, 03:13
AM
harto de religión pero era ignorante en materia política, lo que indicaba que no
sabía nada de religión.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 93 | Loc. 1412 | Added on Sunday, January 18, 2015, 03:13 AM
religion y politica
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 98 | Loc. 1502-3 | Added on Sunday, January 18, 2015, 03:17 AM
–Por favor, no seas absurda. Una monja solo puede ser wagneriana.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 98 | Loc. 1502 | Added on Sunday, January 18, 2015, 03:17 AM
monja wagneriana
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 100 | Loc. 1527-28 | Added on Friday, January 23, 2015, 10:23
PM
–Si caminaras por la calle igual como pones los dedos, se diría que eres lisiada.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 100 | Loc. 1528 | Added on Friday, January 23, 2015, 10:23 PM
insulo
==========
LOBE- (Joaquín Trujillo)
- Note on Page 100 | Loc. 1529 | Added on Friday, January 23, 2015, 10:23 PM
chopin
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 102 | Loc. 1562-67 | Added on Friday, January 23, 2015, 10:26
PM
contra sus dedos y sus manos. Esa melodía la acompañó siempre. ¿Pero quién era su
autor? Estaba el nombre impreso como una condena de la historia humana. Era ése un
dios adorador de otro Dios. Se llamaba “Bach”. La niñez de Luisa Manso pudo ser
para ella un motivo de placer. Así es, la memoria se devora a sus moradores para
salvarlos.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 103 | Loc. 1567 | Added on Friday, January 23, 2015, 10:26 PM
bach y el placer
==========
LOBE- (Joaquín Trujillo)
- Note on Page 106 | Loc. 1613 | Added on Friday, January 23, 2015, 10:28 PM
cita de mas
==========
LOBE- (Joaquín Trujillo)
- Note on Page 106 | Loc. 1617 | Added on Friday, January 23, 2015, 10:29 PM
tonta
==========
LOBE- (Joaquín Trujillo)
- Note on Page 109 | Loc. 1664 | Added on Friday, January 23, 2015, 10:43 PM
gramatica oscura
==========
LOBE- (Joaquín Trujillo)
- Note on Page 110 | Loc. 1677 | Added on Friday, January 23, 2015, 10:44 PM
colomba la amiga
==========
LOBE- (Joaquín Trujillo)
- Note on Page 114 | Loc. 1737 | Added on Friday, January 23, 2015, 10:48 PM
–Ella miente porque yo le hice creer que soy distinguida. Lorena Carrasco no
comprendió. Se atrincheró en su hallazgo: –Usted es distinguida y ella miente. –No
me importa. Es mi culpa. No quería que yo pensara que ella… a las demás niñas. –
Pero ella miente. Ella es una mentirosa. Nada vale una mentira. –Yo también soy
mentirosa –pues Luisa sabía que se miente cuando se revelan solamente las virtudes
propias a quienes se estima. Y Lorena Carrasco asumió esta
==========
LOBE- (Joaquín Trujillo)
- Note on Page 119 | Loc. 1814 | Added on Friday, January 23, 2015, 10:51 PM
gran frase
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 120 | Loc. 1828-38 | Added on Friday, January 23, 2015, 10:52
PM
–Quizás no le agrade saber que usted, Luchita, descubrió la verdadera casa. –Esta
no es su verdadera casa –respondió Luisa algo enojada. Hubo un silencio durante el
cual Lorena Carrasco pareció esforzarse por comprender el sentido de aquella
afirmación. Por fin se atrevió a razonar con menudencias: –¿Cuál, entonces, es su
casa?, ¿la otra?, ¿aquella en que efectivamente no vive? –No… Ella misma es su
casa. –Bon. D’acord, ma fille, pero sus padres no viven dentro de su cuerpo. –
¿Quién te dijo que Ella es lo mismo que su cuerpo?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 120 | Loc. 1838 | Added on Friday, January 23, 2015, 10:52 PM
–¿Qué hacen aquí esa beata tanguera con su hija loca? –preguntó una garganta.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 125 | Loc. 1909 | Added on Friday, January 23, 2015, 10:56 PM
la beata y la loca
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 125 | Loc. 1917-19 | Added on Friday, January 23, 2015, 10:57
PM
Al día siguiente, en la escuela, Colomba se volvía otra vez una presencia lejana
para Luisa. Y Luisa descubrió que ello le provocaba un extraño placer. No se
dirigieron la palabra, Colomba esquivaba la mirada de Luisa. Luisa se habituó a no
mirarla de frente.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 126 | Loc. 1919 | Added on Friday, January 23, 2015, 10:57 PM
¿De dónde vino toda esa agua? Era como si el agua hubiese venido de muy lejos a
buscar algo sobre la tierra. Luisa Manso sabía que los españoles habían llegado por
el norte. No entendía qué podía haber más allá en esa carretera, no comprendía cómo
gente había viajado para fundar ciudades tan lejanas, por qué alguien iba siempre
más allá, insistía en alejarse como hipnotizado por un centro ígneo de la Tierra
sobre la mismísima Tierra. Se lo preguntó a su tía: –¿Por qué siempre hay una
ciudad más al sur? –Primero se hacían ciudades para la guerra, pero después esas
ciudades continuaron porque ya estaban allí, y vinieron otras porque había muchos
campos que a través de Chile se entrelazaban. Lorena se dormía.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 133 | Loc. 2025 | Added on Friday, February 20, 2015, 12:40 AM
A la cocina se fueron a tomar una once apoteósica. Tenían ahí un fogón que parecía
la sartén de Vulcano. Todos tragaban sandwichs de mortadela y pan amasado a base de
manteca animal y demasiada levadura, tomaban te y más te, y a los niños se les dio
chocolate caliente. El fogón elevaba tanto la temperatura que los vapores de la
cocina la hacían parecer un sauna. La gordita grisácea extrajo, desde el cedazo que
colgaba de una viga secreta, un queso de vaca casi derretido. El queso fue abierto
desde el centro y hacia el borde.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 138 | Loc. 2116 | Added on Friday, February 20, 2015, 12:50 AM
la once
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 139 | Loc. 2123-28 | Added on Friday, February 20, 2015, 12:51
AM
–Este no es un libro normal, es una Biblia –dijo. –Eso ya lo sabemos –intervino uno
de los niños allí presentes. –Esta Biblia tiene una hermosa encuadernación, un
forro carmesí. En su interior lleva ilustraciones, lo que la hace muy entretenida
para los niños. –Mejor vamos a ver televisión.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 139 | Loc. 2128 | Added on Friday, February 20, 2015, 12:51 AM
dialogo forzado
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 141 | Loc. 2162-65 | Added on Friday, February 20, 2015, 12:53
AM
Luisa Manso montó sin ningún inconveniente. Una vez arriba del caballo, viendo el
mundo desde lo alto, experimentó un repentino vértigo que precedió a la sensación
de estar manejando una vida demasiado poderosa, una bestia apacible entre sus
piernas. El caballo dio un corto paso que desde abajo pareció casi un temblor del
pelaje, pero en el estómago de Luisa Manso la idea de que caería de bruces,
resbalando sobre el cuello, le dominó el resto del cuerpo. Porque, al mismo tiempo,
la cabeza descendía en busca de pasto y con ello desaparecía del horizonte de su
jinete.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 144 | Loc. 2198 | Added on Friday, February 20, 2015, 02:20 PM
–No sé –Marcela no se quedó atrás–, aquí todas hablan de él –se acomodó sobre el
anca del tordillo–, pero yo he visto en Chillán niños más bonitos. –¿Y por qué no
se lanza al agua? –No sé –Marcela siempre no sabía nada antes de cada respuesta–,
seguramente quiere mostrarse… a... –pero allí se calló. –A ver, ¿a quién quiere
mostrarse?, ¿a quién? –Ay… no sé, Luchita. Siempre se muestra. Se cree el más
bonito. –Pero… ¿a quién? –A usted… En ese momento una lluvia de
==========
LOBE- (Joaquín Trujillo)
- Note on Page 146 | Loc. 2238 | Added on Friday, February 20, 2015, 02:22 PM
El agua ya mojaba los estribos. Marcela abducía las piernas para no estropear sus
zapatillas. Al frente, el muchacho permanecía inmóvil, y Luisa notó un rostro
verdaderamente hermoso. «Ay pero si es un huaso. Hay que vencerlo», pensaba y le
daba con la huasca al tordillo que ya empezaba a ensayar algunos pasos de nado.
Quería abandonar el fondo repugnante.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 149 | Loc. 2276 | Added on Friday, February 20, 2015, 02:26 PM
Pero Luisa Manso ya no podía oír a su acompañante. Sólo vio el cuerpo ahogado de
Colomba Rodríguez pasar junto a ellas, transportado por una corriente.
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 150 | Loc. 2292-93 | Added on Friday, February 20, 2015, 02:27
PM
duendehermoso
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 150 | Loc. 2297-2304 | Added on Friday, February 20, 2015,
02:28 PM
le muestra el pene
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 151 | Loc. 2312-13 | Added on Friday, February 20, 2015, 06:18
PM
Todo lo que florece ya está muerto. No puede mantenerse como un ahogado sobre la
superficie de las aguas.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 151 | Loc. 2313 | Added on Friday, February 20, 2015, 06:18 PM
Luisa llevaba su mejilla contra el pelaje sudoroso del monstruo marino (el mar no
está solo en el mar, el mar recorre los cielos y los ríos, y a menudo se detiene en
los lagos y las pozas dejadas por la lluvia), y el monstruo la arrastró con él
hundiéndose a la manera cetácea en el agua y retornando a la superficie.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 151 | Loc. 2315 | Added on Friday, February 20, 2015, 06:19 PM
el monstruo y el mar
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 152 | Loc. 2320-23 | Added on Friday, February 20, 2015, 06:20
PM
–Ella es una niña superior a mí y superior a ustedes. Parece que estuviera loca
porque en ella habitan más personas que en todos los habitantes de este pueblo. –
Estallaron las carcajadas. Era imposible lo que decía Lorena Carrasco–. Nunca había
montado un caballo y al cabo de una hora el caballo le pertenecía.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 155 | Loc. 2371 | Added on Friday, February 20, 2015, 06:22 PM
–Su padre vivía sobre los caballos. Los caballos eran el suelo para él –Lorena
Carrasco estaba relampagueando. –Y si era tan gallo, ¿por qué no crió a su propia
hija? –Porque está muerto.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 156 | Loc. 2379 | Added on Friday, February 20, 2015, 06:23 PM
padre muerto
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 158 | Loc. 2416-17 | Added on Friday, February 20, 2015, 06:24
PM
no volveremos a venir a este sur, iremos al verdadero sur, donde no haya nadie,
donde no haya mentiras.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 158 | Loc. 2417 | Added on Friday, February 20, 2015, 06:24 PM
–El cuerpo de Cristo. «Sí, por fin lo guardarás dentro tuyo –pensaba Lorena
Carrasco entre la feligresía–, y podremos realizar juntas la fila de ahora en
adelante. Sí.» Simplemente lloraba de felicidad.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 161 | Loc. 2465 | Added on Friday, February 20, 2015, 06:27 PM
Sin embargo, Luisa llevaba consigo un pecado que no podía contarse. Había visto a
ese duende junto a esa laguna, y había ido a verlo de cerca. Pero, ¿cómo decírselo
a un cura que deseaba oír exclusivamente acerca de mentiras blancas, hurtos a los
padres para compra de golosinas, matonaje infantil, e, in extremis, sobre
masturbaciones precoces? La suya, en cambio, era una confesión que debía llevarse a
la tumba.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 165 | Loc. 2530 | Added on Sunday, February 22, 2015, 08:05 PM
no es un pecado infantil
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 167 | Loc. 2556-62 | Added on Sunday, February 22, 2015, 08:08
PM
Desde aquellos eventos en casa de los parientes maternos de Lorena Carrasco, Luisa
Manso obtuvo un mal sueño. Imaginaba a una gran familia que le decía en sueños:
“vuelve temprano a casa”. Aquella historia cuya exactitud le había sido
indiferente, ahora se volvía un asunto recurrente. Lorena Carrasco mostraba una
ignorancia que Luisa no mal atribuir. «Corre por mis venas una sangre distinta a la
de ella.» Actuaba movida por una obligación religiosa. Sentía una entristecida
piedad de su tía. «Por qué se hace cargo de mí, que soy una desconocida.»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 168 | Loc. 2562 | Added on Sunday, February 22, 2015, 08:08 PM
El que los niños continuaran bajo una misma profesora durante todo lo que duraba la
educación básica debía evitarse a toda costa, fundamentalmente porque se había
comprobado —por parte de ingenieros comerciales especialistas en educación— que los
niños no lograban crecer al amparo de una misma docente. Se empequeñecían siempre
porque el entorno de la tierna edad no cambiaba. Pero los niños del quinto año
visitaban frecuentemente a la profesora Faúndez, que ahora batallaba contra una
nueva generación de diablos en un nuevo primer año básico.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 169 | Loc. 2577 | Added on Sunday, February 22, 2015, 08:10 PM
Por esas cosas del chisme escolar —que es reconocidamente fecundo en provincia—, la
señorita Raquel Frías se las arregló para oír el nombre de los tres nostálgicos.
Esperó vengarse con una cautela propia de adultos pues en las escuelas los
profesores terminan por tomarse muy a pecho las opiniones de los niños por más
infantiles que sean.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 170 | Loc. 2606 | Added on Sunday, February 22, 2015, 08:11 PM
–Bueno, hagan cuenta que la sala de clases es nuestro laboratorio –hechizó el lugar
la señorita Frías–, y ahora, levante la mano quien quiera cooperar con la
asignatura, dando una gota de su sangre. «Comenzaron botando la leche y ahora la
sangre humana –pensaba Luisa–. Acabarán “comiéndose a sus propios hijos”.» —
Recordaba las palabras de Lorena citando al profeta Ezequiel.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 174 | Loc. 2661 | Added on Sunday, February 22, 2015, 08:15 PM
botar la sangre
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 177 | Loc. 2706-16 | Added on Sunday, February 22, 2015, 08:17
PM
La sangre de los Manso. Y Luisa observó la sangre mezclada. Volvió la cara. Hundió
la nariz en el delantal. –No, señorita –le dijo casi llorando–, no le daré mi
sangre. –Ay, Luisa, si usted misma me retó a hacer de este experimento una cosa
justa, ¿por qué ahora no cumple con su parte? Estaban todas las miradas del curso
puestas sobre ella. Y Luisa solo quería ponerse a llorar. Pero, entonces, tuvo una
idea genial: mentir. –Soy hemofílica, señorita.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 178 | Loc. 2716 | Added on Sunday, February 22, 2015, 08:17 PM
stigmata
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 183 | Loc. 2797-2804 | Added on Sunday, February 22, 2015,
08:21 PM
destruir amanso
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 187 | Loc. 2859-63 | Added on Sunday, February 22, 2015, 08:23
PM
–¿Una gota para qué? –Para mirarla con un microscopio. –¡Ay! –exclamó la mujer–,
qué cosa más atroz. Antes de la dictadura la gente no se sapeaba la sangre. Qué
espanto.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 187 | Loc. 2863 | Added on Sunday, February 22, 2015, 08:23 PM
–Y también lo están todos esos mocosos que tiene apostados a la entrada de nuestra
casa parroquial, señor Sabag. Esto no hubiera ocurrido cuando funcionaba la escuela
parroquial –dijo, por el puro placer de mostrarse antipático. –Ah… –se irguió–,
¿qué pretende decir con eso? No entiendo. –Sabag emprendía una pequeña batalla
campal. –Quiero decir que ha sido usted el que ha hecho de todo este embrollo una
situación de excepción. Si me disculpa, vuelvo con mi paciente. –Aguardaré a mi
alumna en compañía de mis muchachos.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 192 | Loc. 2933 | Added on Sunday, February 22, 2015, 08:27 PM
juan de arco
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 196 | Loc. 2999-3000 | Added on Sunday, February 22, 2015,
08:32 PM
–Ahora, chiquilla, enfrentemos ese monstruo que aún sigue fuera y que, en realidad,
no es más que gente aburrida.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 196 | Loc. 3000 | Added on Sunday, February 22, 2015, 08:32 PM
clemnte
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 201 | Loc. 3075-84 | Added on Sunday, February 22, 2015, 08:37
PM
trabajando en la fruta. ¿Es eso efectivo? Puesto que se le mostraba un papel, Marta
Pizarro trataba de darle un vistazo. Pero el papel estaba en blanco. –Sí, es
efectivo –confesó imperturbable, pero no resistió dar razones–, enviudé, usted sabe
–y miró al aludido–, la pensión es de cuarenta y ocho mil pesos para una familia de
cinco personas. Si ellos no trabajan se mueren de hambre, así de simple,
caballeros. El último en hablar, volvió a la carga. –No es así de simple. Sus hijos
menores de edad están en edad escolar y la escolaridad, a la edad de ellos, es
obligatoria por ley, señora Marta. Además, no se morirán de hambre pues en la
escuela se les da diariamente desayuno y almuerzo gratuito.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 202 | Loc. 3084 | Added on Sunday, February 22, 2015, 08:37 PM
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 207 | Loc. 3163-65 | Added on Monday, March 09, 2015, 01:27 PM
–Lo que pasa, señora, es que éste es maraco, y usted no se quiere dar cuenta, y le
va a traer puros problemas… –Enrique y Edison se rieron cabizbajos.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 207 | Loc. 3165 | Added on Monday, March 09, 2015, 01:27 PM
este es maraco
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 207 | Loc. 3173-74 | Added on Monday, March 09, 2015, 01:28 PM
evangelicos xd
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 208 | Loc. 3190-95 | Added on Monday, March 09, 2015, 01:36 PM
–Yo le digo, señora Marta, que su hijo en la ciudad pasaría inadvertido. Mi hijo es
igualito a él y no tiene ningún problema. Pero a los profesores no se les considera
buenos consejeros en el campo, y menos aún cuando acarrean fama de medios
alcohólicos o mujeriegos. Representaban, empero en ese lugar, a la civilización
cristiana y occidental con toda su depravación, su respeto por los débiles e
incentivo del pequeño desarrollo espiritual.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 209 | Loc. 3195 | Added on Monday, March 09, 2015, 01:36 PM
Ese profesor había llegado a trabajar en aquella escuela rural por motivos
estrictamente vocacionales. No era ningún rechazado urbano; más bien era un poeta –
lo que según la tradición maldita lo ponía por debajo y por encima del campo y de
la ciudad–, un poeta de aquellos que cundieron con posterioridad a la muerte de
Neruda y se extraviaron en la lucha contra un mal indigno de sus desvelos. Otro
poeta que desapareció por culpa de nadie. Y su visión cabal y comedida de la
creación poética requería de un entorno tanto rudo como amable.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 209 | Loc. 3204 | Added on Monday, March 09, 2015, 01:37 PM
prof hernandez
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 211 | Loc. 3232-36 | Added on Monday, March 09, 2015, 01:38 PM
–Tendrás que hacerle compañía, porque ¿quién sino tú? Se repetía estas palabras del
profesor como quien busca en ellas la definición precisa del objeto de sus
pensamientos, como el novio de un matrimonio arreglado que, deseoso de desposarse,
quiere presenciar el rostro de la novia, seguro de que éste será inmensamente
bello, porque él está seguro de pertenecer a la sangre de su padre, y por ello, a
su sentido familiar de la belleza.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 212 | Loc. 3236 | Added on Monday, March 09, 2015, 01:38 PM
matrimonio arreglado
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 212 | Loc. 3239-46 | Added on Monday, March 09, 2015, 01:39 PM
–Llegó un Blancanieves a vivir en la casa del Cható. Se alertó. No pudo tragarse el
pan. –¿Cómo dices? –interrogó Marta, que siempre quería saberlo todo según la
usanza campesina. «Gracias por preguntar. Yo no podría hacerlo sin sonrojarme.» –Es
un niño de Santiago –aclaró Edison– que parece mono de nieve de tan blanco que es.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 212 | Loc. 3246 | Added on Monday, March 09, 2015, 01:39 PM
una blancanieves
==========
LOBE- (Joaquín Trujillo)
- Note on Page 213 | Loc. 3256 | Added on Monday, March 09, 2015, 01:39 PM
don adolfo
==========
LOBE- (Joaquín Trujillo)
- Note on Page 214 | Loc. 3267 | Added on Monday, March 09, 2015, 01:40 PM
companiero
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 216 | Loc. 3311-13 | Added on Monday, March 09, 2015, 01:43 PM
–Su nombre es Ramón Cha… –el profesor buscó la ayuda de su nuevo alumno. –…Château
–era su voz.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 217 | Loc. 3313 | Added on Monday, March 09, 2015, 01:43 PM
ramon chateau
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 217 | Loc. 3318-26 | Added on Monday, March 09, 2015, 01:45 PM
Junto a Ramón se quedó con la cabeza gacha mientras el profesor comenzaba la clase
a la que, por primera vez en mucho tiempo, no lograba prestar atención. Había una
turbación, un tornado que solo quien lo tenía a su lado notaba. De cuando en
cuando, iba de reojo notando algunos rasgos físicos de Ramón. Presenció un perfil
que permanecía en estado contemplativo del pizarrón. Parecía que su objeto fuera
alguna cosa superior. Luego comprobó, comparándolo con el suyo propio, que en aquel
recién llegado la forma figuraba incompleta, y, sin embargo, esa carencia se la
atribuyó a sí mismo, como quien se mutila para reparar la carencia de miembros en
otro, a fin de embellecerlo. La mano de Ramón, que escribía en el cuaderno, le
permitió descubrir, si miraba algo más atrás, una muñeca tan delgada como la de una
niña. Por fin, se propuso mirarlo detenidamente y volteó hacia él. Fue al instante
descubierto. Ramón destrozó su rostro atónito fortaleciéndose con una sonrisa, y
así, como un bañista que consiente en ser espiado, su observador se salvó de
sonrojarse irreversiblemente.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 217 | Loc. 3326 | Added on Monday, March 09, 2015, 01:45 PM
la sonrisa e ramon
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 219 | Loc. 3344-45 | Added on Monday, March 09, 2015, 01:46 PM
clemente manso
==========
LOBE- (Joaquín Trujillo)
- Note on Page 219 | Loc. 3346 | Added on Monday, March 09, 2015, 01:46 PM
el amigo ramon
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 220 | Loc. 3371-75 | Added on Monday, March 09, 2015, 01:51 PM
Padre e hijo lo vieron, por la espalda, alejarse. Iba por el camino de tierra. –El
martes de la próxima semana invítalo a la casa… que almuerce con nosotros –y
habiendo partido la camioneta, al cabo de un minuto, el polvo levantado comenzó a
descender, Clemente aún avanzaba entre una polvareda.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 221 | Loc. 3375 | Added on Monday, March 09, 2015, 01:51 PM
La mesa del comedor estaba servida. El interior de aquella casa del administrador
era conocido sólo por la nana cuya altanería se desconocía entre sus patrones, y
era pan de todas las tardes entre sus vecinos, gente menos relacionada. Al entrar,
Clemente pudo notar que lo seguía con la mirada. –Hola, Clemente, ¿Cómo estás? –lo
recibió festiva. «Nunca me has saludado, perra de mierda», pero, en su placer,
estaba dispuesto a ser hipócrita: –Hola, Francisca. Estoy bien, gracias
==========
LOBE- (Joaquín Trujillo)
- Note on Page 223 | Loc. 3408 | Added on Monday, March 09, 2015, 01:54 PM
–Voy a la ciudad –fue todo su reporte. Para mostrarse cooperador, Clemente comenzó
a levantar la mesa. Mónica, disponiéndose a salir, lo detuvo –Deja así, Clemente,
como están las cosas. Francisca se encarga de esto.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 226 | Loc. 3463 | Added on Monday, March 09, 2015, 01:59 PM
Se quedaron en la señal del Mtv latino. –¿Cuál es tu música favorita? –La música
romántica. –Ah… la música que escuchan las nanas cuando están planchando. –… ¿y la
tuya? –Los Guns. –… Podríamos escucharlos. –¿Estás loco? Los mismos oídos no pueden
escuchar cuestiones tan distintas.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 227 | Loc. 3479 | Added on Monday, March 09, 2015, 02:00 PM
–¿Qué es mental? Otro término campirano, seguramente –Ramón interpuso una sonrisa
para aminorar la dureza de sus palabras. –Ella es enfermita de la mente. Se llama
Denise. –Ya la conozco… –dijo a Clemente–, ella cruza todos los días el río en esa
bicicleta de mierda para venir a verme. –Ramón, Ramón, ¿y la mamita Mona? ¿se habrá
enojado conmigo? –dijo la voz de Denise, una voz entorpecida por la saliva y el
escondite. –…Dice que busca a mi mamá, pero en realidad viene a verme a mí –
continuó Ramón–, está enamorada de mí. Es insoportable.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 229 | Loc. 3506 | Added on Monday, March 09, 2015, 02:01 PM
–¿Cómo sabes que está enamorada de ti?, ¿a ver? –Si quiere que te lo compruebe te
lo comprobaré –lo retó Ramón, y llamó a pasar a Denise al interior de la
habitación. La mujer entró sonriendo toda sonrojada. –Permiso, Ramoncito… gracias
por dejarme entrar a…–pero no alcanzó a terminar, Ramón le había lanzado un vaso de
agua en la cara, y ella se quedó sonriendo al borde del llanto. –¿Ya no estás
acalorada, Denise? –le dijo– ¿eres francesa? –le preguntó sin ánimo de aguardar
respuesta–, ¿francesa? –insistió–. ¿Por qué te pusieron ese nombre tan rasca?,
¿querían cagarte de por vida? Denise se reía sin atinar a responder. Clemente
también se rió pero de pronto, arrepentido, se calló.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 230 | Loc. 3520 | Added on Monday, March 09, 2015, 02:02 PM
el vaso de agua
==========
LOBE- (Joaquín Trujillo)
- Note on Page 232 | Loc. 3546 | Added on Wednesday, March 11, 2015, 01:29 PM
–¿Por qué no luchas un poco para que yo vea como se ve? –Pero no obtuvo respuesta
de Clemente.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 232 | Loc. 3556 | Added on Wednesday, March 11, 2015, 01:30 PM
–Esa no es mujer… y no le pego, ella lucha conmigo –dijo Ramón, y frunció tanto el
ceño que Clemente tuvo unas ganas descontroladas de besarlo–, y con eso me
ejercito.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 234 | Loc. 3577 | Added on Wednesday, March 11, 2015, 01:32 PM
besarlo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 234 | Loc. 3579-84 | Added on Wednesday, March 11, 2015, 01:32
PM
blancanieves desnudo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 234 | Loc. 3588-91 | Added on Wednesday, March 11, 2015, 01:33
PM
Clemente sentía unas ganas locas de refregarse sobre el trozo de hielo. Se abstenía
pudoroso de aquella intempestiva, pero las manos de su acompañante lo instigaban
acariciándose el pecho, con lo cual, se develaba, se recordaba a Clemente la
naturaleza carnal de la nieve limpia, de la piel hermosa y potencialmente
masculina. Porque ese era un niño. Eran dos niños los que se estaban llamando
descaradamente próximos. Por fin, Ramón habló nuevamente.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 235 | Loc. 3591 | Added on Wednesday, March 11, 2015, 01:33 PM
–Y ¿qué hacías ahí?, ¿estabas con el Blancanieves? –le preguntó uno de ellos. –Sí…
–¿Qué hacían? «Nos revolcábamos sobre la cama y la alfombra.» –Veíamos la
televisión.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 238 | Loc. 3646 | Added on Wednesday, March 11, 2015, 01:36 PM
–…Así que el huacho de los Manso nos levantó la mesa, Mona… Nos dejaron un triste
espectáculo antes de abandonar sus tierras. –…Pero si es hijo de un marino, un
marino que murió. –No seas ilusa, Monique. Este lugar no es un puerto.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 241 | Loc. 3689 | Added on Wednesday, March 11, 2015, 01:38 PM
chupon
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 244 | Loc. 3729-31 | Added on Wednesday, March 11, 2015, 01:41
PM
«Sigue ahí… ¿Por qué viene al tranque? Él tiene piscina en su casa de rico. Él
tiene padre, lo amo y lo odio por eso, lo amo porque tiene padre, y también amo a
su padre. Lo llevan como en andas al maldito, lo idolatran, le impulsan el bote, ni
siquiera tiene que remar, ni tiene que nadar para cruzar el tranque.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 245 | Loc. 3754 | Added on Wednesday, March 11, 2015, 01:43 PM
–Oye –dijo uno–, dicen por ahí que ustedes dos tienen una… relación. Alguien rió
estentóreamente. –¿Quién dice eso? –Ramón estaba visiblemente nervioso. –Todo el
mundo. –No es cierto –dijo Ramón–, lo que pasa es otra cosa. Este maricón me
persigue todo el tiempo. Anda detrás mío. –Que éste es maraco no se pone en duda. –
No –dijo otro–, Clemente no había andado en nada raro hasta que éste llegó. –Sí –
proclamaron algunos. El rostro de Ramón se descompuso. Clemente lo notó y quiso
vengarse. –Cuando éste me invitó a su casa… Ramón lo interrumpió violento: –Oigan –
les dijo–, los maricones no juegan a la pelota. Y yo juego. Todos asintieron pues
la tal pelota era la prueba de hombría que todos ya habían superado sin habérselo
propuesto.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 249 | Loc. 3813 | Added on Wednesday, March 11, 2015, 06:06 PM
prueba de hombria
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 251 | Loc. 3841-46 | Added on Wednesday, March 11, 2015, 06:07
PM
–Succiónale la sangre. ¡A ver si eres tan hombrecito! –exigió Ramón–. Con la boca,
por la boca. –Vampiro, vampiro. Hazte vampiro, Clemente. Alguien le bajo los
calzoncillos a Clemente. –Miren, no se le para. Parece una pasa. ¡Es maraco, es
indudable! –Se turnaron para verlo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 251 | Loc. 3846 | Added on Wednesday, March 11, 2015, 06:07 PM
vampiro
==========
LOBE- (Joaquín Trujillo)
- Note on Page 253 | Loc. 3865 | Added on Wednesday, March 11, 2015, 06:09 PM
desc previos
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 255 | Loc. 3899-3901 | Added on Wednesday, March 11, 2015,
06:12 PM
«Una vez huí para evitar que tomaran una gota de mi sangre, y ahora Dios me
provocará una continua hemorragia, me hará derramarla como a un desperdicio.»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 255 | Loc. 3901 | Added on Wednesday, March 11, 2015, 06:13 PM
catolicismo y comunismo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 261 | Loc. 3994-4004 | Added on Thursday, March 12, 2015,
03:05 PM
Era un árbol tumbado cuyas raíces recorren toda la tierra, recorren el fondo de los
océanos, y cavan túneles bajo las montañas, y sin embargo, recostado sobre la
alfalfa era casi un punto «como también lo soy yo. Es un semidiós, y es una virgen
de pie… es un portal en el aire… es mi padre.» –Cálmate, Luisa –murmuró Patricio, y
la sujetó sin tocarla–, ¿cuál es el nombre de él? –Su nombre… –contestó ella–,
Diego es.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 267 | Loc. 4091 | Added on Thursday, March 12, 2015, 03:09 PM
dieg manso
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 268 | Loc. 4103-5 | Added on Thursday, March 12, 2015, 03:09
PM
conrado
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 269 | Loc. 4122-24 | Added on Thursday, March 12, 2015, 03:11
PM
–Espera, espera, tú eres una niña de bien, eres lo único que permanece puro en este
pueblo. Dime que no te has enredado con esos. Te sientes cercana a ellos porque son
inteligentes como tú, pero la diferencia está en que ellos son inmorales y tú no.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 269 | Loc. 4124 | Added on Thursday, March 12, 2015, 03:11 PM
los inmorales
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 270 | Loc. 4137-53 | Added on Thursday, March 12, 2015, 03:12
PM
–Escúchame Luisa Manso. Tú no eres cualquier cosa… –Eso ya lo sé –se allanó ella. –
Eres la representante de una antigua raza de mujeres hispanas, aguerridas, finas y
brutales, todas Jimenas Lozano, las que conquistaron esta tierra y la domesticaron.
Doña Inés de Suárez, la monja Alférez, doña Javiera Carrera, Ximena Tocornal, Paula
Jaraquemada. Eres como todas ellas. –O sea, todas ellas son como yo. –Sí, sí… y a
la vez, reúnes la inteligencia de muchas otras mujeres hispanas, como Santa Teresa
de Ávila, como Sor Juana Inés de la Cruz, como Leonor de Aquitania, como la Eloísa
de Abelardo… –Esas dos no son muy hispanas que yo sepa –se quejó Luisa–, pero me
demuestras haber aprendido mucho por tu cuenta; no creo que todos esos nombres te
los hayan enumerado en clases. –Mi madre y mi abuela, con quienes vivo, me han
hablado siempre de ellas. Ellas también son antiguas, igual que tú. –Ah, ya
entiendo… haberlo dicho antes –dijo Luisa entre risas–, tú eres un aristócrata. ¿Y
por qué llevas ese nombre tan raro? Conrado, suena como a “condenado”.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 271 | Loc. 4153 | Added on Thursday, March 12, 2015, 03:12 PM
descendiente de rey
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 272 | Loc. 4166-68 | Added on Thursday, March 12, 2015, 06:31
PM
esos no ellos
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 273 | Loc. 4186-88 | Added on Sunday, March 15, 2015, 03:53 PM
–Qué clase de poeta eres diciendo mentiras que además son feas. ¿Me quieres
describir para una novela? –Luisa, deseosa de largase, se estrellaba a cada intento
con el pecho de Conrado–. Fuera, príncipe infeliz.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 274 | Loc. 4188 | Added on Sunday, March 15, 2015, 03:53 PM
los judios
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 275 | Loc. 4204-7 | Added on Sunday, March 15, 2015, 03:55 PM
–Y entonces, ¿perdonas también a quienes matan judíos? –¿Por qué tendría que yo
perdonar en nombre de las víctimas? –dijo Luisa, y escapándose le gritó– Soy judía…
y me amas. ¡Ja! –Y antes de huir le mostró la lengua.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 275 | Loc. 4207 | Added on Sunday, March 15, 2015, 03:55 PM
fedora epinoza
==========
LOBE- (Joaquín Trujillo)
- Note on Page 280 | Loc. 4292 | Added on Monday, March 16, 2015, 08:42 AM
ereccion noctuna
==========
LOBE- (Joaquín Trujillo)
- Note on Page 281 | Loc. 4301 | Added on Monday, March 16, 2015, 08:43 AM
san pablo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 281 | Loc. 4306-7 | Added on Monday, March 16, 2015, 08:44 AM
Habría deseado que los besos protocolares bajaran de la mejilla a la boca, y hasta
osaba imaginar que esos besos eran de amor y no de indiferente gratitud.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 281 | Loc. 4307 | Added on Monday, March 16, 2015, 08:44 AM
besos protocolares
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 282 | Loc. 4313-15 | Added on Monday, March 16, 2015, 08:45 AM
celos
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 282 | Loc. 4323-26 | Added on Monday, March 16, 2015, 04:26 PM
camila riquelme
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 284 | Loc. 4353-64 | Added on Monday, March 16, 2015, 04:28 PM
–Hermana Fed, ¿saldría conmigo a predicar? –¿Contigo?, ¿qué te pasa? –Es que casi
no he salido. Fedora, conocedora del tipo de persona irredimible que era Camila, no
vio en esta especie de arrepentimiento un genuino progreso. –Pero yo salgo con la
hermana Tatiana Martínez. –Pero... es que yo he cambiado. –No lo dudo –confesó
distante Fedora Espinoza–. Lo que sucede es que yo salgo con la hermana Martínez. –
¿Y por que solamente puede salir a predicar con la hermana Tatiana Martínez?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 285 | Loc. 4364 | Added on Monday, March 16, 2015, 04:28 PM
salir a predicar
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 290 | Loc. 4434-43 | Added on Monday, March 16, 2015, 04:35 PM
–La sagrada escritura dice que con “dos” basta y sobra, ¿no lo recuerdas? –Lo
recuerdo, pero... –...Y, ¿qué sería de la Verdad si la anduviéramos predicando en
tropel como hacen los evangélicos? La gente pensaría que la Verdad es como una
manifestación política. Nada más lejano. –Lo sé, pero... –Pero, adiós, hija mía..
es decir, hermana –y entreabrió y cerró la puerta de su casa, después de lo cual se
quedó en soledad sonriéndole levemente al gato ya liberado de sus brazos.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 290 | Loc. 4443 | Added on Monday, March 16, 2015, 04:35 PM
ya te conozco bastante
==========
LOBE- (Joaquín Trujillo)
- Note on Page 299 | Loc. 4574 | Added on Wednesday, March 18, 2015, 08:47 AM
–Hace ya más de un año. ¿No te diste cuenta? Es el niño más alto y lindo de esta
escuela y también de esta ciudad. A los del colegio particular los mejoran las
corbatas de color que se ponen para distinguirse de nosotros. En realidad, son
iguales de feos. Nos gustaba ese Conrado hasta que nos dimos cuenta que estaba
completamente loco y ahora solo las locas siguen muertas por él.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 300 | Loc. 4599 | Added on Wednesday, March 18, 2015, 08:56 AM
la virgen
==========
LOBE- (Joaquín Trujillo)
- Note on Page 304 | Loc. 4650 | Added on Wednesday, March 18, 2015, 08:59 AM
grutita
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 306 | Loc. 4689-96 | Added on Wednesday, March 18, 2015, 09:04
AM
adriana gonzalez
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 308 | Loc. 4717-20 | Added on Wednesday, March 18, 2015, 09:06
AM
Es algo, realmente –y suspiró– muy doloroso tener que saber de un preso en una
dimensión distinta. No se lo puede ver y tocar, ése es el problema. Si, a menudo
nos comunicásemos con él, entonces sufriríamos mucho, pues sería como tenerlo
lisiado aquí en la casa, dándose a entender solamente por escrito, porque tú sabrás
que los muertos no pueden hablar. Tan solo del cuerpo salen las palabras, Luisa.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 308 | Loc. 4720 | Added on Wednesday, March 18, 2015, 09:06 AM
el cuerpo habla
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 314 | Loc. 4814-21 | Added on Friday, March 20, 2015, 01:44 PM
–Siempre dicen que vendrán. Mi mamá los llama por teléfono. Ni siquiera vienen a
ver a mi abuela. Ahora mi mamá se aburrió de hacerlo, pero hay qué seguir
intentando. –¿Intentado qué? –Qué vengan a vernos… No a nosotros sino a los
recuerdos, qué vengan a recordar quiénes son. Ellos también son unos Hohenstaufen.
–Ellos no son ningunos Hohenstaufen –dijo a Conrado–. Tú puedes ser un
Hohenstaufen, si es que es cierta toda esa historia, pero ellos no son nada. Son
unos idiotas.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 315 | Loc. 4821 | Added on Friday, March 20, 2015, 01:44 PM
mulato gil
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 317 | Loc. 4850-51 | Added on Friday, March 20, 2015, 01:46 PM
Luisa tenía la sensación, muy corriente, de que la palabra “alta sociedad”, dicha
por la boca de un noble, arruinaba en éste toda nobleza.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 317 | Loc. 4851 | Added on Friday, March 20, 2015, 01:46 PM
Lo muerto vivía otra vez y no acontecía por eso la resurrección. La luz es la sobra
tras todas las sombras.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 322 | Loc. 4933 | Added on Wednesday, March 25, 2015, 11:43 AM
la luz es lo q sobra
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 323 | Loc. 4952-58 | Added on Wednesday, March 25, 2015, 11:48
AM
Luisa llevó la palma de su mano sobre la espalda de Conrado. Conectada con él por
ese lugar que es la falla tectónica más peligrosa del cuerpo humano, palideció por
la efervescencia de esa energía. Abandonada a la caridad más primitiva, le besó el
cabello sobre la nuca cual si no sólo estuviese dispuesta a besar su cabello sobre
la nuca sino, además, a enmascararse con el rostro de Conrado y, es más, a
trasplantárselo por siempre, cambiárselo, y acompañarlo así en la soledad de ese
beso dado al retrato cuya respuesta no puede conocerse tan bien como la de los
animales,
==========
LOBE- (Joaquín Trujillo)
- Note on Page 325 | Loc. 4971 | Added on Wednesday, March 25, 2015, 11:49 AM
besar a conrado
==========
LOBE- (Joaquín Trujillo)
- Note on Page 326 | Loc. 4988 | Added on Wednesday, March 25, 2015, 11:51 AM
momia
==========
LOBE- (Joaquín Trujillo)
- Note on Page 326 | Loc. 4991 | Added on Wednesday, March 25, 2015, 11:51 AM
aleman de schopenhauer
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 327 | Loc. 5005-11 | Added on Wednesday, March 25, 2015, 11:52
AM
–Entremos en el clóset. –¿Con esa momia? –protestó Luisa, pero un ocasional gemido
del león acabó en ella con toda resistencia. Cuando entraron los tres en el clóset,
Luisa sintió que aquél constituía un verdadero sarcófago, y la bizarría del suceso
le recordó las palabras de Lorena Carrasco: «El demonio se hace irresistible por lo
raro.» Conrado también lo sintió: –Unidos aunque dentro de un sarcófago y
acompañados de mi abuelo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 329 | Loc. 5045 | Added on Sunday, March 29, 2015, 03:57 PM
en el closet
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 330 | Loc. 5056-57 | Added on Monday, April 06, 2015, 08:13 AM
Un león es una bestia sagrada, pero es sagrada porque ruge. Muerto es como un
templo ruinoso.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 330 | Loc. 5057 | Added on Monday, April 06, 2015, 08:13 AM
templo ruinoso
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 338 | Loc. 5176-84 | Added on Monday, April 06, 2015, 08:21 AM
A Conrado le resultaba inverosímil tal cosa. No había, según él, cosa común a su
madre y Luisa Manso. «Es que las mujeres no saben reconocerse méritos entre ellas
mismas –se dijo– por eso creen parecerse.»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 340 | Loc. 5210 | Added on Monday, April 06, 2015, 08:23 AM
–No eres... M-U-C-H-O-S. –Muchos ¿qué? –Ya no hable más con él. Es una bestia que
Dios hizo invisible para el bien de los ojos humanos. Si lo viera cómo es,
vomitaría por el resto de su vida. M-U-C-H-O-S M-A-N-S-O –¿Cuántos Diegos Manso? 2-
1 –¿Veintiuno? –Son los siete días de la creación multiplicados por el número de la
trinidad. Es una típica burla demoníaca. 21. –¿Veintiún abuelos míos? ¿Y Diego
Manso? C-U-A-L –Ninguno de mis abuelos, sino mi padre... mi padre... –Luisa –dcía
Adriana–, no hay padre tuyo ahí. Hay bestias que se están mordiendo entre sí y
pudriéndose por la eternidad. H-A-I M-U-C-H-O-S
==========
LOBE- (Joaquín Trujillo)
- Note on Page 354 | Loc. 5426 | Added on Monday, April 06, 2015, 08:32 AM
muchos mansi
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 359 | Loc. 5498-5500 | Added on Monday, April 06, 2015, 08:35
AM
–"Muerto", "Matar", "Esposa". –repetía Adriana González dando lectura a las notas
del fantasma–. "Esposa", ¿quién se cree que somos?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 359 | Loc. 5500 | Added on Monday, April 06, 2015, 08:35 AM
la elctra
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 363 | Loc. 5562-68 | Added on Monday, April 06, 2015, 08:37 AM
–Sobre Electra, seguramente. –¿Y quién es Electra? –Una mujer que vengaba la muerte
de su padre. –¿Una mujer de la mafia italiana como en las películas? –No, parece
que ella era del tiempo de Aristóteles.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 364 | Loc. 5568 | Added on Monday, April 06, 2015, 08:37 AM
elctra. venganza
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 369 | Loc. 5646-67 | Added on Monday, April 06, 2015, 08:41 AM
–¿Es que no saben con quién están hablando, pequeños? –les dijo. Había conseguido
ahora la atención completa de la tropa. –Quién sería, para peinarme un poco, digo
yo –lanzó uno de ellos. –Déjalas, son liceanas –se escuchó decir por otro. –Soy
Luisa Manso, antigua señora de todos estos territorios... –¿...y actual cazadora de
autógrafos? Colomba quiso realizar un delator gesto en denuncia de lo que ella
creía una enorme mentira, pero Luisa alcanzó a detenerla con uno en contrario. –
Solo espero que ustedes me hagan el favor de transmitir lo que el autor de la pieza
ha dicho especialmente para mí, porque para eso estoy aquí. –¿El autor?, ¿sabes tú
quién es él, "Luisa Manso" o cómo sea que te llames? –Burlesco, se le acercó un
atlético joven que llevaba puesta una sudadera. –Supongo que algún dramaturgo ya
fallecido que nunca los hubiera aceptado a ustedes para actores de su obra. En
vista de las declaraciones de su amiga, Colomba se ponía blanca. –Te equivocas,
querida –le dijo un rostro femenino que fumaba con completa liberalidad–, la autora
soy yo. –¿Usted? –Colomba gritó falsamente emocionada. –Así es –y estiró su
escuálida mano hacia Luisa–, ¿qué tal? Me llamo Gisela Stuardo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 370 | Loc. 5667 | Added on Monday, April 06, 2015, 08:41 AM
nueva elctra
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 371 | Loc. 5678-82 | Added on Monday, April 06, 2015, 08:43 AM
«Jamás conectaría mis venas a tu corazón –pensó Luisa, mas consideró agresiva una
acotación como esa a ser dicha en voz alta–. Mi sangre sigue limpia.»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 372 | Loc. 5690 | Added on Monday, April 06, 2015, 08:44 AM
sangre limpia
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 372 | Loc. 5703-5 | Added on Monday, April 06, 2015, 08:44 AM
contra el collage
==========
LOBE- (Joaquín Trujillo)
- Note on Page 374 | Loc. 5734 | Added on Thursday, April 09, 2015, 12:22 PM
benjamin
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 376 | Loc. 5765-68 | Added on Thursday, April 09, 2015, 12:24
PM
Una de las mujeres dice a la primera: Los perros no distinguen el banquete de sus
sobras, ¿para qué se las traes entonces? Y se le responde así: Pero entre estos
perros hay una princesa humana despojada de su derecho sobre este alimento y esta
casa, su casa. Todas ríen a carcajadas, los perros mueven sus colas y a la vez se
muerden mutuamente, combatiendo por las sobras. Aquí solo hay perros y perras que
comen cualquier carroña, que no saben de sabores humanos, dice una de ellas.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 377 | Loc. 5768 | Added on Thursday, April 09, 2015, 12:24 PM
perros
==========
LOBE- (Joaquín Trujillo)
- Note on Page 381 | Loc. 5835 | Added on Thursday, April 09, 2015, 12:30 PM
El dios Apolo pintado de blanco, simulando una estatua de piedra, ordena a los
bailarines: Basta. No es solo muerte, es mi justicia. Hay gritos porque la justicia
es salvaje, y es el buen exceso. Y acaba la luz de la escena y, entonces, retorna
la de los pasillos del teatro.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 384 | Loc. 5878 | Added on Thursday, April 09, 2015, 12:33 PM
justicia de apolo
==========
LOBE- (Joaquín Trujillo)
- Note on Page 385 | Loc. 5891 | Added on Thursday, April 09, 2015, 12:35 PM
juan hipolito
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 385 | Loc. 5898-5901 | Added on Thursday, April 09, 2015,
12:35 PM
«mucho ignoro, pero todo hoy es claro… todo está para mí. La gente sigue siendo
como griega. No tengo un hermano que me salve. Tendré entonces un esposo que sepa
cuidarme. –Y se repite como gira Lorena su anillo-rosario–: hacer justicia es el
buen exceso. Yo no sé pensar de otra forma.» Es que nada sabe recordar tanto como
la justicia.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 385 | Loc. 5901 | Added on Thursday, April 09, 2015, 12:35 PM
el custodio e la virgen
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 389 | Loc. 5961-69 | Added on Thursday, April 09, 2015, 12:40
PM
–De qué sirve a Dios y al hombre una religión que no sabe cómo decir la verdad
nuevamente. Luisa apareció repentina tras la espalda de Lorena: –Durante mil años
esa religión se hizo escuchar a la perfección, se llamó Medioevo, hasta que la
ambición de los príncipes alemanes los ayudó a surgir a ustedes. –Luisa acababa de
decir su última palabra, cuando vio que esa voz que desde la cocina ella había oído
pontificar, no era sino la que ansiaba escuchar. Él también se sobresaltó, pero
supo disimularlo con una respuesta audaz: –Esos príncipes alemanes ayudaron a
Lutero. Nuestra religión nació en el siglo XIX, en el estado de Pennsylvania. No
tiene relación con los luteranos...
==========
LOBE- (Joaquín Trujillo)
- Note on Page 391 | Loc. 5985 | Added on Wednesday, April 15, 2015, 08:05 AM
puritanismo vs catolicismo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 393 | Loc. 6025-28 | Added on Wednesday, April 15, 2015, 08:08
AM
Lucía muy diferente dentro del traje en que se había presentado a su puerta. Luisa
había estado a punto seguirlo para averiguar su domicilio. A favor de ella había
una pista definitiva. Sabía que en la puerta del Salón del reino podría
encontrarlo, pero, si osaba aproximarse, corría el riesgo de ser encerrada en las
dependencias misteriosas de una religión.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 394 | Loc. 6028 | Added on Wednesday, April 15, 2015, 08:08 AM
Luisa creía además que el amor al principio se nutre de una presencia recurrente y
que luego, si prospera, puede sostenerse en el recuerdo. Pensó que tal vez aun no
comienza a recordarla.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 394 | Loc. 6030 | Added on Wednesday, April 15, 2015, 08:08 AM
Quería lograr que Camila le hablase acerca de la vida eterna, y desde ahí pasar
directamente a la religión, de la religión al Salón de la congregación de San
Estanislao y del Salón a Juan Hipólito. Sería fácil de conseguir. –¿Hablas
==========
LOBE- (Joaquín Trujillo)
- Note on Page 395 | Loc. 6049 | Added on Wednesday, April 15, 2015, 08:11 AM
Sobre la mesita, un teclado marca Casio –el falso clavecín–, tras él, una silla
extraída del conjunto frontal a la tarima. Sentado en esa silla estaba Juan
Hipólito, del todo concentrado. Llevaba anudada la misma corbata, y a lo ancho del
cabello peinado, una partidura marcada que le generaba casi una línea de calvicie.
Era un monumento carnal de sí mismo, pero exhibía ahora un aspecto algo demacrado.
Todo en él estaba cuidado con una sabiduría que trascendía su ser pequeño
provinciano. Tocaba el teclado con la cabeza excesivamente inclinada sobre sus
manos y su público cautivo conversaba bajito para interrumpir la ejecución del
falso clavecín. La gente lo admiraba, lo creían distinto al resto.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 399 | Loc. 6112 | Added on Wednesday, April 15, 2015, 08:14 AM
como esa? –y se decía, por otro lado–, pero, tal vez, en su bondad, él no ve nada
de malo en Camila, la tiene como amiga mía, no por subestimarme, sino porque
sinceramente la sobrevalora. –Y hasta estimó posible–: ¿Y por qué valora tanto a
Camila?, ¿solo por causa de su ingenua santidad o porque con mi fingida amistad le
he dado frente él, a ella, mayor estatura? –Y sacó también conclusiones–: Por lo
tanto, todo es mi culpa. El plan se me escapó de las manos.»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 402 | Loc. 6154 | Added on Friday, April 17, 2015, 09:54 AM
«¿Se refiere a mí? ¿A quién le habla?» –Usted sabe… cada persona es una nueva
categoría –decía Juan Hipólito–, y por eso, usted, ante el tesoro del diseño divino
que cada persona significa, debe actuar como ante un mundo verdaderamente distinto,
un mundo requerido de trato nuevo, especialmente elaborado para él –y dio un
ejemplo que Luisa consideró de pésimo gusto–: ¿No es superior aquel sastre que crea
la prenda precisa para la forma de un cuerpo ya creado por Dios? Cuando la gente
viste una prenda que no ha sido especialmente confeccionada para su cuerpo, cuando
la compra en una boutique, por ejemplo, se hace un gran daño, un daño
imperceptible. –Y el aterrizaje de toda esa parábola no supo convencer a Luisa
Manso–. Nuestra predicación consiste en vestir el cuerpo desnudo del hombre sin
dañarlo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 406 | Loc. 6215 | Added on Friday, April 17, 2015, 10:05 AM
el sermon de la ropa
==========
LOBE- (Joaquín Trujillo)
- Note on Page 408 | Loc. 6244 | Added on Friday, April 17, 2015, 10:05 AM
–Su enamorado le toca el clavecín. Lorena Carrasco que nada sabía de clavecines
preguntó: –¿Qué es eso? –El piano en el siglo XVIII. –¿Ese que tengo en disco? –
Seguramente. –¿Y quién toca hoy en día un clavecín? Y lanzando bocanadas de humo a
su alrededor, la Ureta dispuso: –Un jovencito que vive en la calle Arturo Delgado
con su madrastra, la que atiende la botonería. Pero toca uno de esos pianos
eléctricos que pueden sonar como cualquier cosa y de entre todos los sonidos
prefiere el del clavecín. ¿No te parece fantástico? –Sí, ay… –tartamudeó Lorena–.
Prefiere los sonidos antiguos. Me agrada. –Pero… ese jovencito –agregó Josefina
Ureta como culpándose– está… digamos que… está muy enfermo. Y con este dato
tuvieron para cuchichear por varios días siempre inclinadas sobre las tazas de café
y las migas de galletas que caían desde sus fauces.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 409 | Loc. 6268 | Added on Friday, April 17, 2015, 10:07 AM
el martirio de hipolito
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 412 | Loc. 6314-15 | Added on Saturday, April 18, 2015, 04:19
PM
–Tú tocas el piano porque tienes un piano de veras, ¿no? Mientras que yo toco el
clavecín porque es el sonido más real que trae mi teclado.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 412 | Loc. 6315 | Added on Saturday, April 18, 2015, 04:19 PM
–Pero mi padre falleció hace varios años. –¿Cómo? –Viajaba en un taxi colectivo. –
con cierto desafecto explicó–. Un caballo se cruzó repentinamente en la vía y solo
él murió de las cinco personas que iban. Luisa no soportó dejar a Juan Hipólito
sufriendo a solas esa infelicidad e intentó unírsele. –Mi padre también murió… –
dijo como en una declaración de lealtades. –¿Cómo murió?, ¿también murió tu madre?,
¿por eso vives con tu tía? Luisa se vio acosada por demasiadas preguntas. –No lo sé
con certeza. Solamente sé que él murió. Sobre ella nunca he sabido nada, pero tengo
sospechas.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 414 | Loc. 6347 | Added on Saturday, April 18, 2015, 04:20 PM
–¿Qué puedes saber? Tú no estabas ahí. Yo sentí que era mi padre quien se
comunicaba. –Entonces, sentiste mal, lo que no es nada de raro tratándose de una
mujer. –¿Qué te has creído? No sabes nada… El espíritu era verdadero porque dijo la
verdad… La sospechaba.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 419 | Loc. 6416 | Added on Saturday, April 18, 2015, 04:29 PM
la verdad. el machismo.
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 420 | Loc. 6432-35 | Added on Saturday, April 18, 2015, 04:36
PM
–Mucho, mucho tiene que ver, ¿sabes? Pasaron cosas extrañas aquellos días. Todo
anunciaba que mi padre me hablaría. ¿No tienes imaginación para comprender algo tan
simple? –Tú eres la que tiene mucha imaginación para comprender algo tan simple.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 420 | Loc. 6435 | Added on Saturday, April 18, 2015, 04:36 PM
hermana Fedora se desmayó. Y hasta hubo que hacerle masaje cardiaco. Todos
felicitaban a Juan Hipólito y el Anciano dijo algo tan lunático que estuve a punto
de huir: –Siento un gran orgullo de haber podido conocer en vida y bautizado en el
agua a uno de los ciento cuarenta y cuatro mil elegidos –expresó lleno de gozo–.
Hoy nuestra congregación de San Estanislao ha sido bendecida. Dios nos está
recordando ahora mismo. –¿Qué significa eso? –Colomba ya no entendía. –Parece que
Juan Hipólito es parte del grupo más selecto de los hermanos y hermanas que
acompañarán a Dios en el Cielo cuando acontezca el Paraíso terrenal.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 427 | Loc. 6540 | Added on Saturday, April 18, 2015, 04:41 PM
–Mucho se anda diciendo, ignorantemente por esta ciudad provinciana, que la Biblia
es un libro ridículo por prohibir el sano ejercicio de la medicina. La Iglesia
quiere dejar en claro lo siguiente: La prohibición según la cual la ingesta de
sangre es pecaminosa, prohibición que encontramos en el libro de Levítico, en el
Antiguo Testamento, tuvo en su momento un motivo bien específico. Moisés mediante
esa normativa quería erradicar el vampirismo de entre el pueblo elegido. Esa
disposición no nos toca hoy en día, y quienes mueren por cumplirla, es porque
entienden literalmente las sagradas escrituras. Así es, las desviaciones teológicas
de la reforma protestante aun hoy son causa de la necedad de la gente, y con ello
se demuestra que las sociedades laicas no están libres de las malas versiones del
cristianismo, no están libres de la religión, y ello prueba también que la sociedad
contemporánea tiene necesidad de la prudencia milenaria de la Santa Iglesia, la
cual jamás ha pedido a sus miembros sacrificios absurdos. –Y para evitar la
apariencia de arenga, agregó–: Dios Padre, libéranos de tantas equivocaciones. La
noticia se comentaba bastante y Lorena Carrasco hizo saber a Luisa la opinión del
sacerdote. –Gracias a estas equivocaciones el cristianismo aún respira –le dijo,
cuestión que Lorena supuso otro síntoma de la rebeldía de la adolescente.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 430 | Loc. 6591 | Added on Saturday, April 18, 2015, 04:44 PM
derecho uchile
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 432 | Loc. 6614-27 | Added on Monday, April 20, 2015, 08:05 AM
¿Quiere decir eso que el tribunal no quería saber nada con el hospital hasta ahora?
–En lo absoluto. No saque conclusiones apresuradas. Quiere decir simplemente que la
corte escuchará al hospital y me temo, en razón de los antecedentes que usted me ha
hecho llegar, muy posible que acceda a proteger la vida del que está por nacer… es
decir —meneó la cabeza rápidamente— ¡miento! el joven Juan Hipólito Cabanillas. El
Anciano y Fedora se conmocionaron visible e inaudiblemente. –¿Qué podemos hacer
para evitarlo, señor abogado? –dijo solemne, Fedora. –Al parecer, no pueden hacer
nada, doña ¿Fedora? –Sí, Fedora. –La Constitución de la República, en su artículo
diecinueve, protege el derecho a la vida de las personas. Como verán, la
constitución está en su contra.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 433 | Loc. 6627 | Added on Monday, April 20, 2015, 08:05 AM
–Eso siempre lo hemos sabido. Las leyes son cosas del mundo, y al mundo lo gobierna
el mal. Sabemos desde ya que la Constitución es obra de Satanás, y que nuestro
hermano Juan Hipólito es víctima de ese poder. –Yo, como antiguo militante del
partido socialista de este país, don Alonso –aclaró el abogado–, soy un convencido
de que esa constitución es obra de Satanás, pero por motivos algo distintos a los
suyos –y sonrió amplia y visiblemente.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 433 | Loc. 6632 | Added on Monday, April 20, 2015, 08:06 AM
sociedades anonimas. ja
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 437 | Loc. 6694-99 | Added on Monday, April 20, 2015, 08:10 AM
–¿No te parece rarísimo? Él dijo que no. Después, Fedora realizó otra pregunta que
patentemente le anudaba la garganta. –¿Y a quién elegirías por esposa? –temió que
dijera el nombre espantoso de Camila Riquelme, a quien ella sabía enamorada de él.
Pero la respuesta de Juan Hipólito sorprendió a Fedora. –Pidámoslo a Luisa Manso.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 439 | Loc. 6724 | Added on Monday, April 20, 2015, 08:11 AM
luisa l esposa
==========
LOBE- (Joaquín Trujillo)
- Note on Page 439 | Loc. 6730 | Added on Monday, April 20, 2015, 08:12 AM
la clemencia detito
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 440 | Loc. 6738-41 | Added on Monday, April 20, 2015, 08:13 AM
afeminamiento e clemnte
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 441 | Loc. 6753-56 | Added on Monday, April 20, 2015, 08:14 AM
robo y caricia
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 442 | Loc. 6773-75 | Added on Monday, April 20, 2015, 08:15 AM
seguramente
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 444 | Loc. 6797-6808 | Added on Monday, April 20, 2015, 08:16
AM
alberto bella
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 451 | Loc. 6906-12 | Added on Monday, April 20, 2015, 08:24 AM
–Desde ayer… —y se atrevió— ¿entonces no vienes mucho que no sabías? –Voy a empezar
a venir más. –¿Más seguido? –Entendiéndolo como una especie de declaración–. ¿Y por
qué? –Porque quiero –Lanzó el cigarro y lo maceró en el suelo con la suela del
zapato.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 451 | Loc. 6912 | Added on Monday, April 20, 2015, 08:24 AM
huaso gringo
==========
LOBE- (Joaquín Trujillo)
- Note on Page 454 | Loc. 6952 | Added on Monday, April 20, 2015, 08:26 AM
Como estaba más bello que nunca, no pudo contenerse más y se agachó para besarlo.
Por un segundo sintió que se dejaba, pero de pronto la felicidad dio con él contra
la pared. –¡Qué te pasa! –y de pasó, arrastró el brazo por la boca en un gesto de
asco–. ¿Qué te pasó?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 455 | Loc. 6976 | Added on Monday, April 20, 2015, 08:27 AM
el beso de clemnte
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 456 | Loc. 6982-88 | Added on Monday, April 20, 2015, 08:27 AM
Llegaste recién del campo y no sabes cómo reaccionar frente a tantas cosas de la
ciudad. Lo que hiciste es malo, pero no por eso te voy a pegar ni dejaré de ser tu
amigo. Somos católicos. Las lágrimas corrían por las mejillas de Clemente como las
gotas de rocío por las de la estatua blanca de la Virgen. –Eres demasiado bueno… –
le dijo Clemente–, y yo no puedo estar más aquí. –Corrió hasta su habitación.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 456 | Loc. 6988 | Added on Monday, April 20, 2015, 08:27 AM
somos catolicos
==========
LOBE- (Joaquín Trujillo)
- Note on Page 458 | Loc. 7015 | Added on Monday, April 20, 2015, 08:28 AM
boda y viudez
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 460 | Loc. 7045-53 | Added on Monday, April 20, 2015, 08:29 AM
–Es más, es más. Seguramente ese muchacho raro ni siquiera accedería a casarse por
el rito de la Iglesia. Seguramente la obligaría a usted, Luchita, a casarse sin
vestido de novia en esa mediagua en que se reúne esa secta satánica, y la ceremonia
sería presidida por ese gasfíter que tienen de obispo. –No es un obispo, es un
“Anciano” –la corrigió. –Lo que sea, total no son nada de lo que dicen ser. –Y
reparó en la defensa–. Para proteger a esas personas sí que saca la voz, Luisa. –Mi
futuro esposo pertenece a esas personas…
==========
LOBE- (Joaquín Trujillo)
- Note on Page 463 | Loc. 7099 | Added on Monday, April 20, 2015, 08:32 AM
–¿Dios? Dios “lo prohibirá”, querrá decir, como lo hace también la santísima
Virgen, y lo prohíbo yo –bajando alterada la voz–, y lo prohibirá su madre, Luisa,
a quien llamaré en este mismo instante. –Extrajo una agenda telefónica de su
cartera, tomó el mango del teléfono y sanguínea comenzó a discar. Luisa no podía
creerlo. Lorena Carrasco estaba comunicándose con la asesina como si nada, como si
Luisa nunca hubiera manifestado la intención de informarse acerca de esa arpía
irredenta. Atónita la obligó a colgar cuando el tono de espera informaba que en
cualquier segundo se oiría la voz al otro lado de las líneas, y entonces, ambos
mundos quedarían el uno frente al otro. –¿Por qué no me dijo que tenía ese número?
–Usted, Luchita, nunca me lo pide. –¿Desde cuándo habla con esa mujer? –Casi nunca.
–¿Cómo se llama? –le gritó. –Cristina. –Y si sabe de ella, ¿por qué no me la ha
presentado? Lorena Carrasco quedó mirándose el semitransparente esmalte de sus uñas
sin juzgarlo. El silencio obligó a Luisa a salir corriendo del departamento
habiendo dado un portazo que hizo remecer la estructura antisísmica. En cuanto a
Lorena, permaneció en aquella posición aparentemente frívola durante dos horas,
tiempo perdido y suspendido que le abrió el apetito y aportó en acercarle la hora
del té.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 465 | Loc. 7124 | Added on Monday, April 20, 2015, 08:35 AM
morir adrede
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 473 | Loc. 7243-51 | Added on Tuesday, April 21, 2015, 04:59
PM
–“Santidad”, “martirio” –se apresuró a decir Juan Hipólito con un ánimo que no era
de enfermo–, palabrerías católicas que la gente sigue diciendo para nombrar
cualquier cosa. Esto que me pasa poca relación tiene con eso. Nadie en mi religión
hará una pintura con mi padecimiento, ni nadie me rezará, nadie levantará un
santuario para mí, ni seguramente me recordará, porque así debe ser, ¿sabes? No se
trata de morir y servir de intercesor entre Dios y los hombres para que los hombres
sigan creyendo en las cosas de este Mundo con la seguridad de que alguien como
ellos los comprende mejor que el mismo Dios. Se trata de algo tan simple como
cumplir con la ley de la sangre, que para una persona como yo suena absurda, pero
que es ley del Señor. Muchísima gente torpe y hasta sin mucha convicción la ha
cumplido, y esa gente no es recordada como si fueran mártires o santos ni nada por
el estilo, ¿me entiendes? Desaparecen de este Mundo, como debe ser, con la sola
esperanza de que Dios los devuelva al Paraíso, y nada más y nada menos. Eso es
todo, y si buscas aquí en esta pieza a un ángel no vas a encontrarlo jamás.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 473 | Loc. 7251 | Added on Tuesday, April 21, 2015, 04:59 PM
Esa eres tú, así actuaste. Eres la protectora de la sangre porque sabes que cada
sangre pertenece a cada cuerpo y que mezclarlas los haría iguales y siendo iguales
dejarían de ser hombres. Y esa idea es quizás más absurda que la mía, pero parece
saber algo de la mía también.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 475 | Loc. 7271 | Added on Tuesday, April 21, 2015, 05:00 PM
la potectora de l sangre
==========
LOBE- (Joaquín Trujillo)
- Note on Page 475 | Loc. 7275 | Added on Tuesday, April 21, 2015, 05:01 PM
excremento vinchuca
==========
LOBE- (Joaquín Trujillo)
- Note on Page 478 | Loc. 7317 | Added on Tuesday, April 21, 2015, 05:02 PM
la luz
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 482 | Loc. 7380-83 | Added on Tuesday, April 21, 2015, 05:06
PM
Finalmente, Luisa Manso, sin previo aviso, se dejó caer entre la concurrencia.
Traía un ramo de flores en las manos, un ramo de las flores del cardenal, la
lobelia; los labios iban pintados, una pizca de colorete le sonrojaba las mejillas
y vestía una faldita recién comprada (olía a bodega de almacén), con una blusa
blanca hermosamente pinzada bajo un chalequito abierto del color de las flores
claras.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 482 | Loc. 7383 | Added on Tuesday, April 21, 2015, 05:06 PM
lobelia
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 482 | Loc. 7389-99 | Added on Tuesday, April 21, 2015, 05:08
PM
–¿Y por qué traes un ramo de malezas en las manos? –Colomba llena de preocupación
le dijo por lo bajo. Luisa la apartó un centímetro del resto de los presentes. –Son
flores. Las corté cuando venía para acá. –¿Ah, no? –Colomba dudaba–. Pero crecen en
cualquier humedad. Es como si trajeses un ramo de callampas. –Pero, Colomba –la
atacó irritada–, el color del cardenal combina con mi chalequito –y se toqueteó los
botones. –Bueno. Espero que ellos –y señaló con la mirada a la concurrencia–
consideren a las flores valiosas por el color de los chalecos.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 483 | Loc. 7399 | Added on Tuesday, April 21, 2015, 05:08 PM
–¡La que se quisiera casar con este novio es en verdad la Fedora! La lengua de
Camila fue seguida por una ventisca y las risotadas de los dos viejos en los
extremos de la pieza. Las enfermeras los mandaron callar. –¡Esa es la verdad! –
siguió Camila–. Ella me lo dijo. Ella está enamorada de su hijo y no sabemos lo que
le habrá hecho al pobre. –Cállate, mocosa –salió diciendo la madre de ella.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 489 | Loc. 7489 | Added on Wednesday, April 22, 2015, 01:46 PM
declaracion de incesto
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 490 | Loc. 7513-18 | Added on Wednesday, April 22, 2015, 01:48
PM
Pero el carabinero que entró vestía un apolillado uniforme de húsar del ex Imperio
Austro-húngaro, indumentaria que nadie allí supo interpretar. Calzaba además botas
negras encueradas de caña muy larga. Era joven, esbelto, llevaba un cuadernillo
bajo el brazo, y miró con cierta mueca de desprecio. Su estatura lo hacía
largamente visible. Venía junto a él, una señora media corcovada portando un chal
tejido a croché sobre los hombros. A ella Luisa también la reconoció. «¿Qué hacen
aquí Conrado Fernández y su mamá?»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 491 | Loc. 7518 | Added on Wednesday, April 22, 2015, 01:48 PM
–Luisa, querida –dijo Adriana González con su boca modulante y su mirada perdida
como la de una ciega–, ¿podrías salir conmigo un momentito para que hablemos una
palabrita? –En este momento –dijo Luisa y dirigió su mirada sobre las mujeres que
ya estaban siendo sujetadas–, estoy contrayendo matrimonio. –…Y lo sé, Luisa –
sonrió Adriana González–, y es precisamente por eso que vengo a verte. –Lo hablamos
más en la tardecita. –Tiene que ser ahora, Luisa… –Es imposible –respondió ella
cruzando palabras con Adriana a través de la pieza. –Luisa, querida, me obligas a
decírtelo en público –repuso compungida–. Es tu padre quien me envía. Luisa fue
recorrida por un temblor. –El padre de Luisa está muerto –intervino Juan Hipólito–,
y los muertos no pueden enviar a nadie a hacer nada en este mundo. Los demás
hermanos movían la cabeza en señal afirmativa. –Luisa, querida –volvió Adriana
humectándose los labios–, tu padre me ha estado asediando estos días… –Un demonio …
==========
LOBE- (Joaquín Trujillo)
- Note on Page 493 | Loc. 7547 | Added on Wednesday, April 22, 2015, 01:49 PM
el pdre de luisa
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 494 | Loc. 7563-65 | Added on Wednesday, April 22, 2015, 01:50
PM
–Luisa. Ha costado muchos siglos mantener la sangre pura del bestiario de la gente.
Así ha sido en tu familia y en la mía. La pobreza y el abandono no deben entregarte
a la unión con un cualquiera.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 494 | Loc. 7565 | Added on Wednesday, April 22, 2015, 01:50 PM
la pueza de sangre
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 494 | Loc. 7573-81 | Added on Wednesday, April 22, 2015, 01:51
PM
–Aquí puedes tú misma consultarlo, Luisa. Tu padre es una persona exigente y está
clamando justicia. En eso se coló por la ventana la paloma horripilante del día
anterior. –¿Justicia? –preguntó Luisa, nuevamente sacudida–. ¿Qué clase de
justicia? La paloma revoloteaba sobre la cabeza de Conrado Fernández. Algunos se
esmeraron en expulsarla. –Justicia, tal como lo oyes –decía tratando Adriana de
abrirse paso–, porque se le asestó una terrible lesión, la cual lo mató. Y es José
Conrado quien te cooperará en hacer la justicia. Por eso trae puesto su traje de
guerrero.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 495 | Loc. 7581 | Added on Wednesday, April 22, 2015, 01:51 PM
justicia el padre
==========
LOBE- (Joaquín Trujillo)
- Note on Page 497 | Loc. 7607 | Added on Wednesday, April 22, 2015, 01:53 PM
Una bola humana cayó sobre los médicos. La bolsa de sangre dio contra la pared,
bajo tal impulso, que reventó, dejando una mancha carmesí y el suelo quedó
empapado. Era como si el gran corazón de un nefilin sobreviviente del diluvio
universal se hubiese disuelto para siempre. Se vio a la paloma revolotear por el
pasillo, a Adriana y Conrado escapar, a los médicos pedir auxilio y disputarse la
camilla con los invitados a la boda. El oficial quiso hacer venir a los
carabineros, pero estos ya habían desaparecido.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 499 | Loc. 7650 | Added on Wednesday, April 22, 2015, 01:57 PM
«¿Qué hace Conrado con un caballo?» Luisa no pudo contenerse la pregunta para
Adriana. –¿Conrado tiene un caballo? –Lo arrendó exclusivamente para esta ocasión.
Pensaba sacarte a caballo del hospital. Está muy apenado por lo que está pasando. –
Y le reprochó–: Él tiene un sentido muy heroico de la vida, y hay personas que no
entienden eso.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 502 | Loc. 7687 | Added on Wednesday, April 22, 2015, 02:00 PM
conrado y el caballo. animal por segunda vez es conrado. el caballo aprece tb por
vez segunda
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 505 | Loc. 7731-40 | Added on Wednesday, April 22, 2015, 02:04
PM
Aprovecho su presencia para enviar un mensaje a esa señora suiza que dice ser mi
madre: Dígale en mi nombre y en el de Dios que se vaya a la mierda, que no vuelva a
inmiscuirse en la vida de Luisa Manso, y dígale también que nunca he visto un
centavo del dinero de ella ni espero llegar a verlo jamás. Dígale además que sé de
sus delitos, del asesinato de mi difunto padre, y que si llego a conocerla algún
día, será para facilitarle las cosas al infierno, pues a ese lugar pertenece. Ahí
debe estar. Y usted, señor, no llame chaperona a doña Lorena Carrasco, que por lo
visto es mi única madre.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 506 | Loc. 7753 | Added on Wednesday, April 22, 2015, 02:05 PM
–Mantenme limpia para la última batalla –le recomendó Juan Hipólito, una vez que
Luisa lo hubo besado cerca de la boca.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 508 | Loc. 7780 | Added on Wednesday, April 22, 2015, 02:07 PM
Pero el enfermo había dejado de estarlo. Estaba muerto. Varios cientos de metros
más allá, el oficial a bordo de un taxi que lo traía de regreso, pudo oír
nítidamente el aullido de Fedora Espinoza, y vio pasar junto a la ventana del taxi
siempre en movimiento, a Conrado Fernández al galope por el centro de la carretera.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 508 | Loc. 7787 | Added on Wednesday, April 22, 2015, 02:07 PM
Pese al dictamen de los jueces, la extraña naturaleza mortal del hombre había hecho
triunfar a una antigua ley divina sobre las leyes humanas, las del derecho a vivir
la vida.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 509 | Loc. 7794 | Added on Wednesday, April 22, 2015, 02:08 PM
el triunfo de la naturaleza
==========
LOBE- (Joaquín Trujillo)
- Note on Page 510 | Loc. 7812 | Added on Wednesday, April 22, 2015, 02:08 PM
la nueva carmelita
==========
LOBE- (Joaquín Trujillo)
- Note on Page 512 | Loc. 7841 | Added on Wednesday, April 22, 2015, 02:13 PM
morbo bueno
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 513 | Loc. 7852-56 | Added on Wednesday, April 22, 2015, 02:14
PM
sus seres queridos porque un crsitiano verdadero sabe a ciencia cierta que sólo
duermen. Fedora dijo entonces no creer en nada de eso, no creer en el Paraíso ni en
los hombres, ni en la resurrección del cuerpo, no creer en Isaías ni en Pablo, ni
en las bestias amables ni en los santos que gobernarán con Cristo, ni en nada de
nada. Mientras lo decía iba maltratando a la pobre Luisa Manso.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 513 | Loc. 7859 | Added on Wednesday, April 22, 2015, 02:15 PM
–Usted Luchita ya es una mujer casada y yo ahora no quiero tener nada que ver.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 515 | Loc. 7887 | Added on Wednesday, April 22, 2015, 02:16 PM
lorena se va
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 516 | Loc. 7902-14 | Added on Wednesday, April 22, 2015, 02:17
PM
–¿Cómo pudo ser? –sollozó Lorena–. Yo nunca me casé y ahora usted aparece siendo
viuda. ¿Cuál es el significado de todo esto? –Que la gente nace, se reproduce y
muere. –¿Y cómo puede ser algo tan así, tan fácil? –Eso todavía no me lo explico.
Aún soy joven. Usted tía debería saberlo mejor. –No me llame más “tía”, Luisa. Yo
soy su empleada. –Tragó un raudal de saliva. –¿Quién la despidió, tía? –Esa mujer,
esa Cristina, su mamá, Luisa. –A Lorena los ojos se le enrojecían. –Esa… –y agregó
plenamente frívola–: bueno, yo la contrato nuevamente, tía, pero no podré pagarle
ningún peso. Soy pobre.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 517 | Loc. 7914 | Added on Wednesday, April 22, 2015, 02:17 PM
–Luisa, ¿está segura de eso? Se ha juntado mucho dinero, comparado con lo que
tenemos nosotras ahora, y nada, con lo que tiene ella.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 519 | Loc. 7953 | Added on Wednesday, April 22, 2015, 04:17 PM
mucho y nada
==========
LOBE- (Joaquín Trujillo)
- Note on Page 525 | Loc. 8036 | Added on Wednesday, April 22, 2015, 04:20 PM
juan insolito
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 525 | Loc. 8047-62 | Added on Wednesday, April 22, 2015, 04:22
PM
–¿Quién? –masculló Luisa–, ¿Mi difunto esposo? –Así es… –Adriana respiró a fondo.
Fue interrumpida. –¿Y qué pidió? –preguntó Luisa con una sonrisa henchida de rabia
y sarcasmo–, ¿qué me casara con Conrado? Al oír hablar de un nuevo matrimonio en
menos de tres días, Lorena no pudo evitar regresar de la cocina con la excusa de
servir un vaso de jugo a la recién llegada. Adriana se quedó mirando fijamente a
Luisa. –¿Cómo lo sabes? –consultó tal vez impresionada–, ¿también se contactó
contigo? –No necesita él contactarse conmigo para que yo sepa cuál es el mensaje
que me envía si es usted quien me lo trae. –Ay –suspiró Adriana recibiendo en aquel
momento el vaso y dándole un sorbo–, lo conversé con José Conrado. Él es un buen
partido ¿sabe? –Se volvió hacia Lorena para conseguir su adhesión–, es de buena
familia, alto, culto y casi rubio. Él está dispuesto a casarse con una viuda como
usted, Luisa, pero apreciaría mucho que usted, en vista que no se consumó el
matrimonio de ayer, comience… –¿…En el tribunal eclesiástico una causa por nulidad
matrimonial?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 526 | Loc. 8062 | Added on Wednesday, April 22, 2015, 04:22 PM
–Mire, padre –le dijo Luisa imitándole el tono aleccionador–, no me interesa actuar
como si la vida de oración fuera una pérdida de tiempo. –Mira, chiquilla, entiendo
a qué te refieres. Hay muchas formas de participar de la Iglesia, y yo, como guía,
te propongo la que encaja mejor con tu personalidad. –No me interesa “la que encaje
mejor con mi personalidad”, me interesa la que sea mejor frente a Dios. –Todas son
igualmente buenas frente… a Él. –La vida que llevó San Francisco no es comparable a
la suya, padre. –Esa es una comparación odiosa atribuible a la ignorancia –
consideró el padre Tagle vengando la clara afrenta–. Estamos hablando de elegir
para ti una regla, una orden, no un modelo de persona a imitar.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 530 | Loc. 8123 | Added on Wednesday, April 22, 2015, 04:25 PM
comprendo muy bien que Luisa quiera rezar por el resto de su vida encerrada en el
claustro. Es parte de su rebeldía y muchos santos fueron gente tan rebelde que
estos raperos de hoy que me rayan a cada rato el muro trasero de la casa
parroquial, habrían quedado pálidos, y por eso hay que abandonarla para que se
percate hasta dónde puede llevarla esa actitud. Lorenita, ¿a usted le parece que el
claustro es una cosa del pasado? –Por supuesto, padre –respondió Lorena. –Pues
déjeme decirle que ha llegado un momento en la historia en que la humanidad ya no
tiene futuro a la manera de la ciencia ficción y solo el pasado podrá serlo, solo
el pasado podrá ser el futuro. –Esa teología es muy avanzada para mí.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 533 | Loc. 8158 | Added on Wednesday, April 22, 2015, 04:27 PM
Raimundo Pérez fue conciso: –Es una histeria burguesa. Y Camila Riquelme hizo sus
descargos entre los hermanos de la congregación. –Yo siempre supe que ella seguiría
siendo parte de Babilonia. Por su parte, Colomba Rodríguez: –Si ella quiere ser
monja, monja quiero yo que sea.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 533 | Loc. 8172 | Added on Wednesday, April 22, 2015, 04:30 PM
–Oramos por el Mundo y no le exigimos a él que lo haga por sigo mismo. Aquí, en el
castillo interior, como dijera Santa Teresa, el Mundo se ha vuelto un recuerdo del
cual poco y nada sabemos pero seguimos en oración, y no porque sigamos vivas. El
Papa sabe que sin nosotras el Mundo ya se hubiera terminado, quedando muchas cosas
sin salvación y otras cosas a medias tintas. ¿Tú has comprendido el sentido extraño
de la oración? ¿Te has perdido en ella durante horas al cabo de las cuales has
regresado a tu conciencia de ella como después de un viaje, cuando nostálgica se lo
recuerda? ¿Procuras volver a ella de inmediato? ¿Te interrumpí cuando ahora mismo
estabas en ella? ¿Quién te crees para pensar que hay otras cosas que hacer? ¿Acaso
has osado considerar incomprensible el que el santo rosario se rece una y otra vez
sin parar y se vuelva a él y se lo lleve en la mano siempre como a la conciencia
misma? Santa Teresa de Lisieux, ilustre carmelita, apenas podía retornar al
convento desde la dimensión de la oración.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 539 | Loc. 8255 | Added on Wednesday, April 22, 2015, 04:33 PM
edith stein
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 540 | Loc. 8274-80 | Added on Wednesday, April 22, 2015, 04:36
PM
–No es necesario y todo es necesario también. ¿Por qué quieres aquí encontrar una
casa del Carmelo y no a un conjunto de muros y mujeres secuestradas por la
religión? ¿O a un refugio para tu temor? No sabiendo qué decir, Luisa esperó una
buena idea. –No es un juego de ingenio. No es necesario que se te ocura una buena
idea. Este no es un intercambio aristocrático, es un real enfrentamiento. –El
perfil del hábito de la Madre Superiora apenas se distinguía.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 540 | Loc. 8280 | Added on Wednesday, April 22, 2015, 04:36 PM
–Todo el mundo dice "ver para creer", pero yo digo "creer para ver". Si yo no creo
ver, no veo. Esto se sabe muy bien en (o mejor dicho, se sabe por culpa de) otros
países donde la gente ha perdido la fe y ya no ve. En ese sentido, la cuestión
principal no es, como diría Romeo, "ser o no ser", si no, más bien, "creer o no
creer". ¿Qué tan to crees? ¿Pensaste en un nombre para ti? –se quiso informar
inesperadamente la Madre Superiora–. ¿Un nombre de carmelita?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 542 | Loc. 8300 | Added on Friday, April 24, 2015, 01:59 PM
creer o no creer
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 543 | Loc. 8316-20 | Added on Friday, April 24, 2015, 02:00 PM
se borra, pero prefirió callar y de esto resulto un silencio largo que ni siquiera
fue incómodo. Se sabe que cuando, entre los personas, los silencios dejan de ser
incómodos es porque entre ellas ha surgido la amistad. Entre Luisa y la Madre no
había surgido ninguna amistad, o había quizá surgido un amigo común al que por
pudor no requerían referirse.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 543 | Loc. 8320 | Added on Friday, April 24, 2015, 02:00 PM
silencio somodo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 545 | Loc. 8351-54 | Added on Friday, April 24, 2015, 02:02 PM
los bancos
==========
LOBE- (Joaquín Trujillo)
- Note on Page 547 | Loc. 8384 | Added on Friday, April 24, 2015, 02:03 PM
–Pero, ¿has pensado en que te encerrarás por el resto de tu vida en una especie de…
reality-show que no se trasmite por ningún canal? Y si lo transmitieran, de todos
modos nadie lo vería.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 548 | Loc. 8399 | Added on Friday, April 24, 2015, 02:04 PM
dos y dios
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 550 | Loc. 8433-35 | Added on Friday, April 24, 2015, 02:09 PM
el organista se pronuncia
==========
LOBE- (Joaquín Trujillo)
- Note on Page 552 | Loc. 8459 | Added on Friday, April 24, 2015, 02:11 PM
la nomenclatura
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 553 | Loc. 8467-71 | Added on Friday, April 24, 2015, 02:11 PM
aéreo de música. Pero del grito sin palabras de alarma, surgieron descripciones
melódicas, y, entonces, Clemente descubrió que el órgano se trataba de un
instrumento musical.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 560 | Loc. 8584 | Added on Friday, April 24, 2015, 02:15 PM
Los órganos aparecen cuando hay gente dispuesta a quedarse quieta, muy quieta, como
si nunca nadie se hubiese puesto en marcha. Esas humillaciones que sufren todavía
hoy los pianistas, teniendo que trasladarse para tocar ante gente que también se
mueve, es un desastre para la música.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 561 | Loc. 8597 | Added on Friday, April 24, 2015, 02:16 PM
El pobre niño Claudio Arrau, yendo de casa en casa, de la mano de su señora madre,
de casa en casa, digo, porque cada uno de los senadores chilenos, esos oligarcas
ignorantes y sordos a todo lo sublime, decían que no votarían a favor de la beca
para el niño si el niño antes no probaba en el piano de la maldita casa afrancesada
de cada uno de ellos, que era el mejor pianista del mundo. Y como era la época del
parlamentarismo, el presidente de la República no podía ahorrar tanta itinerancia a
quien debía quedarse tan quieto como Dios, según dice Aristóteles que lo está.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 561 | Loc. 8602 | Added on Friday, April 24, 2015, 02:17 PM
claudio arrau
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 561 | Loc. 8602-4 | Added on Friday, April 24, 2015, 02:17 PM
Los órganos reunían coros alrededor, a coros y seres en oración. ¿Qué reunían los
pianos? A gente desvergonzada que siempre está tosiendo y que espera los
intermedios para evitar la oración, es decir, hablar tonterías al de al lado.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 562 | Loc. 8604 | Added on Friday, April 24, 2015, 02:17 PM
organos vs pianos
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 562 | Loc. 8611-15 | Added on Friday, April 24, 2015, 02:19 PM
–Por culpa del maldito tratado de Greenwich los ingleses, franceses y holandeses se
confabularon contra el imperio hispánico. Querían lograr que en él, el sol por fin
se pusiera, pues, parafraseando a Schopenhauer, lo que vive en continuo mediodía,
se vuelve eterno y el tiempo no lo toca. Un emperador como Carlos V nunca pensó que
un insectario pudiera derrumbar al sol de su imperio. Y aquí los poetas del tiempo
de Carlos V disputaban por cantar la guerra y celebrar en mayor o menor medida al
bando imperial.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 562 | Loc. 8615 | Added on Friday, April 24, 2015, 02:19 PM
carlos v
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 563 | Loc. 8622-30 | Added on Friday, April 24, 2015, 02:20 PM
–Muchos ignorantes dicen… –gritó nerviosamente– dicen que el siglo XVII fue un
siglo de guerras religiosas y otras atrocidades que no sabría enumerar. Otra
mentira del siglo de las luces. En realidad, el siglo XVII fue el mejor siglo de
que la historia humana tenga recuerdo. ¿Puedes imaginar a los atronadores órganos
protestantes interrumpir el rezo abúlico de los rosarios por todos los claustros de
Europa? Esos eran tiempos en que los hombres escogieron un buen argumento para
darse muerte: el respaldo de Dios; si es que damos crédito a la importancia del
conflicto religioso. Por otra parte, hubo muchos santos católicos y compositores de
música para los muchos órganos que con la excusa de edificar templos, sus meras
cajas de resonancia, se estaban erigiendo con auténtico frenesí. A partir de los
mismos argumentos de los que San Anselmo de Canterbury hacía siglos se había
servido para comprobar la existencia de Dios, el filósofo Spinoza dejó claramente
establecido que toda esa comprobación era cierta, pero que perdía validez si Dios
no era más que el propio y miserable Mundo. Cosa bastante espantosa, pues el
evangelio decía que Satanás era el rey del Mundo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 563 | Loc. 8630 | Added on Friday, April 24, 2015, 02:20 PM
sobre spinoza
==========
LOBE- (Joaquín Trujillo)
- Note on Page 564 | Loc. 8640 | Added on Friday, April 24, 2015, 02:21 PM
el tiempo secreto
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 569 | Loc. 8716-17 | Added on Friday, April 24, 2015, 02:29 PM
si dios apareciera
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 569 | Loc. 8717-22 | Added on Friday, April 24, 2015, 02:30 PM
parece que Tosca aconseja que los artistas no se metan en política, porque el poder
es una cuestión que el arte no entiende. Lo mismo puede decirse para la religión.
Bach ni siquiera pretendió convencer a la gente de su existencia. Eso queda para el
mundo de hoy. Dios, en aquella época y en Leipzig, estaba ahí, ahí, ahí –y el
estruendo de un acorde repetido lo confirmaba–, pero Él no se habría aparecido como
la Virgen de Fátima o el dios de los mormones en un templo del estado de Utah.
Clemente quiso darle un poco de acción al asunto.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 569 | Loc. 8722 | Added on Friday, April 24, 2015, 02:30 PM
travesti y moralidad
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 572 | Loc. 8759-65 | Added on Friday, April 24, 2015, 02:33 PM
De esta manera Beethoven quiso explicarnos que tan solo la tradición podía
defendernos de la tiranía y de las injusticias, pues solo el rey de España pudo
detener al tirano y no así el político subversivo, el que estaba desaparecido, por
muy justo y bondadoso que éste fuera. ¿Entiendes el mensaje de la ópera? –No estoy
muy seguro. Los reyes eran muy injustos. –Esa es la propaganda de los reyes de hoy
que se hacen elegir mediante manejadas encuestas. La democracia es la manera de
hacernos a todos responsables del fin del mundo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 572 | Loc. 8765 | Added on Friday, April 24, 2015, 02:33 PM
pues ese imperio español era la continuación del romano, no un imperio cualquiera,
no un imperio otomano más;
==========
LOBE- (Joaquín Trujillo)
- Note on Page 572 | Loc. 8771 | Added on Friday, April 24, 2015, 02:33 PM
espania y roma
==========
LOBE- (Joaquín Trujillo)
- Note on Page 574 | Loc. 8793 | Added on Friday, April 24, 2015, 07:29 PM
presentame a tu hermana
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 574 | Loc. 8799-8800 | Added on Friday, April 24, 2015, 07:30
PM
–Pobre de ti. Quien solamente tiene hermanos, termina siendo una hermana por pura
debilidad.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 574 | Loc. 8800 | Added on Friday, April 24, 2015, 07:30 PM
insectario
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 577 | Loc. 8842 | Added on Friday, April 24, 2015, 07:33 PM
sor maravillas
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 580 | Loc. 8879-83 | Added on Friday, April 24, 2015, 07:36 PM
–¿La hermana María Angélica está enfermita? Sor Maravillas, para la impresión de
Luisa, sonrió. –Qué alegría saberlo. Te diste cuenta sin que nadie te lo avisara.
Ya sabes que está enferma del amor de Dios.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 580 | Loc. 8883 | Added on Friday, April 24, 2015, 07:37 PM
–Estúpida, estúpida –escuchó decir nuevamente, y esta vez no le cupo duda que
aquellos insultos infantiles venían del cabrito y que Sor María Angélica era la
destinataria. –Estúpida, estúpida, estúpida –ametralló como un loro y quiso
topearla.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 583 | Loc. 8928 | Added on Friday, April 24, 2015, 07:39 PM
un orestes fugaz
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 586 | Loc. 8974-78 | Added on Saturday, April 25, 2015, 01:15
AM
voz de un ninio
==========
LOBE- (Joaquín Trujillo)
- Note on Page 590 | Loc. 9037 | Added on Saturday, April 25, 2015, 01:17 AM
lenzmann
==========
LOBE- (Joaquín Trujillo)
- Note on Page 591 | Loc. 9055 | Added on Saturday, April 25, 2015, 01:18 AM
Ante todo, no confunda el mal de un hombre con el mal de todos los hombres, ni el
mal de todos ellos, con el mal de Satanás. Quien no comprende la importancia de
estas diferencias, acaba por odiar a los hombres como si fueran Satanás y ni
siquiera cree en él.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 597 | Loc. 9139 | Added on Saturday, April 25, 2015, 01:23 AM
no confundir males
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 597 | Loc. 9145-48 | Added on Saturday, April 25, 2015, 01:24
AM
Cuando Luisa salió del claustro no sintió que regresaba al mundo sino que salía de
él. No precisamente a la manera del microcosmos, la exploración de su mundo
interior le ensanchaba la celda. Solo quien mira desde afuera ve encierro tras los
muros del convento. Es la mundanidad del Mundo lo que aterra.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 597 | Loc. 9148 | Added on Saturday, April 25, 2015, 01:24 AM
claustr y libertad. mundaneidad
==========
LOBE- (Joaquín Trujillo)
- Note on Page 597 | Loc. 9149 | Added on Saturday, April 25, 2015, 01:25 AM
primras reincursiones
==========
LOBE- (Joaquín Trujillo)
- Note on Page 598 | Loc. 9165 | Added on Saturday, April 25, 2015, 01:26 AM
josefina ueta
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 603 | Loc. 9241-45 | Added on Saturday, April 25, 2015, 01:29
AM
–El piano estaba ahí hasta antes de irse. –¿Dónde se fue?, ¿acaso lo tuvo que
vender, tía? –Lo tuve que vender. Tenía cuentas impagas, cosas que se acumulan sin
que uno se dé cuenta. Pero no es nada grave, sigo viéndolo a menudo, siempre visito
la casa donde está y allí me permiten tocarlo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 603 | Loc. 9245 | Added on Saturday, April 25, 2015, 01:29 AM
venta dl piano
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 605 | Loc. 9267-69 | Added on Saturday, April 25, 2015, 01:32
AM
en Chile las cosas son así. Los pianos pasan de mano en mano, las casas, la tierra,
las lozas, los muebles, la gente compra tradición, pero las cosas con tradición son
traicioneras, se ponen viejas y se deterioran fácilmente. Yo he vendido muchos
muebles de mi difunta madre, muebles de estilo. Ahora con el “minimalismo” no me
hago tantos reproches como me los hacía antes. Los tiempos ayudan.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 605 | Loc. 9269 | Added on Saturday, April 25, 2015, 01:32 AM
–¡Hoy mismo ese piano volverá a su sitio sobre la mancha! Las cosas deben ser
restituidas, esa es la promesa de Dios. ¡Restitución!
==========
LOBE- (Joaquín Trujillo)
- Note on Page 606 | Loc. 9281 | Added on Saturday, April 25, 2015, 01:33 AM
restitucion
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 608 | Loc. 9322-25 | Added on Saturday, April 25, 2015, 01:34
AM
–Para que la ira se vuelva venganza habrá que cometer excesos. Hay veces que solo
la venganza hace justicia. La templanza es inofensiva.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 617 | Loc. 9458 | Added on Saturday, April 25, 2015, 01:39 AM
discurso
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 619 | Loc. 9490-94 | Added on Saturday, April 25, 2015, 01:43
AM
encuenran al padre
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 622 | Loc. 9527-34 | Added on Saturday, April 25, 2015, 01:45
AM
craneo incorrecto
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 623 | Loc. 9548-51 | Added on Saturday, April 25, 2015, 01:46
AM
Su cuerpo ha sido eliminado del universo para que yo no pueda verlo, no pueda
tocarlo y así no llegue a recordar esa parte de mi padre. Su frente me lo ha
indicado gracias sólo a un recuerdo. He tocado los huesos de un desconocido, he
profanado su eterna paz por creer en un epitafio falso. He creído en los vivos… y
no lo suficiente en los muertos y los muertos ya no pueden defenderse de los vivos
cuando los vivos mienten sobre ellos, cuando no dejan espacio en el mundo para la
muerte y para la verdad sobre la muerte.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 623 | Loc. 9551 | Added on Saturday, April 25, 2015, 01:46 AM
cuerpo eliminado.
creer en los vivos
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 624 | Loc. 9555-58 | Added on Saturday, April 25, 2015, 01:47
AM
Si tan solo existiera un hermano para mí, ese hermano como el que tenía Electra en
el teatro, que apareció como Nuestro Señor Jesucristo e hizo una justicia violenta
y feliz, que apareció cuando todos lo pensaban también muerto como el padre al que
vengaría. Pero estoy sola, mi padre difunto solo me tiene a mí y yo de él solo
tengo una mínima impresión.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 624 | Loc. 9558 | Added on Saturday, April 25, 2015, 01:47 AM
pide un hermano. soledad
==========
LOBE- (Joaquín Trujillo)
- Note on Page 625 | Loc. 9579 | Added on Saturday, April 25, 2015, 01:49 AM
XIX hicieron lo posible por acabar con la república criolla, imponiendo su folclore
atosigante del Kuchen. Y así, en vez de difundir la música de Bach, estos últimos
se dedicaban a bailar polca.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 628 | Loc. 9616 | Added on Saturday, April 25, 2015, 01:52 AM
pinochet
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 629 | Loc. 9633-34 | Added on Saturday, April 25, 2015, 01:54
AM
Cumplir siempre en silencio, haciendo el bien sin alardes. Así era el imperio del
cristianismo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 629 | Loc. 9634 | Added on Saturday, April 25, 2015, 01:54 AM
Esto se acabó. Todas nuestras verdades se mueren porque están solo dentro de
nosotros, y la verdad hay que salir a defenderla para que sea y nos deje ser. El
honor, la discreción, es decir, la civilización, nos ha impedido hacernos las
víctimas, nos ha desprotegido, pues no vivimos en el imperio. Vivimos bajo
mercenarios. Impongámonos o muramos. Al menos los patriotas, pese a que destruyeron
ellos el imperio, sabían vivir y morir.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 629 | Loc. 9636 | Added on Saturday, April 25, 2015, 01:54 AM
Todos adulando a este delincuente con buen gusto. –Y entonces, recordó al niño
predicador–. Sin embargo, ni siquiera Dios se vengará de ustedes. Tendrán que
soportar las consecuencias de ser quiénes son. Van a caer estrellas del Cielo,
habrá crujir de dientes, suplicas de último segundo. Yo estaré en el arca, ustedes
fuera. Voy a celebrar bailando. Voy a verlos pasar. ¡Muéranse!
==========
LOBE- (Joaquín Trujillo)
- Note on Page 646 | Loc. 9897 | Added on Saturday, April 25, 2015, 02:05 AM
asesinos de la sangre
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 647 | Loc. 9912-13 | Added on Saturday, April 25, 2015, 02:06
AM
Una vez pudo repasarlo, se avergonzó hasta la cefalea. Su discurso había sonado
acartonado, pretencioso y peor aún: redactado.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 647 | Loc. 9913 | Added on Saturday, April 25, 2015, 02:06 AM
discurso redactado
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 652 | Loc. 9994-10004 | Added on Saturday, April 25, 2015,
02:08 AM
–¿Dónde está él? –dijo Luisa comprendiéndolo todo–, ¿y quién es usted? –Luisa
tartamudeaba–. ¿Adónde lo dejaron? –Yo lo críe, lo vi nacer, él está aquí, viviendo
en las piezas de al fondo, de al fondo del pasillo. Yo lo cuidaba, era su mama, él
me quería mucho,
==========
LOBE- (Joaquín Trujillo)
- Note on Page 657 | Loc. 10060 | Added on Saturday, April 25, 2015, 02:10 AM
Luisa reconoció el cuarto donde entraron. Había estado allí hace no más de quince
minutos. La anciana Norma se desprendió del grupo, tomó las manos de un viejo. –
Dieguito, Dieguito –le dijo como silbando al desperezarlo–, aquí nos vino a ver su
hijita Luisa… El hombre, despertando, al que la anciana Norma así hablaba, no era
distinto del que a Luisa le habían indicado durante la inspección anterior. –…Es
una monjita –le decía cariñosamente–, es Luisa, vino a verlo, es linda, es buena,
está feliz. Mírela.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 658 | Loc. 10085 | Added on Saturday, April 25, 2015, 02:11 AM
otro viejo
==========
LOBE- (Joaquín Trujillo)
- Note on Page 660 | Loc. 10106 | Added on Saturday, April 25, 2015, 02:12 AM
religare
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 664 | Loc. 10178-81 | Added on Saturday, April 25, 2015, 12:17
PM
e te de norma
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 665 | Loc. 10192-98 | Added on Saturday, April 25, 2015, 12:18
PM
–¿Quién era ella? –preguntó Luisa sorbiendo un poco té– ¿era mi pariente?, yo
también me llamo María Teresa. Los ojos de la mama Norma observaron a Luisa con
cierto desprecio. ¿Cómo esa monja mocosa ahora invitada a tomar el té podía
pretenderse pariente de doña María Teresa? –Sí –gruñó recordándolo–, ella es su
bisabuelita. –¿Está viva acaso? –Luisa estaba
==========
LOBE- (Joaquín Trujillo)
- Note on Page 666 | Loc. 10198 | Added on Saturday, April 25, 2015, 12:19 PM
la bisabuela
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 666 | Loc. 10199-201 | Added on Saturday, April 25, 2015,
12:19 PM
–Ella murió hace muchísimos años. Era la madre de don Clemente, el padre de
Dieguito. –¿Mi abuelo?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 666 | Loc. 10201 | Added on Saturday, April 25, 2015, 12:19 PM
abuelo clemente
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 666 | Loc. 10205-8 | Added on Saturday, April 25, 2015, 12:20
PM
–Don Clemente era un hombre muy importante. Era senador y siempre estaba rodeado de
presidentes de la República. Les entregaba todo su dinero a los pobres. –¿Y no se
volvía pobre también?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 666 | Loc. 10208 | Added on Saturday, April 25, 2015, 12:20 PM
sobrina Ceci, apenas me viene a ver. Hace seis meses que no tengo noticias suyas.
Es una ingrata conmigo y con los Manso. Ellos la acogieron y le dieron educación,
yo me preocupé de ella cuando mi hermana se ahogó en la playa de Cartagena.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 669 | Loc. 10251 | Added on Saturday, April 25, 2015, 12:28 PM
–¿Es un árbol genealógico? –…Que Dieguito dibujó y completó durante muchos años, a
medida que iba juntando información. Trabajó mucho, reunió muchos libros. Dejó de
ganar mucho dinero por hacerlo. Esa Cristina –farfulló– lo consideraba una pérdida
de tiempo. Siempre decía: “este hombre me hará pobre”. –La mama Norma indicó el
catre de su cama–. Agáchese, usted, que está jovencita, y saque de allá abajo un
rollo así tan grueso de papel –indicó reuniendo, en arco, las palmas de las manos.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 671 | Loc. 10283 | Added on Saturday, April 25, 2015, 12:33 PM
la red familiar
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 674 | Loc. 10321-28 | Added on Saturday, April 25, 2015, 12:36
PM
«Ese otro.» Era un cuadradito inmediatamente contiguo. Tenía escrita la letra “C”.
–Este otro… –titubeó la mama Norma–, ¡Ay!, pero qué lesa soy –y por segunda vez se
rió–, éste es “Clemente”, quién más va a ser sino Clemente. Quise avisarle cuando
Dieguito estaba enfermo. Viajé a verlo, a usted no la encontré… –¿Quién es
Clemente? –Luisa ardía de celos y ansiedad. –Clemente –dudó otra vez la anciana–,
vendría siendo… –e indicó la línea que para “L” y “C” descendía de Diego y
Cristina– …bueno, a ver, cómo se dice esto… mmmm… veamos, quizá, claro, sí… su
hermano, ¿no le parece?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 674 | Loc. 10328 | Added on Saturday, April 25, 2015, 12:36 PM
orestes es cristo.
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 676 | Loc. 10357-59 | Added on Saturday, April 25, 2015, 12:37
PM
Entraron en el límpido estar campesino. Era una de aquellas casas edificadas por el
gobierno de Salvador Allende, por esas inmediaciones, las mejores desde mediados
del siglo XVIII. El resplandor del piso encerado impedía que lo pisaran. Su espejo
carmesí parecía haber invertido el mundo. Luis y la mama Norma quedaron pasmadas.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 683 | Loc. 10462 | Added on Monday, April 27, 2015, 12:54 AM
estar campsino
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 683 | Loc. 10470-78 | Added on Monday, April 27, 2015, 12:55
AM
–Linman… Linman se llama. Luisa reaccionó como acosada por el filo de un puñal: –
¿No será Lenzmann? –Eso, eso mismo –gritaron ambos muchachos. –¿Y qué hace ese
Lenzmann por aquí también? –Luisa preguntó a la anciana Norma como haciéndola
responsable de aquel escándalo. –Le compró a toda la gente –intervino el muchacho
presente.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 684 | Loc. 10478 | Added on Monday, April 27, 2015, 12:55 AM
clemente escapo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 689 | Loc. 10551-61 | Added on Monday, April 27, 2015, 12:57
AM
–¿Y qué dijeron esas personas insanas? –entró Luisa. –Tonteras… que bailaba de
noche allá en la capital. –Tonteras, tonteras, seguro –dijo la mama Norma–, las
chiquillas bailan en la noche, no los niños, menos los niños buenos y altos como
él. –Y cuando se supo que anduvo por aquí, dijeron que andaba con una minifalda y
con unas botas de cuero rojo que le llegaban más arriba de las rodillas, y que
andaba por la calle de tierra bailando como si estuviera en una boite –comentó
Marta Pizarro en tono de confidencia. –Qué ridiculez más grande. –La gente aquí es
muy mala. Inventan
==========
LOBE- (Joaquín Trujillo)
- Note on Page 689 | Loc. 10561 | Added on Monday, April 27, 2015, 12:57 AM
clemente travestido
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 690 | Loc. 10571-72 | Added on Monday, April 27, 2015, 12:59
AM
Electra al menos tenía una tumba donde concurrir en memoria del padre, una pista de
aterrizaje para su salvador. Yo solo me tengo a mí, y si eventualmente existe, a
Dios. ¿Cómo hacerle saber que estoy aquí esperándolo?, ¿cómo ahora?»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 690 | Loc. 10572 | Added on Monday, April 27, 2015, 12:59 AM
–Pero –se atrevió a agregar la circunspecta campesina–, dicen que está viviendo en
el pueblo. –¿Pero no decían que baila en Santiago? –Sí, también, pero escuché que
ahora está viviendo en el pueblo, en una fuente de soda.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 690 | Loc. 10577 | Added on Monday, April 27, 2015, 12:59 AM
–Quizás, vamos a tener que dormir aquí. Está muy feo. –Sé avanzar en medio de lo
feo –adujo Luisa–. Vamos de una vez, ando apurada. –No se apure tanto. Para qué
tanto, la vida se vive pocas veces en la vida. La tenía abrazada por la espalda.
Luisa sentía su cuerpo temperarse aceleradamente, no sabía si producto del
==========
LOBE- (Joaquín Trujillo)
- Note on Page 695 | Loc. 10644 | Added on Monday, April 27, 2015, 01:02 AM
dormi cn el camionero
==========
LOBE- (Joaquín Trujillo)
- Note on Page 695 | Loc. 10644 | Added on Monday, April 27, 2015, 01:03 AM
Yo me aprovecho del morbo que les provoco para actuar y hacer karaoke con la ópera
de Strauss. El casete lo conseguí en Santiago, cuando me disfrazaba de La reina de
la noche. Allá la gente es respetuosa. Sabe diferenciar al artista del personaje.
¡Quítate, pobre idiota!»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 702 | Loc. 10759 | Added on Monday, April 27, 2015, 01:08 AM
Valparaíso, a estudiar. Tanta cabeza y sin estudiar –le sugirió con aire de
exigencia, como siempre lo hacía cuando lo veía. –No puedo. Estoy condenado –Él
respondía lo acordado. –Pero déjate de llorar. Si, por último, hicieras este número
artístico en Valparaíso, la gente lo valoraría. –¡Lo hacía en Santiago! –El rostro
enrojecido de lágrimas– ¿qué no te acordai’? –. Buscó a Milady. Solo el foco de la
calle, a través del velo de la ventana, los iluminaba, pero él habría creído la luz
de la pieza encendida. –Tienes toda la razón. Estos “rotos” tienen que aprender.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 705 | Loc. 10795 | Added on Monday, April 27, 2015, 01:10 AM
–¡Clemente! –se oyó más fuerte, saliendo de entre los acordes. –¡Cambien esa cagá!
–farfullaba un borracho. ¿Sería su imaginación? El rostro de Milady decía que ella
lo estaba escuchando también. Efectivamente, el nombre de Clemente era repetido una
y otra vez en la calle, como si se anunciara la llegada al pueblo del circo. –
Vamos, baila una vez –oyó decir al movimiento de los labios de tía Corina. Después,
nítidamente su nombre, a través de la gran ventana del bar-pensionado como un
viento huracanado que deja todo en su lugar, pero que todo lo desbarata al interior
de sí mismo: –¡Clemente! Clemente se arrojó sobre el piso, tropezó obstaculizado
por el traje, se abrió paso entre las mesas, gritó: –¡Me vienen a buscar los
pacos…! –¡Que se lo lleven! –repetía la gente y reía. –¡Cállense todas las mierdas!
–exclamó la tía Corina–. ¿Qué hiciste que te vienen a buscar…
==========
LOBE- (Joaquín Trujillo)
- Note on Page 707 | Loc. 10833 | Added on Monday, April 27, 2015, 01:12 AM
Se oyeron pasos mojados por el corredor que daba al bar. Por él entró una monja
completamente mojada y sucia. El hábito que traía puesto parecía un enorme trapo
mugroso. Estaba manchado de lodo, y olía a guano. El pelo como un nido de
serpientes muertas, se le despeñaba por el rostro pálido. Se acercó hasta donde
estaba Clemente sentado, al interior del gran traje, y habiéndose inclinado frente
a él, le dijo con una solemnidad graciosa: –Mayorazgo, hermano y señor, tu esclava
y señora te saluda.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 708 | Loc. 10852 | Added on Monday, April 27, 2015, 01:13 AM
–…Nuestro padre está muerto… Y, como venida desde una vida pasada, la sensación del
gran cuerpo del padre, recostado entre ellos, aguardando como ellos, la llegada de
los cientos de altivos animales, lo desconcertaba: –…La asesina fue Cristina…
nuestra madre que no merece llamarse tal… una pérfida, vive con su amante… se llama
Lenzmann… Como si el techo del lugar hubiera sido arrasado, sintió sobre su cabeza
los sonoros motores de las avionetas, desinfectando la tierra, desde el cielo, sin
Dios en él, y con remedos de hombres abajo. –…Se hicieron dueños de las antiguas
tierras de nuestra familia, y quieren hacernos desaparecer, para que no quede
recuerdo vivo, y el pasado se muera, y Dios olvide porque nadie sufre por causa de
ese recuerdo…
==========
LOBE- (Joaquín Trujillo)
- Note on Page 711 | Loc. 10891 | Added on Monday, April 27, 2015, 01:15 AM
llanto de luisa
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 714 | Loc. 10937-47 | Added on Monday, April 27, 2015, 01:18
AM
¿por qué estabas en ese antro de perdición? ¿No te debas cuenta que no pertenecías
a él? –Me daba un poco de cuenta, pero… ¿cómo decirlo? –decía por primera vez
expresivo–. No sabía nada. –Y ahora que ya lo sabes todo, ¿piensas algo distinto? –
Todavía no logro entender. Antes no entendía quién era, y ahora no entiendo nada. –
¿Cómo? –indignada repuso Luisa–, ¿no entiendes que debes salvar a la familia? –¿Qué
familia? –Tú y yo, y todos los muertos. –Pero… eso ya no puede ser una familia.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 714 | Loc. 10947 | Added on Monday, April 27, 2015, 01:18 AM
salvar la familia
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 716 | Loc. 10976-85 | Added on Monday, April 27, 2015, 01:21
AM
No dijeron nada. Luisa y Clemente se desvistieron a prisa, dejaron caer a los pies
de la cama sus ropas mojadas, y se acostaron. Uno junto al otro. El calor corporal
deshumedeció sus cuerpos gélidos, pero el sudor volvió a enfriarlos. Abrazados,
escuchándose mutuamente el fluir de la sangre y la pulsión de la respiración,
perdían a ratos la consciencia a causa del sueño, a ratos la recuperaban, pero el
otro la había perdido para entonces. Se acariciaban torpemente como dos cachorros
aún ignorantes de los límites de sus cuerpos. –El me impidió ser su amigo y por eso
me condenó. Luisa no supo comprender a qué venían esas palabras. –Yo quería
convertirme en su amigo para así dejar de amarlo, pero él me lo impidió.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 717 | Loc. 10985 | Added on Monday, April 27, 2015, 01:21 AM
confesiones en la cama cmo l oisea
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 720 | Loc. 11030-36 | Added on Monday, April 27, 2015, 01:23
AM
Luisa entendió que los mapas son los enemigos del relieve. Las montañas eran
gigantes vivos pero de pasos lentos. Ese movimiento tan humano que vemos de la
naturaleza comprime demasiados siglos. Luisa preguntó por la masa de agua. –Es un
embalse –le informó Clemente–. Bonito ¿no es cierto? Nunca más habrá por aquí
problemas de agua para el riego. El gobierno y el señor Lenzmann lo construyeron.
Así era.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 720 | Loc. 11036 | Added on Monday, April 27, 2015, 01:23 AM
embalse
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 721 | Loc. 11047-57 | Added on Monday, April 27, 2015, 01:24
AM
–Clemente –exhortó Luisa– ¿dónde está entonces el valle completo, dónde está la
casa de nuestros antepasados, los corrales, los adobes, y todo eso? ¿Por qué me
traes a mirar este fenómeno? Quiero recorrer la casa colonial, mama Norma me contó
sobre ella. Vamos a verla de una vez y no perdamos más tiempo. –Pero, Luisa, Luisa
–rió Clemente– no vas a poder verla… La casa está en el fondo del agua. El embalse
la tapó, y tapó muchos potreros, muchas otras casas de adobe en las que vivía la
gente. La gruta de la virgencita, también la tapó el agua. Fue como un diluvio
cuando el agua empezó a subir. Toda la gente venía a mirar todos los días, desde
las cimas, cómo iba el agua subiendo poco a poco, durante muchos días, y se iba
tragando todos los paisajes, todos los caminos y las huellas que ellos recorrían.
Era motivo de mucha risa ver desde lo alto al mundo desaparecer. Quizás también
será así el fin del Mundo. Veremos desde el cielo, a Dios borrando las cosas de
abajo, hasta que nada quede debajo de nosotros. Ahora la gente viene a bañarse aquí
porque está prohibido apozar el agua del río para bañarse. El embalse necesita toda
el agua posible. Y mira, han llegado personas de Santiago a construirse casas.
Ahora nuestro valle será un destino turístico. Antes, nadie lo conocía.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 722 | Loc. 11057 | Added on Monday, April 27, 2015, 01:24 AM
vall inundado
==========
LOBE- (Joaquín Trujillo)
- Note on Page 722 | Loc. 11066 | Added on Monday, April 27, 2015, 01:25 AM
insulta a clemnte
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 722 | Loc. 11069-79 | Added on Monday, April 27, 2015, 01:26
AM
–¿Qué hicieron, qué les hicieron, qué nos hicieron? –le escuchó decir– ¿qué pecado
tan horrendo se cometió? Hay un diluvio acá abajo, es un diluvio que tapó este
mundo. Diosito prometió que no mandaría otro diluvio. Tan malos, tan malos fueron
que los sepultó con agua. Yo maldigo esta agua. Ojalá que nada de lo que riegue
crezca. Maldigo el río que llena este valle, maldigo este valle lleno de agua.
Maldigo las plantas y las flores que hay por estos cerros, y maldigo las piedras,
también maldigo el cielo, y los días que en este lugar viajan por el cielo. Maldigo
el cielo de aquí. Maldigo las montañas, los caminos que van entre ellas, los
animales, los perros guardianes, las gallinas, y los huevos que vayan poniendo: que
estén llenos de veneno. Las vacas, la leche que cae de ellas, las maldigo. Que la
leche sea sangre. Porque no honran a sus antiguos señores, y se dejan pisotear por
nuevos, por gente que nunca han visto, que miran sus campos plantados desde
helicópteros en el aire. Maldigo el aire, que sea mortífero. Maldigo todas estas
lanchas que están sobre el agua, como si bajo el agua nunca nada hubiera pasado.
Allá, bajo el agua está todo lo pasado…Es una confabulación contra la sangre. El
agua del lago quiere disolver tu sangre como la sangre, quiere mezclarse con la
sangre desconocida
==========
LOBE- (Joaquín Trujillo)
- Note on Page 723 | Loc. 11079 | Added on Monday, April 27, 2015, 01:26 AM
–¿Quién te busca? –Gente insana. Tú ni te las imaginas. –Sé cómo imaginarme muchas
cosas. –Pero no este tipo de asuntos. –¿Es un asunto de plata? –No… –Si vas
conmigo, recuperarás lo que es tuyo. –¿Qué es eso que es mío? –El honor… –Eso, más
que resolver las cosas, las empeoraría, y me pesaría. Luisa se detuvo de golpe, le
engrilló los brazos con sus manos: –Escúchame… los derechos pesan. ¿Entendiste?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 729 | Loc. 11170 | Added on Monday, April 27, 2015, 01:29 AM
dos visitas
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 732 | Loc. 11221-23 | Added on Monday, April 27, 2015, 01:31
AM
–¿Sabio?, ¿puede ser un ciego, sabio?, ¿qué tanto más que nosotros puede ver por
las orejas? –Los sonidos son la verdad en el mundo. Ya verás…
==========
LOBE- (Joaquín Trujillo)
- Note on Page 732 | Loc. 11223 | Added on Monday, April 27, 2015, 01:31 AM
ciego sabio
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 736 | Loc. 11271-84 | Added on Monday, April 27, 2015, 01:34
AM
–Toda verdad –comenzó Fidelio dándole un tono hasta el momento inédito a sus
palabras–, asumida por el pensamiento acerca de ella, tiende a dogmatizarse.
Entender al dogma como una concepción de las cosas, exterior a las concepciones que
llamamos racionales, ha sido determinante en la actitud frente a la verdad, ahora,
racionalmente pensable, del pensamiento moderno. La verdad, racionalmente asumida y
dogmatizada, conduce a la petrificación mortuoria del concepto cuya protección ella
necesariamente, pensamos, asume. La tutela de ese concepto, por parte de la verdad,
equivale a la edificación de un ídolo, pues, una vez la verdad ha sido asumida como
verdad encontrada, la relación memorística o de reelaboración de la misma, no hace
sino bloquear la relación original que el pensamiento, habiéndola buscado, tenía
con ella. Lord Francis Bacon, en consideración del pensamiento judeocristiano,
acusó la diversidad de ídolos que enturbian la imagen de la verdad, pero no
consignó, y no sería justo reprochárselo, a la verdad en cuanto ídolo: la verdad
muerta. En Kant y mucho más en Wittgenstein, la verdad del pensamiento y no el mero
pensamiento que concibe la verdad, contiene los dispositivos que le permitieron, y
en gran medida hoy le permiten, evitar la dogmatización de ella, aquel que
precisamente es pensamiento de sí misma. En el primero de ellos, por ejemplo, la
imposible verdad acerca de la comprobación racional de la existencia de Dios, evita
cualquier posible dogmatización racional de la verdad de aquella existencia,
cuestión que sí ocurre con el argumento ontológico de San Anselmo de Canterbury, y
las cinco vías de Santo Tomás de Aquino, por cuanto, como se ha ya adelantado, el
tratamiento de Dios como concepto verificable racionalmente, hace de la idealidad
de Dios una realidad mediada por un concepto de él,
==========
LOBE- (Joaquín Trujillo)
- Note on Page 736 | Loc. 11284 | Added on Monday, April 27, 2015, 01:34 AM
un genio un idiota
==========
LOBE- (Joaquín Trujillo)
- Note on Page 740 | Loc. 11340 | Added on Monday, April 27, 2015, 01:39 AM
luisa braanza
==========
LOBE- (Joaquín Trujillo)
- Note on Page 746 | Loc. 11437 | Added on Monday, April 27, 2015, 01:14 PM
diego manso
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 748 | Loc. 11455-60 | Added on Monday, April 27, 2015, 01:15
PM
gerrear. bonapartismo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 750 | Loc. 11492-94 | Added on Monday, April 27, 2015, 01:19
PM
metaforas biologicas
==========
LOBE- (Joaquín Trujillo)
- Note on Page 751 | Loc. 11508 | Added on Monday, April 27, 2015, 01:20 PM
balmaceda presidente
==========
LOBE- (Joaquín Trujillo)
- Note on Page 753 | Loc. 11532 | Added on Monday, April 27, 2015, 01:21 PM
jovenes okupas
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 756 | Loc. 11578-93 | Added on Monday, April 27, 2015, 01:24
PM
les dedicó una risotada fingida. –Clemente, todo esto te ocurre porque crees
demasiado en el amor. Pero Clemente hizo un gesto. No la había escuchado. –
Clemente, tienes que ayudarte… –le dijo más fuerte–. Solo tú puedes salvar nuestra
sangre. Devolverle la dignidad. Al menos eso, la dignidad.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 758 | Loc. 11617 | Added on Monday, April 27, 2015, 01:25 PM
se volvió contra él y se arrojó a sus pies como las heroínas en las mejores novelas
de von Kleist–: ¡Hermano mío, sálvame, sálvame, sálvame! Como este escándalo
superaba al escándalo circundante, la caída de Luisa Manso abrió un gran foco en
torno a Clemente, quien lleno de vergüenza se inclinó sobre ella hasta alcanzarle
la oreja. –Lo que quieras, pero ponte de pie, ¿ya?
==========
LOBE- (Joaquín Trujillo)
- Note on Page 759 | Loc. 11637 | Added on Monday, April 27, 2015, 01:28 PM
–La necesidad de una mujer puede tardarse –le quiso enseñar, procurando rehabilitar
de alguna forma su dignidad antes degradada–. Porque no te comprendes imitas a los
esclavos, crees que compartes la enfermedad de ellos… –Cuando descubro –habló lento
Clemente– que una belleza pertenece a una mujer, dejo de desearla. Pero Luisa se le
había humillado. Y de estas señas también se vive.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 760 | Loc. 11646 | Added on Monday, April 27, 2015, 01:29 PM
de la humillacion tb se vive
==========
LOBE- (Joaquín Trujillo)
- Note on Page 760 | Loc. 11649 | Added on Monday, April 27, 2015, 01:29 PM
–Hoy iremos a visitarlo. –Pero como Clemente no preguntó, ella desempeñó ambos
papeles–: Al padre, nuestro padre vivo pero muerto, Diego Manso.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 761 | Loc. 11663 | Added on Monday, April 27, 2015, 01:30 PM
visitar al padre
==========
LOBE- (Joaquín Trujillo)
- Note on Page 763 | Loc. 11698 | Added on Monday, April 27, 2015, 01:31 PM
nicho no mausoleo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 772 | Loc. 11828-34 | Added on Monday, April 27, 2015, 01:40
PM
de vida o muerte para ella. –Señorita Luisa –dijo la voz solemnemente, habiendo
dejado pasar un segundo– ella está enterada del fallecimiento… –Le hablo de otra
cosa –la interrumpió Luisa–. Tiene que ver con su conciencia. –¿La conciencia de la
señora Cristina? –preguntó como abstemia de asombro. Y electrónicamente el portón
se entreabrió.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 772 | Loc. 11834 | Added on Monday, April 27, 2015, 01:40 PM
conciencia
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 773 | Loc. 11849-50 | Added on Monday, April 27, 2015, 01:41
PM
grupos de señores vestidos en tonos pasteles y jóvenes cuyos atuendos les imitaban,
paseaban en el silencio que la distancia otorga a los vivos, porque bordeando el
campo de aquella distancia, pasaban sin ser percibidos, Luisa, Clemente y el
caballo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 773 | Loc. 11850 | Added on Monday, April 27, 2015, 01:41 PM
jovenes pastel
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 774 | Loc. 11861-62 | Added on Monday, April 27, 2015, 01:42
PM
el pervertidor de clemnte
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 777 | Loc. 11904-5 | Added on Monday, April 27, 2015, 06:34 PM
ramon chateau
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 777 | Loc. 11907-11 | Added on Monday, April 27, 2015, 06:37
PM
–¡Se quema! –se oyó gritar a una mujer– ¡se quema vivo! Una molotov hecha estallar
a los pies de Ramón Château, le había encendido la ropa de abajo a arriba. Una
verdadera multitud se esforzaba inútilmente por sofocar las llamas. Una señora,
poco precavida, intentó ahogarlas rociándole el vaso de whisky, y las llamadas de
auxilio, de agua, de ¡Dios!
==========
LOBE- (Joaquín Trujillo)
- Note on Page 777 | Loc. 11911 | Added on Monday, April 27, 2015, 06:37 PM
fuera tu domestico
==========
LOBE- (Joaquín Trujillo)
- Note on Page 778 | Loc. 11928 | Added on Tuesday, April 28, 2015, 10:29 AM
golpear al mayordomo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 780 | Loc. 11952-54 | Added on Tuesday, April 28, 2015, 10:30
AM
–Él –gimió Cristina sin mirarlo–, él… ¿no es Clemente? –le preguntó a Luisa como
precisando su ayuda–. El tercer hijo. –El segundo –repuso Luisa–, la primera soy
yo. –No… –sonrió desfigurada Cristina–, eres la segunda. ¿No ves? No sabes nada.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 783 | Loc. 12005 | Added on Tuesday, April 28, 2015, 10:33 AM
el tercer hijo
==========
LOBE- (Joaquín Trujillo)
- Note on Page 784 | Loc. 12007 | Added on Tuesday, April 28, 2015, 10:33 AM
el sacrificio de ifigenia
==========
LOBE- (Joaquín Trujillo)
- Note on Page 784 | Loc. 12014 | Added on Tuesday, April 28, 2015, 10:34 AM
dicursp de cristina
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 785 | Loc. 12024-30 | Added on Tuesday, April 28, 2015, 10:35
AM
Ese hombre que acaba de morir, su padre, dirán ustedes… verán, ese hombre era algo
extraño y era también un extraño, sí, un extraño, no es que se haya vuelto eso, no,
no… es decir, al parecer siempre lo fue. Sabía cómo actuar de vez en cuando, como
marido, como pariente, como el dueño de una casa, pero se había entrenado en
hacerlo, en imitar lo que quizás de veras hizo en algún momento de su vida, cuando
todavía en él habitaba un poco de ingenuidad, o acaso, aquella falta de apetito que
hace a los hombres comportarse por algunos días frente a la mujer cuando, por
cierto, ya han podido saciar otra apetencia. Era hermético, porque no es posible
que no haya habido nada detrás, no. De haber sido así, digamos… él no habría
procedido de la manera que procedió.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 785 | Loc. 12030 | Added on Tuesday, April 28, 2015, 10:35 AM
padre hermetico
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 785 | Loc. 12030-34 | Added on Tuesday, April 28, 2015, 10:35
AM
Nuestros padres eran primos lejanos. Por eso ambos éramos Manso. Pero, esos Manso,
los de Diego, fueron para mi padre unos imbéciles, unos engolfados, hasta que yo me
involucré con el hijo del primo de mi padre, también primo mío, más lejano, por
cierto, y allí, tal vez mi padre calló a fin de darme una autorización elegante o
porque la relación hacía en él colmar un sentimiento que suplía al odio, o porque
desconfiaba menos en que yo cayese en manos de nuestra propia sangre. No puedo
estar segura.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 785 | Loc. 12034 | Added on Tuesday, April 28, 2015, 10:35 AM
incesto n iego
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 785 | Loc. 12037-39 | Added on Tuesday, April 28, 2015, 10:36
AM
gastos del becario… una beca que no consideraba a la mujer, ni a los hijos… y yo
quedé embarazada por casualidad.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 786 | Loc. 12040 | Added on Tuesday, April 28, 2015, 10:37 AM
–¿Ves algo? –me preguntó, en un tono falsamente pedagógico. –Una cosa nauseabunda –
le contesté. Me mostró después, la tableta del microscopio, donde se suponía que
estaba ese organismo repugnante. –¿Lo ves ahora? –volvió a preguntarme. –No –le
dije– veo solo una mancha amarilla. –En el centro de esa mancha amarilla está ese
nematodo. Y no puedes verlo sino mediante un microscopio potente. ¿Sabes las
dimensiones de lo que tienes allá dentro? No las sabía, y qué me importaban. –Es
más pequeño. Si el planeta tierra fuese la mancha amarilla, nosotros seríamos…
==========
LOBE- (Joaquín Trujillo)
- Note on Page 788 | Loc. 12068 | Added on Tuesday, April 28, 2015, 10:39 AM
–Qué me importa –le grité–. Sabía dónde iba. Sabía la conclusión de esa
comparación. Él quería sacrificar un microbio al dios de su beca. Mi problema no
era con el aborto, era la utilidad que él esperaba darle.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 788 | Loc. 12072 | Added on Tuesday, April 28, 2015, 10:45 AM
el aborto
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 788 | Loc. 12073-74 | Added on Tuesday, April 28, 2015, 10:46
AM
Él criaba caballos. Alguna vez a ustedes los llevó con él a ver esos animales. No
estuve en esa ocasión. Después de lo que pasó, no soportaba a los caballos. Eran
como sus cómplices. O, no sé… parecían tan indiferentes a su maldad, le tenían una
lealtad superior a la moral, como si hubiera algo superior a eso, a la moral. Por
eso no creo en los animales.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 789 | Loc. 12089 | Added on Tuesday, April 28, 2015, 10:47 AM
Ocurrió del siguiente modo: Puso en mi te, estoy segura, un poco, quizás una
gotita, de un medicamento abortivo que suministraba a las yeguas que se complicaban
durante la gestación. Horas después me contorsionaba de dolor como una lagartija a
la que han cortado por la mitad. Mi cuerpo vomitó por abajo una mezcla que bien
podrían haber sido todos mis órganos licuados. Estuve segura: ahí va Luisa, pero
negué, me negué mejor diré, la culpa de ese animal.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 789 | Loc. 12093 | Added on Tuesday, April 28, 2015, 10:47 AM
Qué tonta fui al haber visto en sus palabras algo más que puras palabras. El mundo
existe por las palabras. Si ellas son falsas, todo el mundo lo es también.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 790 | Loc. 12104 | Added on Tuesday, April 28, 2015, 10:48 AM
palabras falsas
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 791 | Loc. 12115-22 | Added on Tuesday, April 28, 2015, 10:50
AM
Un día en que salí a la feria, me encontré a uno que trabajaba allí, uno al cual
había antes visto un par de veces. Él notó mi problema sin siquiera emitir yo una
palabra. Ese fue mi primer embarazo que se completó. Esa eres tú, Luisa Manso. En
cuanto a ti, Clemente, mírame, por favor, fuiste lo que sigue cuando el marido ya
se ha atrevido al primer hijo, pero yo casi no pude verte. Resucité tantas veces,
tantas veces solo para volver a dormir. Sufrí una pena tan enorme cuando naciste,
una depresión tan grave. Estuve internada durante un año y de eso no me pregunten
pues no recuerdo nada y no me interesa.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 791 | Loc. 12122 | Added on Tuesday, April 28, 2015, 10:50 AM
luisa solo es hija de madre
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 792 | Loc. 12136-40 | Added on Tuesday, April 28, 2015, 02:53
PM
–¡Ve, anda a buscarlos, tráelos a esta casa! Que ocupen las piezas que solamente
los invitados ocupan y que sean suyas. Y yo fui, fui veloz, cuando todavía él no
acaba de invitarlos a ser sus hijos. Yo salí de esta casa, rumbo de las casas donde
sabía que ustedes vivían, toda nerviosa. El día estaba lleno de luz, lo recuerdo,
las palmas de las manos me sudaban contra el cuero de la cartera. Ansiosa y toda
feliz miraba por la ventana del auto, veía a los niños de otras y decía: esos no
son los míos.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 792 | Loc. 12140 | Added on Tuesday, April 28, 2015, 02:53 PM
Al cabo de un tiempo acabé por pensar de otro modo. Nada es tan espantoso para un
niño como ver a su madre siendo seducida por un hombre que no es su padre. Ellos no
podrían vivir bajo este mismo techo. Eso pensé y envié dinero. Eso no vale, pero
siempre.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 794 | Loc. 12166 | Added on Tuesday, April 28, 2015, 02:56 PM
Ustedes han llegado hasta mi casa, al mando de esa gente obscena, gente ilegal que
ocupa una de mis propiedades; y ustedes llegan así disfrazados, tú, Luisa, de
monja; Clemente, con armadura. ¿Qué pretenden con esto?, ¿desean revindicar a los
Manso? Los Manso eran liberales, detestaban todos esos símbolos, se reían de ellos.
Prefirieron perder la tierra expropiada antes que recurrir a los militares para su
restitución, y no digamos que por entereza. Ese pedazo de armadura lo conservaban
como cosa ridícula y a veces les venía un orgullo. Eran pura frivolidad, nada más.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 794 | Loc. 12171 | Added on Tuesday, April 28, 2015, 02:57 PM
madre muerta
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 794 | Loc. 12175-76 | Added on Tuesday, April 28, 2015, 02:58
PM
Adonde sea que vaya voy siempre arrastrada. Ahora… ahora… yo no pido perdón, no
puedo, sería un insulto, me sería imposible, pido, pido, a ambos, nada más… un
beso.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 795 | Loc. 12176 | Added on Tuesday, April 28, 2015, 02:58 PM
aun vive
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 797 | Loc. 12208-9 | Added on Tuesday, April 28, 2015, 02:59
PM
–El dolor, Luisa, también se controla mediante el dolor, pero sigue siempre
doliendo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 797 | Loc. 12209 | Added on Tuesday, April 28, 2015, 02:59 PM
dolor po dolor
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 797 | Loc. 12221-25 | Added on Tuesday, April 28, 2015, 03:00
PM
Hemos venido a decirte la verdad sobre ti, es decir, a destruirte. Tú no digas nada
sobre nosotros. Tú no nos conoces. No sabes nada. No hables de un hombre muerto. No
digas que no soy hija suya y que solamente soy hija tuya pues estábamos advertidos
sobre tus maneras de mentir, de mostrar las cosas según tu acomodo, de tu brujería,
de tu adulterio. No digas que hay una hermana muerta. No soy hermana de un gusano.
¡No! No digas que nos mirabas dormir a través de la ventana. No digas nada, no
hables y muérete.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 798 | Loc. 12224 | Added on Tuesday, April 28, 2015, 03:00 PM
negar l madre
==========
LOBE- (Joaquín Trujillo)
- Note on Page 798 | Loc. 12226 | Added on Tuesday, April 28, 2015, 03:00 PM
lorena miente
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 798 | Loc. 12231-39 | Added on Tuesday, April 28, 2015, 03:01
PM
–Luisa, Luisa, Luisa. Ningún hijo fue tan bien hecho como tú. Ella veía eso en ti…
veía la fuerza, por eso te guardaba como a un tesoro, y después nunca más, nunca
más. No me ayudó a volver. Luisa la observó detenidamente. –Tienes razón, no tienes
razón, por eso me eres indiferente… –sin embargo, apenas pudo acabar de decirlo
cuando comenzó a gemir. Se declaró a sí misma una pequeña. Forcejeó otro instante
con Cristina, pero súbitamente cedió, se abandonó a un impulso, y acabó contra el
regazo materno, medio llorando y riendo, abandonando sus última altivez, e invitó a
Clemente, y Clemente se integró al ovillo, al ovillo de lágrimas, de sudoraciones,
de alientos mezclados, y allí se quedó ensamblado a esas dos mujeres –siempre
envuelto en la coraza–, como si ambas lo gestaran otra vez, como si ambas fueran
una.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 799 | Loc. 12239 | Added on Tuesday, April 28, 2015, 03:01 PM
cultivaba toda clase de flores, flores imposibles de ver crecer en los jardines de
Chile, flores de colores desbordantes, amplias, alargadas y redondas. Nunca aprendí
sus nombres, pero entre todos esos colores, siempre hubo a mi memoria una
excepción, siempre recordé a la Lobelia de Chile. Y a un costado del potrero, el
invernadero hermético aislaba a las flores delicadas de la lobelia que lo cercaba
por entero, a la manera húmeda, cardenalicia y de plaga.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 800 | Loc. 12253 | Added on Tuesday, April 28, 2015, 03:04 PM
lobelia
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 800 | Loc. 12258-64 | Added on Tuesday, April 28, 2015, 03:06
PM
–Luisa, tú eres como esa flor del campo… – El campo es mierda –irrumpió Clemente. –
Luisa –reiteró Cristina–, como esa flor, esa flor. –¿Cómo una flor que crece sin
ningún cuidado? –y se guardó un reproche–: «¿o sin tu cuidado?»
==========
LOBE- (Joaquín Trujillo)
- Note on Page 800 | Loc. 12264 | Added on Tuesday, April 28, 2015, 03:06 PM
una flor q crece sin ningun uidado
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 803 | Loc. 12298-300 | Added on Tuesday, April 28, 2015, 03:07
PM
El tanque apuntó hacia donde estaban los tres Manso, se quedó en esa posición.
Cuando estuvo casi como a punto de apagarse, su círculos rotaron otra vez. Ahora
apuntaba hacia la piscina.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 803 | Loc. 12300 | Added on Tuesday, April 28, 2015, 03:07 PM
tanque
==========
LOBE- (Joaquín Trujillo)
- Note on Page 804 | Loc. 12316 | Added on Tuesday, April 28, 2015, 03:08 PM
culpa de lenzmann
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 804 | Loc. 12328-33 | Added on Tuesday, April 28, 2015, 03:10
PM
segundo casi lo logra–, ¿qué te hace defender a una familia a la que perteneces
tanto o menos que yo? Una familia que de todas maneras desaparecería, porque
estaban agotados. Mira a Clemente –y lo tomó por el brazo–, Clemente, míralo, él
tiene derecho a quejarse más que tú, más que yo, pero él no culpa a nadie, no lanza
maldiciones, permanece callado, sí, así lo hacían los Manso. Eran estoicos, ¿sabes?
Ellos soportaban cualquier humillación y estaban seguros de que los demás también
debían hacerlo. Nunca los oí quejarse, nunca. Sentían asco de la denuncia, No te
vuelvas esclava de un mundo que no viviste, no cargues con un único recuerdo, un
recuerdo que ni siquiera es propio tuyo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 805 | Loc. 12333 | Added on Tuesday, April 28, 2015, 03:10 PM
–¡Las familias recuerdan con los recuerdos de todos sus miembros! –No eres su
sangre. –La familia es más que la sangre. –Esa no es buena razón para castigar a la
gente. –Las razones de la tierra no saben decir palabras. Clemente abandonó las
riendas del caballo en las manos de Cristina. –¿Qué hacen?, ¿qué? No suban, vuelvan
aquí.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 805 | Loc. 12342 | Added on Tuesday, April 28, 2015, 03:11 PM
bach again
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 808 | Loc. 12382-94 | Added on Tuesday, April 28, 2015, 03:14
PM
En ese momento los gritos intempestivos de un hombre y una mujer removieron los
muros de la casa junto al estallido de los cristales de las mamparas. Luisa vio
desaparecer en el balcón a Herbert y Cristina como tragados por una improvisada
desaparición del suelo, y vio también a Clemente impulsándose como entusiasmado por
un dios invisible. Se había ayudado por la fuerza que a la de él sumaba el sable
oxidado. Oyeron un segundo y tercer aullido, provenientes desde el fondo del
afuera. Después unas quejas. En un movimiento inconsciente, Luisa se lanzó hacia el
balcón. Allí quitó el rostro de sobre aquel movimiento autómata de los cuerpos. El
mismo temblor de las colas cortadas a las lagartijas. Sumida en los tardos
escrúpulos, apenas extrayendo un sorbo de voz, Luisa le enrostró su mirada. A él le
asaltaba una hemorragia nasal nerviosa: –Clemente… ¿Qué…? –y las nauseas no la
dejaron continuar. Le emergió de la boca el vómito como bajo un impulso automático
de la conciencia. –Tú, tú… –tartamudeó él– hablas mucho pero… tú cedes. –Tenía el
sable, salpicado de rojo, agarrado por ambas manos–. Tú no eres como yo… Yo ahora
soy un guerrero.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 809 | Loc. 12394 | Added on Tuesday, April 28, 2015, 03:14 PM
ad lucem
==========
LOBE- (Joaquín Trujillo)
- Note on Page 817 | Loc. 12523 | Added on Tuesday, April 28, 2015, 03:20 PM
el mausoleo
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 818 | Loc. 12542-45 | Added on Tuesday, April 28, 2015, 07:05
PM
–¿Y qué tiene? Si están los muertitos con Dios y él está en todas partes
especialmente en los cementerios. ¿Acaso no cree en Dios? –Quiero creer en Dios,
pero no creo que él vaya a creer en mí, ni que se vaya a enterar.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 819 | Loc. 12545 | Added on Tuesday, April 28, 2015, 07:05 PM
Ad Lucem. «Adán y Eva –se dijo Clemente–. Cómo no pude darme cuenta. Son ellos.
Adán está ciego, se ha quedado ciego. Sus ojos están abiertos y entornados, y los
de Eva, aún no se abren. Él ha envejecido esperándola, y puede notarse que no solo
envejeció su cuerpo. Cuando por fin la ha encontrado, ella es una niña, es una
nueva perversión. –En efecto, ser enteramente nuevo, parecía destinado a liberar al
hombre de su pasado pervertido por la soledad.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 828 | Loc. 12694 | Added on Tuesday, April 28, 2015, 07:13 PM
–No la disculpo –la hizo enterarse, y continuó avanzando. Esa voz displicente,
Clemente la escuchaba permanentemente en su cabeza. Una descarga nerviosa lo
reconoció primero. «Fidelio –se avisó Clemente–. Es Fidelio.», y salió corriendo a
su encuentro. –¿Quién me llama? –alardeó Fidelio, y no pudo controlar la sonrisa–.
Ah, Clemente –se adelantó–. Qué gusto –y se detuvo por completo.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 829 | Loc. 12712 | Added on Tuesday, April 28, 2015, 07:14 PM
fidelio
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 831 | Loc. 12731-34 | Added on Tuesday, April 28, 2015, 07:15
PM
ciego no estupido
==========
LOBE- (Joaquín Trujillo)
- Note on Page 831 | Loc. 12738 | Added on Tuesday, April 28, 2015, 07:15 PM
cripta deibanez
==========
LOBE- (Joaquín Trujillo)
- Note on Page 832 | Loc. 12750 | Added on Tuesday, April 28, 2015, 07:16 PM
rebecamatte
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 832 | Loc. 12755-62 | Added on Tuesday, April 28, 2015, 07:17
PM
–¿Es chilena? –preguntó Clemente. –Chilena para los chilenos. Por su habilidad, de
chilena tiene bien poco. Quizás sea italiana, o, en su peor defecto, francesa. Raro
es. Que de una sangre de banqueros provenga tal cosa, es raro, pero común, sin
embargo. –¿Ah sí? –asumió Clemente. –Ah, Sí –lo escarneció el organista, y, a
reglón seguido, pareció arrepentirse–. Al igual que tu hermana. Una gran pérdida de
tiempo de ella misma. ¿Qué ha sido de “Luisa”? –No le permitió responder a
Clemente–.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 833 | Loc. 12762 | Added on Tuesday, April 28, 2015, 07:17 PM
chilna la matte
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 833 | Loc. 12770-74 | Added on Wednesday, April 29, 2015,
12:44 AM
–Yo creo –se rearmó Clemente– que en la historia siempre se dice la verdad. Al
final, cuando ya no queda nada que perder. –Y se sorprendió de su capacidad de
mostrarse sucinto. –Qué iluso. La historia no sabe juzgarse a sí misma, por eso es
una trampa. La única posibilidad es que Dios sepa todas las cosas, hasta en sus
mínimos detalles.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 834 | Loc. 12774 | Added on Wednesday, April 29, 2015, 12:44 AM
nuestra seniora
==========
LOBE- (Joaquín Trujillo)
- Note on Page 836 | Loc. 12806 | Added on Wednesday, April 29, 2015, 12:46 AM
marisol parvularia
==========
LOBE- (Joaquín Trujillo)
- Note on Page 837 | Loc. 12825 | Added on Wednesday, April 29, 2015, 12:47 AM
muere fedora
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 838 | Loc. 12836-44 | Added on Wednesday, April 29, 2015,
12:48 AM
llega luchita
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 839 | Loc. 12865-71 | Added on Wednesday, April 29, 2015,
12:49 AM
no te vayas mamita
==========
LOBE- (Joaquín Trujillo)
- Highlight on Page 850 | Loc. 13027-30 | Added on Wednesday, April 29, 2015,
12:56 AM
–Espero que Dios me espere cuando él finalice el Mundo –Tonta –la maltrató fuera de
sí–. Dios mismo ha enviado a los pacos porque Dios es la ley. Pero ella, ella,
nuestra señora fue humana como tú y humana como yo y sabe, sabe de otro modo, nos
conoce mejor, sabe como Dios nada sabe de tanto saber.
==========
LOBE- (Joaquín Trujillo)
- Note on Page 850 | Loc. 13030 | Added on Wednesday, April 29, 2015, 12:56 AM
postpseudofabula
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 19 | Loc. 290-91 | Added on Wednesday, April 29, 2015, 01:01
PM
opening to the world permitted an escape from nationalist cultural formations and
established a symbolic horizon for the realization of the translocal aesthetic
potential of literature and cosmopolitan forms of subjectivation.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 20 | Loc. 294 | Added on Wednesday, April 29, 2015, 01:01 PM
nabuco
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 20 | Loc. 304-26 | Added on Wednesday, April 29, 2015, 01:03
PM
atraction of the world and synthesis of partivular and uniersal. drama o thw old
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 22 | Loc. 327-38 | Added on Wednesday, April 29, 2015, 01:04
PM
sort of global mediation that shapes the peripheral position of Brazil and Latin
America at the beginning of the twentieth century: “Morando em um país provinciano,
[Nabuco] está distante do palco onde a grande pega se desenrola, mas dela pode ser
espectador no conforto do lar em virtude dos meios de comunicagao de massa
modernos, no caso o telégrafo. A oposigao entre país de origem e século, e a
preferencia pela crise da representagao [do Imperio] e nao pela busca de identidade
nacional da joven nagao” (12-13) (“Living in a provincial country, [Nabuco] is far
from the stage where the great play is being performed,
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 23 | Loc. 338 | Added on Wednesday, April 29, 2015, 01:04 PM
I believe—along with Sarlo and Molloy—that one should read the differential
affirmation of a cosmopolitan and disruptive aesthetic identity not in terms of a
particularistic cultural politics but as a strategic literary practice that forces
its way into the realm of universality, denouncing both the hegemonic structures of
Eurocentric forms of exclusion and nationalistic patterns of self-marginalization.
In other words, it is a cosmopolitan attempt to undo the antagonistic structures of
a world literary field organized around the notions of cultural difference that
Latin American cosmopolitan writers perceive to be the source of their marginality,
in order to stake a claim on Literature with a capital L—the imaginary,
undifferentiated grounds of a cosmopolitan literature “free from constraint,
whether nationalist or pedagogical” (Balderston 47), or, to borrow the words from
the title of an essay by Juan José Saer, “una literatura sin atributos” (272) (“a
literature without attributes”).
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 27 | Loc. 411 | Added on Wednesday, April 29, 2015, 01:10 PM
towards universalism
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 28 | Loc. 415-16 | Added on Wednesday, April 29, 2015, 01:11
PM
horizontal, universal discursive field where they can represent their cosmopolitan
subjectivity on equal terms with the metropolitan cultures whose hegemony their
discourses try to undermine.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 28 | Loc. 416 | Added on Wednesday, April 29, 2015, 01:11 PM
horizontal universal
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 28 | Loc. 416-20 | Added on Wednesday, April 29, 2015, 01:12
PM
I propose that this is an omnipotent fantasy (an imaginary scenario occupying the
place of the real, according to Lacan), a strategic, voluntaristic fantasy that is
nonetheless very effective in opening a cosmopolitan discursive space where it is
possible to imagine a non-nationalistic, nonanthropocentric path to a modernization
that is set against the horizon of abstract universality. I call this cosmopolitan
discursive space the “world,” and I trace and examine the ways in which Latin
American literature has represented, invoked, challenged, and inhabited this
imaginary space, this world defined as radically exterior to Latin America’s
cultural particularity.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 28 | Loc. 420 | Added on Wednesday, April 29, 2015, 01:12 PM
the world as the fantsy sutaining th cosmopolitan desire. omnipotence
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 28 | Loc. 429-31 | Added on Wednesday, April 29, 2015, 01:13
PM
By reframing the history of the novel and magical realism within global circuits of
economic, cultural, and aesthetic exchange, Part One views world literature as the
material production of a literary world that does not preexist the circulation of
the texts and objects that makes its form visible.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 30 | Loc. 449 | Added on Wednesday, April 29, 2015, 01:14 PM
The hero of this book, if I may call him that, is a Latin American cosmopolitan
intellectual (a distinctively male writer) who derives his specific cultural
subjectivity from his marginal position of enunciation and from the certainty that
this position has excluded him from the global unfolding of a modernity articulated
outside a Latin American cultural field saturated with the nationalistic or
peninsular signifiers that determine its backward- ness.4
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 32 | Loc. 476 | Added on Wednesday, April 29, 2015, 01:17 PM
hero
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 32 | Loc. 476-82 | Added on Wednesday, April 29, 2015, 01:18
PM
In his second seminar, Lacan explains that “desire is a relation of being to lack.
The lack is the lack of being properly speaking” (Ego in Freud’s Theory 223).
Following Lacan, in this book I depict the figure of a cosmopolitan marginal
intellectual defined by both a constitutive lack, translated as a signifier of
exclusion from the order of global modernity, and a longing for universal belonging
and recognition that mediates his discursive practices and measures the libidinal
investment that produces his imaginary cosmopolitan “body-ego” (Freud, Ego 31).5
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 32 | Loc. 482 | Added on Wednesday, April 29, 2015, 01:18 PM
In other words: the world does not exist, or rather, it does not preexist the acts
of imagining it, naming it, and acknowledging the ways in which it constitutes my
cosmopolitanism.6
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 33 | Loc. 499 | Added on Wednesday, April 29, 2015, 01:24 PM
the concept of cosmopolitanism was often used in reductive and superficial ways, a
fundamental feature of three markedly different, homogeneous moments in a linear
and teleological literary history: modernismo, the avant-garde, and the literary
articulations of humanism.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 34 | Loc. 508 | Added on Wednesday, April 29, 2015, 01:27 PM
other theoretical uses of cosmopolitanism
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 34 | Loc. 515-23 | Added on Wednesday, April 29, 2015, 01:28
PM
However, in the first half of the 1980s, there were a number of attempts to
redefine cosmopolitanism, principally in relation to the avant-garde, but also in
relation to modernismo (and even to the Boom and pre-Boom novels of the 1950s and
’60s), as a form of particularized universalism, an inward importation of modern
European literary tropes, vocabularies, and procedures where universalist desires
were subsumed by the particularistic logic of differential (national or regional)
identities. In other words, cosmopolitanism was viewed as the attempt to disrupt
and transform a particular cultural field—usually replete with nationalistic signi-
fiers—by translating the putative universality of modern and modernist metropolitan
cultures into the vernacular languages and aesthetic traditions that make this
appropriation polemical.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 35 | Loc. 522 | Added on Wednesday, April 29, 2015, 01:28 PM
schwartz
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 39 | Loc. 589-94 | Added on Wednesday, April 29, 2015, 01:31
PM
would gain traction in US and European humanities from the 1990s onward, in the
context of postcolonial and post-Marxist reformulations of the cultural
situatedness of marginal cosmopolitanisms (see, for example, Kwame Anthony Appiah
on “rooted cosmopolitanism” [Ethics of Identity; Cosmopolitanism] and “cosmopolitan
patriotism” [“Cosmopolitan Patriots”], Homi Bhabha on “vernacular cosmopolitanism”
[“Unsatisfied”], and Toni Erskine on “embedded cosmopolitanism,” among others).
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 39 | Loc. 594 | Added on Wednesday, April 29, 2015, 01:31 PM
Both interrogate the cultural hegemony of western European modern culture and the
aesthetic or conceptual materials that bear the traces of Latin America’s
asymmetric social relation to them. Yet, while cosmopolitanism is the outward
desire for inclusion within that hegemonic formation, transculturation attempts to
disrupt the hegemonic nature of its modernist practices by introducing subaltern
materials that determine its inward movement. That is, cosmopolitanism stresses the
highly ideological, indeed imaginary, impulse to do away with or at least postpone
Latin America’s cultural difference in order to gain access to the perceived
universality of the hegemon, universalizing Latin America’s particularity even at
the cost of erasing it.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 42 | Loc. 636 | Added on Wednesday, April 29, 2015, 01:34 PM
cosmopolitanism vs transuculturizing
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 42 | Loc. 640-44 | Added on Wednesday, April 29, 2015, 01:35
PM
the transcultu- radores anchor their works’ aesthetic identity in the manifest
confidence that their narratives can liberate the political potential of the
subaltern and the national-popular at the local, national, or regional level. Rama
sees this difference as markedly ideological: apolitical, elitist and abstract
universalism on one side, emancipatory, particularistic politics on the other.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 42 | Loc. 644 | Added on Wednesday, April 29, 2015, 01:35 PM
Throughout the nineteenth and twentieth centuries, critics like Hugo Meltzel,
George Brandes, Richard Moulton, Erich Auerbach, Werner P. Friederich, René
Étiemble, Fredric Jameson, and Sarah Lawall, among others, contributed to the
material institutionalization of world literature, adding layers of complexity,
historical specificity, and variability to world literature as an intellectual
practice, corpus, and humanistic pedagogy (D’haen, chs. 3 and 4).
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 47 | Loc. 709 | Added on Wednesday, April 29, 2015, 01:47 PM
(but by no means the only) attempts to rethink the field’s object of study in
relation to a world that “has given rise to so many inhospitable acts of violence,
so many prohibitions, so many exclusions” but that also represents “the positive
condition and democratic pole of a desired globalization” (Derrida, “Globalization”
373-74).13
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 48 | Loc. 722 | Added on Wednesday, April 29, 2015, 01:48 PM
derrida
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 47 | Loc. 714-20 | Added on Wednesday, April 29, 2015, 01:49
PM
Second, because its scale is invoked to disrupt the naturalization of the local,
the particular, and the national, world literary discourse can be seen as a
function of the impossibility of the idea of the world as a stable, sutured
totality. The world in Latin American world literary discourse is a space
constituted by an antagonism that prevents its realization as a given totality of
literary texts always already comparable to one another because of a supposedly
common ground. This book analyzes Latin America’s place in the production of a
global modernity shaped by an actually existing field of transcultural exchanges
that supports the critical practices, aesthetic imaginaries, and universalizing
fantasies of world literature.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 50 | Loc. 759 | Added on Wednesday, April 29, 2015, 04:47 PM
These figurations allow us to work through the tension between the desire to join
the global order of modernism and the anxiety provoked by the experience of
exclusion and the anticipation of the exclusion to come.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 51 | Loc. 771 | Added on Wednesday, April 29, 2015, 04:55 PM
constitutive tension
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 51 | Loc. 771 | Added on Wednesday, April 29, 2015, 04:56 PM
Karl Marx and Friedrich Engels described world literature as part of the
globalization of capital in The Communist Manifesto (1847): “The need of a
constantly expanding market for its products chases the bourgeoisie over the whole
surface of the earth. It must nestle everywhere, settle everywhere, establish
connections everywhere. . . . In place of the old local and national seclusion and
self-sufficiency, we have intercourse in every direction, universal inter-
dependence of nations. And as in material, so also in intellectual
production. . . . National one-sidedness and narrow-mindedness become more and more
impossible, and from the numerous national and local literatures, there arises a
world literature” (“Manifesto” 476-77). World literature here stands for the
material, dynamic formation of a global field of symbolic and material exchange,
where Latin American writers and texts actively negotiate the terms of their
participation in this world-historical process.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 52 | Loc. 786 | Added on Wednesday, April 29, 2015, 04:57 PM
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 53 | Loc. 804-7 | Added on Thursday, April 30, 2015, 03:40 PM
In this context, world literature designates, not the circulation of texts, but
rather a critical discourse that collects the aesthetic materials from outside
Latin America that enable a cosmopolitan modernization in the region, emancipating
it from a cultural particularity that bears the marks of exclusion.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 53 | Loc. 807 | Added on Thursday, April 30, 2015, 03:40 PM
archive derrida
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 56 | Loc. 857-68 | Added on Thursday, April 30, 2015, 03:48 PM
ch i. globalization o he novel
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 59 | Loc. 895-98 | Added on Thursday, April 30, 2015, 03:57 PM
Cosmopolitan Purpose” (1784), Immanuel Kant lays out the historiographic parameters
for a reconceptualization of human history that takes as its end the actualization
of freedom in a cosmopolitan political formation that he imagines as a world-
republic (Weltrepublik).1
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 59 | Loc. 897 | Added on Thursday, April 30, 2015, 03:57 PM
This is the unique nature of the relation between the novel and the historical
process of globalization vis-à-vis modern philosophy: if philosophy conceptualized
the transformation of the globe as the realization of a totality of freedom (as
evidenced by Kant, Hegel, and Marx), the novel provided this philosophical concept
with a set of images and imaginaries that elevated the fiction of ubiquitous
modernization to a foundational myth.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 61 | Loc. 936 | Added on Thursday, April 30, 2015, 04:01 PM
During the eighteenth and nineteenth centuries, the novel traveled from Europe to
Latin America, as well as other peripheries of the world, through the colonial and
postcolonial channels of symbolic and material exchange.5
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 66 | Loc. 999 | Added on Thursday, April 30, 2015, 04:09 PM
Because of the global hegemony of modern European culture (produced and reproduced
in colonial, postcolonial, and neocolonial links to its peripheries), the novel
became the first universalized aesthetic form and institution of modernity.9
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 70 | Loc. 1070 | Added on Thursday, April 30, 2015, 04:17 PM
It is important to bear in mind that the global preeminence of the novel form among
discursive genres cannot be explained as the result of the universal human impulse
to explain through narration: narration (or storytelling) and the novel (the
historically determined cultural and aesthetic form described here) are in fact
incommensurable cultural practices. The universality of the novel form was the
historical outcome of the formation (through colonialism, trade, and promises of
emancipation) of a world in which modern European culture was increasingly
hegemonic, if not forcefully dominant. Wherever one looked for modern desires (the
desires for self-determination, identity, material development, and progress), one
found novels. One could thus define the novel as modern desire formally enclosed
and regulated.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 71 | Loc. 1076 | Added on Thursday, April 30, 2015, 04:27 PM
However, if one looks at the globalization of the novel form as a modern and
modernizing institution, it becomes quite difficult to identify differences in
terms of the institutional and political function of the novel in these different
locations.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 71 | Loc. 1083 | Added on Thursday, April 30, 2015, 05:24 PM
outside the literary system understanding thwe nove0l as an institutuiom there int
many differences
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 72 | Loc. 1089-1104 | Added on Thursday, April 30, 2015, 05:26
PM
In this sense, and taking a cue from Gramsci’s understanding of hegemony, the
operation of universalization that constitutes the discursive basis for the
globality of the novel should not be understood as an instance of the periphery’s
cultural subordination to the core. That is why I mention notions of “importation,”
“translation,” and “adaptation,” instead of thinking only in terms of “imitation,”
“implantation,” or “imposition.” The ideas of coercion and consent embedded in the
concept of hegemony presuppose an active agency on the part of peripheral cultures
in the enterprise of universalizing the novel. That is, in the nineteenth and early
twentieth centuries, the representation of the particularity of European modernity
and its institutions as universal was a project shared by intellectuals and
practitioners both at the center and at the margins of a global discursive field
that sanctioned the universality of the novel form.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 73 | Loc. 1118 | Added on Thursday, April 30, 2015, 05:28 PM
hegelian modernity
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 75 | Loc. 1149 | Added on Friday, May 01, 2015, 12:55 AM
Jules Verne’s novels make a productive case study of the novelization of the globe.
If spatial meaning is always produced discursively (an idea Edward W. Said worked
through with the notion of “imaginative geography”), or, to put it bluntly, if
fiction is the way we apprehend, categorize, and represent the world, then Verne’s
novels can be said to have provided some of the most radical imaginaries of the
transformation of the planet into a totality of modern culture and sociability,
producing a textual surplus that goes beyond the typical reading of Verne as
colonialist fiction.16
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 82 | Loc. 1248 | Added on Friday, May 01, 2015, 01:21 AM
Jules Verne’s novels are usually read as an intersection of science fiction and
adventure. Without disputing these generic inscriptions, I would like to propose
that, in order to foreground the political relation of his narratives with the
globalization of modern institutions and practices, one needs to examine their
connection to the realist novel’s hegemonic protocols of representation. In other
words, what happens if we think of Verne’s novels as a form of oblique or, rather,
virtual realism—as representation of the real of the bourgeoisie’s technological
potential, that is, reality not necessarily as it is but as it could be? Gilles
Deleuze explains that virtuality is opposed not to the real but to actuality and to
what he calls the possible: “The possible has no reality (although it may have an
actuality); conversely the virtual is not actual, but as such possesses
reality. . . . The possible is that which is ‘realized’ (or is not realized). . . .
For the real is supposed to be in the image of the possible that it realizes. . . .
And every possible is not realized, realization involves a limitation by which some
possibles are supposed to be repulsed or thwarted, while others ‘pass’ into the
real. The virtual, on the other hand, does not have to be realized” (Deleuze,
Bergsonism 96-97). Verne’s novels have been conventionally read as having
prophesied technologies that would be invented in the next century or having
imagined new and hitherto inconceivable uses for the technology already available;
in other words, they have been read in terms of Deleuze’s notion of the possible. I
identify the place of Verne’s novels right on the edge of the realist novel’s
representational protocols: narratives of virtual worlds, virtual practices, and
virtual viewpoints, whose efficacy lies in their ability to illuminate the world-
historical globalizing agency of the bourgeoisie during the second half of the
nineteenth century, precisely because that virtuality points to the potentiality of
a desire for totalization constitutive of the historical subject in his novels,
that can never be fully accomplished.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 92 | Loc. 1409 | Added on Friday, May 01, 2015, 01:30 AM
eric hayot
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 93 | Loc. 1425 | Added on Friday, May 01, 2015, 01:45 AM
la nov of glob
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 94 | Loc. 1431-38 | Added on Friday, May 01, 2015, 01:47 AM
those of Eduardo Holmberg’s Viaje maravilloso del señor Nic-Nac al planeta Marte,
on the other), one needs to read diachronically the displacements of “outer-space
novels” (the globalization of the novel) together with the actual figurations of
the universe produced in each of these cultural locations (the novelization of the
global).
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 94 | Loc. 1438 | Added on Friday, May 01, 2015, 01:47 AM
Behind the rentrée of the concept of world literature lies a commendable political
goal: to imprint a universalist inclination on a US educational system and cultural
environment that has become increasingly chauvinistic and that is (appropriately)
seen as a symbolic battlefield for the future of global citizenship. This aim of
the new world literature, with which it is difficult to disagree, is very much in
line with the radical and controversial proposal of a cosmopolitan education for
American students that Martha Nussbaum put forth over a decade ago in “Patriotism
and Cosmopolitanism”:
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 107 | Loc. 1630 | Added on Friday, May 01, 2015, 02:01 AM
fetichism of wlit
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 108 | Loc. 1651-59 | Added on Friday, May 01, 2015, 02:04 AM
Some of the most prominent comparatists have been working for a decade now to
redefine world literature in relation to the heritage of postcolonial studies. This
discursive articulation has managed, to some degree, to move the theory of world
literature away from the two major threats that loom over the discipline. On the
one hand, there is the postulation of world literature as an even playing field
that makes possible an idealistic sense of parity among the literatures of the
world—in other words, world literature as an equalizing discourse that rights the
wrongs of cultural imperialism and/or economic globalization. On the other, there
is an expressive logic according to which some works convey the historical or
aesthetic experience of their cultures of origin and, therefore, become part of the
corpus of a world literature composed of a plurality of global particularities.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 109 | Loc. 1659 | Added on Friday, May 01, 2015, 02:04 AM
poscolonial critique
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 109 | Loc. 1659-63 | Added on Friday, May 01, 2015, 02:05 AM
critics
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 113 | Loc. 1726-34 | Added on Friday, May 01, 2015, 02:10 AM
We would no longer have magical realism and testimonio standing for all of Latin
America; instead, we would have the entirety of the region’s immensely
heterogeneous aesthetic universe.34 At the same time, as I state in the
Introduction, Moretti’s call to read everything relies on the abstract notion of an
undetermined totality, and the world in his proposed world literature coincides
with the universal qua universal; the textual corpus at stake obscures the concrete
determinations that shape its aesthetic specificity, its boundaries, and its
historicity.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 116 | Loc. 1768 | Added on Friday, May 01, 2015, 02:12 AM
obscures hitoricity
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 116 | Loc. 1772 | Added on Friday, May 01, 2015, 02:13 AM
spivak planet
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 116 | Loc. 1778-82 | Added on Friday, May 01, 2015, 02:15 AM
From this Goethean perspective, world literature gives aesthetic form to the
cosmopolitan desire to overcome the restrictions and limitations of our own
particular culture and our claustrophobic experience of it and to affirm the
necessarily universal nature of the promise of cultural emancipation of the planet.
World literature becomes, in short, a discourse with the potential to lead the way
toward the realization of a global culture (as the dialectical negation of the one-
sidedness of local particular cultures) capable of releasing the emancipatory
potential of “culture.”
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 117 | Loc. 1782 | Added on Friday, May 01, 2015, 02:15 AM
cosmopolitan desire as emancipatory
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 118 | Loc. 1798-99 | Added on Friday, May 01, 2015, 02:16 AM
serves as a model for global political agency. Underlying this belief that
humanistic world literature is capable of producing a reconciled world is an
unshakable confidence in the redeeming power of culture.36
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 118 | Loc. 1799 | Added on Friday, May 01, 2015, 02:16 AM
habernasuian wlit
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 119 | Loc. 1823-28 | Added on Friday, May 01, 2015, 02:19 AM
Along the lines of the globalization of the novel that I proposed in the previous
chapter, here I suggest that the world literary nature of magical realism should be
sought, not in its formal generic traits, but in its concrete global trajectories
from the 1920s to the 1990s
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 127 | Loc. 1938 | Added on Friday, May 01, 2015, 06:39 PM
Is magical realism a universal aesthetic that unveils the supernatural core of the
real everywhere thanks to its universal antipositivistic (transhistorical, and
often ahistorical) appeal? Or is it an aesthetic that belongs organically to
marginal cultures marked by traumatic collective experiences of oppression
(colonial or otherwise)? Most of the bibliography on magical realism and world
literature tends to explain the genre’s globality in terms of the first
formulation, while those critics (like Bhabha and Spivak, among many others) that
identify the coupling of magical realism and postcolonialism opt for the second
argument. In this chapter, I attempt to historicize the gap that separates these
two questions about the world literary nature of the genre.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 129 | Loc. 1974 | Added on Friday, May 01, 2015, 06:50 PM
ga in mg real
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 130 | Loc. 1982 | Added on Friday, May 01, 2015, 06:52 PM
Warnes explains that the German romantic Novalis envisioned in his notebooks the
figure of a prophetic intellectual, whom he referred to as magischer Idealist and
magischer Realist (Schriften 384): the prophet poet who lives outside the
boundaries of enlightened discourse without losing touch with the real, grounding
his poetic idealism in reality.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 132 | Loc. 2017 | Added on Friday, May 01, 2015, 06:53 PM
novalis
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 134 | Loc. 2051-57 | Added on Friday, May 01, 2015, 06:54 PM
Magical realism came of age when a group of Caribbean and Central American writers—
Arturo Uslar Pietri, Alejo Carpentier, and Miguel Ángel Asturias, who had
befriended one another in Paris in the late 1920s and early 1930s—reformulated the
concept into an aesthetic form derived from the hybrid nature of Latin American
culture and society.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 135 | Loc. 2057 | Added on Friday, May 01, 2015, 06:54 PM
However, when they met in Paris, the three writers were primarily concerned with
conceiving a cogent aesthetic program capable of expressing their Latin American
cultural particularity, and it was the Venezuelan novelist Uslar Pietri who first
produced, albeit tentatively, a Latin American appropriation of the concept. In a
1986 essay, Uslar Pietri reminisces about those years: Desde 1929 y por algunos
años tres jóvenes escritores hispanoamericanos se reunían, con cotidiana
frecuencia, en alguna terraza de un café de Paris para hablar sin término de lo que
más les importaba que era la literatura de la hora y la situación política de la
América Latina que, en el fondo, era una misma y sola cosa. . . . En Asturias se
manifestaba, de manera casi obsesiva, el mundo disuelto de la cultura maya, en una
mezcla fabulosa en la que aparecían, como extrañas figuras de un drama de guiñol,
los esbirros del Dictador, los contrastes inverosímiles de situaciones y
concepciones y una visión casi sobrenatural de una realidad casi irreal. Carpentier
sentía pasión por los elementos negros en la cultura cubana. Podía hablar por horas
de los santeros, de los ñáñigos, de los ritos del vudú, de la mágica mentalidad del
cubano medio en presencia de muchos pasados y herencias. Yo, por mi parte, venía de
un país en el que no predominaban ni lo indígena, ni lo negro, sino la rica mezcla
inclasificable de un mestizaje cultural contradictorio. La política venía a
resultar un aspecto, acaso el más visible, de esas situaciones de peculiaridad que
poco tenía que ver con los patrones europeos. (“Realismo mágico” 135)
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 136 | Loc. 2079 | Added on Wednesday, May 06, 2015, 01:47 AM
la lluvia. interesante
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 141 | Loc. 2161-63 | Added on Wednesday, May 06, 2015, 01:52
AM
Lo que García Márquez describe y que parece pura invención, no es otra cosa que el
retrato de una situación peculiar, vista con los ojos de la gente que la viven y la
crean, casi sin alteraciones. El mundo criollo está lleno de magia en el sentido de
lo inhabitual y lo extraño. (139)
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 142 | Loc. 2163 | Added on Wednesday, May 06, 2015, 01:52 AM
point in his literary development. . . . It brought him a greater sense of the role
of faith in the magical, in the noncausal, the supernatural, as a factor in
artistic creation” (Shaw 17). Together with the theorization of the marvel, the
ethnographic and primitivist dimension present in the artistic practice of many
surrealists (what James Clifford has termed “the ethnographic surrealism of the
Parisian Avant-Garde,” 118) resonated with Carpentier’s sensibility and, evidently,
coincided with the writing of Ecué-Yamba-ó.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 145 | Loc. 2218 | Added on Wednesday, May 06, 2015, 01:54 AM
ethnograhi surrealism
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 147 | Loc. 2243-51 | Added on Wednesday, May 06, 2015, 01:56
AM
the marvelous real), Uslar Pietri was in fact the first to connect, more than two
decades after Roh’s initial conceptualization of magical realism, its European and
Latin American incarnations. He later described how the concept came back to him,
many years after he had taken part in discussions about magical realism in Paris.
“De dónde vino aquel nombre que iba a correr con buena suerte? Del oscuro caldo del
subconsciente. Por el final de los años 20 yo había leído un breve estudio del
crítico del arte alemán Franz Roh sobre la pintura postexpresionista europea, que
llevaba el título de ‘Realismo mágico.’ Ya no me acordaba del lejano libro pero
algún oscuro mecanismo de la mente me lo hizo surgir espontáneamente” (“Realismo
mágico” 140)
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(Mariano Siskind)
- Note on Page 147 | Loc. 2251 | Added on Wednesday, May 06, 2015, 01:56 AM
franz roh
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- Highlight on Page 148 | Loc. 2255-66 | Added on Wednesday, May 06, 2015, 01:56
AM
that the concept was present in the writings of many New York art critics at the
time (Alejo Carpentier: The Pilgrim 109). In any event, what is important about
Uslar Pietri’s quotation is that it puts to rest the critical speculations about
where he (and most likely, Carpentier and Asturias) got the notion of magical
realism. The answer: in Paris, in 1927, in Fernando Vela’s Spanish translation of
Roh’s piece that was published in the influential Revista de Occidente ( Western
Journal), edited by José Ortega y Gasset and widely circulated in European and
Latin American circles.9
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(Mariano Siskind)
- Note on Page 148 | Loc. 2266 | Added on Wednesday, May 06, 2015, 01:56 AM
exact sourcw
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- Highlight on Page 149 | Loc. 2281-87 | Added on Wednesday, May 06, 2015, 01:58
AM
palace of Sans-Souci and the bulk of the Citadel of La Ferrière, and the colonial
Cap Français, where black men lived like the rulers of Versailles for a short
period in the nineteenth century. Carpentier saw the marvel that gave access to a
“superior reality” (according to the surrealist mandate that he had absorbed in
Paris) to be the result of the hybridization of cultures, religions, and
polities.11 The very modern desire for freedom was articulated in terms of magical
emancipations: “una tierra donde millares de hombres ansiosos de libertad creyeron
en los poderes licantrópicos de Mackandal, a punto de que esa fe colectiva
produjera un milagro el día de su ejecución” (“Prólogo” 5)
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(Mariano Siskind)
- Note on Page 152 | Loc. 2317 | Added on Wednesday, May 06, 2015, 01:59 AM
hibridizacion
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- Highlight on Page 154 | Loc. 2351-61 | Added on Wednesday, May 06, 2015, 02:01
AM
En ese momento Mackandal agitó su muñón que no habían podido atar, en un gesto
combinatorio que no por menguado era menos terrible, aullando conjuros desconocidos
y echando violentamente el torso hacia adelante. Sus ataduras cayeron, y el cuerpo
del negro se espigó en el aire, volando por sobre las cabezas, antes de hundirse en
las ondas negras de la masa de esclavos. Un solo grito llenó la plaza. —Mackandal
sauvé! Y fue la confusión y el estruendo. Los guardias se lanzaron, a culatazos,
sobre la negrada aullante, que ya no parecía caber entre las casas y trepaba hacia
los balcones. Y a tanto llegó el estrépito y la grita y la turbamulta, que muy
pocos vieron que Mackandal, agarrado por diez soldados, era metido decabeza en el
fuego, y que una llama crecida por el pelo encendido ahogaba su último grito.
Cuando las dotaciones se aplacaron, la hoguera ardía normalmente, como cualquiera
hoguera de buena leña. (El reino de este mundo 18) This was what their masters did
not know; for that reason they had squandered so much money putting on this useless
show, which would prove how completely helpless they were against a man chrismed by
the great Loas. Macandal was now lashed to the post. The executioner had picked up
an ember with the tongs. With a gesture rehearsed the evening before in front of a
mirror, the Governor unsheathed his dress sword and gave the order for the sentence
to be carried out. The fire began to rise towards the Mandigue, licking his legs.
At that moment Macandal moved the stump of his arms, which they have been unable to
tie up, in a threatening gesture which was none the less terrible for being
partial, howling unknown spells and violently thrusting his torso forwards. The
bonds fell off and the body of the Negro rose in the air, flying overhead, until it
plunged into the black waves of the sea of slaves. A single cry filled the square:
“Macandal saved!” Pandemonium followed. The guards fell with rifle butts on the
howling blacks, who now seemed to overflow the streets, climbing toward the
windows. And the noise and screaming and uproar were such that very few saw that
Macandal, held by ten soldiers, had been thrust head first into the fire, and that
a flame fed by his burning hair had drowned his last cry. When the slaves were
restored to order, the fire was burning normally like any fire of good wood.
(Kingdom 31-32) This scene, the one most often cited as a perfect narrative
performance of the marvelous real, is structured as an irreconcilable opposition of
the rational, positivistic point of view of the white colonialists and the magical
conception of the real of the slaves.
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- Note on Page 162 | Loc. 2474 | Added on Wednesday, May 06, 2015, 02:06 AM
irreconciable opposition
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(Mariano Siskind)
- Highlight on Page 163 | Loc. 2493-96 | Added on Wednesday, May 06, 2015, 02:07
AM
The novel performs a marvelous real discourse very different from the one put forth
in the preface/manifesto. The marvelous is no longer the constitutive core of Latin
American reality, no longer its objective truth, but the predicate of the worldview
of Latin American marginalized, subaltern populations.
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(Mariano Siskind)
- Note on Page 163 | Loc. 2495 | Added on Wednesday, May 06, 2015, 02:07 AM
actuality lies on the side of the French colonizers, while the marvelous is an
epistemology of the oppressed, a willful projection of a subaltern who is motivated
by the need to anchor hope in a better future. By discrediting the point of view of
the slaves, Carpentier contradicts the proposal of his preface and reinscribes his
conception of the marvelous within the frame of the primitivist mind-set of the
French avant-garde. He also opens up the meaning of magical realism to future
postcolonial selfconscious appropriations of the genre.
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(Mariano Siskind)
- Note on Page 164 | Loc. 2509 | Added on Wednesday, May 06, 2015, 01:00 PM
After Carpentier and Asturias set up theoretical and narrative practices of magical
realism as the literary identity politics of Latin America, the Haitian novelist
Jacques Stéphen Alexis gave a lecture at the first Congress of Black Writers in
1956 at the Sorbonne, “Du réalisme merveilleux des Haïtiens” (“On the Marvelous
Realism of the Haitians”). He proposed an aesthetic capable of representing the
social totality of a Caribbean culture that he saw deeply rooted in the living
tradition of the mythic, the legendary, and the marvelous.18 Amaryll Chanady points
out that the crucial difference between Carpentier’s and Alexis’s approach is the
latter’s emphasis on the merveilleux as the language of non-Europeanized Haitians
and Latin Americans. While Carpentier attempted to re-create the worldview of the
Other from a position of exteriority, Alexis searches for an expressive form that
springs from the local culture (Chanady, Entre inclusion et exclusion 109-21).
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(Mariano Siskind)
- Note on Page 168 | Loc. 2575 | Added on Wednesday, May 06, 2015, 01:25 PM
In many cases these attempts were formulated in rather explicit postcolonial terms;
in others, the postcolonial cultural politics were a retrospective theoretical
attribution; and in yet a third group, magical realism was described in purely
formal terms, without any allusion to its potential relation to the political and
cultural projects of an imagined collectivity. It was a scholar, Ángel Flores, in a
famous lecture given in 1954 and published a year later, “El realismo mágico en la
narrativa hispanoamericana” (“Magical Realism in Spanish American Fiction”), who
returned to a structuralist definition of magical realism that valued the concept
for its “intrinsically aesthetic merits” (109) as a formal “amalgamation of realism
and fantasy” (112). This tendency to define magical realism in strictly formal
terms that overlook its historical, cultural, and political determinations has led
many critics to include almost any text featuring a fantastic episode not
explainable by the laws of physics, regardless of when or where it may have been
produced, within the flexible boundaries of magical realism.
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(Mariano Siskind)
- Note on Page 170 | Loc. 2598 | Added on Wednesday, May 06, 2015, 01:27 PM
Devoid of the specific historical context and cultural politics that differentiate
it from mere fantasy and other forms of narrative that defy the “rational, linear
worldview of Western realist fiction” (Ashcroft, Griffiths, and Tiffin, Post-
colonial Studies 133), magical realism became an empty signifier that fit
practically every text to critique the stability of the referential world and the
possibility of accessing it in a transparent and direct manner.
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(Mariano Siskind)
- Note on Page 170 | Loc. 2602 | Added on Wednesday, May 06, 2015, 01:28 PM
empty signifier
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(Mariano Siskind)
- Highlight on Page 170 | Loc. 2603-24 | Added on Wednesday, May 06, 2015, 01:29
PM
This ahistorical definition of the concept led Flores to declare a misguided Latin
American genealogy of magical realism composed of authors whose texts could not be
further from Carpentier’s proposal or Asturias’s practice. Flores’s genealogy
begins with Jorge Luis Borges’s Historia universal de la infamia (A Universal
History of Infamy) (1935) and El jardín de los senderos que se bifurcan (The Garden
of Forking Paths) (1941) and continues with María Luisa Bombal’s La última niebla
(House of Mist) (1935), Silvina Ocampo’s Viaje Olvidado (Forgotten Journey) (1937),
Adolfo Bioy Casares’s La invención de Morel (The Invention of Morel) (1942), José
Bianco’s Sombras suele vestir (Shadow Play) (1944), and other texts that simply
cannot be read under the rubric of magical realism.20
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(Mariano Siskind)
- Note on Page 172 | Loc. 2624 | Added on Wednesday, May 06, 2015, 01:29 PM
In the 1980s, this same dehistoricizing move took hold of the notion of magical
realism in the English-speaking world. After Gabriel García Márquez’s 1982 Nobel
Prize, David Young and Keith Holloman edited an anthology, Magical Realist Fiction,
that defined the concept of magical realism in similarly vague terms and yet
immediately became a textbook in classrooms worldwide: Whatever its limitations—and
all such terms have them— we found the term and what it implied extremely useful in
defining for ourselves a category of fiction that could be distinguished from
traditional realistic and naturalistic fiction, on the one hand, and from
recognized categories of the fantastic: ghost story, science fiction, gothic novel,
and fairy tale. . . . The recent increase in popularity of the term has made us
feel less defensive about our decision to stick with it, but there is also the fact
that any other term, such as “fiction of the marvelous,” or “fiction of conflicting
realities,” would be both more cumbersome and less expressive. (1)
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- Note on Page 173 | Loc. 2651 | Added on Wednesday, May 06, 2015, 01:30 PM
Ato Quayson provides the most convincing definition of the formal specificity of
the rhetoric of magical realism, distinguishing it from the fantastic by describing
the differential relation it establishes between the real and the extraordinary in
terms of a “principle of equivalence”: “It is not that magical realism does not
share elements of the fantastic with other genres, but that in confounding any
simple or clear sense of spatial, ethical, or motivational hierarchies between the
real and the fantastic, magical realism generates a scrupulous equivalence between
the two domains” (“Fecundities” 728). This principle of equivalence, which recalls
Chiampi’s idea of the denaturalization of the real and the naturalization of the
marvelous cited at the beginning of the chapter, is not at work in fantasy, where
the abnormal and the marvelous are never normalized.
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(Mariano Siskind)
- Note on Page 174 | Loc. 2665 | Added on Wednesday, May 06, 2015, 01:31 PM
principle of equivalence
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(Mariano Siskind)
- Highlight on Page 175 | Loc. 2672-78 | Added on Wednesday, May 06, 2015, 01:33
PM
In other words, magical realism should not be considered an aesthetic form that can
be forged anywhere, under any sociocultural conditions, but rather as a discourse
that emerges from cultural formations marked by the perception of a lack (in the
Lacanian sense) and the registration of emancipatory desires that dislocate and
reconfigure hegemonic mappings of world literature. Indeed, it could be said that
the most important contribution of the Latin American writers who reinvented the
category and practice of magical realism was to imprint in the genre’s DNA an
awareness of the indissoluble relation between aesthetic form and the specificity
of the historical determinations that separate magical realism from other
neighboring narrative discourses.
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(Mariano Siskind)
- Note on Page 175 | Loc. 2677 | Added on Wednesday, May 06, 2015, 01:33 PM
“Mi problema más importante era destruir la línea de demarcación que separa lo que
parece real de lo que parece fantástico. Porque en el mundo que trataba de evocar
esa barrera no existía” (qtd. in Palencia- Roth 69)
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(Mariano Siskind)
- Note on Page 181 | Loc. 2763 | Added on Wednesday, May 06, 2015, 01:38 PM
These are not magical, marvelous, or strange episodes that take place under the
eyes of delusional or prophetic individuals (as in the case of D. M. Thomas’s The
White Hotel [1981]), or in unspecified and undetermined collectivities. On the
contrary, their magical nature is a “categorical affirmation: there is no doubt
that Remedios the beauty ascends to heaven; there’s no doubt that butterflies
always follow Meme and Mauricio Babilonia” (Rama, Edificación 125). In other words,
magic is structurally determined: the community where these events occur is
politically mediated by the traumatic experience of a clash between modernization
and tradition, between oppression and a demand for justice typical of Latin
American culture since the nineteenth century.
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(Mariano Siskind)
- Note on Page 183 | Loc. 2802 | Added on Wednesday, May 06, 2015, 01:44 PM
Okri’s The Famished Road, the unreal is construed as the result of the internal and
geopolitical effects of historically inflicted wounds. Ato Quayson, one of Okri’s
most lucid interpreters, describes his fiction with a concept borrowed from Harry
Garuba, “animist realism” (Strategic Transformations 148).
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(Mariano Siskind)
- Note on Page 189 | Loc. 2892 | Added on Wednesday, May 06, 2015, 03:35 PM
menton. univwersalist
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(Mariano Siskind)
- Highlight on Page 191 | Loc. 2927-41 | Added on Friday, May 08, 2015, 01:41 PM
Much more persuasive than this affirmation of the universality of magical realism
is Doris Sommer and George Yúdice’s hypothesis about the reasons why these Latin
American narratives were immediately understood and embraced across the world: “The
appeal to foreign readers, no doubt, owed something to their degree of familiarity
with or preparedness for the Latin American extensions of a European, sometimes
called universal, literary tradition. That very familiarity allowed them to
appreciate how supplements to that tradition were unpredictable and refreshing.”
But they explain that their appeal resided not only in the fact that “Spanish-
Americans exploited the lessons of modernists to their own ends” but also perhaps
in the very effective articulation in these novels of “a tenuous or paradoxical
balance between aesthetic experimentation and ethico-political motivation” (“Latin
American Literature” 860-61). Even though Sommer and Yúdice are thinking about
García Márquez and others’ success in world publishing markets, their hypothesis is
particularly useful for exploring why Latin American magical realism was singled
out as a productive aesthetic matrix to appropriate and reimagine from other
peripheries of the world where writers felt the pressing need of “destabilising the
binaries of imperial romance—coloniser and colonised, knowledge and inscrutability,
western and other—upon which colonial fictions depend” (Warnes, Magical Realism
39).
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- Note on Page 192 | Loc. 2941 | Added on Friday, May 08, 2015, 01:41 PM
sommer thesis
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(Mariano Siskind)
- Highlight on Page 193 | Loc. 2945-47 | Added on Friday, May 08, 2015, 01:42 PM
univerality vs universalization
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 193 | Loc. 2952-62 | Added on Friday, May 08, 2015, 01:42 PM
The novel’s publication had been carefully orchestrated by three people on both
sides of the Atlantic: in Barcelona, García Márquez’s literary agent, Carmen
Balcells; and in Buenos Aires, Paco Porrúa, editor of Sudamericana, the press that
released the book, and Tomás Eloy Martínez, director of the news magazine Primera
plana, one of the most important “vectors of dissemination” (Sorensen, Turbulent
Decade Remembered 109, 115) of a new Latin American cultural industry.
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(Mariano Siskind)
- Note on Page 194 | Loc. 2962 | Added on Friday, May 08, 2015, 01:42 PM
By the mid-1970s, and even more so after he won the Nobel Prize in 1982, readers in
Europe and the United States (but also in countries from the Eastern bloc, the
British Commonwealth and the Middle East) were devouring Cien años de soledad. For
most of these audiences the book’s appeal was linked to the interest in Latin
America that the Cuban Revolution and the iconography of Che Guevara had triggered
throughout the 1960s and ’70s, and the work was received both as a technical
prodigy and as an exotic commodity (Kennedy). But thanks to the unparalleled wide
reach of the novel in translation, English-speaking postcolonial intellectuals were
the ones first and most intensely interpellated by magical realism.
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- Note on Page 196 | Loc. 2996 | Added on Friday, May 08, 2015, 01:48 PM
was a colossal event. One thing that struck me, which was one of the things that
first struck me when I went to Latin America, was the incredible similarity between
the world he was describing and the world that I knew from South Asia, from India
and Pakistan. It was a world in which religion and superstition dominated people’s
lives; also a world in which there was a powerful and complicated history of
colonialism; also a world in which there were colossal differences between the very
poor and the very rich, and not much in between; also a world bedeviled by
dictators and corruption. And so to me, what was called “fantastic” seemed
completely naturalistic. (“Inverted Realism”)
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(Mariano Siskind)
- Note on Page 197 | Loc. 3011 | Added on Friday, May 08, 2015, 01:49 PM
This process transfigured the aesthetic value of magical realism into a commodity
whose formulaic contours were shaped according to market niche expectations, as in
the cases of Isabel Allende’s La casa de los espíritus (The House of the Spirits)
(1982), Angela Carter’s Nights at the Circus (1984), Patrick Süskind’s Perfume
(1985), Laura Esquivel’s Como agua para chocolate (Like Water for Chocolate)
(1989), and Marie Darrieussecq’s Pig Tales (1997), among many other cases.27 These
novels no longer operated within the terrain set up by Carpentier and Asturias (and
later reinforced by García Márquez), a magical realism defined by an organic
interaction with its cultural-historical situation, capable of codifying ethnic and
racial tensions and hybridities in the context of the Caribbean, Central America
and the Indian subcontinent, nor were they invested in political, emancipatory,
messianic imaginaries, postcolonial or otherwise. These post-magical realist novels
inscribed their poetics and circulated in a world literary field structured as a
global market where magical realism had become a niche, a designated shelf in
corporate bookstore chains.
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(Mariano Siskind)
- Note on Page 201 | Loc. 3067 | Added on Friday, May 08, 2015, 01:53 PM
Juan José Saer was one of the most notable writers who articulated a polemical
discourse on the imposition of magical realist expectations for Latin American
writers. At the end of the 1960s Saer had moved to Paris from Santa Fe, Argentina,
thanks to a film scholarship. His experience as a Latin American writer in Europe,
having to address magical realist demands in his dealings with editors, the press,
and award-granting institutions, certainly informed the polemical position he
articulated in the 1979 programmatic essay “La espesa selva de lo real” (“The Thick
Forest of the Real”). There, he defended the project of a Latin American literature
conceived, following the antinovelist Macedonio Fernández, as “una crítica de lo
real” (268) (“a criticism of the real”), dispossessed of Latin American
specificity: “La tendencia de la crítica europea a considerar la literatura
latinoamericana por lo que tiene de específicamente latinoamericano me parece una
confusión y un peligro, porque parte de ideas preconcebidas sobre América Latina y
contribuye a confinar a los escritores en el gueto de la latinoamericanidad” (268-
69)
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(Mariano Siskind)
- Note on Page 202 | Loc. 3095 | Added on Friday, May 08, 2015, 01:54 PM
critica de saer
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(Mariano Siskind)
- Highlight on Page 204 | Loc. 3115-19 | Added on Friday, May 08, 2015, 03:58 PM
Since 1979 (to use the arbitrary date of Saer’s essay), the global travels of
magical realism as avant-garde, postcolonial, and commodity forms make it
impossible to distinguish the aesthetic program of magical realism from the
European (and North American) expectations that constitute the historicity of the
last moment of its globalization. In other words, Saer’s criticism is directed to
both, or rather, to the imaginary intersection and overlap between the two, which
is the point where a hegemonic demand is met by the Latin American performance of a
magical realist cultural identity.
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(Mariano Siskind)
- Note on Page 204 | Loc. 3119 | Added on Friday, May 08, 2015, 03:58 PM
On the other, McOndo signifies a new Latin American relation with world literature
as a global market where the structural distance between high and popular culture
has been collapsed. Fuguet has no problem with the circulation of literature as
commodity; what concerns him is that Euro-American readers and literary
institutions are buying antiquities, relics, without any current exchange value.
Fuguet’s rejection of magical realism is a Latin American symptom of a world-
historical neoliberal break, a break that he sees as the condition of possibility
of a new aesthetic ideology successfully determined by the social hegemony of
postnational and deterritorialized economic forces and novel consumerist
subjectivities.
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(Mariano Siskind)
- Note on Page 208 | Loc. 3178 | Added on Friday, May 08, 2015, 04:03 PM
At the same time, the articulation of literary concerns crystallized in the McOndo
trademark, alluding to a fast-food chain, a line of globally popular computers, and
residential units mass produced with readymade materials, subverts the place of
literature as a privileged site of cultural and political agency, the status it
held for the Boom writers in general and García Márquez in particular. And again,
as in the case of the desacralized circulation of commodities, this undoing of
hierarchies and the elitism of the Latin American literary tradition directly
relates (in Fuguet’s eyes) to the extremely creative disruption of market forces in
the cultural field and the way actors identify themselves in it.29
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(Mariano Siskind)
- Note on Page 208 | Loc. 3185 | Added on Friday, May 08, 2015, 04:04 PM
desacralization o literature
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(Mariano Siskind)
- Highlight on Page 209 | Loc. 3192-99 | Added on Friday, May 08, 2015, 04:05 PM
Part II Marginal Cosmopolitanism, Modernismo, and the Desire for the World chapter
3 The Rise of Latin American World Literary Discourses (1882-1925)
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- Note on Page 209 | Loc. 3199 | Added on Friday, May 08, 2015, 04:05 PM
How did Latin American writers represent their historical task at the turn of the
century? Sylvia Molloy explains that it involved a rhetoric of foundations: “Darío,
como otros contemporáneos, opera a partir de un vacío cultural. . . . Darío y sus
pares [tienen] la sensación de un vacío que pide ser colmado. Este vacío y esta
necesidad de colmar— y más aún: de colmatar—es la clave del modernismo”
(“Voracidad” 7-8) (“Darío, like other contemporaries, operates out of a cultural
void. . . . Darío and his peers [have] the sensation of a void that begs to be
filled. This void and this need to fill up—and furthermore to cram and soak—is the
key to modernism”). In filling this void, establishing a modern culture where, to
them, there was none, modernistas took on the work of cultural and aesthetic
modernization with confidence in the omnipotence of their modern sensibility.
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- Note on Page 210 | Loc. 3215 | Added on Friday, May 08, 2015, 04:06 PM
filling a void
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(Mariano Siskind)
- Highlight on Page 210 | Loc. 3216-22 | Added on Friday, May 08, 2015, 04:07 PM
For modernistas, what was modern in a Latin America devoid of modernity was their
own modern desire, in perfect synchronicity with what they imagined as the
universality of European modernism; or, as Aníbal González has pointed out, “En vez
de señalar la necesidad de ser modernos, los escritores modernistas hacen su
literatura desde el supuesto de que ya son modernos” (Crónica 7)
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- Note on Page 211 | Loc. 3222 | Added on Friday, May 08, 2015, 04:07 PM
This chapter reconstructs and analyzes this lost archive of world literary
interventions, activating “the archontic power [of the archive], which also gathers
the functions of unification, of identification, of classification . . . to
coordinate a single corpus, in a system or a synchrony in which all elements
articulate the unity of an ideal configuration” (Derrida, “Archive Fever” 10),
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 212 | Loc. 3247 | Added on Monday, May 11, 2015, 11:30 AM
derrida. archive
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 212 | Loc. 3247-49 | Added on Monday, May 11, 2015, 11:31 AM
solidarity not oherness. it is not just accumulation o ref but creation of common
world
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 219 | Loc. 3352-63 | Added on Monday, May 11, 2015, 11:40 AM
If Martí, Gutiérrez Nájera, and González Prada, among others, are considered
emblematic contributors to the foundation of a Latin Americanist identity for Latin
America—that is, a differential identity defined by a particularistic determination
—I argue that they also articulate a universalist discourse on the literatures of
the world that is in blatant contradiction to their own particularistic goals.
Recognition of this unresolved tension is essential to a complete and complex
understanding of the discursive forces at stake for the modernistas, as well as in
the Latin American cultural field through the first half of the twentieth century.
To be clear, I propose that the cosmopolitan subject of world literary discourses
does not coincide with the biological person of the writers but rather is a subject
position that they assume at very specific historical junctions as a way of
responding to specific modernizing demands that a particularistic, nationalist or
regionalist discourse of cultural difference would not satisfy.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 220 | Loc. 3363 | Added on Monday, May 11, 2015, 11:40 AM
unresolved tension
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 220 | Loc. 3364 | Added on Monday, May 11, 2015, 11:40 AM
Although often cited, this opening paragraph has never been recognized for what it
is: the first Latin American world literary discourse, the first articulation of a
concern, regarding not this or that individual foreign literature, text, or author
(I will return to the foreign nature of the textual formation that Martí describes)
but rather the universality of literature and the possible emancipatory effects of
this inscription of universality in America’s literary body. Martí condemns the
state of the region’s cultural field (“espíritu actual”): isolated, belated, and in
need of modernity to help it transcend the limits of Hispanic sameness and cultural
particularity (“las fronteras de nuestro espíritu son las de nuestro lenguaje”).6
Martí’s call to world literature shows his impatience with the absence of deseo de
mundo, a lack of interest on the part of Latin Americans about what lies beyond the
limits of a monolingual existence, whether in the metrópoli or in its current and
former colonies.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 224 | Loc. 3428 | Added on Monday, May 11, 2015, 11:44 AM
In 1886, the Peruvian González Prada gave a lecture in Lima that echoed Kant’s “An
Answer to the Question: What Is Enlightenment?” in its call for Latin American
intellectuals to mature into cosmopolitan adults; he recommended engagement with
world literature as the most productive way to overcome Spain’s backwardness and to
synchronize Peruvian culture with the secular universality of modernity: “Dejemos
las andaderas de la infancia y busquemos en otras literaturas nuevos elementos y
nuevas impulsiones. Al espíritu de naciones ultramontanas y monárquicas prefiramos
el espíritu libre y democrático del siglo. . . . Recordemos constantemente que la
dependencia intelectual d’España significaría para nosotros la indefinida
prolongación de la niñez” (“Conferencia” 26)
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 227 | Loc. 3481 | Added on Monday, May 11, 2015, 11:48 AM
Between 1893 and 1894, the Colombian Bal- domero Sanín Cano (a transitional figure
in Latin American literature who bridged modernismo and the liberal humanism of
Alfonso Reyes and Victoria Ocampo) wrote “De lo exótico,” a lecture first and an
essay later, that invited Latin American writers to expand the region’s restricted
set of intellectual interests: “No hay a falta de patriotismo, ni apostasía de raza
en tratar de comprender lo ruso, verbigracia, y de asimilarse uno lo escandinavo. .
. . ‘Ensanchemos nuestros gustos’ dijo Lemaitre. . . . Ensachémoslos en el tiempo y
en el espacio; no nos limitemos a una raza, aunque sea la nuestra, ni a una época
histórica, ni a una tradición literaria” (92-93)
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 230 | Loc. 3520 | Added on Monday, May 11, 2015, 11:49 AM
In one of the most radical and extreme cases, Roberto Fernández Retamar’s “Calibán”
(1971) characterized this genealogy as a Castrist teleology with Martí at the
beginning and the Cuban Revolution at the end, of the history of the aesthetic and
cultural self-determination of the region: Así se conforma su visión calibanesca de
la cultura de lo que llamó “nuestra América.” Martí es, como luego Fidel, conciente
de la dificultad incluso de encontrar un nombre que, al nombrarnos, nos defina
conceptualmente; por eso, después de varios tanteos se inclina por esa modesta
fórmula descriptiva, con lo que, más allá de las razas, de lenguas, de
circunstancias accesorias, abarca a las comunidades que con problemas comunes
viven, “del [Río] Bravo a la Patagonia, y que se distinguen de ‘la América
Europea.”
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 246 | Loc. 3768 | Added on Monday, May 11, 2015, 12:02 PM
caliban
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 249 | Loc. 3808-35 | Added on Monday, May 11, 2015, 12:05 PM
Rama works through two notions of autonomy. The first is the paradoxical autonomy
of the literary sphere produced by a process of specialization of writers that is
not supported by a full-blown market in symbolic goods: “Producida la division del
trabajo y la instauración del mercado, el poeta hispanoamericano se vio condenado a
desaparecer. . . . La actividad específica del escritor, y especialmente del poeta,
no tenía un sitio previsto en la estructura económica que estaba siendo
transplantada de Europa a tierras americanas” (Rubén Darío 50, 55) (“Given the
division of labor and the establishment of the market, the Spanish American poet
found himself condemned to disappear. . . . The specific activity of writer, and
especially of poet, did not have a planned place in the economic structure that was
being transplanted from Europe to the American lands”). Second, autonomy as a
process of differentiation from Spain produces a particularly Latin American
aesthetic identity: “la primera independencia poética de América que por él y los
modernistas alcanza mayoría de edad respecto a la península madre, invirtiendo el
signo colonial que regía la poesía hispanoamericana” (Rubén Darío 10-11) (“the
first poetic independence of America that because of him [Darío] and the
modernistas reached its age of maturity, with respect to the mother peninsula,
inverting the colonial sign that had ruled Spanish American poetry”).12 Both
notions of autonomy are crucial to an understanding of the prevalent critical
narratives about modernismo since the 1970s.13
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 251 | Loc. 3835 | Added on Monday, May 11, 2015, 12:05 PM
in the midst of multiform and chaotic relations to the European archive that has
been a staple of Latin American literature since the fifteenth century, there is a
drive I am trying to isolate and study that is irreducible to notions of influence,
translation, or even appropriation and creolization at stake in Federico de Onís’s
classical 1932 definition of modernismo as “la forma hispánica de la crisis
universal de las letras y del espíritu que inicia hacia 1885 la disolución del
siglo XIX” (xv)
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 256 | Loc. 3924 | Added on Monday, May 11, 2015, 12:09 PM
The desire articulated in “Oscar Wilde” and in the modernista world literary
tradition Martí inaugurates is not an inward local actualization of universal
experience. World literature is an outward move, a reaching out to the world
instead of a translation of it into our terms. It is reading the world in order to
inscribe ourselves in it.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 257 | Loc. 3937 | Added on Monday, May 11, 2015, 12:10 PM
The latent liberal humanism at work in the modernistas’ notion of Literature would
transform the European archive and its others into the universal patrimony that
authorized the modernistas’ self-representation as universal aesthetic subjects
with “a keen desire for participation in a cosmopolitan world of modernity as much
as for timeless universals” (Kirkpatrick 31).
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 258 | Loc. 3955 | Added on Monday, May 11, 2015, 12:11 PM
outward drive
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 261 | Loc. 3990-91 | Added on Monday, May 11, 2015, 12:12 PM
never saw the cultures of distant regions as alien Others; rather, they saw them as
triggers of their desire to escape belatedness and exclusion.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 261 | Loc. 3991 | Added on Monday, May 11, 2015, 12:12 PM
The foreign Other that is not strange but is the signifier of my own cosmopolitan
desire does not appear to Martí and the modernistas as either a Hegelian
dialectical Other that must be conquered and colonized to achieve a form of
knowledge and subjectivity that transcends the merely individual or a Lacanian
Other that determines the subject’s inscription in the symbolic/social order. It is
rather an Other whose foreignness stands for the outside exterior of
particularistic identity, at a moment when that identity bears the marks of
isolation and exclusion from the order of modernity. That is, it is an Other that
represents the opposite of a present lack and therefore represents the desired
modernist plenitude of Latin American culture.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 262 | Loc. 4007 | Added on Monday, May 11, 2015, 12:14 PM
The supposedly foreign, then, was a horizon of futurity for a modernizing aesthetic
agency, which is exactly how Octavio Paz conceptualized the modernist peregrination
to Paris or London because, for the modernistas, “ir a París o Londres no era
visitar otro continente sino saltar a otro siglo” (Cuadrivio 19) (“a trip to Paris
or London was not a visit to another continent but a leap to another century”;
Siren 23).
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 262 | Loc. 4016 | Added on Monday, May 11, 2015, 12:15 PM
Modernistas want to read the world for themselves, and even translations—perhaps
because of their peninsular origin—are an obstacle to overcome. And the assertion
that “conocer diversas literaturas es el medio mejor de libertarse de la tiranía de
algunas de ellas” can be interpreted along these same lines of breaking free of a
Hispanic tradition with a monopolistic and tyrannical presence in the Latin
American intellectual field.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 265 | Loc. 4056 | Added on Tuesday, May 12, 2015, 09:54 AM
la traduccion es tirania
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 266 | Loc. 4067-79 | Added on Tuesday, May 12, 2015, 09:58 AM
It is the need to escape one’s fixed place of belonging and the desire to be
universal, to make the totality of the world one’s place of cultural residence. The
world is a rhetorical artifice that, as I stated in the Introduction, does not
coincide with the referential world but is instead the spatial imagination of a
cosmopolitan modernity to come.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 267 | Loc. 4083 | Added on Tuesday, May 12, 2015, 09:59 AM
differece vs diversity
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 268 | Loc. 4098-4100 | Added on Tuesday, May 12, 2015, 12:31
PM
This is how the world, summoned up by “diversas literaturas” toward the end of the
paragraph, resignifies the reference to “literaturas extranjeras” in the opening
lines.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 269 | Loc. 4112 | Added on Tuesday, May 12, 2015, 12:32 PM
diversas no extranjeras
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 270 | Loc. 4137 | Added on Tuesday, May 12, 2015, 12:36 PM
gonzalez prada
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 278 | Loc. 4256-85 | Added on Wednesday, May 13, 2015, 09:08
AM
a formation whose identity is determined by its openness to the world and its
representation of local processes of cultural modernization as part of overarching
global phenomena. That is precisely what the modernista world literary discourse
does: it dilutes the emphasis on Latin American singularity to redefine Latin
American literature and culture in relation to a world conceived as the backdrop
for the actualization of the universality of modern literature. Recognition of the
unevenness of socioeconomic and cultural positions of enunciation within a
geopolitically determined global system of literary exchanges is crucial to an
understanding of the specificity of the marginal cosmopolitanism at work in the
modernistas’ world literary discourse. For instance, in describing Wilde’s
performance, Martí stresses Wilde’s confidence in the place he occupies in this
global network; this aesthetic plenitude is in striking contrast with the Cuban’s
complaint about the isolation of Latin American letters. Martí is self-conscious
about his marginal position of enunciation, and the presence of Wilde on stage
allows him to articulate that difference. The asymmetry between lecturer and
spectators is echoed in the unevenness between Wilde and Martí’s cultural
locations. Even if conservative North Atlantic readers marginalize and censor Wilde
(“Es un elegante apóstol, lleno de fe en su propaganda y de desdén por quienes se
la censuran” (“Oscar Wilde” 287) (“He is an elegant apostle, filled with faith
in his message and scornful of those who criticize it”; 261), to Martí, on that
evening at Chickering Hall, he stands for the universality of a renewed modern
culture—“predica lo Nuevo” (288) (“the new is proclaimed”; 261); Wilde is “el
innovador” (288) (“the innovator”; 261)—and becomes both the signifier of Latin
America’s exclusion and the figure of a sense of belonging to come.25
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 280 | Loc. 4285 | Added on Wednesday, May 13, 2015, 09:08 AM
gutierrez najera
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 294 | Loc. 4505-8 | Added on Thursday, May 14, 2015, 06:23 PM
Mientras más prosa y poesía alemana, francesa, inglesa, italiana, rusa, norte y
sudamericana, etc., importe la literatura española, más producirá, y de más ricos y
más cuantiosos productos será su exportación. Parece que reniega la literatura de
que yo le aplique estos plebeyos términos de comercio; pero no hallo otros que
traduzcan tan bien mi pensamiento.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 294 | Loc. 4508 | Added on Thursday, May 14, 2015, 06:23 PM
comrcio literario
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 296 | Loc. 4535 | Added on Monday, May 18, 2015, 09:55 AM
terms of what Ericka Beckman has called “capital fictions,” a term she proposes to
account for the
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 296 | Loc. 4535 | Added on Monday, May 18, 2015, 09:55 AM
capital fictions
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 298 | Loc. 4561-69 | Added on Monday, May 18, 2015, 09:57 AM
That beyond is the world, a world posited in the vague language of a desire to
transcend the limitations not only of the local but also of neocolonial relations,
whether with Spain or new powers like France or Britain. The world as the promise
of an indeterminate multiplicity of engagements (“más . . . más . . . más”)
signifies the plenitude and riches to come.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 298 | Loc. 4568 | Added on Monday, May 18, 2015, 09:57 AM
This is a point Oswald de Andrade will make three decades later with respect to
Brazilian culture in “Manifesto Pau Brasil” (Pau Brasil or Brazil wood was one of
this country’s most import export commodities and in “Manifesto antropófago,” where
he declares that Brazilian culture not only devours European culture but also
provides the French with the necessary Other against which they define their
universality during the revolution: “Sem nós a Europa nao teria siquer a sua pobre
declaragao dos direitos do homem” (3) (“Without us, Europe would not even have its
meager Declaration of the Rights of Man” (“Anthropophagite Manifesto” 97).
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 301 | Loc. 4607 | Added on Monday, May 18, 2015, 10:01 AM
he designs a model of world literary intervention for the Latin American writer
that privileges the individual over the national and conceptualizes that relation
in the language of commerce, thus grounding his critical prescriptions in the
materiality of concrete literary exchanges.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 302 | Loc. 4628 | Added on Monday, May 18, 2015, 10:07 AM
in osmopolis
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 304 | Loc. 4655-58 | Added on Monday, May 18, 2015, 10:09 AM
Coll was the founder and director of the magazine Cosmópolis (Caracas, 1894-95),
the most dynamic cultural site in turn-of-the-cen- tury Venezuela,
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 304 | Loc. 4658 | Added on Monday, May 18, 2015, 10:09 AM
coll cosmopolis
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 305 | Loc. 4669-83 | Added on Monday, May 18, 2015, 10:10 AM
three models.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 312 | Loc. 4780-95 | Added on Monday, May 18, 2015, 10:31 AM
Baudelaire, among others) that creates a literary world that might be experienced
as an “ambiente fuera del tiempo y del lugar en que han nacido o viven.” Even if,
following Darío, Coll’s world literature has a French inclination, or experiences
the world through a French symbolist sensibility (he explicitly linked his idea for
the magazine with the Revista de América [American Review] that Darío published in
Buenos Aires at the same time), it is still conceptualized as a cosmopolitan
enterprise. The French and decadent texts, as well as the French favorites from the
Russian canon that he includes in Cosmópolis, are there not as expressions of a
particular French culture but as works representative of a French culture whose
particularity is identical to the universality of modernity and that expresses a
cosmopolitan desire to abandon a local, historical time and place, whether French,
Venezuelan, or Latin American.34
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 313 | Loc. 4795 | Added on Monday, May 18, 2015, 10:31 AM
While Martí and Gutiérrez Nájera attempted to address concrete cultural and
aesthetic agents how to go about their intellectual practices (you should stop
worrying about your Hispanic tradition and be concerned with the modern world out
there), the terms Coll chose for the cosmopolitan fabric of his world literary
discourse (humanity, homeland, ideology, peace, etc.) empty the meaning of the
universal. World literature as it is normatively demanded by Martí and Gutiérrez
Nájera had the concrete content of the actually existing literatures of the world,
but Coll’s invocation of a world community whose content is as abstract as the
notion of humanity exposed itself to challenges about the effectiveness of its
cultural politics. Coll later addressed these criticisms, downplaying his initially
abstract radical universalism.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 314 | Loc. 4813 | Added on Monday, May 18, 2015, 10:33 AM
empty universalism of coll
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 315 | Loc. 4818-21 | Added on Tuesday, May 19, 2015, 09:17 AM
clara disonancia
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 321 | Loc. 4915 | Added on Tuesday, May 19, 2015, 09:20 AM
gusto virtual
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 324 | Loc. 4961 | Added on Tuesday, May 19, 2015, 09:22 AM
gomz carrillo
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 326 | Loc. 4988-92 | Added on Tuesday, May 19, 2015, 09:24 AM
This accusation has been articulated by Manuel Ugarte, who spoke of “la zona
frívola en la que él mismo quiso encasillarse” (Escritores iberoamericanos 133)
(“the frivolous zone in which he himself wanted to be pigeonholed”),
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 326 | Loc. 4992 | Added on Tuesday, May 19, 2015, 09:24 AM
la zona frivola
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 331 | Loc. 5067-69 | Added on Tuesday, May 19, 2015, 09:27 AM
deliberate effort to become a world literary critic and shape his intellectual
identity as a practitioner of world literature, making sense of novels, poems, and
plays by establishing world literary connections and placing Latin American,
Spanish, and French literatures in global, comparative contexts.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 331 | Loc. 5069 | Added on Tuesday, May 19, 2015, 09:27 AM
His pedagogic task is to cosmopolitanize Marcelo and Spanish and Latin American
reading audiences to be able to estremecerse, to shudder and harmonize with Ibsen
and other world literary texts that feel foreign to them at first.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 340 | Loc. 5202 | Added on Tuesday, May 19, 2015, 09:34 AM
cosmopolitan pedagogy
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 343 | Loc. 5245-54 | Added on Tuesday, May 19, 2015, 09:40 AM
Gómez Carrillo identifies the resistance to world literature not only as a question
of cultural predisposition and character, as in the case of his friend’s reaction
to Ibsen’s plays, but also as the result of institutional design that prevents a
cosmopolitan discourse on Latin American aesthetic modernity from taking root. He
sees his role as an antidote to an academia dominated by a particularistic
Hispanophilic or Latinist cultural ideology, as a mediating agent who can bring the
literatures of the world to Latin American and Spanish readers, breaking down the
cultural and institutional resistances to aesthetic difference and helping them
realize that by reading novels such as the Russian realist classics they can be one
(“compatriotas . . . por el sentimiento”) with a world unified by the aesthetic
experience of modernity.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 343 | Loc. 5253 | Added on Tuesday, May 19, 2015, 09:40 AM
resistance to cosmos
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 343 | Loc. 5254-58 | Added on Tuesday, May 19, 2015, 09:41 AM
However, the mediating subject position that Gómez Carrillo assumed—and, to a large
extent, actually occupied—would not be as effective, or even possible, if it were
not grounded on French culture as a privileged instance of universal mediation. The
fact that French authors and texts were highly visible in his world literary
disseminating agency and, more importantly, that
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 343 | Loc. 5258 | Added on Tuesday, May 19, 2015, 09:41 AM
france as mediator
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 348 | Loc. 5326-37 | Added on Wednesday, May 20, 2015, 12:54
PM
The second determination has to do with the status of French as a language that
worked as a universal platform for cosmopolitan literary relations, with
translation as the operation that mediated and thus constituted the material
transcultural nature and the desired universality of that literary field. For Gómez
Carrillo, as for much of the Latin American cultural and intellectual elite, French
was the universal lingua franca of marginal global modernisms—not because the
Egyptian Molières, Turkish Ohnets, or Latin American Verlaines wrote in French
(although, as I analyze in the next chapter, Darío made it a point to problematize
this notion), but because French was the language of exchange between local
modernisms, the universal currency that made it possible for a Latin American
writer to be acquainted with texts originally written in German, Norwegian,
Russian, Chinese, Japanese, Albanian, and Serbo-Croatian, among other languages.
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Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 349 | Loc. 5337 | Added on Wednesday, May 20, 2015, 12:54 PM
Latin American and peninsular modernist literature and to engage with institutions
that held different forms of power in that discursive debate. Two of these
institutions were Walt Whitman—a paramount “place” of global modernism—and Rubén
Darío. In the essay “Walt Whitman,” Gómez Carrillo questions Darío’s reading of the
US poet and, implicitly, the relation that modernismo has to establish with this
forefather. The essay opens with a dedication to Darío that is at once an homage
and a challenge, followed by a footnote explaining that the text is a response to
Darío’s poem “Walt Whitman” (published in Azul): “Este artículo fue escrito, cuando
W. Whitman vivía aún, en respuesta al siguiente soneto de Rubén Darío” (51) (“This
article was written while W. Whitman was still living, in response to the following
sonnet by Rubén Darío”). The footnote then quotes Darío’s poem in its entirety
before concluding: “Para el poeta de Azul, en efecto, Whitman es un cantor del
porvenir, mientras que para mí es el cantor de un pasado fabuloso” (51-52) (“For
the poet of Azul, in effect, Whitman is a voice of the future, while for me he is
the voice of a fabulous past”). The opening lines of the essay itself reiterate the
challenge to Darío: “El viejo cantor yankee de Leaves of Grass y de Drum Taps vive
aún. Su voz, empero, ya no suena en nuestros oídos como una voz contemporánea, ni
siquiera como una voz moderna, sino como el eco lejano y vibrante de una raza
antiquísima. Más que un poeta de este siglo, parece un bardo anterior a la era de
Jesús” (51)
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 353 | Loc. 5407 | Added on Wednesday, May 20, 2015, 01:09 PM
Monsieur Edouard de Morsier tiene razón. Los escritores de raza latina ya no saben
“contar.” La historieta sencilla, fresca y amable, la buena historieta que nació en
Roma y que entretuvo a nuestros abuelos, ha emigrado desde hace muchos lustros de
los países meridionales, para refugiarse entre la bruma fría del Norte. Los cuentos
italianos, franceses o españoles de esta época, son epigramas rápidos que provocan
sonrisas maliciosas, o novelas abreviadas que conmueven de un modo intenso, pero ya
no son cuentos en el verdadero sentido de la palabra. Los cuentos alemanes, en
cambio, son relatos seguidos que comienzan diciendo: “éste era un rey” y que
terminan por una consideración filosófica o moral. Pablo Heyse es una
prueba de lo que digo. Leed una de sus geschichtes después de haber leído una
nouvelle de Maupassant, y notaréis sin dificultad la diferencia literaria que hoy
existe entre la narración bárbara y el relato romántico. (“Cuentista aléman” 31-32)
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 358 | Loc. 5483 | Added on Wednesday, May 20, 2015, 01:12 PM
cuentos alemanes
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 362 | Loc. 5546-51 | Added on Sunday, May 24, 2015, 12:51 PM
The idea of Li Tai-pe as a precursor of Baudelaire and Darío (who quotes the
Chinese poet in his “Divagación,” which I analyze in chapter 4) bears a striking
resemblance to Borges’s hypothesis in “Kafka y sus precursores” (“Kafka and His
Predecessors”) (1951): literary genealogies are formed retrospectively, determining
the endpoint’s aesthetic traits and inventing a tradition for it. For Borges, the
past does not influence the present but the other way around: the true meaning and
beauty of Zeno of Elea, Han Yu, and Kierkegaard emerge only in light of Kafka’s
literature.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 377 | Loc. 5775 | Added on Sunday, May 24, 2015, 01:02 PM
sanin cano
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 381 | Loc. 5832-39 | Added on Sunday, May 24, 2015, 01:07 PM
The disciplinary rigor inherent in his premise that world literary critics should
read works in their original language set him apart from the modernista paradigm
and made him a precursor of the school of humanist philologists that would flourish
at the Centro de Estudios Históricos in Madrid under the direction of Ramón
Menéndez Pidal at the turn of the century.43
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 381 | Loc. 5839 | Added on Sunday, May 24, 2015, 01:07 PM
de lo exotico
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 391 | Loc. 5982-93 | Added on Sunday, May 24, 2015, 01:15 PM
Mora’s harsh criticism reveals, on the one hand, the radical horizon of Sanín
Cano’s literary cosmopolitanism when compared to the narrowness of the modernista’s
universalist doxa. On the other, it shows the threat that cosmopolitan subject
positions posed to an intellectual field that tolerated only rather predictable
forms of aesthetic cosmopolitanism, understood as the appropriation of a well-known
European archive of names, tropes, and poetic genres. But when writers like Sanín
Cano (and, at times, Gómez Carrillo) went beyond the limits of the familiar into
markedly foreign and unexplored corners of world literature, they were condemned
and deemed suspicious;
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 391 | Loc. 5993 | Added on Sunday, May 24, 2015, 01:15 PM
He explains that literature has always been produced in between cultures, through
borrowings, imitations, and acts of pillage, that “los poetas de Roma crearon la
literatura imitando a los griegos” (“the poets of Rome wrote literature imitating
the Greeks”), and that even “Cervantes enriqueció su lengua agregándole todos de
decir italianos que hoy son rematadamente castizos”
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 394 | Loc. 6042 | Added on Sunday, May 24, 2015, 01:17 PM
cosmos vs trasatlantic
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 398 | Loc. 6097-6110 | Added on Monday, May 25, 2015, 12:58 PM
What I find provocative and original in Sanín Cano’s world literary demand is the
articulation of literary cosmopolitanism as a question of, again, healing the self-
inflicted maladies of isolation and backwardness but also as a matter of justice,
humanity, and elegance, in other words, a question of politics, ethics, and
aesthetics: Los ambientes diversos, los heredamientos acumulados en razas vigorosas
les van dando a las letras savia rica, que algunos no se atreven a llamar sana.
Sería injusticia no explorar una forma de arte nuevo solamente porque salió de una
alma eslava. ‘Ensanchemos nuestros gustos’ dijo Lemaitre. . . . Ensachémoslos en el
tiempo y en el espacio; no nos limitemos a una raza, aunque sea la nuestra, ni a
una época histórica, ni a una tradición literaria. . . . Esta actitud de la
inteligencia es más humana que la que proscriben lo extranjero. . . . Es más
humana, y sin comparación, más elegante. (345-46)
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 399 | Loc. 6110 | Added on Monday, May 25, 2015, 12:58 PM
Sanín Cano’s world literature now had an entirely different configuration. Instead
of the world as a globe of aesthetic difference whose unity and universality was
defined in opposition to Latin America’s banal provincial particularism, it had the
form of an aggregate of national literatures that contributed their cultural and
aesthetic difference to the totality of the system. If minor literatures could not
compete on the uneven global playing field where established traditions reproduce
their privileged positions on the backs of consolidated institutions and extended
hegemonic consent, Brandes suggested a different account of the place of minor
literatures in world literature to Sanín Cano. If the contours of this atlas were
drawn from critical values oriented by the global readership and circulation of a
given text, then the hegemonic relation between the powerful and the marginal
remained untouched. But if the map was designed in accordance with a cosmopolitan
(or rather, cosmonational) appreciation of the sociocultural singularity expressed
in works emerging from the different nations of the world, minor and major
literatures now stood on equal grounds, since their value was measured by the
potential to make unique but formally equal contributions to the global whole.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 412 | Loc. 6304 | Added on Monday, May 25, 2015, 01:10 PM
Brandes’s formalist conception of world literature (as a senate in which each state
is represented by a member expressing its differential cultural and ethical life—
what Hegel called Sittlichkeit) serves minor literatures well.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 412 | Loc. 6308 | Added on Monday, May 25, 2015, 01:11 PM
brandes. eticidad
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 416 | Loc. 6375-78 | Added on Monday, May 25, 2015, 01:16 PM
This is certainly the underlying idea that bridges the gap between cosmopolitan and
international comparativism: the desire to escape the smothering isolation of the
Latin American ideology of Latin Americanism.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 416 | Loc. 6378 | Added on Monday, May 25, 2015, 01:16 PM
Sylvia Molloy has characterized this poetic subject as “un yo voraz que, al
proyectarse en lugares y personas, los despoja de sus características propias para
transformarlos en aspectos de ese yo” (“Conciencia” 449) (“A voracious ‘I’ that, as
it projects itself into places and people, strips them of their own characteristics
to turn them into aspects of that ‘I’”). Molloy does not link the voracious
eagerness of this poetic “I” to local or global objects and places, but her
conceptualization opens up the possibility of metapho- rizing cosmopolitan desire
in the figure of hunger for the world.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 421 | Loc. 6450 | Added on Tuesday, May 26, 2015, 04:34 PM
Darío’s passion is for a controlled strangeness that does not destabilize the
modernist subject in formation. Instead of exploring the cosmopolitan questions and
problems behind Darío’s enthusiasm for all things French, critics have tended to
view it as a form of neocolonial subjection, to the point that, from that
perspective, cosmopolitanism becomes a mask for colonial mimicry. This
misunderstanding has its origins in discussions of modernismo contemporary to
Darío’s literary production and is crystallized in a polemical exchange between him
and José Rodó.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 422 | Loc. 6466 | Added on Tuesday, May 26, 2015, 04:36 PM
However, I want to add a Lacanian interpretative layer regarding the notion of gozo
(enjoyment), which Darío could not have intended but which can further illuminate
the meaning of Paris for the Latin American modernistas. What happens if we read
gozo as jouissance? Jouissance, explains Lacan, is the experience of pain that
results from an attempt to satisfy a drive in the form of a demand that can never
be met, and thus jouissance points to the transgression of the prohibition
established by the emergence of the Law in Freud’s pleasure principle (Ethics of
Psychoanalysis 177, 194, 209).
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 458 | Loc. 7014 | Added on Wednesday, May 27, 2015, 09:00 AM
jouissance
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 458 | Loc. 7014-20 | Added on Wednesday, May 27, 2015, 09:00
AM
As is always the case, modern France is the mediation that constitutes Darío’s
world—in this case, Verlaine is the measure of a world literature hierarchically
differentiated: “Verlaine es más que Sócrates” (190) (“Verlaine is more than
Socrates”; Stories and Poems 95). The Spanish station is
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 469 | Loc. 7184 | Added on Wednesday, May 27, 2015, 09:15 AM
Originality and imitation: Groussac sets these as the core concepts of the polemic,
a binary Darío does not accept and furthermore subverts and deconstructs.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 487 | Loc. 7457 | Added on Wednesday, May 27, 2015, 09:30 AM
darios deconstructivism
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 490 | Loc. 7503-21 | Added on Wednesday, May 27, 2015, 09:34
AM
Groussac does not waste time, moving swiftly on to what he sees as the most
important conceptual issue at stake in Darío’s relation to the French maudits, the
question of imitation: “Lo peor del caso presente, lo repito, es que el autor de
Los raros celebra la grandeza de sus mirmidones con una sinceridad afligente, y ha
llegado a imitarlos en castellano con desesperante perfección. Es lo que me mueve a
dirigirle estas observaciones, cuyo acento afectuoso no se le escapará” (475) (“The
worst part of the present case, I repeat, is that the author of Los raros
celebrates the magnificence of his Myrmidons with distressing sincerity, and
imitates them in Castilian with infuriating perfection. This is what moves me to
make these observations, whose affectionate accent will not be lost on him”). The
emphasis on imitation is not an indictment of Darío’s personal inability to produce
an original aesthetic project autonomous from an immature French infatuation but
rather and once again a cultural symptom of the degraded conditions that inhibit
art making in Latin America. To Groussac, imitation is the only productive device
in a region condemned to a Platonic, parasitic, mimetic existence on the margins of
the universal whose culture can only aspire to reflect truly original modern
cultural formations.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 491 | Loc. 7521 | Added on Wednesday, May 27, 2015, 09:34 AM
imitacion
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 492 | Loc. 7535 | Added on Wednesday, May 27, 2015, 09:35 AM
Darío wrote it directly in French under the original title “Ode à La France,” to be
read in his absence by Madeleine Roche—an actress of La Comédie Française—at a
gathering organized by the Comité France-Amérique on June 25, 1914, to celebrate
the Comité’s fifth anniversary (Saavedra Molina 106). The poem portrays France as
the last ray of hope—“Car la France sera toujours notre espérance” (“France-
Amérique” 337) (“Because France will always be our hope”)—for a cosmopolitan peace
based on the French concept of universal fraternité on the eve of World War I:
“Crions Paix! sous les feux des combattants en marche . . . / Crions: Fraternité!”
(337) (“We cry Peace! Under the fire of marching fighters . . . / We cry:
Brotherhood!”). By writing it directly in French, Darío per- forms—rather than just
enunciates—his faithful attachment to France as the horizon of modern cosmopolitan
cultural practices, “le foyer béni de tout le genre humain” (337) (“the blessed
home of all mankind”).
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 509 | Loc. 7805 | Added on Thursday, May 28, 2015, 04:43 PM
fraternite dario
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 511 | Loc. 7830 | Added on Thursday, May 28, 2015, 04:44 PM
france amerique
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 512 | Loc. 7843-59 | Added on Thursday, May 28, 2015, 04:45 PM
“On clame: Liberté! Et nous traduisons: France!”: we translate France, for and in
Latin America, and we translate liberty as France, and France as liberty. Darío’s
translational intervention makes France and freedom interchangeable, where freedom
is understood as the pillar of the discourse of modernity and, in the case of Latin
American modernismo, points to the idea of freedom from want and from aesthetic and
cultural marginality.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 513 | Loc. 7859 | Added on Thursday, May 28, 2015, 04:45 PM
trnalastion
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 514 | Loc. 7871 | Added on Thursday, May 28, 2015, 04:46 PM
paris as trauma
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 518 | Loc. 7939-55 | Added on Thursday, May 28, 2015, 04:49 PM
The exhibition, however, is full of tourists. Darío despises them, in part because
he is afraid of being confused with them. They cannot appreciate what he, as a
poet, sees in the modern plethora of Paris. Darío strolls through streets, gardens,
and buildings that belong to him because he has thought, read, written, and dreamed
about them. In contrast, the tourists, who are strange and foreign to the universal
modernity of Paris, cannot blend in: “Allí va la familia provinciana que viene a la
capital como a cumplir un deber, van los parisienses desdeñosos de todo lo que no
sea de su circunscripción; van el ruso gigantesco y el japonés pequeño . . . y el
chino que no sabe qué hacer con el sombrero de copa y el sobretodo que se ha
encasquetado en nombre de la civilización occidental; y los hombres de Marruecos y
de la India con sus trajes nacionales” (18-19)
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 519 | Loc. 7955 | Added on Thursday, May 28, 2015, 04:49 PM
ansiedad de extranjeria
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 528 | Loc. 8089 | Added on Thursday, May 28, 2015, 04:52 PM
Paris is oikos: the home that fixes the meaning of travel as an economy of gains
and losses (Van den Abbeele xviii).5 Travel here is merely a function of the
relation between Paris and its global others, an interval away from home.6
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 553 | Loc. 8472 | Added on Friday, May 29, 2015, 09:50 AM
oikos
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 553 | Loc. 8479-94 | Added on Friday, May 29, 2015, 09:52 AM
complains about the historical forces that take us away from home, declaring that
global modernity has erased the markers of cultural difference that made travel
worthwhile centuries and decades earlier: “Lo exterior, la cultura, el barniz es,
por lo menos en tiempos normales, casi uniforme en el mundo entero. Las levitas y
los sombreros han nivelado el tipo europeo y americano. En Londres como en Berlín,
y en Nueva York como en Buenos Aires, el hombre vive del mismo modo, se viste del
mismo modo, habla del mismo modo y, en las cuestiones generales, piensa poco más o
menos del mismo modo, recortando sus ideas según los mismos figurines
intelectuales” (127) (“The outside, the culture, the varnish is, at least at normal
times, almost uniform throughout the whole world. Frock coats and hats have
equalized the European and American man. In London as in Berlin, in New York as in
Buenos Aires, men live the same way, dress the same way, speak the same way, and,
on general issues, think more or less the same way, refining their ideas according
to the same intellectual fashions”). Traveling is pointless in a world where the
globalization of modernity prevents the experience of difference in terms of
everyday life, embodied culture, and intellectual discourse.
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 554 | Loc. 8494 | Added on Friday, May 29, 2015, 09:52 AM
travelling is pointless
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Highlight on Page 561 | Loc. 8598-8621 | Added on Friday, May 29, 2015, 09:56 AM
Doris Sommer has lucidly read Jewishness as the signifier of the social, political,
and racial difference constitutive of the dramatic plot of Jorge Isaacs’s María,
“Jewishness is a Protean stigma that damns the characters one way or another: as an
enfeebled inbreeding ‘aristocracy’ like the planters and as a racially different
disturbance among the whites. . . . Being ‘Jewish’ [is] a double-bind that becomes
Isaacs’ vehicle for representing a dead-end for the planter class” (Foundational
Fictions 173).
==========
Cosmopolitan Desires: Global Modernity and World Literature in Latin America
(Mariano Siskind)
- Note on Page 585 | Loc. 8962 | Added on Friday, May 29, 2015, 07:38 PM
sommer jewishness
==========
onviolence (Unknown Author)
- Highlight on Page 11 | Loc. 155-70 | Added on Wednesday, June 03, 2015, 01:49 AM
The more dubious and uncertain an instrument violence has become in international
relations, the more it has gained in reputation and appeal in domestic affairs,
specifically in the matter of revolution. The strong Marxist rhetoric of the New
Left coincides with the steady growth of the entirely non-Marxian conviction,
proclaimed by Mao Tse-tung, that “Power grows out of the barrel of a gun.” To be
sure, Marx was aware of the role of violence in history, but this role was to him
secondary; not violence but the contradictions inherent in the old society
brought about its end. The emergence of a new society was preceded, but not caused,
by violent outbreaks, which he likened to the labor pangs that precede, but of
course do not cause, the event of organic birth. In the same vein he regarded the
state as an instrument of violence in the command of the ruling class; but the
actual power of the ruling class did not consist of or rely on violence. It
was defined by the role the ruling class played in society, or, more exactly, by
its role in the process of production. It has often been noticed, and sometimes
deplored, that the revolutionary Left under the influence of Marx’s teachings ruled
out the use of violent means; the “dictatorship of the proletariat”—openly
repressive in Marx’s writings—came after the revolution and was meant, like the
Roman dictatorship, to last a strictly limited period. Political assassination,
except for a few acts of individual terror perpetrated by small groups of
anarchists, was mostly the prerogative of the Right, while organized armed
uprisings remained the specialty of the military. The Left remained convinced “that
all conspiracies are not only useless but harmful. 11 They [knew] only too well
that revolutions are not made intentionally and arbitrarily, but that they were
always and everywhere the necessary result of circumstances entirely independent of
the will and guidance of particular parties and whole classes.”14
==========
onviolence (Unknown Author)
- Note on Page 12 | Loc. 170 | Added on Wednesday, June 03, 2015, 01:49 AM
This shows to what extent Sartre is unaware of his basic disagreement with Marx on
the question of violence, especially when he states that “irrepressible
violence ... is man recreating himself,” that it is through “mad fury” that “the
wretched of the earth” can “become men.” These notions are all the more remarkable
because the idea of man creating himself is strictly in the tradition of Hegelian
and Marxian thinking; it is the very basis of all leftist humanism. But according
to Hegel man “produces” himself through 141 owe this early remark of Engels, in a
manuscript of 1847, to Jacob Barion, Hegel und die marxistische Staatslehre, Bonn,
1963. 12 thought,15 whereas for Marx, who turned Hegel’s “idealism” upside down, it
was labor, the human form of metabolism with nature, that fulfilled this function.
And though one may argue that all notions of man creating himself have in common a
rebellion against the very factuality of the human condition—nothing is more
obvious than that man, whether as member of the species or as an individual, does
not owe his existence to himself— and that therefore what Sartre, Marx, and Hegel
have in common is more relevant than the particular activities through which this
non-fact should presumably have come about, still it cannot be denied that a gulf
separates the essentially peaceful activities of thinking and laboring from all
deeds of violence. “To shoot down a European is to kill two birds with one
stone . . . there remain a dead man and a free man,” says Sartre in his preface.
This is a sentence Marx could never have written.16
==========
onviolence (Unknown Author)
- Note on Page 13 | Loc. 195 | Added on Wednesday, June 03, 2015, 01:54 AM
(If one turns the "idealistic” concept of thought upside down, one might arrive at
the "materialistic” concept of labor; one will never arrive at the notion of
violence.)
==========
onviolence (Unknown Author)
- Note on Page 14 | Loc. 201 | Added on Wednesday, June 03, 2015, 01:54 AM
never violence
==========
onviolence (Unknown Author)
- Highlight on Page 17 | Loc. 253-74 | Added on Wednesday, June 03, 2015, 11:36 AM
If you ask a member of this generation two simple questions: “How do you want
the world to be in fifty years?” and “What do you want your life to be like five
years from now?” the answers are quite 25 See appendix V, p. 93. 26 The
steady drift of basic research from the universities to the industrial laboratories
is very significant and a case in point. 27 Loc. cit. 28 Stephen Spender, The
Year of the Young Rebels, New York, 1969, P- 179* 17 often preceded by “Provided
there is still a world,” and “Provided I am still alive.” In George Wald’s
words, “what we are up against is a generation that is by no means sure that it has
a future.”29 For the future, as Spender puts it, is “like a time-bomb buried, but
ticking away, in the present.” To the often-heard question Who are they, this new
generation? one is tempted to answer, Those who hear the ticking. And to the other
question, Who are they who utterly deny them? the answer may well be, Those who do
not know, or refuse to face, things as they really are.
==========
onviolence (Unknown Author)
- Note on Page 19 | Loc. 290 | Added on Wednesday, June 03, 2015, 11:37 AM
This is indeed quite baffling for anybody who has ever read Marx or Engels. Who
could possibly call an ideology Marxist that has put its faith in “classless
idlers/’ believes that “in the lumpenproletariat the rebellion will find its
urban spearhead,” and trusts that “gangsters will light the way for the people”?34
Sartre with his great felicity with words has given expression to the new faith.
“Violence,” he now believes, on the strength of Fanon’s book, “like
Achilles’ lance, can heal the wounds it has inflicted.” If this were true, revenge
would be the cure-all for most of our ills. This
==========
onviolence (Unknown Author)
- Note on Page 22 | Loc. 327 | Added on Wednesday, June 03, 2015, 11:41 AM
It is on a par with Fanon’s worst rhetorical excesses, such as, “hunger with
dignity is preferable to bread eaten in slavery.” No history and no theory is
needed to refute this statement; the most superficial observer of the processes
that go on in the human body knows its untruth.
==========
onviolence (Unknown Author)
- Note on Page 22 | Loc. 329 | Added on Wednesday, June 03, 2015, 11:42 AM
point, as Marx saw it, is that dreams never come true.5 The rarity of slave
rebellions and of uprisings among the disinherited and downtrodden is notorious; on
the few occasions when they occurred it was precisely “mad fury” that turned dreams
into nightmares for everybody. In no case, as far as I know, was the force of these
“volcanic” outbursts, in Sartre’s words, "equal to that of the pressure put on
them.” To identify the national liberation movements with such outbursts is to
prophesy their doom—quite apart from the fact that the unlikely victory would not
result in changing the world (or the system), but only its personnel.
==========
onviolence (Unknown Author)
- Note on Page 23 | Loc. 347 | Added on Wednesday, June 03, 2015, 11:48 AM
The students caught between the two superpowers and equally disillusioned by
East and West, ‘‘inevitably pursue some third ideology, from Mao’s China or
Castro’s Cuba.” (Spender, op. cit., p. 92.) Their calls for Mao, Castro, Che
Guevara, and Ho Chi Minh are like pseudo-religious incantations for saviors from
another world; they would also call for Tito if only Yugoslavia were farther away
and less approachable. The case is different with the Black Power movement; its
ideological commitment to the
==========
onviolence (Unknown Author)
- Note on Page 41 | Loc. 620 | Added on Wednesday, June 03, 2015, 11:49 AM
To think, finally, that there is such a thing as a “Unity of the Third World,” to
which one could address the new slogan in the era of decolonization “Natives of all
underdeveloped countries unite!” (Sartre) is to repeat Marx’s worst illusions on a
greatly enlarged scale and with considerably less justification. The Third World is
not a reality but an ideology.
==========
onviolence (Unknown Author)
- Note on Page 23 | Loc. 349 | Added on Wednesday, June 03, 2015, 11:50 AM
unidad de los desposeidos no es una realidad sino una ideologia
==========
onviolence (Unknown Author)
- Highlight on Page 23 | Loc. 350-57 | Added on Wednesday, June 03, 2015, 11:51 AM
The question remains why so many of the new preachers of violence are unaware of
their decisive disagreement with Karl Marx’s teachings, or, to put it another way,
why they cling with such stubborn tenacity to concepts and doctrines that have not
only been refuted by factual developments but are clearly inconsistent with their
own politics. The one positive political slogan the new movement has put forth, the
claim for “participatory democracy” that has echoed around the globe and
constitutes the most significant common denominator of the rebellions in the East
and the West, derives from the best in the revolutionary tradition—the council
system, the always defeated but only authentic outgrowth of every revolution since
the eighteenth century. But no reference to this goal either in word or substance
can be found in the teachings of Marx and Lenin, both of whom aimed on the
contrary at a society in which the need for public action and participation in
public affairs would have “withered away,”88
==========
onviolence (Unknown Author)
- Note on Page 24 | Loc. 357 | Added on Wednesday, June 03, 2015, 11:51 AM
moral revolution
==========
onviolence (Unknown Author)
- Highlight on Page 26 | Loc. 389 | Added on Wednesday, June 03, 2015, 12:00 PM
It is always the same story: Interest groups do not join the rebels.
==========
onviolence (Unknown Author)
- Note on Page 26 | Loc. 389 | Added on Wednesday, June 03, 2015, 12:00 PM
desinterest
==========
onviolence (Unknown Author)
- Highlight on Page 27 | Loc. 411-13 | Added on Wednesday, June 03, 2015, 12:07 PM
(Inconsistency has always been the Achilles’ heel of liberal thought; it combined
an unswerving loyalty to Progress with a no less strict refusal to glorify History
in Marxian and Hegelian terms, which alone could justify and guarantee it.)
==========
onviolence (Unknown Author)
- Note on Page 27 | Loc. 413 | Added on Wednesday, June 03, 2015, 12:07 PM
liberal inconsistency
==========
onviolence (Unknown Author)
- Highlight on Page 27 | Loc. 413-22 | Added on Wednesday, June 03, 2015, 12:08 PM
The notion that there is such a thing as progress of mankind as a whole was unknown
prior to the seventeenth century, developed into a rather common opinion among the
eighteenth-century hommes de lettres, and became an almost universally accepted
dogma in the nineteenth. But the difference between the earlier notions and their
final stage is decisive. The seventeenth century, in this respect best represented
by Pascal and Fontenelle, thought of progress in terms of an accumulation of
knowledge through the centuries, whereas for the eighteenth the word implied an
“education of mankind” (Lessing’s Erziehung des Men-schengeschlechts) whose end
would coincide with man’s coming of age. Progress was not unlimited, and
Marx’s classless society seen as the realm of freedom that could be the end of
history—often interpreted as a secularization —of Christian eschatology or Jewish
messianism—actually still bears the hallmark of the Age of Enlightenment.
==========
onviolence (Unknown Author)
- Note on Page 28 | Loc. 422 | Added on Wednesday, June 03, 2015, 12:08 PM
on progress
==========
onviolence (Unknown Author)
- Highlight on Page 28 | Loc. 425-32 | Added on Wednesday, June 03, 2015, 12:09 PM
Now, in the words of Proudhon, motion is “le fait primitif” and “the laws of
movement alone are eternal.” This movement has neither beginning nor end: “Le
mouvement. est; voila tout!” As to man, all we can say is “we are born perfectible,
but we shall never be perfect.”43 Marx’s idea, borrowed from Hegel, that every old
society harbors the seeds of its successors in the same way every living organism
harbors the seeds of its offspring is indeed not only the most ingenious but
also the only possible conceptual guarantee for the sempiternal continuity of
progress in history; and since the motion of this progress is supposed to come
about through the clashes of antagonistic forces, it is possible to interpret every
“regress” as a necessary but temporary setback.
==========
onviolence (Unknown Author)
- Note on Page 29 | Loc. 432 | Added on Wednesday, June 03, 2015, 12:09 PM
And if one leaves this out of account and thinks only in generalities, there is the
obvious argument against progress that, in the words of Herzen, “Human development
is a form of chronological unfairness, since late-comers are able to profit by the
labors of their predecessors without paying the same price,”44 or, in the words of
Kant, “It will always remain bewildering . . . that the earlier generations seem to
carry on their burdensome business only for the sake of the later . . . and that
only the last should have the good fortune to dwell in the [completed] building.”
7 However, these disadvantages, which were only rarely noticed, are more than
outweighed by an enormous advantage: progress not only explains the past without
breaking up the time continuum but it can serve as a guide for acting into the
future. This is what Marx discovered when he turned Hegel upside down: he changed
the direction of the historian’s glance; instead of looking toward the past, he now
could confidently look into the future.
==========
onviolence (Unknown Author)
- Note on Page 30 | Loc. 454 | Added on Wednesday, June 03, 2015, 12:11 PM
I do not need to add that all our experiences in this century, which has constantly
confronted us with the totally unexpected, stand in flagrant contradiction to
these notions and doctrines, whose very popularity seems to consist in offering a
comfortable, speculative or pseudoscientific refuge from reality. A student
rebellion almost exclusively inspired by moral considerations certainly belongs
among the totally unexpected events of this century. This
==========
onviolence (Unknown Author)
- Note on Page 31 | Loc. 466 | Added on Wednesday, June 03, 2015, 12:13 PM
Since we are concerned here primarily with violence, I must warn against a tempting
misunderstanding. If we look on history in terms of a continuous
chronological process, whose progress, moreover, is inevitable, violence in the
shape of war and revolution may appear to constitute the only possible
interruption. If this were true, if only the practice of violence would make it
possible to interrupt automatic processes in the realm of human affairs, the
preachers of violence would have won an important point. (Theoretically, as far as
I know, the point was never made, but it seems to me incontestable that
the disruptive student activities in the last few years are actually based on this
conviction.) It is the function, how- 50 For a splendid exemplification of these
not merely superfluous but pernicious enterprises, see Edmund Wilson, The Fruits of
the MLA, New York, 1968. 30 ever, of all action, as distinguished from mere
behavior, to interrupt what otherwise would have proceeded automatically and
therefore predictably.
==========
onviolence (Unknown Author)
- Note on Page 34 | Loc. 519 | Added on Wednesday, June 03, 2015, 12:17 PM
Bertrand de Jouvenel, whose book Power is perhaps the most prestigious and, anyway,
the most interesting recent treatise on the subject. “To him,” he writes, “who
contemplates the unfolding of the ages war presents itself as an activity of States
which pertains to their essence.” 8 This may prompt us to ask whether the end
of warfare, then, would mean the end of states. Would the disappearance of violence
in relationships
==========
onviolence (Unknown Author)
- Note on Page 36 | Loc. 543 | Added on Thursday, June 04, 2015, 12:12 AM
bertrand dejouvenel
==========
onviolence (Unknown Author)
- Highlight on Page 36 | Loc. 551-52 | Added on Thursday, June 04, 2015, 12:14 AM
power as command
==========
onviolence (Unknown Author)
- Highlight on Page 37 | Loc. 554-56 | Added on Thursday, June 04, 2015, 12:15 AM
passerin
==========
onviolence (Unknown Author)
- Highlight on Page 42 | Loc. 632-36 | Added on Thursday, June 04, 2015, 12:21 AM
However, there exists another tradition and another vocabulary no less old and
time-honored. When the Athenian city-state called its constitution an isonomy,
or the Romans spoke of the civitas as their form of government, they had in mind a
concept of power and law whose essence did not rely on the command-obedience
relationship and which did not identify power and rule or law and command. It was
to these examples that the men of the eighteenth-century revolutions turned when
they ransacked the archives of antiquity and constituted a form of government, a
republic, where the rule of law, resting on the power of the people, would put an
end to the rule of man over man, which they thought was a “government fit for
slaves.” They too, unhappily, still talked about obedience-obedience to laws
instead of men; but what they actually meant was support of the laws to which the
61
==========
onviolence (Unknown Author)
- Note on Page 42 | Loc. 644 | Added on Thursday, June 04, 2015, 12:22 AM
gun. It is the people’s support that lends power to the institutions of a country,
and this support is but the continuation of the consent that brought the laws into
existence to begin with. Under conditions of representative government the people
are supposed to rule those who govern them. All political institutions are
manifestations and materializations of power; they petrify and decay as soon as the
living power of the people ceases to uphold them. This
==========
onviolence (Unknown Author)
- Note on Page 43 | Loc. 653 | Added on Thursday, June 04, 2015, 12:24 AM
apoyo popular
==========
onviolence (Unknown Author)
- Highlight on Page 43 | Loc. 657-64 | Added on Thursday, June 04, 2015, 12:27 AM
the strength of opinion, that is, the power of the government, depends on numbers;
it is “in proportion to the number with which it is associated,” 3 and tyranny, as
Montesquieu discovered, is therefore the most violent and least powerful of forms
of government. Indeed one of the most obvious distinctions between power and
violence is that power always stands in need of numbers, whereas violence up to a
point can manage without them because it relies on implements. A legally
unrestricted majority rule, that is, a democracy without a constitution, can be
very formidable in the suppression of the rights of minorities and very effective
in the suffocation of dissent without any use of violence. But that does not mean
that violence and power are the same.
==========
onviolence (Unknown Author)
- Note on Page 44 | Loc. 664 | Added on Thursday, June 04, 2015, 12:27 AM
The extreme form of power is All against One, the extreme form of violence is One
against All.
==========
onviolence (Unknown Author)
- Note on Page 44 | Loc. 665 | Added on Thursday, June 04, 2015, 12:27 AM
It is, I think, a rather sad reflection on the present state of political science
that our terminology does not distinguish among such key words as “power,”
“strength,” “force,” “authority,” and, finally, “violence”—all of which refer to
distinct, different phenomena and would hardly exist unless they did.
==========
onviolence (Unknown Author)
- Note on Page 45 | Loc. 679 | Added on Thursday, June 04, 2015, 02:17 PM
distinction
==========
onviolence (Unknown Author)
- Note on Page 44 | Loc. 667 | Added on Thursday, June 04, 2015, 02:17 PM
Power corresponds to the human ability not just to act but to act in concert. Power
is never the property of an individual; it belongs to a group and remains in
existence only so long as the group keeps together. When we say of somebody that he
is “in power” we actually refer to his being empowered by a certain number of
people to act in their name. The moment the group, from which the power originated
to begin with (potestas in populo, without a people or group there is no power),
disappears, “his power” also vanishes. In current usage, when we speak of a
“powerful man” or a “powerful personality,” we already use the word “power”
metaphorically; what we refer to without metaphor is “strength.”
==========
onviolence (Unknown Author)
- Note on Page 46 | Loc. 703 | Added on Thursday, June 04, 2015, 02:22 PM
def of power
==========
onviolence (Unknown Author)
- Highlight on Page 46 | Loc. 703-9 | Added on Thursday, June 04, 2015, 02:23 PM
strength
==========
onviolence (Unknown Author)
- Highlight on Page 47 | Loc. 710-14 | Added on Thursday, June 04, 2015, 02:23 PM
Force, which we often use in daily speech as a synonym for violence, especially if
violence serves as a means of coercion, should be reserved, in terminological
language. 44 for the “forces of nature” or the “force of circumstances” (la force
des choses), that is, to indicate the energy released by physical or social
movements.
==========
onviolence (Unknown Author)
- Note on Page 47 | Loc. 714 | Added on Thursday, June 04, 2015, 02:23 PM
force
==========
onviolence (Unknown Author)
- Highlight on Page 47 | Loc. 715-23 | Added on Thursday, June 04, 2015, 02:24 PM
authority. laughter
==========
onviolence (Unknown Author)
- Highlight on Page 48 | Loc. 728-33 | Added on Thursday, June 04, 2015, 02:25 PM
87Wolin and Schaar, in op. cit., are entirely right: “The rules are being broken
because University authorities, administrators and faculty alike, have lost the
respect of many of the students.” They then conclude, “When authority leaves, power
enters.” This too is true, but, I am afraid, not quite in the sense they meant it.
What entered first at Berkeley was student power, obviously the strongest power on
every campus simply because of the students' superior numbers.
==========
onviolence (Unknown Author)
- Note on Page 48 | Loc. 733 | Added on Thursday, June 04, 2015, 02:25 PM
==========
onviolence (Unknown Author)
- Highlight on Page 50 | Loc. 756-62 | Added on Thursday, June 04, 2015, 02:29 PM
thinking power in terms of command gives the illusion of the original function of
violence
==========
onviolence (Unknown Author)
- Highlight on Page 51 | Loc. 776-80 | Added on Thursday, June 04, 2015, 02:33 PM
contest of violence against violence the superiority of the government has always
been absolute; but this superiority lasts only as long as the power structure of
the government is intact— that is, as long as commands are obeyed and the army
or police forces are prepared to use their weapons. When this is no longer the
case, the situation changes abruptly. Not only is the rebellion not put down, but
the arms themselves change hands—sometimes, as in the Hungarian revolution, within
a few hours.
==========
onviolence (Unknown Author)
- Note on Page 51 | Loc. 780 | Added on Thursday, June 04, 2015, 02:33 PM
power structure
==========
onviolence (Unknown Author)
- Highlight on Page 52 | Loc. 789-92 | Added on Thursday, June 04, 2015, 02:34 PM
Where commands are no longer obeyed, the means of violence are of no use; and the
question of this obedience is not decided by the command-obedience relation but
by opinion, and, of course, by the number of those who share it. Everything depends
on the power behind the violence. The sudden dramatic breakdown of power
that ushers in revolutions reveals in a flash how civil obedience —to laws, to
rulers, to institutions—is but the outward manifestation of support and consent.
==========
onviolence (Unknown Author)
- Note on Page 52 | Loc. 792 | Added on Thursday, June 04, 2015, 02:34 PM
Where power has disintegrated, revolutions are possible but not necessary. We know
of many instances when utterly impotent regimes were permitted to continue
in existence for long periods of time—either because there was no one to test their
strength and reveal their weakness or because they were lucky enough not to be
engaged in war and suffer defeat. Disintegration often becomes manifest only in
direct confrontation; and even then, when power is already in the street, some
group of men prepared for such an eventuality is needed to pick it up and assume
responsibility. We have recently witnessed how it did not take more than the
relatively harmless, essentially nonviolent French students’ rebellion to reveal
the vulnerability of the whole political system, which rapidly disintegrated before
the astonished eyes of the young rebels. Unknowingly they had tested it; they
intended only to challenge the ossified university system, and down came the system
of governmental power, together with that of the huge party bureaucracies
—' "unesorte disintegration de toutes les hierarchies.”70 It was a textbook case
of a revolutionary situation71 that did not develop into a revo-
==========
onviolence (Unknown Author)
- Note on Page 53 | Loc. 803 | Added on Thursday, June 04, 2015, 02:38 PM
there was nobody, least of all the students, prepared to seize power and the
responsibility that goes with it. Nobody except, of course, de Gaulle.
==========
onviolence (Unknown Author)
- Note on Page 53 | Loc. 809 | Added on Thursday, June 04, 2015, 02:39 PM
The end of war—end taken in its twofold meaning—is peace or victory; but to the
question And what is the end of peace? there is no answer. Peace is an absolute,
even though in recorded history periods of warfare have nearly always
outlasted periods of peace. Power is in the same category; it is, as they say, “an
end in itself.” (This, of course, is not to deny that governments pursue policies
and employ their power to achieve prescribed goals. But the power structure itself
precedes and outlasts all aims, so that power, far from being the means to an end,
is actually the very condition enabling a group of people to think and act in terms
of the means-end category.)
==========
onviolence (Unknown Author)
- Note on Page 55 | Loc. 832 | Added on Thursday, June 04, 2015, 03:31 PM
Power springs up whenever people get together and act in concert, but it derives
its legitimacy from the initial getting together rather than from any action that
then may follow. Legitimacy, when challenged, bases itself on an appeal to
the past, while justification relates to an end that lies in the future. Violence
can be justifiable, but it never will be legitimate. Its justification loses in
plausibility the farther its intended end recedes into the future.
==========
onviolence (Unknown Author)
- Note on Page 55 | Loc. 842 | Added on Thursday, June 04, 2015, 03:32 PM
Violence can always destroy power; out of the barrel of a gun grows the most
effective command, resulting in the most instant and perfect obedience. What never
can grow out of it is power.
==========
onviolence (Unknown Author)
- Note on Page 56 | Loc. 856 | Added on Thursday, June 04, 2015, 03:34 PM
In a head-on clash between violence and power, the outcome is hardly in doubt. If
Gandhi’s enormously powerful and successful strategy of nonviolent resistance had
met with a different enemy—Stalin’s Russia, Hitler’s Germany, even prewar Japan,
instead of England—the outcome would not have been decolonization, but massacre and
submission. However, England in India and France in Algeria had good reasons for
their restraint. Rule by sheer violence comes into play where power is being lost;
it is precisely the shrinking power of the Russian government, internally and
externally, that became manifest in its “solution” of the Czechoslovak problem-just
as it was the shrinking power of European imperialism that became manifest in the
alternative between decolonization and massacre. To substitute violence for power
can bring victory, but the price is very high; for it is not only paid by the
vanquished, it is also paid by the victor in terms of his own power.
==========
onviolence (Unknown Author)
- Note on Page 57 | Loc. 864 | Added on Thursday, June 04, 2015, 03:36 PM
perdida de poder es tentacion para ocupar la violencia. efecto puede ser la perdida
e todo poder
==========
onviolence (Unknown Author)
- Highlight on Page 58 | Loc. 883-88 | Added on Thursday, June 04, 2015, 03:40 PM
Terror is not the same as violence; it is, rather, the form of government that
comes into being when violence, having destroyed all power, does not abdicate but,
on the contrary, remains in full control. It has often been noticed that the
effectiveness of terror depends almost entirely on the degree of social
atomization. Every kind of organized opposition must disappear before the full
force of terror can be let loose. This atomization— an outrageously pale, academic
word for the horror it implies—is maintained and intensified through the ubiquity
of the informer, who can be literally omnipresent because he no longer is merely a
professional agent in the pay of the police but potentially every person one
comes into contact with.
==========
onviolence (Unknown Author)
- Note on Page 58 | Loc. 888 | Added on Thursday, June 04, 2015, 03:40 PM
wat is terror
==========
onviolence (Unknown Author)
- Highlight on Page 59 | Loc. 891-95 | Added on Thursday, June 04, 2015, 03:41 PM
terror vs tyranny
==========
onviolence (Unknown Author)
- Highlight on Page 59 | Loc. 899-903 | Added on Thursday, June 04, 2015, 03:41 PM
To sum up: politically speaking, it is insufficient to say that power and violence
are not the same. Power and violence are opposites; where the one rules absolutely,
the other is absent. Violence appears where power is in jeopardy, but left to its
own course it ends in power’s disappearance. This implies that it is not correct to
think of the opposite of violence as nonviolence; to speak of nonviolent power is
actually redundant. Violence can destroy power; it is utterly incapable of creating
it.
==========
onviolence (Unknown Author)
- Note on Page 59 | Loc. 903 | Added on Thursday, June 04, 2015, 03:41 PM
Hegel’s and Marx’s great trust in the dialectial “power of negation,” by virtue of
which opposites do not destroy but smoothly develop into each other because
contradictions promote and do not paralyze development, rests on a much
older philosophical prejudice: that evil is no more than a privative modus of the
good, that good can come out of evil; that, in short, evil is but a temporary
manifestation of a still-hidden good. Such time-honored opinions have become
dangerous. They are shared by many who have never heard of Hegel or Marx, for the
simple reason that they inspire hope and dispel fear—a treacherous hope used
to dispel legitimate fear. By this, I do not mean to equate violence with evil; I
only want to stress that violence cannot be derived from its opposite, which is
power, and that in order to understand it for what it is, we shall have to examine
its roots and nature.
==========
onviolence (Unknown Author)
- Note on Page 60 | Loc. 910 | Added on Thursday, June 04, 2015, 03:43 PM
That violence often springs from rage is a commonplace, and rage can indeed be
irrational and pathological, but so can every other human affect. It is no doubt
possible to create conditions under which men are dehumanized—such as concentration
camps, torture, famine—but this does not mean that they become animal-like;
and under such conditions, not rage and violence, but their conspicuous absence is
the clearest sign of dehumanization. Rage is by no means an automatic reaction to
misery and suffering as such; no one reacts with rage to an incurable disease or to
an earthquake or, for that matter, to social conditions that seem to be
unchangeable. Only where there is reason to suspect that conditions could be
changed and are not does rage arise. Only when our sense of justice is offended do
we react with rage, and this reaction by no means necessarily reflects personal
injury, as is demonstrated by the whole history of revolution, where invariably
members of the upper classes touched off and then led the rebellions of the
oppressed and downtrodden.
==========
onviolence (Unknown Author)
- Note on Page 66 | Loc. 1002 | Added on Thursday, June 04, 2015, 03:52 PM
rage
==========
onviolence (Unknown Author)
- Highlight on Page 66 | Loc. 1005-9 | Added on Thursday, June 04, 2015, 03:53 PM
in private as well as public life there are situations in which the very swiftness
of a violent act may be the only appropriate remedy. The point is not that this
permits us to let off steam- 63 which indeed can be equally well done by pounding
the table or slamming the door. The point is that under certain circumstances
violence—acting without argument or speech and without counting the consequences—is
the only way to set the scales of justice right again.
==========
onviolence (Unknown Author)
- Note on Page 66 | Loc. 1009 | Added on Thursday, June 04, 2015, 03:53 PM
Billy Budd, striking dead the man who bore false witness against him, is the
classical example.) In this sense, rage and the violence that sometimes—not always—
goes with it belong among the “natural” human emotions, and to cure man of them
would mean nothing less than to dehumanize or emasculate him. That such acts, in
which men take the law into their own hands for justice’s sake, are in
conflict with the constitutions of civilized communities is undeniable; but their
antipolitical character, so manifest in Melville’s great story, does not mean that
they are inhuman or “merely” emotional. Absence of emotions neither causes nor
promotes rationality. “Detachment and equanimity” in view of “unbearable tragedy”
can indeed be “terrifying,” 84 namely, when they are not the result of control but
an evident manifestation of incomprehension.
==========
onviolence (Unknown Author)
- Note on Page 67 | Loc. 1016 | Added on Thursday, June 04, 2015, 03:56 PM
In order to respond reasonably one must first of all be “moved,” and the opposite
of emotional is not “rational,” whatever that may mean, but either the inability to
be moved, usually a pathological phenomenon, or sentimentality, which is a
perversion of feeling. Rage and violence turn irrational only when they are
directed against substitutes, and this, I am afraid, is precisely what the
psychiatrists and polemologists concerned with human aggressiveness recommend, and
what corresponds, alas, to certain moods and unreflecting attitudes m society at
large.
==========
onviolence (Unknown Author)
- Note on Page 67 | Loc. 1020 | Added on Thursday, June 04, 2015, 03:57 PM
Not many authors of rank glorified violence for violence’s sake; but these few—
Sorel, Pareto, Fanon—were motivated by a much deeper hatred of bourgeois society
and were led to a much more radical break with its moral standards than the
conventional Left, which was chiefly inspired by compassion and a burning desire
for justice. To tear the mask of hypocrisy from the 65 face of the enemy, to unmask
him and the devious machinations and manipulations that permit him to rule without
using violent means, that is, to provoke action even at the risk of annihilation so
that the truth may come out—these are still among the strongest motives in today’s
violence on the campuses and in the streets.85 And this violence again is not
irrational. Since men live in a world of appearances and, in their dealing with it,
depend on manifestation, hypocrisy’s conceits—as distinguished from expedient
ruses, followed by disclosure in due time—cannot be met by so-called reasonable
behavior.
==========
onviolence (Unknown Author)
- Note on Page 69 | Loc. 1047 | Added on Thursday, June 04, 2015, 05:31 PM
Death, whether faced in actual dying or in the inner awareness of one’s own
mortality, is perhaps the most antipolitical experience there is. It signifies that
we shall disappear from the world of appearances and shall leave the company of our
fellow-men, which are the condi-
==========
onviolence (Unknown Author)
- Note on Page 70 | Loc. 1074 | Added on Thursday, June 04, 2015, 05:35 PM
death is antipoliyical
==========
onviolence (Unknown Author)
- Highlight on Page 77 | Loc. 1167-73 | Added on Friday, June 05, 2015, 04:32 PM
The enormous growth of productivity in the modern world was by no means due to an
increase in the workers’ productivity, but exclusively the development of
technology, and this depended neither on the working class nor on the bourgeoisie,
but on the scientists. The “intellectuals,” much despised by Sorel and Pareto,
suddenly ceased to be a marginal social group and emerged as a new elite, whose
work, having changed the conditions of human life almost beyond recognition in a
few decades, has remained essential for the functioning of society. There are
many reasons why this new group has not, or not yet, developed into a power elite,
but there is indeed every reason to believe with Daniel Bell that “not only the
best talents, but eventually the entire complex of social prestige and
social status, will be rooted in the intellectual and scientific communities.” 88
==========
onviolence (Unknown Author)
- Note on Page 77 | Loc. 1173 | Added on Friday, June 05, 2015, 04:32 PM
intellectuals as elite
==========
onviolence (Unknown Author)
- Highlight on Page 77 | Loc. 1173-81 | Added on Friday, June 05, 2015, 04:34 PM
Its members are more dispersed and less bound by clear interests than groups in the
old class system; hence, they have no drive to organize themselves and lack
experience in all matters pertaining to power. Also, being much more closely bound
to cultural traditions, of which the revolutionary tradition is one, they cling
with greater tenacity to categories of the past that prevent them from
understanding the present and their own role in it. It is often touching to watch
with what nostalgic sentiments the most rebellious of our students expect the
“true” revolutionary impetus to come from those groups in society that denounce
them the more vehemently the more they have to lose by anything that could disturb
the smooth functioning of the consumer society. For better or worse—and I think
there is every reason to be fearful as well as hopeful—the really new
and potentially revolutionary class in society will consist of intellectuals, and
their potential power, as yet unrealized, is very great, perhaps too great for the
good of mankind.89 But these are speculations.
==========
onviolence (Unknown Author)
- Note on Page 77 | Loc. 1181 | Added on Friday, June 05, 2015, 04:34 PM
Behavior and arguments in interest conflicts are not notorious for their
“rationality.” Nothing, unfortunately, has so constantly been refuted by reality as
the credo of “enlightened self-interest,” in its literal version as well as 104
Ibidem. 105 Ibidem. See also the excellent article “Official Interpretation
of Racial Riots" by Allan A. Silver in the same collection. 106 See appendix
XVII, p. 101. 77 in its more sophisticated Marxian variant. Some experience plus a
little reflection teach, on the contrary, that it goes against the very nature of
self-interest to be enlightened. To take as an example from everyday life
the current interest conflict between tenant and landlord: enlightened interest
would focus on a building fit for human habitation, but this interest is quite
different from, and in most cases opposed to, the landlord’s self-interest in high
profit and the tenant’s in low rent. The common answer of an arbiter, supposedly
the spokesman of “enlightenment,” namely, that in the long run the interest of the
building is the true interest of both landlord and tenant, leaves out of account
the time factor, which is of paramount importance for all concerned. Self-interest
is interested in the self, and the self dies or moves out or sells the house;
because of its changing condition, that is, ultimately because of the human
condition of mortality, the self qua self cannot reckon in terms of long-range
interest, i.e. the interest of a world that survives its inhabitants. Deterioration
of the building is a matter of years; a rent increase or a temporarily lower profit
rate are for today or for tomorrow. And something similar, mu-tatis mutandis, is of
course true for labor-management conflicts and the like. Self-interest, when asked
to yield to “true” interest—that is, the interest of the world as distinguished
from that of the self-will always reply, Near is my shirt, but nearer is my skin.
That may not be particularly reasonable, but it is quite realistic; it is the
not very noble but adequate response to the time discrepancy between men’s private
lives and the altogether different life expectancy of the public world. To expect
people, who have not the slightest notion of what the publica, the public thing,
is, to behave nonviolently and argue rationally in matters of interest is neither
realistic nor reasonable.
==========
onviolence (Unknown Author)
- Note on Page 85 | Loc. 1291 | Added on Friday, June 05, 2015, 04:46 PM
private interest rationality human condition time and violence
==========
onviolence (Unknown Author)
- Highlight on Page 86 | Loc. 1311-15 | Added on Friday, June 05, 2015, 04:49 PM
Finally—to come back to Sorel’s and Pareto's earlier denunciation of the system as
such—the greater the bureaucratization of public life, the greater will be the
attraction of violence. In a fully developed bureaucracy there is nobody left with
whom one can argue, to whom one can present grievances, on whom the pressures
of power can be exerted. Bureaucracy is the form of government in which everybody
is deprived of political freedom, of the power to act; for the rule by Nobody is
not no-rule, and where all are equally powerless we have a tyranny without a
tyrant. The crucial feature in the student rebellions around the world is that they
are directed everywhere against the ruling bureaucracy.
==========
onviolence (Unknown Author)
- Note on Page 87 | Loc. 1330 | Added on Friday, June 05, 2015, 04:52 PM
against bureaucracy
==========
onviolence (Unknown Author)
- Highlight on Page 87 | Loc. 1330-42 | Added on Friday, June 05, 2015, 04:53 PM
This explains what at first glance seems so disturbing—that the rebellions in the
East demand precisely those freedoms of speech and thought that the young rebels in
the West say they despise as irrelevant. On the level of ideologies, the
whole thing is confusing; it is much less so if we start from the obvious fact that
the huge party machines have succeeded everywhere in overruling the voice of the
citizens, even in countries where freedom of speech and association is
still intact. The dissenters and resisters in the East demand free speech and
thought as the preliminary conditions for political action; the rebels in the West
live under conditions where these preliminaries no longer open the channels for
action, for the meaningful exercise of freedom. What matters to them is, indeed,
“Praxisentzug” the suspension of action, as Jens Litten, a German student,
has aptly called it.110 The transformation of government into administration, or of
republics into bureaucracies, and the disastrous shrinkage of the public realm that
went with it have a long and complicated history throughout the modern age; and
this process has been considerably 110 See appendix XVIII, p. 102. 81 accelerated
during the last hundred years through the rise of party bureaucracies.
==========
onviolence (Unknown Author)
- Note on Page 88 | Loc. 1342 | Added on Friday, June 05, 2015, 04:53 PM
east west and bureaucracy
==========
onviolence (Unknown Author)
- Highlight on Page 88 | Loc. 1344-50 | Added on Friday, June 05, 2015, 04:55 PM
What makes man a political being is his faculty of action; it enables him to get
together with his peers, to act in concert, and to reach out for goals and
enterprises that would never enter his mind, let alone the desires of his heart,
had he not been given this gift—to embark on something new. Philosophically
speaking, to act is the human answer to the condition of natality. Since we all
come into the world by virtue of birth, as newcomers and beginnings, we are able to
start something new; without the fact of birth we would not even know what novelty
is, all “action” would be either mere behavior or preservation. No other faculty
except language, neither reason nor consciousness, distinguishes us so radically
from all animal species. To act and to begin are not the same, but they are closely
interconnected.
==========
onviolence (Unknown Author)
- Note on Page 88 | Loc. 1349 | Added on Friday, June 05, 2015, 04:55 PM
The New Left’s unconscious drifting away from Marxism has been duly noticed. See
especially recent comments on the student movement by Leonard Schapiro in the New
York Review of Books (December 5, 1968) and by Raymond Aron in La Revolution In-
trouvable, Paris, 1968. Both consider the new emphasis on violence to be a kind of
backsliding either to pre-Marxian utopian socialism (Aron) or to the Russian
anarchism of Nechaev and Bakunin (Schapiro), who “had much to say about the
importance of violence as a factor of unity, as the binding force in a society or
group, r 89 century before the same ideas emerged in the works of Jean-Paul Sartre
and Frantz Fanon." Aron writes in the same vein: “Les chantres de la revolution de
mai croient depasser le marxisme . . . ils oublient un siecle d’histoire” (p. 14).
To a non-Marxist such a reversion would of course hardly be an argument; but for
Sartre, who, for instance, writes “Un pretendu ‘depassement’ du marxisme ne sera au
pis qu’un retour au premarxisme, au mieux que la redecouverte d’une pensee deja
contenue dans la philosophie qufon a cru ddpasser” (“Question de M^thode" in
Critique de la raison dialectique, Paris, i960, p. 17), it must constitute a
formidable objection.
==========
onviolence (Unknown Author)
- Note on Page 96 | Loc. 1459 | Added on Friday, June 05, 2015, 07:06 PM
“the University as Employment Agency” (The New Republic, February 24, 1968).
==========
onviolence (Unknown Author)
- Note on Page 102 | Loc. 1558 | Added on Friday, June 05, 2015, 09:11 PM
stick did not flower as a result of this, but John’s saintliness, however, was
assured It is also the test of the cantankerous master The more sour the master,
the less he acknowledges the disciple, the less he shows gratitude, and the less he
congratulates the disciple on his obedience, the more the obedience is recognized
as meritorious And finally, it is above all the test of breaking the law, that is
to say, having to obey even when the order is contrary to everything one might
think of as law This is the test of Lucius reported in The History Lausiac Lucius
arrives at a monastery after having lost his wife, but with a son who was left to
him, a 12-year-old child Lucius is subjected to a series of tests at the end of
which he is told to drown his son in the river1 And Lucius, because it is an order
that
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 280 | Loc. 4292 | Added on Sunday, June 07, 2015, 12:57 PM
Second, it is a relationship that is not finalized, in the sense that when a Greek
entrusted himself to a doctor or a philosopher, it was in order to arrive at a
particular result This result could be knowledge of a craft, or some kind of
perfection, or a cure, and obedience is only the necessary and not always agreeable
route to this result So in Greek obedience, or anyway in the fact that a Greek
submits himself at a given moment to the will or orders of someone, there is always
an objective - health, virtue, the truth - and an end, that is to say there will be
a point when this relationship of obedience is suspended and even turned around
When one submits oneself to a philosophy professor, in Greece, it is in order to
succeed in becoming master of oneself at a certain moment, that is to say to
reverse this relationship of obedience and to become one’s own master1 Now in
Christian obedience, there is no end, for what does Christian obedience lead to? It
leads quite simply to obedience One obeys in order to be obedient, in order to
arrive at a state of obedience I think this notion of a state of obedience is also
something completely new and specific that is absolutely Le Seuil, "Pcantg
Sag'sses,” 1976) p^Si ApP IP” '
(P unprecedented The endpoint
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 282 | Loc. 4310 | Added on Sunday, June 07, 2015, 12:59 PM
christian obedience has no objective. it points only to itself
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 282 | Loc. 4310-14 | Added on Sunday, June 07, 2015, 12:59 PM
towards which the practice of obedience aims is what is called humility, which
consists in feeling oneself the least of men, in taking orders from anyone, thus
continually renewing the relationship of obedience, and above all in renouncing
one’s own will Being humble is not a matter of knowing that one has committed many
sins, and it is not merely accepting being given and submitting to the orders given
by anyone whomsoever Being humble is basically, and above all, knowing that any
will of one’s own is a bad will So if there is an end to obedience, it is a state
of obedience defined by the definitive and complete renunciation of one’s own
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 282 | Loc. 4314 | Added on Sunday, June 07, 2015, 12:59 PM
We could add here (but I will pass over it quickly) tha practice of Christian
obedience, the one who commands, in ' whether abbot or bishop, obviously does not
command in order to because he has been ordered to command. The proof that qualifi
is that he refuses the pastorate for which he is given respons because he does not
want to command, but insofar as his refusal would be the assertion of a particular
will, he must give up his refusal, he must obey, and command. So we have a sort of
generalized field of obedience space in which pastoral relationships are deployed.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 285 | Loc. 4356 | Added on Sunday, June 07, 2015, 01:06 PM
Finally third, there is the problem of truth, and here I will be very quick since I
have already spoken about this elsewhere in a different way Here again, expressed
in the most schematic way and if we do not look at it in detail, the relationship
of the pastorate to truth is inscribed in a kind of curve and outline that does not
distinguish it greatly from possible forms of Greek teaching What I mean is that
the pastor has a teaching task vis-à-vis his community We can even say that this is
his primary and principal task In one of the first sentences of the De officiis
ministorum, Saint Ambrose says ‘‘Episcopi proprium munus docere," “the proper
responsibility of the bishop is to teach "" Clearly this teaching task is not one-
dimensional, it is a more complicated affair than just giving a lesson to others
The pastor must teach by his example, by his own life, and what’s more the value of
this example is so strong that if he does not give a good example by his own life,
then any theoretical, verbal teaching he gives will be nullified In the Book of
Pastoral Rule, Saint Gregory says that pastors who teach the good doctrine, but
give a bad example, are a bit like shepherds who drink the clear water but whose
dirty feet muddy the water that the sheep in their charge must drink1 The pastor
also does not teach in a global, general way He does not teach everyone in the same
way, for the minds of the listeners are like the strings of a cithara, which are
stretched differently and cannot be touched in the same way In the Liberpastorahs,
Saint Gregory gives thirty six distinct ways of teaching, according to whether one
is addressing people who are married or single, rich or poor, sick or healthy happy
or sad, and so on 1 All this is far removed from the traditional conception of
teaching But in relation to this there are, I think, two fundamental new things
that continue to characterize the Christian pastorate
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 287 | Loc. 4390 | Added on Sunday, June 07, 2015, 01:09 PM
First, there is the fact that this teaching must be a direction of daily conduct It
is not just a matter of teaching what one must know and what one must do It is not
just a matter of teaching by general principles, but rather by a daily modulation,
and this teaching must also pass through an observation, a supervision, a direction
exercised at every moment and with the least discontinuity possible over the
sheep’s whole, total conduct The perfection, merit, of quality of daily life must
not be just the result of a general teaching or even of an example The pastor must
really take charge of and observe daily life in order to form a never-ending
knowledge of the behavior and conduct of the members of the flock he supervises
Concerning the pastor in general, Saint Gregory says "In pursuing
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 287 | Loc. 4398 | Added on Sunday, June 07, 2015, 01:10 PM
The second aspect, which is also very important, is spiritual direction (direction
de conscience)1 That is to say, the pastor must not simply teach the truth He must
direct the conscience What does this mean? Here again, we have to look back a bit
Strictly speaking, the practice of spiritual direction is not a Christian invention
There were forms of spiritual direction in Antiquity,§ but we can describe it, very
schematically, in the following way [First,] spiritual direction in Antiquity is
voluntary, that is to say the person who wishes to be directed finds someone whom
he asks to direct him What’s more, in its very early forms, and even in later
forms, spiritual direction was paid for One saw someone who said I would very much
like to direct you, but you must give me some money The Sophists had spiritual
direction shops on the public square One had to pay for a consultation Second,
spiritual direction in Antiquity was circumstantial, that is to say one did not let
the whole of one’s life be directed or let oneself be directed for all of one’s
life, but one sought out a spiritual director when going through a bad time, or
experiencing a hard and difficult episode If one had suffered bereavement, had lost
one’s children or one’s wife, was ruined, or exiled by a prince, one sought out
19,and 26 March 1980, and in L 'Hermeneutique du suet, lectures of 3 March 1982, pp
345-348, and someone who basically helped as a comforter So, spiritual direction
was voluntary, episodic, consolatory, and at certain times it took place through
the examination of conscience That is to say, direction often involved the director
saying to the person being directed, inviting him, and even constraining him, if
there could be constraint, to examine his own conscience and each day, in the
evening to undertake an examination of what he had done, of the good or bad things
he may have done, of what had happened to him, and, in short, to put the life of
the day, a fragment of life, through the filter of discourse in such a way as to
fix in truth what had happened and the merits, virtue, and progress of the person
thus examined But this examination of conscience had a fundamental aim This was
precisely that the person who examined himself could take control and become master
of himself by knowing exactly what he had done and in what respect he had made
progress It was therefore a condition of self-mastery
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 289 | Loc. 4429 | Added on Sunday, June 07, 2015, 01:12 PM
spirtual direction
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 289 | Loc. 4429-39 | Added on Sunday, June 07, 2015, 01:13 PM
spiritual direction not for self mastery as greeks but for more obedience
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 290 | Loc. 4443-55 | Added on Sunday, June 07, 2015, 01:15 PM
eight chapter
==========
How to Read World Literature (David Damrosch)
- Highlight on Page 18 | Loc. 275-80 | Added on Monday, June 08, 2015, 01:19 PM
written four centuries later by the Chilean poet Alexandra Pizarnik: No el poema de
tu ausencia, solo un dibujo, una grieta en un muro, algo en el viento, un sabor
amargo. (Pizarnik 98) [Not the poem of your absence, just a sketch, a crack in a
wall, something in the wind, a bitter aftertaste.]
==========
How to Read World Literature (David Damrosch)
- Note on Page 19 | Loc. 280 | Added on Monday, June 08, 2015, 01:19 PM
pizarnik chilnaaaa?????
==========
Gravity and Grace (Unknown)
- Highlight on Page 18 | Loc. 270-74 | Added on Tuesday, June 09, 2015, 10:45 AM
‘If we know in what direction the scales of society are tilted we must do what we
can to add weight to the lighter side. Although the weight may be something evil,
if we handle it with this motive we shall perhaps not be tainted by it. But we must
have a conception of equal balance and be always ready to XVIII INTRODUCTION change
sides like Justice—that fugitive from the camp of conquerors.’
==========
Gravity and Grace (Unknown)
- Note on Page 18 | Loc. 274 | Added on Tuesday, June 09, 2015, 10:45 AM
balance
==========
Gravity and Grace (Unknown)
- Highlight on Page 20 | Loc. 297-300 | Added on Tuesday, June 09, 2015, 10:50 AM
Here for instance is a thought which wipes out the ancient quarrel between optimism
and pessimism—that quarrel which Leibniz could not settle: ‘There is every degree
of distance between the creature and God. A distance in which the love of God is
impossible: matter, plants, animals. Evil is so complete there that it destroys
itself: there is no longer any evil: mirror of divine innocence. We are at the
point where love is just possible. It is a great privilege since the love which
unites is in proportion to the distance. God has created a world which is not the
best possible but which contains the whole range of good and evil. We are at the
point where it is as bad as possible because beyond is the stage where evil becomes
innocence.’
==========
Gravity and Grace (Unknown)
- Note on Page 20 | Loc. 306 | Added on Tuesday, June 09, 2015, 10:51 AM
Creation reflects God by its beauty and harmony, but, through the evil and death
which abide in it and the blind necessity by which it is governed, it also reflects
the absence of God. We have issued from God: that means that we bear his imprint
and it means also that we are separated from him. The etymology of the word to
exist (to be placed outside) is very illuminating in this respect: we can say we
exist, we cannot say we are. God who is Being has in a sense effaced himself so
that we can exist: he has given up being everything in order that we might exist;
he has dispossessed himself in our favour of his own necessity, which is identical
with goodness, to allow another necessity to reign which is alien and indifferent
to good.
==========
Gravity and Grace (Unknown)
- Note on Page 22 | Loc. 331 | Added on Tuesday, June 09, 2015, 01:35 PM
invisbility of god
==========
Gravity and Grace (Unknown)
- Highlight on Page 22 | Loc. 338-42 | Added on Tuesday, June 09, 2015, 01:38 PM
Simone Weil presents the problem of evil as follows: ‘How can we escape from that
which corresponds to gravity in ourselves?’ By grace alone. In order to come to us
God passes through the infinite thickness of time and space; his grace changes
nothing in the play of those blind forces of necessity and chance which guide the
world; it penetrates into our souls as a drop of water makes its way through
geological strata without affecting their structure, and there it waits in silence
until we consent to become God again. Whereas gravity is the work of creation, the
work of grace consists of ‘decreating’ us.
==========
Gravity and Grace (Unknown)
- Note on Page 23 | Loc. 342 | Added on Tuesday, June 09, 2015, 01:38 PM
grace
==========
Gravity and Grace (Unknown)
- Highlight on Page 24 | Loc. 359 | Added on Tuesday, June 09, 2015, 01:40 PM
Goodness which we choose by balancing it against evil has scarcely anything but
social value; to the eyes of Him ‘who seeth in secret’ it proceeds from the same
motives and is marked by the same vulgarity as evil.
==========
Gravity and Grace (Unknown)
- Note on Page 27 | Loc. 403 | Added on Tuesday, June 09, 2015, 01:45 PM
The words of the Redeemer: ‘My God, my God, why hast thou forsaken me?’ which sum
up all the agony of the creature thrown into the midst of time and evil and to
which the Father replies only with silence—these words alone are enough proof for
her of the divinity of Christianity.
==========
Gravity and Grace (Unknown)
- Note on Page 29 | Loc. 442 | Added on Tuesday, June 09, 2015, 01:49 PM
silence of god
==========
Gravity and Grace (Unknown)
- Highlight on Page 30 | Loc. 450-56 | Added on Tuesday, June 09, 2015, 01:51 PM
From this essential condition of salvation, the necessity of living in the pure
instantaneous present and of toiling regardless of results, Simone Weil draws a
magnificent spirituality of manual work. Such work puts man into direct contact
with the inherent absurdity and contradiction of earthly life and thus, if the
worker does not lie, it enables him to touch heaven. ‘Work makes us experience in
an exhausting manner the phenomenon of finality rebounding like a ball; to work in
order to eat, to eat in order to work. ... If we regard one of the two as an end,
or the one and the other taken separately, we are lost. Only the cycle contains the
truth.’ But in order to compass this cycle we must turn from the future and rise up
to the eternal. ‘It is not religion but revolution which is the opium of the
people.
==========
Gravity and Grace (Unknown)
- Note on Page 30 | Loc. 456 | Added on Tuesday, June 09, 2015, 01:51 PM
work
==========
Gravity and Grace (Unknown)
- Highlight on Page 36 | Loc. 551-57 | Added on Tuesday, June 09, 2015, 03:53 PM
men—to disappear ‘so that the Creator and the creature could exchange their
secrets’.
==========
Gravity and Grace (Unknown)
- Note on Page 41 | Loc. 615 | Added on Tuesday, June 09, 2015, 04:52 PM
cambiar secretos
==========
Gravity and Grace (Unknown)
- Note on Page 42 | Loc. 633 | Added on Tuesday, June 09, 2015, 04:54 PM
This is imperative, like gravity. How can one gain deliverance? How gain
deliverance from a force which is like gravity? The tendency to spread evil beyond
oneself: I still have it! Beings and things are not sacred enough to me. May I
never sully anything, even though I be utterly transformed into mud. To sully
nothing, even in thought. Even in my worst moments I would not destroy a Greek
statue or a fresco by Giotto. Why anything else then? Why, for example, a moment in
the life of a human being who could have been happy for that moment. It is
impossible to forgive whoever has done us harm if that harm has lowered us. We have
to think that it has not lowered us, but has revealed our true level. The wish to
see others suffer exactly what we are suffering. It is because of this that, except
in periods of social instability, the spite of those in misfortune is directed
against their fellows.
==========
Gravity and Grace (Unknown)
- Note on Page 45 | Loc. 688 | Added on Tuesday, June 09, 2015, 05:03 PM
destui un giotto
==========
Gravity and Grace (Unknown)
- Highlight on Page 46 | Loc. 703-13 | Added on Tuesday, June 09, 2015, 05:06 PM
The search for equilibrium is bad because it is imaginary. Revenge. Even if in fact
we kill or torture our enemy it is, in a sense, imaginary. A man who lived for his
city, his family, his friends, to acquire wealth, improve his social position, etc.
—a war: he is led away as a slave and henceforth for evermore he must wear himself
out to the utmost limit of his strength merely in order to exist. That is
frightful, impossible, and for this reason he will chng to any aim which presents
itself no matter how wretched, be it only to have the slave punished who works at
his side. He has no more choice about aims. Any aim at all is like a branch to a
drowning man. Those whose city had been destroyed and who were led away into
slavery had no longer either past or future: what had they with which to fill their
minds? Lies and the meanest and most pitiful of covetous desires. They were perhaps
more ready to risk crucifixion for the sake of stealing a chicken than they had
formerly been to risk death in battle for the defence of their town. This is surely
so, or those frightful tortures would not have been necessary. Otherwise they had
to be able to endure a void in their minds. In order to have the strength to
contemplate affliction when we are afflicted we need supernatural bread.
==========
Gravity and Grace (Unknown)
- Note on Page 47 | Loc. 713 | Added on Tuesday, June 09, 2015, 05:06 PM
equilibrium is imaginary
==========
spinoza intro and ethics (Unknown)
- Highlight on Page 29 | Loc. 438-43 | Added on Wednesday, June 10, 2015, 10:39 AM
about God was in the press, and that in it I strove to show that there is no God.
Many people believed this rumor. So certain theologians—who had, perhaps, started
the rumor themselves—seized this opportunity to complain about me to the Prince and
the magistrates. Moreover, the stupid Cartesians, who are thought to favor me,
would not stop trying to remove this suspicion from themselves by denouncing my
opinions and writings everywhere. When I learned this from certain trustworthy men,
who also told me the theologians were everywhere plotting against me, I decided to
put off the publication I was planning until I saw how the matter would turn out
(Letter 68, IW299)
==========
spinoza intro and ethics (Unknown)
- Note on Page 29 | Loc. 443 | Added on Wednesday, June 10, 2015, 10:39 AM
the God of Abraham, Isaac and Jacob.” Spinoza’s God is very much the God of the
philosophers, a principle of explanation, a first cause of everything which exists,
itself neither needing nor susceptible of explanation by anything external to
itself, an eternal, necessary being, standing in contrast with the temporal,
contingent beings we find in our daily life, but not a personal being with
thoughts, desires, and emotions, not a creator of the universe, not a being who
acts for the sake of any purposes, and therefore not a being whose purposes might
be manifested in the world it causes. If a being must be a personal, purposeful
creator to rightly be called God, if anything other than the God of Abraham, Isaac,
and Jacob is not God, then Spinoza’s affirmation of the God of the philosophers
(and implicit denial of the God of Abraham, Isaac, and Jacob) is a form of atheism.
On those assumptions, to say that God only exists philosophically, that is, that
only the God of the philosophers exists, is to deny the existence of God. From his
point of view Father Solano may have been right to characterize Spinoza’s position
as atheism.
==========
spinoza intro and ethics (Unknown)
- Note on Page 31 | Loc. 469 | Added on Wednesday, June 10, 2015, 10:42 AM
god of the philosophers
==========
spinoza intro and ethics (Unknown)
- Highlight on Page 34 | Loc. 518-22 | Added on Wednesday, June 10, 2015, 10:56 AM
These are the particular events or states of affairs which follow from the laws of
nature if (and only if) the appropriate antecedent conditions are present, the
finite modes of P28, which Spinoza there speaks of as if they were generated solely
by the infinite series of other finite modes preceding them in time, but which he
surely thinks could not have been so generated were it not for the influence
exerted at all times by the permanent features of reality. The world of finite
changing things stretches back into the infinite past: there was no moment of
creation.
==========
spinoza intro and ethics (Unknown)
- Note on Page 34 | Loc. 522 | Added on Wednesday, June 10, 2015, 10:56 AM
no creatiion
==========
spinoza intro and ethics (Unknown)
- Highlight on Page 35 | Loc. 528-34 | Added on Wednesday, June 10, 2015, 11:02 AM
Descartes’ reply was that he did not conceive of the eternal truths as being
independent of God. Rather God had established them as a king might establish the
laws of his kingdom. They depend on his will, and are eternal and immutable only
because his will is eternal and immutable. But if the laws of nature are the result
of a divine choice, how can they be eternal and immutable? Does not the very notion
of choice imply that they could have been otherwise? And if they could have been
otherwise, how can it be necessary now that they not be otherwise? For Spinoza, to
introduce a personal creator at this point was to give up the hope of a rational
explanation of things, to betray the sciences Descartes had hoped to found. Better
to identify God himself with those most general principles of order described by
the fundamental laws of nature. It is in this sense that Spinoza does not separate
God from nature; he does not identify God with nature where nature is conceived
simply as the totality of finite things (IP29S).
==========
spinoza intro and ethics (Unknown)
- Note on Page 36 | Loc. 550 | Added on Wednesday, June 10, 2015, 11:04 AM
Descartes, however, was not content to say merely that the mind and the body were
two distinct substances. Ultimately he wanted to argue also that the human mind is
not present in the body “as a sailor is present in his ship,” but is very closely
conjoined to it, so that together mind and body constitute one thing and are, as he
put it, “substantially united.” Descartes was never able to explain clearly what
this substantial union consisted in, but he seems to have been led to affirm it by
the very special relationship each mind has to the particular body to which it is
united: it feels what happens in that body in a way it does not feel what happens
in other bodies and it cares about what happens in that body in a way it does not
care about what happens in other bodies.
==========
spinoza intro and ethics (Unknown)
- Note on Page 37 | Loc. 567 | Added on Wednesday, June 10, 2015, 11:08 AM
affects
==========
spinoza intro and ethics (Unknown)
- Highlight on Page 44 | Loc. 672-76 | Added on Wednesday, June 10, 2015, 11:24 AM
“Each thing, as far as it can by its own power, strives to persevere in its being.”
As Spinoza interprets this principle, sometimes referred to as the conatus doctrine
(from the Latin word here translated as “striving”), it requires not merely that
things strive for self-preservation, but also that they strive to increase their
power of action (IIIP12). From this basic principle (together, sometimes, with
assumptions from Part II about how man’s cognitive powers function), Spinoza
undertakes to deduce a great many principles which
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- Note on Page 45 | Loc. 676 | Added on Wednesday, June 10, 2015, 11:24 AM
conatus
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- Highlight on Page 45 | Loc. 686-88 | Added on Wednesday, June 10, 2015, 11:25 AM
We can identify what is truly useful to us with what helps us to persevere in our
being and increase our power of action, for these are ends we necessarily have.
Insofar as our actions can be explained by our striving for these things, we act in
accordance with reason and we act virtuously (IVP18S).
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- Note on Page 45 | Loc. 688 | Added on Wednesday, June 10, 2015, 11:25 AM
virute as explanation
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- Highlight on Page 46 | Loc. 697-700 | Added on Wednesday, June 10, 2015, 11:27
AM
Of the various things which are useful to man, none, according to Spinoza, is more
useful than his fellow man (TVP18S). So one of the first requirements of reason is
that people should seek “to form associations, to bind themselves by those bonds
most apt to make one people of them, and absolutely, to do those things which serve
to strengthen friendships” (IVAppl2).
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- Note on Page 46 | Loc. 700 | Added on Wednesday, June 10, 2015, 11:27 AM
fellow man
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- Highlight on Page 46 | Loc. 700-709 | Added on Wednesday, June 10, 2015, 11:28
AM
The central association which people rationally pursuing their self-interest must
form is the state (IVP37S2). For only if individual human beings come together to
create an entity with the power to prescribe a common rule of life, to make laws,
and to enforce them with the threat of punishment for violation, will they have any
reasonable level of security against the possibility of harm from their fellows.
Spinoza accepts this Hobbesian conclusion, not on the XXXI INTRODUCTION Hobbesian
ground that the rational pursuit of self-interest in the state of nature would lead
to preemptive violence of each individual against every other individual, but on
the Spinozistic ground that people are not reliably rational. Instead they are
regularly subject to passions which are capable of overpowering their rational
desires. If they lived according to the guidance of reason, theywould be able to
possess their natural right to pursue their own interest without injury to anyone
else. Because they do not, the state is necessary to prevent outbreaks of violence
which would be disadvantageous to all concerned.
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- Note on Page 47 | Loc. 709 | Added on Wednesday, June 10, 2015, 11:28 AM
In Part V one of his purposes is to explain how we can, in some measure, bring
those passions under the power of reason. His most promising strategies for doing
this rely on the fact that many affects involve a cognitive element. Hate, for
example, is defined as sadness accompanied by the idea of an external cause, that
is, by a belief about some BIBLIOGRAPHICAL NOTE person or thing that it is the
cause of my sadness. If that belief is false or ill-founded, as may often be the
case, I may be able to rid myself of my hate by coining to recognize the inadequacy
of the belief it involved (VP2). I may, of course, still be sad, but sadness is, in
general, a less harmful emotion than hate, since it does not perpetuate a vicious
cycle of attempts to harm and to retaliate for harm. Similarly, Spinoza argues that
if we come to understand the actions of others as a necessary effect of the
circumstances in which they were placed, this will tend to diminish the negative
emotions we feel toward them, redirecting them at other, possibly less harmful
targets. For example (to use the jargon of contemporary psychotherapy), if I come
to understand your actions as the product of low self-esteem, caused long ago by
negative lessons learned from parents and teachers, the anger I feel toward them
may be less dangerous to my well-being, since I may not have to deal with them in
any direct way. Spinozistic therapy may require favorable circumstances to be
effective, but that, unfortunately, is true of any therapy.
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- Note on Page 49 | Loc. 737 | Added on Thursday, June 11, 2015, 04:37 PM
A7: If a thing can be conceived as not existing, its essence does not involve
existence.
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- Note on Page 56 | Loc. 853 | Added on Thursday, June 11, 2015, 04:50 PM
P4: Two or more distinct things are distinguished from me another, either by a
deference in the attributes rf the substances or by a difference in tbeir
affections. Dem.: Whatever is, is either in itself or in another (by Al), that is
(by D3 and D5), outside the intellect there is nothing except substances and their
affections. Therefore, there is nothing outside the intellect through which a
number of things can be distinguished from one another except substances, or what
is the same (by D4), their attributes, n/48 and their affections, q.e.d.
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- Note on Page 57 | Loc. 871 | Added on Thursday, June 11, 2015, 04:53 PM
Dem.: A substance of one attribute does not exist unless it is unique (P5), and it
pertains to its nature to exist (P7). Of its nature, therefore, it will exist
either as finite or as infinite. But not as finite. For then (by D2) it would have
to be limited by something else of the same nature, which would also have to exist
necessarily (by P7), and so there would be two substances of the same attribute,
which is absurd (by P5). Therefore, it exists as infinite, q.e.d. Schol. 1: Since
being finite is really, in part, a negation, and being infinite is an absolute
affirmation of the existence of some nature, it follows from P7 alone that every
substance must be infinite. [NS: For if we assumed a finite substance, we would, in
part, deny existence to its nature, which (by P7) is absurd.]
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- Note on Page 59 | Loc. 905 | Added on Thursday, June 11, 2015, 04:58 PM
todasubstancia es infinita
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- Highlight on Page 59 | Loc. 893-94 | Added on Friday, June 12, 2015, 01:57 AM
For by substance they would understand what is in itself and is conceived through
itself, that is, that the knowledge of which does not require the knowledge of any
other thing. But by modifications they would understand what is in another, those
things whose concept is formed from the concept of the thing in which they are.
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- Note on Page 60 | Loc. 915 | Added on Friday, June 12, 2015, 01:58 AM
This is how we can have true ideas of modifications which do not exist; for though
they do not actually exist outside the intellect, nevertheless their essences are
comprehended in another in such a way that they can be conceived through it. But
the truth of substances is not outside the intellect unless it is in them
themselves, because they are conceived through themselves.
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- Note on Page 60 | Loc. 920 | Added on Friday, June 12, 2015, 01:59 AM
in Nature), it will not be enough (i.e., to give a reason why twenty mm exist) to
show the cause of human nature in general; but it will be necessary in addition to
show the cause why not more and not fewer than twenty exist. For (by DJ) there must
necessarily be a cause why each [NS: particular man] exists. But this cause (by II
and HI) cannot be contained in human nature itself, since the true definition of
man does not involve the number 20. So (by IV) the cause why these twenty men
exist, and consequendy, why each of them exists, must necessarily be outside each
of them. For that reason it is to be inferred absolutely that whatever is of such a
nature that there can be many individuals [of that nature] must, to exist, have an
external cause to exist. Now since it pertains to the nature of a substance to
exist (by what we have already shown in this scholium), its definition must involve
necessary existence, and consequently its existence must be inferred from its
definition alone. But from its definition (as we have shown from II and III) the
existence of a number of substances cannot follow. Therefore it follows necessarily
from this, that
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- Note on Page 63 | Loc. 955 | Added on Friday, June 12, 2015, 02:05 AM
definition o god
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- Highlight on Page 7 | Loc. 102-3 | Added on Friday, June 12, 2015, 09:06 AM
silvan tomkins
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- Highlight on Page 16 | Loc. 242-62 | Added on Monday, June 15, 2015, 02:28 AM
I have already indicated that, for all its interest in performatrvity. the thrust
of Touching Feeling is not to expose residual forms of essentiahsm lurking behind
apparently noncsscntialist forms of analysis. Nor is it to unearth unconscious
drives or compulsions underlying the apparent play of literary forms. Nor again is
it to uncover violent or oppressive historical forces masquerading under liberal
aesthetic guise. Without attempting to devalue such critical practices, I have
tried in this project to explore some ways around the topos of depth or hiddenness,
typically followed by a drama of exposure, that has been such a staple of critical
work of the past four decades. Beneath and behind arc hard enough to let go of;
what has been even more difficult is to get a little distance from beyond, in
particular the bossy gesture of "calling for" an imminently perfected critical or
revolutionary practice that one can oneself only adumbrate. Instead, as ns ride
suggests, the most salient preposition in Touching Feeling is probably beside.
Invoking a Dcleuzian interest tn planar relations, the irreduclbly spatial
positionality of beside also seems to offer some useful resistance to the ease with
which beneath and beyond turn from spatial descriptors into implicit narratives of.
respectively, origin and telos. Beside is an interesting preposition also because
there’s nothing very dual • istic about it; a number of elements may lie alongside
one another, though not an infinity of them. Beside permits a spacious agnosticism
about several of the linear logics that enforce dualistic thinking:
noncontradiction or the law of the excluded middle, cause versus effect, subject
versus object. Its interest docs not. however, depend on a fantasy of mctonymieally
egalitarian or even pacific relations, as any child knows who's shared a bed with
siblings. Beside comprises a wide range of desiring, identifying, representing.
repelling, paralleling, differentiating, rivaling, leaning, twisting, mimicking,
withdrawing, attracting, aggressing, warping, and other relations.
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- Note on Page 18 | Loc. 262 | Added on Monday, June 15, 2015, 02:28 AM
beside
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- Highlight on Page 19 | Loc. 289-91 | Added on Monday, June 15, 2015, 02:30 AM
"Whether one attributes it to the form of the prince who formulates rights, of the
father who forbids, of the censor who enforces silence, or of the master who states
the law, in any case one schematizes power in a juridical form, and one defines its
effects as obedience" (81-85).
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- Note on Page 19 | Loc. 291 | Added on Monday, June 15, 2015, 02:30 AM
hypothesis of texture
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- Highlight on Page 27 | Loc. 405-11 | Added on Monday, June 15, 2015, 11:20 AM
If texture involves more than one sense, it is also true that the different
properties, and radically divergent modem histories, of different perceptual
systems are liable to torque and splay the history of texture as well. The sense of
physical touch itself, at least so far, has been remarkably unsusceptible to being
amplified by technology. Women who do breast self- examination are occasionally
taught to use a film of liquid soap, a square of satiny cloth, or even a pad of
thin plastic filled with a layer of water to make the contours of the breast more
salient to their fingers. But this minimal sensory enhancement is merely additive
compared to the literally' exponential enhancements of visual stimulus since
Leeuwenhoek and Newton
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- Note on Page 27 | Loc. 410 | Added on Monday, June 15, 2015, 11:20 AM
For Tomkins, the difference between the drive system and the affect system is not
that one is more rooted in the body than the other; he understands both to be
thoroughly embodied, as well as more or less intensively interwoven with cognitive
processes. The difference instead is between more specific and more general, more
and less constrained: between biologically based systems that arc less and more
capable of generating complexity or degrees of freedom.1 Thus, for example, the
drives are relatively narrowly constrained in their aims: breathing will not
satisfy my hunger, nor will sleeping satisfy my need to excrete waste. The drives
are also relatively tune- constrained, inasmuch as I need to breathe within the
next minute, drink something today, and cat within the next few weeks to sustain
life. Most important, their range of objects is also relatively constrained: only a
tiny subset of gases satisfy my need to breathe or of liquids my need to drink. In
these- and several other ways, sexuality is clearly the least constrained (most
affcctlikc) of the drives "I lad Freud not smuggled some of the properties of the
affect system into his conception of the drives, his system would have been of much
less interest," Tomkins writes, and he also sees Freudian theory ns damaged bv
using sexuality to represent drives in general (Slidme 18 Touching Feeling 149).
But to the <limited) degree that sexuality is a drive, it shares the immediate
instrumentality, the defining orientation toward a specified aim and end different
from itself, that finally distinguishes the drives from the affects. Short of a
complete summary of Tomkins, these dimensions may stand for the significant
differences between affects and drives. Affects have far greater freedom than
drives with respect to, for example, time (anger can ev aporate m seconds but can
also motivate a decades longcareerof revenge) and aim i my pleasure in hearing a
piece of music can make me want to hear it repeatedly, listen to other music,
orstudy to become a composer myself). Especially, however, affects have greater
freedom with respect to object, for unlike the drives, "any affect may have any
‘object.’ Ibis is the basic source of complexity of human motivation and behavior”
(7). The object of affects such as anger, enjoyment, excitement, or shame is not
proper to the affects in the same way that air is the object proper to respiration:
“There is literally no kind of object which has not historically been linked to one
or another of the affects. Positive affect has been invested in pain and every kind
of human misery, and negative affect has been experienced as a consequence of
pleasure and every kind of triumph of the human spirit.... The same mechanisms
enable | people 1 to invest any and every aspect of existence with the magic of
excitement and joy or with the dread of fear or shame and distress" (541 Affects
can be. and are, attached to things, people, ideas, xensa tions, relations,
activities, ambitions, institutions, and any number of other things, including
other affects. Thus, one can be excited by anger, disgusted by shame, or surprised
by joy. This freedom of affects also gives them a structural potential not enjoyed
by the drive system: in contrast to the instrumentality of drives and their direct
orientation toward an aim different from themselves, the affects can be autotclic:
“There is no strict analog in the affect system for the rewarding effect of drive
consummaiion. It is rather the case that affect arousal anti reward are identical
in the case of positive affects; what activates positive affects 'satisfies' "<58;
emphasis added). In
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- Note on Page 33 | Loc. 499 | Added on Monday, June 15, 2015, 11:58 AM
affect tomkins
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- Highlight on Page 34 | Loc. 514-18 | Added on Monday, June 15, 2015, 12:00 PM
It makes sense, then, that Tomkins considers sexuality "the drive in which the
affective component plays the largest role”: not only is it "the least imperious of
all the drives," but it is the only one "in which activation of the drive even
without consummation has a rewarding rather than a punishing quality. It is much
more exciting and rewarding." he understates, "to feel sexually aroused than to
feel hungry or thirsty" (60) Even though sexual desire is usually oriented toward
an aim and object other than itself, it is much more malleable in its aims and
objects than are the other drives, and also, like the positive affects, has the
potential of being autotelic.
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- Note on Page 34 | Loc. 518 | Added on Monday, June 15, 2015, 12:00 PM
Attending to psychology and materiality at the level of affect and texture is also
to enter a conceptual realm that is not shaped by lack nor by commonsensical
dualities of subject versus object or of means versus ends.
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- Note on Page 36 | Loc. 541 | Added on Monday, June 15, 2015, 12:03 PM
pedagogic
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- Highlight on Page 66 | Loc. 1002-6 | Added on Monday, June 15, 2015, 01:49 PM
Schol.: [I.] There are those who feign a God, like man, consisting of a body and a
mind, and subject to passions. But how far they wander from the true knowledge of
God, is sufficiently established by what has already been demonstrated. Them I
dismiss. For everyone who has to any extent contemplated the divine nature denies
that God is corporeal. They prove this best from the fact that by body we
understand any quantity, with length, breadth, and depth, limited by some certain
figure. Nothing more absurd than this can be said of God, namely, of a being
absolutely infinite. But meanwhile, by the other arguments by which they strive to
demonstrate this same conclusion they clearly show that they entirely remove
corporeal, or extended, substance itself from the divine nature. And they maintain
that it has been created by God. But by what divine power could it be created? They
are completely ignorant of that. And this shows clearly that they do not understand
what they themselves say. At any rate, I have demonstrated clearly enough—in my
judgment, at least—that no substance can be produced or created by another thing
(see P6C and P8S2). Next, we have shown (P14) that except for God, no substance can
either be or be conceived, and hence [in P14C2] we have concluded that extended
substance is one of God’s infinite attributes. But to provide a fuller explanation,
I shall refute my opponents’ arguments, which all reduce to these.
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- Note on Page 71 | Loc. 1075 | Added on Monday, June 15, 2015, 01:56 PM
A rock in our path. To hurl ourselves upon this rock as though after a certain
intensity of desire had been reached it could not exist any more. Or else to
retreat as though we ourselves did not exist. Desire contains something of the
absolute and if it fails (once its energy has been used up) the absolute is
transferred to the obstacle. This produces the state of mind of the defeated, the
oppressed.
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- Note on Page 48 | Loc. 722 | Added on Wednesday, June 17, 2015, 05:26 PM
los oprimids. el deseo. transferencia delo absoluto del deseo a los obstaculos
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- Highlight on Page 48 | Loc. 731-32 | Added on Wednesday, June 17, 2015, 05:28 PM
A king can only pay out imaginary rewards most of the time or he would be
insolvent.
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- Note on Page 48 | Loc. 732 | Added on Wednesday, June 17, 2015, 05:28 PM
It is the same with religion at a certain level. Instead of receiving the smile of
Louis XIV, we invent a God who smiles on us.
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- Note on Page 48 | Loc. 733 | Added on Wednesday, June 17, 2015, 05:29 PM
‘Tradition teaches us as touching the gods and experience shows us as regards men
that, by a necessity of nature, every being invariably exercises all the power of
which it is capable’ (Thucydides). Like a gas, the soul tends to fill the entire
space which is given it. A gas which contracted leaving a vacuum—this would be
contrary to the law of entropy. It is not so with the God of the Christians. He is
a supernatural God, whereas Jehovah is a natural God. Not to exercise all the power
at one’s disposal is to endure the void. This is contrary to all the laws of
nature. Grace alone can do it. Grace fills empty spaces but it can only enter where
there is a void to receive it, and it is grace itself which makes this void. The
necessity for a reward, the need to receive the equivalent of what we give. But if,
doing violence to this necessity, we leave a vacuum, as it were a suction of air is
produced and a super- TO ACCEPT TH E VOI D 11 natural reward results. It does not
come if we receive other wages: it is this vacuum which makes it come.
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- Note on Page 49 | Loc. 748 | Added on Wednesday, June 17, 2015, 05:47 PM
To love truth means to endure the void and, as a result, to accept death. Truth is
on the side of death. Man only escapes from the laws of this world in lightning
flashes. Instants when everything stands still, instants of contemplation, of pure
intuition, of mental void, of acceptance of the moral void. It is through such
instants that he is capable of the supernatural.
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- Note on Page 50 | Loc. 758 | Added on Wednesday, June 17, 2015, 05:50 PM
why must they all be so fitted together that there is no vacuum? Truly, of things
which are really distinct from one another, one can be, and remain in its
condition, without the other. Since, therefore, there is no vacuum in Nature (a
subject I discuss elsewhere), but all its parts must so concur that there is no
vacuum, it follows also that they cannot be really distinguished, that is, that
corporeal substance, insofar as it is a substance, cannot be divided. [V] If
someone should now ask why we are, by nature, so inclined to divide quantity, I
shall answer that we conceive quantity in two ways: abstractly, or superficially,
as we [NS: commonly] imagine it, or as substance, which is done by the intellect
alone [NS: without the help of the imagination]. So if we attend to quantity as it
is in the imagination, which we do often and more easily, it will be found to be
finite, divisible, and composed of parts; but if we attend to it as it is in the
intellect, and conceive it insofar as it is a substance, which happens [NS: seldom
and] with great difficulty, then (as we have already sufficiently demonstrated) it
will be found to be infinite, unique, and indivisible.
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- Note on Page 74 | Loc. 1124 | Added on Thursday, June 18, 2015, 12:56 PM
This will be sufficiently plain to everyone who knows how to distinguish between
the intellect and the imagination—particularly if it is also noted that matter is
everywhere the same, and that parts are distinguished in it only insofar as we
conceive matter to he affected in different ways, so that its parts are
distinguished only modally, but not really.
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- Note on Page 74 | Loc. 1127 | Added on Thursday, June 18, 2015, 12:56 PM
For example, we conceive that water is divided and its parts separated from one
another—insofar as it is water, but not insofar as it is corporeal substance. For
insofar as it is substance, it is neither separated nor divided. Again, water,
insofar as it is water, is generated and corrupted, but insofar as it is substance,
it is neither generated nor corrupted.
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- Note on Page 74 | Loc. 1129 | Added on Thursday, June 18, 2015, 12:57 PM
example of water
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- Highlight on Page 76 | Loc. 1151-53 | Added on Friday, June 19, 2015, 11:31 AM
P17: God acts from the laws of his nature alone, and is compelled by no one.
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- Note on Page 76 | Loc. 1153 | Added on Friday, June 19, 2015, 11:31 AM
They would not agree with one another any more than do the dog that is a heavenly
constellation and the dog that is a barking animal.
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- Note on Page 78 | Loc. 1193 | Added on Friday, June 19, 2015, 11:35 AM
P18: God is the immanent, not the transitive, cause of all things. n/64 Dem.:
Everything that is, is in God, and must be conceived through God (bv P15), and so
(by P16C1) God is the cause of [NS: all] things, which are in him. That is the
first [thing to be proven]. And then outside God there can be no substance (by
PI4), that is (by D3), thing which is in itself outside God. That was die second.
God, therefore, is die immanent, not the transitive cause of all things, q.e.d.
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- Note on Page 80 | Loc. 1215 | Added on Friday, June 19, 2015, 11:39 AM
god is immanent
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- Highlight on Page 88 | Loc. 1347-48 | Added on Friday, June 19, 2015, 11:43 AM
P29: In nature there is nothing contingent, but all things have hem determined from
the necessity cfthe divine nature to exist and produce an effect in a certain way.
Dem.: Whatever is, is in God (by P15); but God cannot be called a contingent thing.
For (by Pll) he exists necessarily, not contingently. Next, the modes of the divine
nature have also followed from it necessarily and not contingently (by P16)—either
insofar as the divine nature is considered absolutely (by P21) or insofar as it is
considered to be determined to act in a certain way (by P28). Further, God is the
cause of these modes not only insofar as they simply exist (by P24C), but also (by
P26) insofar as they are considered to be determined to produce an effect. For if
they have not been determined by God, then (by P26) it is impossible, not
contingent, that they should determine themselves. Conversely (by P27) if they have
been determined by God, it is not 11/71 contingent, but impossible, that they
should render themselves undetermined. So all things have been determined from the
necessity of the divine nature, not only to exist, but to exist in a certain way,
and to produce effects in a certain way. There is nothing contingent, q.e.d.
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- Note on Page 88 | Loc. 1346 | Added on Friday, June 19, 2015, 11:44 AM
natur4a naturans
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- Highlight on Page 89 | Loc. 1355-58 | Added on Friday, June 19, 2015, 11:45 AM
But by Natura naturata I understand whatever follows from the necessity of God’s
nature, or from any of God’s attributes, that is, all the modes of God’s attributes
insofar as they are considered as things which are in God, and can neither be nor
be conceived without God.
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- Note on Page 89 | Loc. 1358 | Added on Friday, June 19, 2015, 11:45 AM
natura naturata
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- Highlight on Page 90 | Loc. 1365-74 | Added on Friday, June 19, 2015, 11:47 AM
P31: The actual intellect, whether finite or infinite, like will, desire, lone, and
the like, must be referred to Natura naturata, not to Natura naturans. Dem.: By
intellect (as is known through itself) we understand not n/72 absolute thought, but
only a certain mode of thinking, which mode differs from the others, such as
desire, love, and the like, and so (by D5) must be conceived through absolute
thought, that is (by P15 and D6), it must be so conceived through an attribute of
God, which expresses the eternal and infinite essence of thought, that it can
neither be nor be conceived without [that attribute]; and so (by P29S), like the
other modes of thinking, it must be referred to Natura naturata, not to Natura
naturans, q.e.d.
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- Note on Page 90 | Loc. 1374 | Added on Friday, June 19, 2015, 11:47 AM
P32: The will cannot be called a free cause, but only a necessary one. Dem.: The
will, like the intellect, is only a certain mode of thinking. And so (by P28) each
volition can neither exist nor be determined to produce an effect unless it is
determined by another cause, and this cause again by another, and so on, to
infinity.
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- Note on Page 91 | Loc. 1382 | Added on Friday, June 19, 2015, 11:49 AM
Still, if they say this, they will concede at the same time that God can change his
decrees. For if God had decreed, concerning Nature and its order, something other
than what he did decree, that is, had willed and conceived something else
concerning Nature, he would necessarily have had an intellect other than he now
has, and a will other than he now has. And if it is permitted to attribute to God
another intellect and another will, without any change of his essence and of his
perfection, why can he not now change his decrees concerning created things, and
nevertheless remain equally perfect? For his intellect and will concerning created
things and their order are the same in respect to his essence and his perfection,
however his will and intellect may be conceived. Further, all the philosophers I
have seen concede that in God there is no potential intellect, but only an actual
one. But since his intellect and his will are not distinguished from his essence,
as they all also concede, it follows that if God had another actual intellect, and
another will, his n/76 essence would also necessarily be other. And therefore (as I
inferred at the beginning) if things had been produced by God otherwise than they
now are, God’s intellect and his will, that is (as is conceded), his essence, would
have to be different [NS: from what it now is]. And this is absurd.
==========
spinoza intro and ethics (Unknown)
- Note on Page 95 | Loc. 1446 | Added on Friday, June 19, 2015, 12:30 PM
P34: God's power is bis essence itself. n/77 Dem.: For from the necessity alone of
God’s essence it follows that God is the cause of himself (by Pll) and (by P16 and
P16Q of all things. Therefore, God’s power, by which he and all things are and act,
is his essence itself, q.e.d.
==========
spinoza intro and ethics (Unknown)
- Note on Page 96 | Loc. 1468 | Added on Friday, June 19, 2015, 01:11 PM
P36: Nothing exists from whose nature some effect does not follow. Dem: Whatever
exists expresses the nature, or essence of God in a certain and determinate way (by
P25C), that is (by P34), whatever exists expresses in a certain and determinate way
the power of God, which is the cause of all things. So (by P16), from [NS:
everything which exists] some effect must follow, q.e.d.
==========
spinoza intro and ethics (Unknown)
- Note on Page 97 | Loc. 1476 | Added on Friday, June 19, 2015, 01:16 PM
Further, I have taken care, whenever the occasion arose, to remove prejudices that
could prevent my demonstrations from being perceived. But because many prejudices
remain that could, and can, be a great obstacle to men’s understanding the
connection of things in the way I have explained it, I considered it worthwhile to
submit them here to the scrutiny of reason. All the prejudices I here undertake to
expose depend on THE ETHICS this one: that men commonly suppose that all natural
things act, as men do, on account of an end; indeed, they maintain as certain that
God himself directs all things to some certain end, for they say that God has made
all things for man, and man that he might worship God.
==========
spinoza intro and ethics (Unknown)
- Note on Page 98 | Loc. 1489 | Added on Friday, June 19, 2015, 01:19 PM
Nor ought we here to pass over the fact that the Followers of this doctrine, who
have wanted to show off their cleverness in assigning the ends of things, have
introduced—to prove this doctrine of theirs—a new way of arguing: by reducing
things, not to the impossible, but to ignorance. This shows that no other way of
defending their doctrine was open to them. For example, if a stone has fallen from
a roof onto someone’s head and killed him, they will show, in the following way,
n/8i that the stone fell in order to kill the man. For if it did not fall to that
end, God willing it, how could so many circumstances have concurred by chance (for
often many circumstances do concur at once)? Perhaps you will answer that it
happened because the wind was blowing hard and the man was walking that way. But
they will persist: why was the wind blowing hard at that time? why was the man
walking that way at that same time? If you answer again that the wind arose then
because on the preceding day, while the weather was still calm, the sea began to
toss, and that the man had been invited by a friend, they will press on—for there
is no end to the questions which can be asked: but why was the sea tossing? why was
the man invited at just that time? And so they will not 112 OF GOD stop asking for
the causes of causes until you take refuge in the will of God, that is, the
sanctuary of ignorance.
==========
spinoza intro and ethics (Unknown)
- Note on Page 103 | Loc. 1568 | Added on Friday, June 19, 2015, 03:34 PM
In reality, we are stuck with third- and first- person narration. The common idea
is that there is a contrast between reliable narration (third-person omniscience)
and unreliable narration (the unreliable first-person narrator, who knows less
about himself than the reader eventually does). On one side, Tolstoy, say; and on
the other, Humbert Humbert or Italo Svevo's narrator, Zeno Cosini, or Bertie
Wooster.
==========
How Fiction Works (Unknown)
- Note on Page 6 | Loc. 88 | Added on Saturday, June 20, 2015, 12:33 AM
So there is a tension basic to stories and novels: Can we reconcile the author's
perceptions and language with the character's perception and language? If the
author and character are absolutely merged, as in the passage from Wallace above,
we get, as it were, "the whole of boredom”—the author's corrupted language just
mimics an actually existing corrupted language we all know too well, and are in
fact quite desperate to escape. But if author and character get too separated, as
in the Updike passage, we feel the cold breath of an alienation over the text, and
begin to resent the over-"literary'' efforts of the stylist. The Updike is an
example of aestheticism (the author gets in the way); the Wallace is an example of
antiaestheticism (the character is all): but both examples are really species of
the same aestheticism, which is at bottom the strenuous display of style.
==========
How Fiction Works (Unknown)
- Note on Page 29 | Loc. 443 | Added on Saturday, June 20, 2015, 01:43 AM
The tension between the author's style and his or her characters' styles becomes
acute when three elements coincide: when a notable stylist is at work, like Bellow
or Joyce; when that stylist also has a commitment to following the perceptions and
thoughts of his or her characters (a commitment usually organized by free indirect
style or its offspring, stream of consciousness); and when HOW FICTION WORKS (38)
the stylist has a special interest in the rendering of detail. Stylishness, free
indirect style, and detail: I have described Flaubert, whose work opens up and
tries to solve this tension, and who is really its founder.
==========
How Fiction Works (Unknown)
- Note on Page 32 | Loc. 483 | Added on Saturday, June 20, 2015, 01:47 AM
flaubert
==========
How Fiction Works (Unknown)
- Highlight on Page 34 | Loc. 513-18 | Added on Saturday, June 20, 2015, 01:50 AM
"An author in his work must be like God in the universe, present everywhere and
visible nowhere," he famously wrote in one of his letters, in 1852. "Art being a
second nature, the creator of that nature must operate with analogous procedures:
let there be felt in every atom, every aspect, a hidden, infinite impassivity. The
effect on HOW FICTION WORKS (42) the spectator must be a kind of amazement. How did
it all come about!"
==========
How Fiction Works (Unknown)
- Note on Page 34 | Loc. 518 | Added on Saturday, June 20, 2015, 01:50 AM
Detail "But it's not possible any other way: only in the details can we understand
the essential, as books and life have taught me. One needs to know evey detail,
since one can never be sure which of them is important, and which word shines out
from behind things . . 40
==========
How Fiction Works (Unknown)
- Note on Page 47 | Loc. 707 | Added on Saturday, June 20, 2015, 11:13 AM
details
==========
How Fiction Works (Unknown)
- Highlight on Page 52 | Loc. 793-97 | Added on Sunday, June 21, 2015, 01:44 AM
By thisness, I mean any detail that draws abstraction toward itself and seems to
kill that abstraction with a puff of palpability, any detail that centers our
attention with its concretion. Marlow, in Heart of Darkness, recalls a man dying at
his feet, with a spear in his stomach, and how "my feet felt so very warm and wet
that I had to look down . . . my shoes were full; a pool of blood lay very still,
gleaming dark-red under the wheel."
==========
How Fiction Works (Unknown)
- Note on Page 52 | Loc. 797 | Added on Sunday, June 21, 2015, 01:44 AM
thisness
==========
How Fiction Works (Unknown)
- Highlight on Page 63 | Loc. 961-80 | Added on Sunday, June 21, 2015, 05:06 PM
But is this layer of gratuitous detail actually like life or just a trick? In his
essay "The Reality Effect,"* Roland Barthes essentially argues that "irrelevant"
detail is a code we no ACollected in The Rustle of Language, translated by Richard
Howard (1986). HOW FICTION WORKS longer notice, and one that has little to do with
how life really is. He discusses a passage by the historian Jules Michelet, in
which Michelet is describing the last hours of Charlotte Corday in prison. An
artist visits her and paints her portrait, and then "after an hour and a half,
there was a gentle knock at a little door behind her." Then Barthes turns to
Flaubert's description of Mme Aubain's room in A Simple Heart "Eight mahogany
chairs were lined up against the white- painted wainscoting, and under the
barometer stood an old piano loaded with a pyramid of boxes and cartons." The
piano, Barthes argues, is there to suggest bourgeois status, the boxes and cartons
perhaps to suggest disorder. But why is the barometer there? The barometer denotes
nothing; it is an object "neither incongruous nor significant"; it is apparently
"irrelevant." Its business is to denote reality, it is there to create the effect,
the atmosphere of the real. It simply says: "I am the real." (Or if you prefer: "I
am realism.") An object like the barometer, Barthes continues, is supposed to
denote the real, but in fact all it does is signify it. In the Michelet passage,
the little "filler" of the knock at the door is the kind of thing that this writing
"puts in" to create the realistic IRRELEVENT DETAIL (83) "effect" of time passing.
Realism in general, it is implied, is just such a business of false denotation. The
barometer is interchangeable with a hundred other items; realism is an artificial
tissue of mere arbitrary signs. Realism offers the appearance of reality but is in
fact utterly fake—what Barthes calls "the referential illusion."
==========
How Fiction Works (Unknown)
- Note on Page 64 | Loc. 980 | Added on Sunday, June 21, 2015, 05:06 PM
formally arbitrary, but have something to tell us about the irrelevance of reality
itself. In other words, the category of the irrelevant or inexplicable exists in
life, just as the barometer exists, in all its uselessness, in real houses. There
was no logical reason for the condemned man to avoid the puddle. It was pure
remembered habit. Life, then, will always contain an inevitable surplus, a margin
of the gratuitous, a realm in which there is always more than we need: more things,
more impressions, more memories, more habits, more words, more happiness, more
unhappiness.
==========
How Fiction Works (Unknown)
- Note on Page 67 | Loc. 1022 | Added on Sunday, June 21, 2015, 09:05 PM
surplus life
==========
How Fiction Works (Unknown)
- Note on Page 68 | Loc. 1043 | Added on Sunday, June 21, 2015, 09:08 PM
studiedly irrelevant
==========
How Fiction Works (Unknown)
- Highlight on Page 79 | Loc. 1198-1202 | Added on Sunday, June 21, 2015, 09:32 PM
The New York Times, a critic complains that the "decrepit womanizer" played by the
septuagenarian Peter O'Toole in the film Venus (written by Hanif Kureishi) and
Hector, the elderly teacher "who gropes his male students" in The History Boys
(written by Alan Bennett), are meant to be relatively "benign," but instead their
actual behavior makes them seem "venal and self-deluding." There is what she calls
"a
==========
How Fiction Works (Unknown)
- Note on Page 79 | Loc. 1202 | Added on Sunday, June 21, 2015, 09:32 PM
two schools
==========
How Fiction Works (Unknown)
- Highlight on Page 101 | Loc. 1546-64 | Added on Monday, June 22, 2015, 08:48 AM
consistwenly surprising
==========
How Fiction Works (Unknown)
- Highlight on Page 106 | Loc. 1614-18 | Added on Monday, June 22, 2015, 08:58 AM
I still meet people like Fluellen; and when a garrulous guy on a train starts
talking up his hometown, and says something like "we've got one of those"—shopping
mall, opera house, violent bar—"in my town, too, you know," you are apt to feel, as
toward Fluellen, both mirth and an obscure kind of sympathy, since this kind of
importuning provincialism is always paradoxical: the provincial simultaneously
wants and does not want to communicate with you, simultaneously wants to remain a
provincial and abolish his provincialism by linking himself with you.
==========
How Fiction Works (Unknown)
- Note on Page 106 | Loc. 1618 | Added on Monday, June 22, 2015, 08:58 AM
provincialism
==========
How Fiction Works (Unknown)
- Highlight on Page 108 | Loc. 1643 | Added on Monday, June 22, 2015, 09:00 AM
As Mandelstam suggested, the novel probably has its origins in a secular response
to CHARACTEROLOGICAL RELATIVITY (151) the religious lives and biographies of saints
and holy men, and in the tradition inaugurated by the Greek writer Theophrastus,
who offered a series of sketches of types— the miser, the hypocrite, the fond and
foolish lover, and so on. (Don Quixote belongs to the modern novel in part because
Cervantes is so determined to discredit the "holy," chivalric tales of Arthur and
Amadis of Gaul.) Since these were discrete portraits, you could not contrast one
with the other.
==========
How Fiction Works (Unknown)
- Note on Page 119 | Loc. 1818 | Added on Monday, June 22, 2015, 09:22 AM
Am I the only reader addicted to the foolish pastime of amassing instances in which
minor characters in books happen to have the names of writers? Thus Camus the
chemist in Proust, and another Camus in Bemanos's Diary ofa Country Priest, and the
Pyncheons in The House ojthe Seven Gables, and Horace Updike in Babbitt, and Brecht
the dentist in Buddenbrooks, and Heidegger, one of Trotta's witnesses in Joseph
Roths The Emperor's Tomb, and Madame Foucault in Arnold Bennett's The Old Wives'
Tale, and Father Larkin in David Jones's In Parenthesis, and Count Tolstoy in War
and Peine, and a man named Barthes in Rousseau's Confessions, and come to think of
it, a certain Madame Rousseau in Proust.
==========
How Fiction Works (Unknown)
- Note on Page 239 | Loc. 3657 | Added on Monday, June 22, 2015, 09:42 AM
nmes of writers
==========
How Fiction Works (Unknown)
- Highlight on Page 151 | Loc. 2308-13 | Added on Wednesday, June 24, 2015, 03:47
PM
One way to tell slick genre prose from really interesting writing is to look, in
the former case, for the absence of different registers. An efficient thriller will
often be written in a style that is locked into place: the musical analogue of this
might be a tune, proceeding in unison, the melody separated only by octave
intervals, without any harmony in the middle. By contrast, rich and daring prose
avails itself of harmony and dissonance by being able to move in and out of place.
In writing, a "register" is nothing more than a name for a kind of diction, which
is nothing more than a name for a certain, distinctive way of saying something—so
we talk about "high" and "low" registers (e.g., the highish "Father" and the lower
"Pop"), grand and vernacular diction, mock-heroic diction, cliched registers, and
so on.
==========
How Fiction Works (Unknown)
- Note on Page 151 | Loc. 2313 | Added on Wednesday, June 24, 2015, 03:47 PM
various registers
==========
How Fiction Works (Unknown)
- Highlight on Page 178 | Loc. 2716-23 | Added on Wednesday, June 24, 2015, 05:18
PM
No one would deny that writing of this sort has indeed become a kind of invisible
rule book, whereby we no longer notice its artificialities. One reason for this is
economic. Commercial realism has cornered the market, has become the most powerful
brand in fiction. We must expect that this brand will be economically reproduced,
over and over again. That is why the complaint that realism is no more than a
grammar or set of rules that obscures life is generally a better description of le
Carre or P. D. James than it is of Flaubert or George Eliot or Isherwood: when a
style decomposes, flattens itself down into a genre, then indeed it does become a
set of mannerisms and often pretty lifeless techniques. The efficiency of the
thriller genre takes just what it needs from the much less efficient Flaubert or
Isherwood, and throws away what made those writers truly alive. And of course, the
most economically privileged genre of this kind of largely lifeless "realism" is
commercial cinema, through which most people nowadays receive their idea of what
constitutes a "realistic" narrative.
==========
How Fiction Works (Unknown)
- Note on Page 178 | Loc. 2723 | Added on Wednesday, June 24, 2015, 05:18 PM
Internal consistency and plausibility then become more important than referential
rectitude. And this task will of course involve much fictive artifice and not mere
reportage.
==========
How Fiction Works (Unknown)
- Note on Page 182 | Loc. 2787 | Added on Wednesday, June 24, 2015, 05:29 PM
Dr. Johnson, in his "Preface to Shakespeare," reminds us, "Imitations produce pain
or pleasure, not because they are mistaken for realities, but because they bring
realities to mind."
==========
How Fiction Works (Unknown)
- Note on Page 183 | Loc. 2799 | Added on Wednesday, June 24, 2015, 05:30 PM
■/ Yet often we could with more accuracy speak of persuasion “to attitude,” rather
than persuasion to out-and-out action. Persuasion involves choice, will; it is
directed to a man only insofar as he is free. This is good to remember, in these
days of dictatorship and near-dictatorship. Only insofar as men are potentially
free, must the spellbinder seek to persuade them. Insofar as they must do
something, rhetoric is unnecessary, its work being done by the nature of things,
though often these necessities are not of a natural origin, but come from
necessities imposed by man-made conditions, as with the kind of peithananke (or
“compulsion under the guise of persuasion”) that sometimes flows from the nature of
the “free market.”
==========
rhetoric (kenneth burke)
- Note on Page 92 | Loc. 1405 | Added on Wednesday, June 24, 2015, 10:29 PM
Antidosis reminds the Athenians that they make annual sacrifices to the Goddess of
Persuasion (Peitho), and he refers to speech as the source of most good things. The
desire to speak well, he says, makes for great moral improvement. “True, just, and
well-ordered discourse is the outward image (eidolon) of a good and faithful soul.”
==========
rhetoric (kenneth burke)
- Note on Page 93 | Loc. 1423 | Added on Wednesday, June 24, 2015, 10:31 PM
The kind of opinion with which rhetoric deals, in its role of inducement to action,
is not opinion as contrasted with truth. There is the invitation to look at the
matter thus antithetically, once we have put the two terms (opinion and truth)
together as a dialectical pair. But actually, many of the “opinions” upon which
persuasion relies fall outside the test of truth in the strictly scientific, T-F,
yes-or-no sense. Thus, if a given audience has a strong opinion that a certain kind
of conduct is admirable, the orator can commend a person by using signs that
identify him with such conduct. “Opinion” in this ethical sense clearly falls on
the bias across the matter of “truth” in the strictly scientific sense. Of course,
a speaker may be true or false in identifying a person by some particular sign of
virtuous conduct. You may say that a person so acted when the person did not so act
—and if you succeed in making your audience believe you, you could be said to be
trafficking in sheer opinion as contrasted with the truth. But we are here
concerned with motives a step farther back than such mere deception. We > are
discussing the underlying ethical assumptions on which the entire ^ tactics of
persuasion are based. Here the important factor is opinion > (opinion in the moral
order of action, rather than in the “scenic” order TRADITIONAL PRINCIPLES OF
RHETORIC 55 of truth). The rhetorician, as such, need operate only on this
principle. If, in the opinion of a given audience, a certain kind of conduct is
admirable, then a speaker might persuade the audience by using ideas and images
that identify his cause with that kind of conduct.
==========
rhetoric (kenneth burke)
- Note on Page 100 | Loc. 1525 | Added on Wednesday, June 24, 2015, 10:41 PM
not truth but identification of conduct with certain laudable practices. motivation
==========
rhetoric (kenneth burke)
- Highlight on Page 101 | Loc. 1539-48 | Added on Wednesday, June 24, 2015, 10:46
PM
Here is perhaps the simplest case of persuasion. You persuade a man pnly insofar as
you can talk his language by speech, gesture, tonality, <order, image, attitude,
idea, identifying your ways with his.r Persua- jsion by flattery is but a special
case of persuasion in general. But flat- jtery can safely serve as our paradigm if
we systematically widen its /meaning, to see behind it the conditions of
identification or consub- stantiality in general. And you give the “signs” of such
consubstan- tiality by deference to an audience’s “opinions.” For the orator,
following Aristotle and Cicero, will seek to display the appropriate “signs”
56 TRADITIONAL PRINCIPLES OF RHETORIC \ of character needed to earn the
audience’s good will. True, the rhet-1 orician may have to change an audience’s
opinion in one respect; but / he can succeed only insofar as he yields to that
audience’s opinions in other respects.
==========
rhetoric (kenneth burke)
- Note on Page 101 | Loc. 1548 | Added on Wednesday, June 24, 2015, 10:46 PM
Some of their opinions are needed to support the ful-J crum by which he would move
other opinions. (Preferably he shares the fixed opinions himself since, “all other
things being equal,” the identifying of himself with his audience will be more
effective if it is genuine.)
==========
Humboldt's Gift (Saul Bellow)
- Highlight on Page 12 | Loc. 173-74 | Added on Thursday, June 25, 2015, 02:00 AM
The ballads were pure, musical, witty, radiant, humane. I think they were Platonic.
By Platonic I refer to an original perfection to which all human beings long to
return.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 12 | Loc. 174 | Added on Thursday, June 25, 2015, 02:00 AM
platonic as melancholy
==========
Humboldt's Gift (Saul Bellow)
- Highlight on Page 11 | Loc. 155-57 | Added on Thursday, June 25, 2015, 02:00 AM
I thought about Humboldt with more seriousness and sorrow than may be
apparent in this account. I didn't love so many people. I couldn't afford to lose
anyone. One infallible sign of love was that I dreamed of Humboldt so often. Every
time I saw him I was terribly moved, and cried in my sleep.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 11 | Loc. 157 | Added on Thursday, June 25, 2015, 02:00 AM
dreaming as love
==========
Humboldt's Gift (Saul Bellow)
- Highlight on Page 13 | Loc. 194-96 | Added on Thursday, June 25, 2015, 02:04 AM
Could I imagine, he said, what it meant to knock the Village flat with your poems
and then follow up with critical essays in the Partisan and the Southern Review? He
had much to tell me about Modernism, Symbolism, Yeats, Rilke, Eliot Also, he was a
pretty good drinker.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 13 | Loc. 196 | Added on Thursday, June 25, 2015, 02:04 AM
And of course there were lots of girls. Besides, New York was then a very Russian
city, so we had Russia all over the place. It was a case, as Lionel Abel said, of a
metropolis that yearned to belong to another country. New York dreamed of leaving
North America and merging with Soviet Russia. Humboldt easily went in his
conversation from Babe Ruth to Rosa Luxemburg and Bela Kun and Lenin. Then and
there I realized that if I didn't read Trotsky at once I wouldn't be worth
conversing with. Humboldt talked to me about Zinoviev, Kamenev, Bukharin, the
Smolny Institute, the Shakhty engineers, the Moscow trials, Sidney Hook's From
Hegel to Marx, Lenin's State and Revolution. In fact, he compared himself to Lenin.
"I know," he said, "how Lenin felt in October when he exclaimed, "Es schwindling He
didn't mean that he was schwindling everyone but that he felt giddy. Lenin, tough
as he was, was like a young girl waltzing. Me too. I have vertigo from success,
Charlie. My ideas won't let me sleep. I go to bed without a drink and the room is
whirling. It'll happen to you, too. I tell you this to prepare you," Humboldt said.
In flattery he had a marvelous touch.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 14 | Loc. 204 | Added on Thursday, June 25, 2015, 02:05 AM
Yes, I tried to put them into categories as I sat there drinking coffee. They were
petty bourgeois, husband-killers, social climbers, hysterics, etcetera. But it was
no use, this analytical skepticism. I was too enthusiastic. So I eagerly peddled my
brushes, and just as eagerly I went to the Village at night and listened to the
finest talkers in New York--Schapiro, Hook, Rahv, Huggins, and Gumbein. Under their
eloquence I sat like a cat in a recital hall. But Humboldt was the best of them
all. He was simply the Mozart of conversation.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 14 | Loc. 213 | Added on Thursday, June 25, 2015, 02:07 AM
skepticsm vs enthusiasm
==========
Humboldt's Gift (Saul Bellow)
- Highlight on Page 19 | Loc. 278-84 | Added on Thursday, June 25, 2015, 02:18 AM
I was thinking of the power of collective abstractions, and so forth. We crave more
than ever the radiant vividness of boundless love, and more and more the barren
idols thwart this. A world of categories devoid of spirit waits for life to return.
Humboldt was supposed to be an instrument of this revival. This mission
or vocation was reflected in his face. The hope of new beauty. The promise, the
secret of beauty. In the USA, incidentally, this sort of thing gives
people a very foreign look. It was consistent that Renata should direct
my attention to the Beautiful. She had a personal stake in it, she was linked with
Beauty.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 19 | Loc. 283 | Added on Thursday, June 25, 2015, 02:18 AM
To follow his intricate conversation you had to know his basic texts. I knew what
they were: Plato's Timaeus, Proust on Combray, Virgil on farming, Marvell on
gardens, Wallace Stevens' Caribbean poetry, and so on. One reason why
Humboldt and I were so close was that I was willing to take the complete course.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 19 | Loc. 290 | Added on Thursday, June 25, 2015, 02:20 AM
Some women wept as softly as a watering can in the garden. Demmie cried
passionately, as only a woman who believes in sin can cry. When she cried you not
only pitied her, you respected her strength of soul.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 34 | Loc. 515 | Added on Thursday, June 25, 2015, 09:30 AM
demmies crying
==========
Humboldt's Gift (Saul Bellow)
- Highlight on Page 37 | Loc. 554-55 | Added on Thursday, June 25, 2015, 09:35 AM
He was filled with gossip and hallucination as well as literary theory. Distortion
was inherent, yes, in all poetry. But which came first?
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 37 | Loc. 555 | Added on Thursday, June 25, 2015, 09:35 AM
And this rained down on me, part privilege, part pain, with illustrations from the
classics and the sayings of Einstein and Zsa Zsa Gabor, with references to Polish
socialism and the football tactics of George Halas and the secret motives of Arnold
Toynbee, and (somehow) the used-car business. Rich boys, poor boys, jewboys,
goyboys, chorus girls, prostitution and religion, old money, new money, gentlemen's
clubs, Back Bay, Newport, Washington Square, Henry Adams, Henry James, Henry Ford,
Saint John of the Cross, Dante, Ezra Pound, Dostoevski, Marilyn Monroe and Joe
DiMaggio, Gertrude Stein and Alice, Freud and Ferenczi. With Ferenczi he always
made the same observation: nothing could be further from instinct than rationality
and therefore, according to Ferenczi, rationality was also the height of madness.
As proof, how crazy Newton became! And at this point Humboldt generally spoke of
Antonin Artaud.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 37 | Loc. 561 | Added on Thursday, June 25, 2015, 09:36 AM
Sewell, a cosmopolitan if there ever was one (in his own mind), had never gone
abroad before. Humboldt didn't know Europe either. "If you'd like to go, old
friend," said Sewell, "we could arrange that." "I don't feel quite
ready," said Humboldt. He was afraid that he would be kidnapped by
former Nazis or by GPU agents.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 39 | Loc. 596 | Added on Thursday, June 25, 2015, 09:41 AM
connections were unusually extensive, "from putrid to pure," he would say. And I
was well up among the pure. I make no such claims for myself. This is to explain
how George saw me.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 46 | Loc. 695 | Added on Thursday, June 25, 2015, 09:55 AM
autobombo
==========
rhetoric (kenneth burke)
- Highlight on Page 102 | Loc. 1551-53 | Added on Thursday, June 25, 2015, 11:14
AM
topics
==========
rhetoric (kenneth burke)
- Highlight on Page 103 | Loc. 1572-75 | Added on Thursday, June 25, 2015, 11:59
AM
pleonexia. advantage
==========
rhetoric (kenneth burke)
- Highlight on Page 114 | Loc. 1745-57 | Added on Thursday, June 25, 2015, 12:24
PM
But Aristotle does not discuss varieties of audience with the systematic
thoroughness which he brings to the classification of opinion in general. And both
Aristotle and Cicero consider audiences purely as something given. The extreme
heterogeneity of modern life, however, combined with the nature of modern postal
agencies, brings up another kind of possibility: the systematic attempt to carve
out an audience, as the commercial rhetorician looks not merely for persuasive
devices in general, but for the topics that will appeal to the particu-' lar
“income group” most likely to be interested in his product, or able to buy it. If
immediacy or intensity of appeal is got by narrowing the topics and images to the
group likely to be his best audience, he will seek to prod only these to action (if
we could call it “active,” rather than “passive,” when a prospective customer is
bent towards one brand of a commodity rather than another, though the brand he
passes up may be a better buy than the one he purchases, a kind of conduct that may
not be informed enough to be “rational” and “free,” hence not rational and free
enough to be truly an act, at least in the full philosophic sense of the term). In
any case, here too would be a consideration of audiences; hence even by the tests
of the classic tradition it would fall under the head of rhetoric, though it
necessarily extended the range of the term to cover a situation essentially new.
==========
rhetoric (kenneth burke)
- Note on Page 115 | Loc. 1757 | Added on Thursday, June 25, 2015, 12:24 PM
Thus, all told, besides the extension of rhetoric through the concept | of
identification, we have noted these purely traditional evidences of j the
rhetorical motive: persuasion, exploitation of opinion (the “timely”j topic is a
variant), a work’s nature as addressed, literature for use (ap-j plied art,
inducing to an act beyond the area of verbal expression con-1 sidered in and for
itself), verbal deception (hence, rhetoric as instrument in the war of words), the
“agonistic” generally, words used “sweetly” (eloquence, ingratiation, for its own
sake), formal devices, the art of proving opposites (as “counterpart” of
dialectic). We have also suggested that the “carving out” of audiences is new to
the extent that there are new mediums of communication, but there is nothing here
essentially outside the traditional concerns of rhetoric.
==========
rhetoric (kenneth burke)
- Note on Page 116 | Loc. 1766 | Added on Thursday, June 25, 2015, 12:24 PM
summary
==========
rhetoric (kenneth burke)
- Highlight on Page 116 | Loc. 1774-80 | Added on Thursday, June 25, 2015, 12:26
PM
As for the purely formal kinds of appeal which we previously mentioned when trying
to show how they involve the principle of identification, their universal nature
makes it particularly easy to shift them from rhetoric to poetic. Thus, viewing
even tendentious oratory from the standpoint of literary appreciation rather than
in terms of its use, Longinus analyzes “sublimity” of effect in and for itself.
Where Demosthenes would transport his auditors the better to persuade them,
Longinus treats the state of transport as the aim. Hence he seeks to convey the
quality of the excitement, and to disclose the means by which it is produced.
Indeed, might not his key term, that is usually, translated “sublime,” come close
to what we mean by “moving,” not in the rhetorical sense, of moving an audience to
a decision, but as when we say of a poem, “How moving!”
==========
rhetoric (kenneth burke)
- Note on Page 117 | Loc. 1780 | Added on Thursday, June 25, 2015, 12:26 PM
lists of devices
==========
rhetoric (kenneth burke)
- Highlight on Page 124 | Loc. 1896-1903 | Added on Thursday, June 25, 2015, 12:40
PM
Rhetorical Form in the Large There is also persuasive form in the larger sense,
formulated as a progression of steps that begins with an exordium designed to
secure the good will of one’s audience, next states one’s own position, then points
up the nature of the dispute, then builds up one’s own case at length, then refutes
the claims of the adversary, and in a final peroration expands and reinforces all
points in one’s favor, while seeking to discredit whatever had favored the
adversary (vituperation, irony, and appeal to the emotions also being drawn upon
here). The great concern with the classifying and analyzing of minute incidental
effects has caused writers on ancient rhetoric to say that these larger principles
of form were slighted. Yet they are recognized as set stages in the strucure of an
oration, almost as formal as the movements of a symphony.
==========
rhetoric (kenneth burke)
- Note on Page 125 | Loc. 1903 | Added on Thursday, June 25, 2015, 12:40 PM
and you get the traditional three formulated in Aristotle’s Rhetoric: (1)
deliberative, directed towards the future, as with communication designed to sway
an audience on matters of public policy; (2) forensic or judicial, involving the
past, as with speeches designed to establish in a jury’s mind the guilt or
innocence of an accused person; and (3) demonstrative (epideictic, “display”
oratory, sometimes also called panegyric). This third kind readily becomes a catch-
all. Aristotle says that it aims at praise or blame. And he says that it is
concerned primarily with the present. Even at the height of Greek rhetoric, its
range included: funeral orations; tributes to some public character (or diatribes
against such figures); patriotic addresses lauding one’s city or one’s countrymen;
playful, often punning encomiums on animals and things (or playful invectives
against them).
==========
rhetoric (kenneth burke)
- Note on Page 126 | Loc. 1924 | Added on Thursday, June 25, 2015, 02:43 PM
he names as the three “offices” of the orator: (1) to teach, inform, instruct
(docere); (2) to please (delectare); (3) to move or “bend” (movere, flectere).
==========
rhetoric (kenneth burke)
- Note on Page 132 | Loc. 2019 | Added on Thursday, June 25, 2015, 03:05 PM
But one must speak grandly (granditer) when there is something to be done and
“minds are to be swayed” (ad flectendos animos). Here again we see a replica of the
Longinus esthetic in terms of Christian persuasion: for just as the concern with
the “sublime” in Longinus culminates in ideas and images of the fearsome, so the
ardor and vehemence of the grand style in Augustine is said to be particularly fit
for admonishing against the neglect of God. But the totality of motivation
propounded by Christian doctrine provided a new poignancy to the relation between
the rhetoric of particular cases and the rhetoric of generalization For though each
of the three styles is appropriate for certain purposes, Augustine says there is a
sense in which all topics of Christian rhetoric deserve treatment in the grand
style, since there is nothing in life that does not somehow bear upon God. Thus,
though money matters may be trivial from an ordinary point of view, no sum, however
small, can be trivial to the true Christian.
==========
rhetoric (kenneth burke)
- Note on Page 136 | Loc. 2077 | Added on Thursday, June 25, 2015, 03:19 PM
imagination
==========
rhetoric (kenneth burke)
- Highlight on Page 140 | Loc. 2142-49 | Added on Friday, June 26, 2015, 05:19 PM
actualiation
==========
rhetoric (kenneth burke)
- Highlight on Page 143 | Loc. 2185-87 | Added on Friday, June 26, 2015, 05:23 PM
(Rose- mond Tuve cites a relevant formula in Mazzoni: “The credible as credible is
the subject of rhetoric, and the credible as marvelous is the subject of poetry.”)
==========
rhetoric (kenneth burke)
- Note on Page 143 | Loc. 2186 | Added on Friday, June 26, 2015, 05:23 PM
See Pico Della Mirandola’s On the Imagination (the Latin text, with an
introduction, an English translation, and notes; by Harry Caplan: footnote, p. 36)
for references showing that medieval writers had often distinguished between
productive and reproductive kinds of imagination, thus anticipating Coleridge’s
systematic dissociation, though not with his emphases.
==========
rhetoric (kenneth burke)
- Note on Page 143 | Loc. 2192 | Added on Friday, June 26, 2015, 05:23 PM
bacon s definiton
==========
rhetoric (kenneth burke)
- Highlight on Page 146 | Loc. 2225-27 | Added on Friday, June 26, 2015, 05:27 PM
If these other, invisible meanings surrounding the poetic image are not exactly
“ideas” in the purely intellectualistic sense of the term, they are certainly not
empirical in the purely positivistic sense. And such connotations or overtones of
the poetic image are at least “confused ideas,” both in the sense that critical
analysis can often discern some of them with sufficient clarity to name their
“ideational” equivalents, and in the sense that such “imaginary” meanings are fused
together in the image (as it functions in the poem).
==========
rhetoric (kenneth burke)
- Note on Page 151 | Loc. 2314 | Added on Friday, June 26, 2015, 05:35 PM
confused ideas
==========
rhetoric (kenneth burke)
- Highlight on Page 153 | Loc. 2338-44 | Added on Friday, June 26, 2015, 05:37 PM
In any case, the tendency to view image and idea as antithetical has given us today
a frequent distinction between imagery (a cluster of interrelated images) and
ideology (a structure of interrelated ideas). And though “ideology” originally
meant but the study of ideas in themselves (as with Socrates’ systematic concern
with the problems involved in defining the idea of justice), it usually refers now
to a system of political or social ideas, framed and propounded for an ulterior
purpose. In this new usage, “ideology” is obviously but a kind of rhetoric (since
the ideas are so related that they have in them, either explicitly or implicitly,
inducements to some social and political choices rather than others). Yet, though
rhetorical ideology thus comes to be contrasted with poetic imagery, Jeremy Bentham
warned us to look for the images that, overtly or covertly, serve as models for
ideas.
==========
rhetoric (kenneth burke)
- Note on Page 157 | Loc. 2394 | Added on Friday, June 26, 2015, 05:44 PM
Another way of stating this would be by taking as a paradigm the relation between
spirit and matter proclaimed in idealistic metaphysics. (See our remarks on Hegel’s
Philosophy of History, for instance, in the Grammar.) Since in such schemes, the
principle of unification or relationship binding a cluster of related natural
phenomena can be looked upon as an invisible, intangible spirit represented by the
imagery, so a cluster of images organized in accordance with some principle of
artistic order would correspond to the temporal or historical conditions by which
the Universal Idea makes itself manifest at a given time and place. Whatever you
may think of this pattern, as a metaphysics of history, such a view of nature as
the representative embodiment of Universal Purpose is a good way in which to
consider the relationship between some limited artistic purpose and its embodiment,
or representation, in the imagery of nature and experience. The imagery is thus
treated as the “natural incarnation” of the idea or organizing principle that
guided the choice and development of it. (We should here have a secular esthetic
equivalent of the Pauline formula for the word made flesh.)
==========
rhetoric (kenneth burke)
- Note on Page 158 | Loc. 2410 | Added on Friday, June 26, 2015, 05:48 PM
As the imagery would be a translation of the idea into sensory terms, criticism
might conversely propose to retranslate this sensory version back into purely
dialectical or ideological terms, abstractions transcending sheer sensory
experience. And it would look upon an image, not as the merely “positive” thing our
senses take it to be, but as “negative,” in the sense that the image existed by
exclusion, by differentiation from other images, each of which would, in its way,
be one particular, unique embodiment of the over-all principle organizing or
generating the lot. This is like Hegel’s doctrine of the “concrete universal,”
according to which any one “moment,” any one thing, in its particularity or
divisiveness, is not “positive” but “negative,” when considered from the standpoint
of the general principles represented by its thinghood.
==========
rhetoric (kenneth burke)
- Note on Page 158 | Loc. 2417 | Added on Friday, June 26, 2015, 05:49 PM
Metaphysically this may be dubious. But the esthetic equivalent amounts to little
more than the statement that, where a shifting body of imagery is considered in a
unified work of art, the “spirit” of each individual image is to be found, not in
itself, but in the artistic purpose behind the whole body of imagery.
==========
rhetoric (kenneth burke)
- Note on Page 158 | Loc. 2420 | Added on Friday, June 26, 2015, 05:50 PM
unit of works
==========
rhetoric (kenneth burke)
- Note on Page 159 | Loc. 2433 | Added on Friday, June 26, 2015, 05:52 PM
Bentham here discovered a kind of poetry concealed beneath legal jargon usually
considered the very opposite of poetry. It was applied poetry, or rhetoric, since
it was the use of poetic resources to affect judgments, decisions, hence attitudes
and actions.
==========
rhetoric (kenneth burke)
- Note on Page 160 | Loc. 2442 | Added on Friday, June 26, 2015, 05:53 PM
In keeping with his search for “archetypes,” or latent images, Ben-j tham was also
resentful of the linguistic device whereby, when the king is meant, we say instead
the Crown or the Throne; instead of a churchman, the Church or Altar; instead of
lawyers, the Law; instead of a judge, the Court; instead of rich men, Property. As
he puts it, in his typically crabbed style: Of this device, the object and effect
is, that any unpleasant idea that in the mind of the hearer or reader might happen
to stand associated with the idea of the person or the class, is disengaged from
it: and in the stead of the more or less obnoxious individual or individuals, the
object present is a creature of the fancy, by the idea of which, as in poetry, the
imagination is tickled—a phantom which, by means of the power with which the
individual or class is clothed is constituted an object of respect and veneration.
==========
rhetoric (kenneth burke)
- Note on Page 161 | Loc. 2460 | Added on Friday, June 26, 2015, 05:56 PM
tonality
==========
rhetoric (kenneth burke)
- Note on Page 178 | Loc. 2717 | Added on Friday, June 26, 2015, 11:07 PM
marx
==========
rhetoric (kenneth burke)
- Highlight on Page 178 | Loc. 2723-38 | Added on Friday, June 26, 2015, 11:15 PM
The main principles of Marxism, as a theory of rhetoric, are most directly stated,
perhaps, in an early work by Marx and Engels, The German Ideology. But though
Marxist writings probably contributed much to the current prestige of the word,
“ideology,” it is seldom used in exactly the sense that Marx gave it. So we might
begin by noting 104 TRADITIONAL PRINCIPLES OF RHETORIC the several meanings it now
seems to have, meanings wpich, while not necessarily antagonistic to one another,
are quite different in insight and emphasis: ) The study, development,
criticism of ideas, considered in themselves. (As in a Socratic dialogue.) A system
of ideas, aiming at social or political action. (Pareto’s sociology, or Hitler’s
Mein Kampf.) Any set of interrelated terms, having practical civic consequences,
directly or indirectly. (A business men’s code of fair practices might be a good
instance.) “Myth” designed for purposes of governmental control. (“Ideology” would
here be an exact synonym for “myth of the state.”) A partial, hence to a degree
deceptive, view of reality, particularly when the limitations can be attributed to
“interest-begotten prejudice.” (For instance, a white Southern intellectual’s
“ironic resignation” to a status quo built on “white supremacy.”) ’
Purposefully manipulated overemphasis or underemphasis in the discussion of
controversial political and social issues. (For instance, the kind of verbalizing
done by a statesman, home from a discordant conference with foreign diplomats. In a
“confidential” radio talk he gives the people a “frank and simple report of the
facts.” But the report is scrupulously designed to allow them no inkling of how the
matter looks from the other side.) An inverted genealogy of culture, that makes for
“illusion” and “mystification” by treating ideas as primary where they should have
been treated as derivative.
==========
rhetoric (kenneth burke)
- Note on Page 183 | Loc. 2799 | Added on Friday, June 26, 2015, 11:18 PM
ideology def
==========
rhetoric (kenneth burke)
- Highlight on Page 185 | Loc. 2832-54 | Added on Saturday, June 27, 2015, 12:10
AM
Imagine, now, an “ideologist” who, with the documents of many centuries to work
from, inspects a whole developmental series of such successive “ruling” ideas, and
who, considering these ideas “in themselves,” attempts to work out an explanation
for their development. If he proceeds in accordance with the Hegelian dialectic, he
will get the kind of reversed genealogy which Marxism is attacking. He can treat
these particular sets of ideas in terms of some over-all title, a word for ideas in
general, such as Spirit, or Consciousness, or die Idee. Hence he can look upon the
succession of “ruling” ideas (like “honor,” “loyalty,” “liberty”) as though each
were an expression of the one Universal Idea (his title for the lot, which he uses
not just as a summarizing word, but as a “sub-ject” in the strict philosophic
sense, that is, an underlying basis, a sub-stance, of which any step along the
entire series can be considered as a property, or expression). He can next assign
some direction to the entire series, such as the gradual increase of freedom or
self-consciousness. Then he can treat this ultimate direction as the essence of the
whole series, the end towards which the entire series strives, whereby it can be
considered latent in even the first step of the series. Then this Purpose, or
Universal Idea, can be viewed as the creative principle operating within the entire
series. Each step along the way would be a limited expression of this universal
principle; its nature would be determined by its particular place in the series;
yet within the limitations of its nature, each stage would represent the principle
of the total development (as bud, flower, and seed could each, at different stages
in a plant’s growth, be called successive momentary expressions of a single
biologic continuity). “The Idea” thus becomes a universal self-developing organism.
Its successive stages make a dialectical series, as shifts in the nature of
property, production, and rule make for shifts in the ruling ideas; but these
ruling ideas are considered “purely” (as manifestations, not of particular ruling
classes, but of the “Absolute Idea”). The Absolute Idea thus becomes the creator of
nature and history, which are but concrete expressions of it. Hence, all the
material relations in history are interpreted as the products of this Universal
Spirit, manifesting itself in the empirical world. The study of this empirical
world, of TRADITIONAL PRINCIPLES OF RHETORIC 107 course, would include such matters
as conflicts over property. But instead of considering ideas as weapons shaped by
their use in such conflicts, the kind of “ideologist” Marx is attacking would treat
the conflicts as themselves but “moments” in the expression of the Universal Idea
underlying all historical development.
==========
rhetoric (kenneth burke)
- Note on Page 187 | Loc. 2854 | Added on Saturday, June 27, 2015, 12:10 AM
whereas the typical conflicts of society are rooted in property. If, when there is
a quarrel over property, instead of confronting it squarely you begin considering
abstruse problems of universal consciousness or looking for remote kinds of
metaphysical or theological anguish and alienation embedded in the very essence of
humanity, you are blinded by a principle of “mystification.” At every significant
point where there is an economic factor to be faced, your “ideology” introduces an
“illusion,” a purely spiritual “appearance.” Where empires are striving for world
markets, you are “ideologically” inclined to ponder the ways of “universal spirit.”
Where classes within a nation are struggling for dominance, you are likely to
confuse the issue by ideals that give a semblance of national unity.
==========
rhetoric (kenneth burke)
- Note on Page 189 | Loc. 2884 | Added on Saturday, June 27, 2015, 12:13 AM
mystification
==========
Literary Rhetoric (plett)
- Highlight on Page 3 | Loc. 36 | Added on Saturday, June 27, 2015, 01:01 AM
This makes it possible, for example, to demonstrate the affective potential or the
socio-political relevance of certain rhetorical categories. Viewed in this way,
rhetoric is no longer a theory of how texts are generated, but of their
hermeneutics.
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 22 | Loc. 331 | Added on Saturday, June 27, 2015, 01:10 AM
rhetoric as hermeneutics
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Highlight on Page 24 | Loc. 363-65 | Added on Saturday, June 27, 2015, 01:13 AM
Why were, and still are, the critical reactions so hostile to this book? In
Germany, poetics had been separated from rhetoric since Alexander Gottlieb
Baumgarten’s Aesthetica (1750-1758).
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 24 | Loc. 365 | Added on Saturday, June 27, 2015, 01:13 AM
But with regard to Kant’s debasing of rhetoric many scholars (e.g. Bender /
Wellbery 1990: 3-39) have rediscovered the age-old conflict between philosophy and
rhetoric that began with Plato’s dialogues Gorgias and Phaidros and continued
throughout the tradition of Neoplatonism. There rhetoric is assigned to the realm
of opinion (doxa) and thus is stigmatized by the qualities of deception and
manipulation, whereas philosophy deals with eternal truths (ideai) and their
cognition (episteme). In a passage of his De Oratore (III.57-61) Cicero eloquently
criticizes Socrates “for having narrowed the conception of philosophy, a discipline
which had originally included ‘the whole study and practice of the liberal sciences
(omnis rerum optimarum cognitio atque in eis exercitatio)., By his efforts,
Socrates ‘separated the science of wise thinking from that of elegant speaking,
though in reality they are closely linked together.’ From him, therefore, has
sprung ‘the undoubtedly absurd and unprofitable and reprehensible severance between
the tongue and the brain, leading to our having one set of professors to teach us
to think and another to teach us to speak.’” From this statement Wesley Trimpi
(1983: 3-4) draws the conclusion: “The separation of rhetorical from philosophical
disciplines was, for Cicero, explicitly opposed to the early paideia and to the
literature which transmitted its intentions.” Cicero’s ideal of rhetoric combines
ratio and oratio, sapientia and eloquentia, as at the beginning of his treatise De
Inventione (1.1)
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 36 | Loc. 547 | Added on Saturday, June 27, 2015, 01:26 AM
Such an attitude no longer adheres to the ut pictura poesis concept, the basic
maxim of an imitative aesthetics which had been dominant since the Renaissance
(Hagstrum 1958), but rather to the new formula ut musica poesis representing the
Romantic turn towards an expressive concept of art.
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 42 | Loc. 635 | Added on Saturday, June 27, 2015, 01:32 AM
In addition, the need of men for forensic eloquence must have given rise to the
evolution of the liberal art. Thus, it is an essentially republican art: one must
be accustomed to tolerating the most unusual opinions and points of view and even
to taking a certain pleasure in their counterplay; one must be just as willing to
listen as to speak; and as a listener one must be able more or less to appreciate
the art being applied. The education of the ancient man customarily culminates in
rhetoric: it is the highest spiritual activity of the well-educated political man—
an odd notion for us! (Nietzsche 1989: 3).
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 44 | Loc. 672 | Added on Saturday, June 27, 2015, 01:36 AM
Man is a living being that has his true Dasein in conversation and speech. The
Greeks existed in speech. The rhetorician is the one who has true power over
Dasein: 'Ppropucq neidovg Sppiovpyog, the ability to speak is the possibility in
which I have true control over the convictions of human beings, how they are
together. In this fundamental disposition of the Greeks we find the basis for this
definition of man. Even when the Greek is reading, he is listening, and it is no
coincidence that all the texts we have of Aristotle are lectures, the spoken word.
This state of affairs, that the Greeks lived in speech, one must fully realize and
at the same time consider the following: If speech is the true possibility of
Dasein, in which it unfolds, concretely and generally, then precisely this speaking
is also the possibility in which Dasein allows itself to be ensnared into
dissolving in immediacy, in fashion, in chatter, and to letting itself be led from
there. This process of fife, to dissolve in the world, in that which is usual, to
surrender to its world, in which it lives, became for the Greeks themselves,
through speech, the fundamental peril of their Dasein. Proof of this is the
existence of sophistics. In sophistics the preponderant possibility of speaking is
taken seriously. Protagoras’s statement [is telling here]: mv if mo Aoyov Kpehtm
noietv—to discuss geometry with a geometrician even if one knows nothing of
geometry; to conduct the conversation in such a way that I can win out over the
other without expertise. Sophistics is the proof that the Greeks surrendered to
that language which Nietzsche once called “the most speakable language of all
languages.” And he must have known what Greek culture was. It should be remembered
that in the fourth century the Greeks had fallen completely under the sway of
language. (Heidegger 2002: 108-109).
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 59 | Loc. 894 | Added on Sunday, June 28, 2015, 01:21 PM
agueza tesauro
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Highlight on Page 63 | Loc. 957-67 | Added on Sunday, June 28, 2015, 04:50 PM
Poetics in Antiquity Jeffrey Walker argues that rhetoric was derived not from the
usual and off-told forensic or political sources but from an argumentative mode
that came to be known as epideictic and that, long before Aristotle, included
poetry. For Walker, this original epideictic mode was a broadly considered practice
of artfully composed persuasive discourse: “[...] Epideiktikon, in sum, came to
include everything that modernity has tended to describe as literature, and more,
and comprised a range of genres much greater and more various than the handful of
speech-types identified as pragmatika” (2000: 7). It is this “expanded, basically
sophistic notion of epideiktikon” that, in keeping with his programmatic statement,
Walker employs and develops throughout his book. It comprises, for instance,
Gorgias’ Praise of Helen as well as the major epideictics of Isocrates, such as
Panegyricus, On the Peace, and Areopagiticus.
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 64 | Loc. 967 | Added on Sunday, June 28, 2015, 04:50 PM
barthes y la retorica
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Highlight on Page 68 | Loc. 1033-36 | Added on Sunday, June 28, 2015, 05:13 PM
Four years before the publication of Curtius’s opus magnum, in 1944, Klaus
Dockhorn, in a passage that went almost unnoticed, had revived the traditional
rhetorical doctrine of the passions (cf. e.g. Gibert 2004: 255-261) in order to
show its relevance in the work of none other than the Romantic poet William
Wordsworth.
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 68 | Loc. 1036 | Added on Sunday, June 28, 2015, 05:13 PM
Earlier in the 20th century American scholars had endeavoured to recover the lost
knowledge of the relationship between rhetoric and poetry. This was first done in
historical studies on Renaissance rhetoric by such scholars as Thomas Whitfield
Baldwin, Donald Lemen Clark, Hardin Craig, William G. Crane, Morris W. Croll,
Marvin T. Herrick, Wilbur Samuel Howell, Sr. Miriam Joseph, John M. Steadman,
Rosemond Tuve, and others. This historical dimension found an adequate summary in
an anthology of essays published by James J. Murphy in 1983 under the title
Renaissance Eloquence: Studies in the Theory and Practice of Renaissance Rhetoric.
Many works of scholars who made substantial contributions to the historical
research in rhetoric and its CHAPTER ONE relations to poetics are bibliographically
registered in English Renaissance Rhetoric and Poetics: A Systematic Bibliography
of Primary and Secondary Sources (Plett 1995: C).
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 70 | Loc. 1059 | Added on Sunday, June 28, 2015, 05:15 PM
Since the late 1950s greater emphasis has been laid on a new theoretical approach
to the subject, above all from linguistics, semiotics, and speech act theory.
Scholars who have advanced solutions to the question of a rhetorical poetics are
Seymour Chatman, Donald C. Freeman, Samuel R. Levin, Richard M. Ohmann, and above
all Roman Jakob- son. An early anthology of such progressive contributions to a
literary rhetoric was edited by Donald Davie and others in 1961. Towards the end of
the millennium a tendency to collect the knowledge acquired in rhetoric up to that
point manifested itself in encyclopaedias. In 1996 an Encyclopedia of Rhetoric and
Composition was published by Theresa Enos. It was followed in 2001 by Thomas O.
Sloane’s Oxford Encyclopedia of Rhetoric, which goes as far as to include
territories of a comparative rhetoric (e.g. Arabic, Chinese, Indian rhetoric).
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In France the recovery of rhetoric for the study of poetry found several advocates.
In 1970 the Romance scholar A.S. Kibedi Varga published his monograph Rhetorique et
literature: Etude des structures classiques, which describes, among other things,
the changing effects of the rhetorical genres (genre judiciaire, genre deliberatif,
genre demonstratif) upon literary genres (poesie lyrique, tragedie) in French
literature. With their book Rhetorique de la poesie: Lecture lineaire, lecture
tabulate (1977), the Groupe Mu of Liege (Jacques Dubois et al.) approached the
subject from a more general point of view. In the same year there appeared Michel
Charles’s Rhetorique de la lecture (1977), which made an attempt at interpreting
rhetoric as a hermeneutic theory of reading literary texts. Again from a historical
viewpoint, Marc Fumaroli, in his magisterial work L’Age de Veloquence: Rhetorique
et “res literaria” de la Renaissance au seuil de Vepoque
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rhetoric in france
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three questions
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rhetorical literature
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In Rhetoric in the European Tradition (1994), Thomas M. Conley has dealt with this
development of rhetoric. An earlier anthology of essays edited by Edward P.J.
Corbett et al. (1990) proceeds along similar lines. Together with the system of
rhetoric, Greco-Roman civilization, which we also call occidental, developed a type
of literature which was shaped by rhetoric. It is true that literary scholars have
postulated a historical limit for this type of literature, and some still consider
this legitimate.
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The fact that literary critics have restricted rhetorical literature to specific
cultural periods can be viewed as a result of the pejoratively used attributes of
artificiality and insincerity, which the opponents of rhetoric have always ascribed
to it. Such literature, which would deserve to be called “rhetoricized” rather than
“rhetorical”, was afflicted with the odium of secondariness and, to a certain
extent, it still is. Its representatives are to be found in the age of Greek
Hellenism and the Silver Age of Roman culture, in Mannerism and in the Baroque Age,
in Symbolism and decadence. Owing to its specific constitution, this kind of
literature came to be discredited as artificial playfulness and “linguistic
alchemy” (Hocke 1959). For this reason it has been denied the status of poetical
classicality and has likewise not gained admission to the canon of world
literature. It is possible that the literary products of Postmodernism, whose
rhetorical character has been outlined by Paul de Man (1979) and others, will meet
a similar fate. Which concept is to be preferred, the extensive one of “rhetorical
literature” or the restricted one of “rhetoricized literature”? The answer is:
neither and both. The first concept seems too broad, the second too narrow.
Moreover, there is one aspect which is neglected in both concepts: the possible
gradation between extreme levels. Therefore, it has been proposed to speak of
rhetoricity in literature, a term coined in analogy to expressions like
“poeticity”. Jacques Bessiere (1988:38) defines it in the following manner: Ce
neologisme, qui est aussi en parti un anglicisme, indique que la rhetorique est une
maniere de faire de la literature, de la situer, et, en retour, un utile d’analyse.
II dispose que, dans le litteraire, l’hypothese d’un partage—fut-il simplement
heuristique—entre rhetorique et non- rhetorique ne vaut pas: [...].
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altera natura
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The ground for such a dialectic had already been prepared, though in philosophy
rather than in literary criticism. In his Truth and Method (Wahrheit und Methode
[(I960]) Hans-Georg Gadamer had already carried out the hermeneutic turn. In an
exhaustive review of Gadamer’s book, Klaus Dockhorn (1966) established the
connection with rhetoric which, in two subsequent studies, was taken up by Gadamer
himself. In his article “Rhetoric, Hermeneutics, and Ideological Criticism”
(Rhetorik, Hermeneutik und Ideologiekritik [1971: 57-82]), which forms a
“metacritical” addendum to his important monograph, Gadamer aphoristically states:
37 Es gibt keinen Redner und keine Redekunst, wenn nicht Verstandi- gung und
Einverstandnis die menschlichen Beziehungen triige—es gabe keine hermeneutische
Aufgabe, wenn das Einverstandnis derer, die ,ein Gesprach sind‘, nicht gestort ware
und die Verstandigung nicht gesucht werden miisste. There would be no orators and
no rhetoric if mutual understanding and agreement did not form the basis of human
relations—there would be no hermeneutic task if the agreement of those who “are
conversing” were not disrupted and understanding did not have to be sought. And in
his “Rhetoric and Hermeneutics” (Rhetorik und Hermeneu- tik [1976]), he points to
the fact that Melanchthon had already been aware of the real benefit of the
classical ars bene dicendi, namely Dass die jungen Leute die ars bene legendi, das
heifit die Fahigkeit, Reden, langere Disputationen und vor allem Bucher und Texte
aufzu- fassen und zu beurteilen nicht entbehren konnten. That young people could
not do without the ars bene legendi, that is, the ability to understand and judge
speeches, longer disputations, and particularly books and
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hermenutic turn
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Beide [Rhetorik und Hermeneutik] haben es mit der Universalitat des Sprachlichen
und nicht mit bestimmt begrenzten Sachfeldern des Her- stellens zu tun. Both [sc.
rhetoric and hermeneutics] deal with the universality of language and not with
certain limited fields of [linguistic] production.
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During the 1960s and 1970s, literary rhetoric was considered the primary, if not
the only form of rhetorical studies. In the meantime, ancient domains of rhetoric
have been restored and others have been newly developed. Once more we are speaking
of the rhetoric of jurisprudence, politics, theology, stylistics, and philosophy.
Innovations are the rhetoric of psychology, feminism, the media, and very recently,
digital rhetoric (Plett 1996). But contrary to all expectations, rhetoric as a
discipline has not been reinstitutionalized—apart from a few exceptions in Europe.
Instead, rhetoric has become a multidisciplinary subject, i.e. it forms an
integrative and acknowledged area of research within those disciplines which have a
strong affinity with rhetoric. Initially, its traditional categories and concepts
were retained. But within the framework of a “new rhetoric”, their deficiencies
soon became evident. As a result, new creations have emerged, some of which have
moved far from their rhetorical origins.
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traditional content. These deal with the five parts of rhetoric (quinque partes
artis): inventio, dispositio, elocutio, memoria, actio/pronuntiatio-, the three
principal functions: docere, delectare, movere; the three principal genres (genera
causae): genus iudiciale, genus deliberativum, genus demonstrativunv, the different
parts of an oration (exordium, propositio, argumentatio, per- oratio)-, the four
principles of style (virtutes elocutionis): puritas, perspi- cuitas, ornatus,
aptum-, the different levels of style (genera dicendi)-, the categories of
rhetorical figures and many other subdivisions. To the adept of rhetoric, such
terms and categories are well known. Moreover, this repertoire allows for a certain
variability. Reductions, extensions, and overlappings are possible. The fact that
there is no homogeneous terminology, only one which is partly Greek (e.g.,
metaphor, metonymy), partly Latin (e.g., alliteration, assonance), and partly
vernacular (e.g., English similitude, pun, corresponding to German Gleichnis,
Wortspiel), has had long-lasting consequences. An international norm which is
compulsory, systematic, categorical and terminological is still lacking. Of course,
there have been several attempts at standardization.
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basic structure and ctegories of rhetoric
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From a historical point of view all categories of rhetoric have found entrance into
theories of poetry, which in turn influenced their employment in poetic works. This
is true above all for the quinque partes artis rhetoricae, which can be traced in
numerous poetical theories and works of the Renaissance (Plett 2004).
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In the further development of rhetoric and its terminology the analogical metaphor
in its audacious realizations will be named concetto or conceit and become part of
a mannerist or ‘metaphysical’ style.
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The invention of a (metaphorical) term for a thing for which no designation as yet
exists (paupertas sermonis) receives the critical term catachresis (Lausberg 1998:
§§ 551, 562); in so far it describes a constitutional act of meaning. In recent
times it is, however, used in a more extensive manner; the sophistical readings
revolve around the double-bind of catachresis between proper/improper uses of
language as defined by speech act theory, and proper/improper uses of meaning as
circumscribed by deconstruction theory (Clot 2003; Posselt 2005).
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catachresis
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Energeia is often confused or collated with the term enargeia or evidential its
importance is even heightened in the theory and practice of poetry from classical
Antiquity until at least the end of the eighteenth century. Francois Fenelon offers
an excellent exposition of this important stylistic category in his Second Dialogue
of his Dialogues sur Veloquence: To portray is not only to describe things but to
represent their surrounding features in so lively and so concrete a way that the
listener imagines himself almost seeing them. For example, a dispassionate
historian who tells of the death of Dido, will content himself with saying that she
was so overcome with grief after the departure of Aeneas that she could not bear to
live; and that she went upstairs in her palace, threw herself upon a pyre, and
killed herself. In listening to these words, you take in the happening, but you do
not see it. Listen to Virgil, and he will put it before your eyes. Is it not true
that, when he assembles all the surrounding features of her despair, when he shows
you the savage Dido, the lineaments of death already etched upon her face, when he
makes her speak with her eyes upon Aeneas’ portrait and upon his sword, your
imagination transports you to
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Because of its general importance for the history of aesthetics and the arts,
numerous studies on this rhetorical-poetical term enargeia and its significance
have been published from the 1970s onward (Plett 1975: passim, esp. 184-193; Cave
1972, 1979; Willems 1989; Walker 1993; Solbach 1994; Galand-Hallyn 1995; Pernot
1997; Manieri 1998; Cluver 1998; Scholz 1999; van Rosen 2000; McKeown 2000;
Sharpling 2002; Wells 2002; Lunde 2004; Wimbock 2007; Gil 2008). This term and its
realization has consistently proved a bridge between rhetoric and poetry and
between the visual arts and music as well.
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enargeia. studies
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This can be achieved by taking into account the telos of both rhetoric and poetry.
Here, a clearly marked difference can be observed. At all times, rhetoric has been
governed by the practical purpose of persuasion, a term which in German is
translated in two different ways: Uberzeugung (convincing) or tJberredung
(persuading). These seem to offer two procedural alternatives: an argumentative
(logos) or an affective one (pathos). Julius Caesar Scaliger (1484-1558) in Book
1.1. “Orationis necessitas, ortus, usus, finis, cultus” (The Indispensability of
Language, its Origin, Uses, End, and Cultivation) of his Poetices libri septem
(1561) almost proclaims a kind of panrhetoric in this rhetorical question:
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Irrespective of the alternative chosen, rhetoric will make use of any available
device to achieve its pragmatic end. Literature, on the other hand, does not lay
claim to an immediate situational eloquence; its essential destination lies within
its own realm, not outside of it. According to Aristotle, it is hedone, not
catharsis. Friedrich Schiller (1966 II, 341-351) uses the nicely formulated
paradox: “Pleasure in tragic things” (Vergniigen an tragischen Gegenstanden).
According to Immanuel Kant, the purpose of literature is “disinterested pleasure”
(interesseloses Wohlgefalien), or, to put it with Roman Jakobson (21964: 356),
“autotely”, which he defines as follows: The set (Einstellung) toward the MESSAGE
as such, focus on the message for its own sake, is the POETIC function of language.
[...] Poetic function is not the sole function of verbal art but only its dominant,
determining function, whereas in all other verbal activities it acts as a
subsidiary, accessory constituent. (Jakobson 21964: 356).
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autotelia de la literatura
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As regards these functional shifts, a skilful oration which has lost its immediate
persuasiveness may be an example of the former (poeticizing), and the line of a
poem which is used in an advertisement an example of the latter (rhetoricizing).
The status of elocutio in particular is affected by this scheme of fluctuating
functions. Thus, rhetorical figures and tropes may change into poetical ones. Their
specific value is defined by their telos.
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On the other hand the ultimate existence of poetic works in a labyrinth of signs
(Eco) or, to put it less mildly, their confinement to a “prison-house of language”
(Jameson) points ahead to a narcissistic and sometimes hermetic cult of language.
The age of Baudelaire and Wilde is returning, with a vengeance—and with a
differance.
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- Note on Page 105 | Loc. 1601 | Added on Thursday, July 02, 2015, 12:03 AM
cult of language
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AM
with respect to author and recipient: hermeneutically, i.e. allowing both of them
self-consciously to merge within “the one world joining past and present, owned and
co-owned mutually by each other” (Gadamer 1971: 64); with respect to the subject of
“literature”: not only verbally, but also nonverbally and, if necessary,
multimedially, which is the adequate response to the semiotic complexity of modern
texts; with respect to rhetoric itself: metarhetorically, i.e., critically
reflecting on its own methodological foundations, being sceptical towards its own
heritage and at the same time open to any possible innovations. This is, and always
has been, the purpose of true scholarship.
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- Note on Page 105 | Loc. 1604 | Added on Thursday, July 02, 2015, 12:05 AM
proposal
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part ii
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- Note on Page 106 | Loc. 1615 | Added on Thursday, July 02, 2015, 12:05 AM
approaches to rhetoric
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A modern scientific rhetoric whose aim is not the production but the description of
texts, cannot simply take over the system of intended effects, nor their
prescriptive assignment to specific formal rhetorical features. Rather, its task
initially consists in considering the effects of texts as hermeneutical reception
phenomena. These effects may be classified according to psychological and
sociological aspects or interpreted in terms of ideological criticism and under
certain circumstances be objectified by empirical methods of measurement. The aim
of the second step of the analysis is then to relate the established effects of the
text to certain structural text features as their enabling conditions. A further
stage of analysis is devoted to clarifying the historicity of the text to be
interpreted: the concrete social environment of the author of the text, his/her
relationship to the predominant norms of argumentation and cultural environment of
his/her time, and his/ her choice of medial facilities in relation to the audience
addressed. Finally, the text analyst has to take into account that his/her own
point of view is an historical inheritance, i.e. dependent on specific
preconceptions and prejudices. In this way, prescriptive rhetoric changes into an
historic-hermeneutic rhetoric.
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- Note on Page 108 | Loc. 1643 | Added on Thursday, July 02, 2015, 12:08 AM
rhetorical genres
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Three problem groups have been placed at the centre of discussion: 1) the system,
2) the pragmatics, and 3) the aesthetics of figures. The first group of problems
deals with figural model formation and model critique; the second with the
communicative placement; and the third with the literary functionality of the
figures.
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- Note on Page 113 | Loc. 1728 | Added on Thursday, July 02, 2015, 12:25 AM
new model
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classes of deviations
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possible operations
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On the other hand, one has to take note of the linguistic levels of phonology,
morphology, syntax, semantics, textology and graphemics. This results in
phonological, morphological, syntactical,... figures of speech. Here, too, the
individual levels allow for further subclassifications.
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levels
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Now, the rhetoric model works in such a way that the various linguistic operations
are projected onto the various language planes and there generate rhetorical units
(figures) of speech. The operational modes act here as modes of transformation:
they transform step by step the primary language norm (grammaticality) into a
secondary (rhetoricity). The methodology is “generative” in two respects:
phenomenologically and onomasiologically; phenomenologically, because the model
drafted presents a rhetorical heuristics which on a (semio-) syntactic basis
generates all conceivable deviant linguistic phenomena and makes them available for
the production/analysis of texts; onomasiologically, because the model not only
dismantles the redundancy of the traditional terminology or makes it more precise,
but it also exposes terminological vacancies which first of all have to be given
names. The generative model of figures of speech thus outlined can be visualized by
means of a matrix, the coordinates of which are respectively formed by the
linguistic operations and the linguistic levels (see the illustration in table 3).
All figures of speech of the (semio-)syntactic class can be entered into this
matrix.
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exclusion of catalogues
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1) The historical dimension, in the sense that various models and model proposals
are compared with respect to their historical sequence and the causes giving rise
to them. (Even though a history of rhetoric, that is, a history of rhetorical
models—both within the framework of the five-phase concept and in the field of
elocu- tio—is a desideratum for comparative research, it is not of primary
relevance for the problems that are presently being dealt with.)
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- Note on Page 117 | Loc. 1791 | Added on Thursday, July 02, 2015, 03:25 PM
todorov system
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- Note on Page 125 | Loc. 1914 | Added on Thursday, July 02, 2015, 03:44 PM
grupo mu
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We hardly need point out that the model of rhetorical figures of speech is not the
only conceivable stylistic model. From the individual components of the
communication process further stylistic concepts can be derived: from the sender,
an expressive conception; from the recipient, an affective one; from the reality
relationship, a referential one; from the communication channel, a medial one, etc.
Compared with these, the rhetorico-stylistic model has two advantages: on the one
hand, the older tradition and thus the concrete experience gained from working with
it; on the other, its far greater explicitness and operationalizability. These two
aspects ensure that it has a certain lead over more recent models (e.g. the
register model). Whether, and to what extent, it can be integrated into these
models is a question that still has to be dealt with.
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- Note on Page 128 | Loc. 1962 | Added on Thursday, July 02, 2015, 03:50 PM
competence performance
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- Highlight on Page 130 | Loc. 1991-98 | Added on Thursday, July 02, 2015, 03:55
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rhetorical situation
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First, it is immediately obvious that not every linguistic deviation has the status
of a rhetorical figure. For linguistic performance, especially of the oral kind, is
often characterized by faulty grammaticality. This applies to almost all linguistic
operations and planes so that it is quite possible to assess such cases as
ellipsis, anacoluthon, antisthecon, or synecdoche as phenomena of linguistic
deficiency. It is particularly people with speech impediments (e.g. aphasia) who
produce such deviations, but also children or foreign language learners. The
conclusion from this is that one has to distinguish between two kinds of
communicative situation: a defective one and a rhetorical one.
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misconceptions which suggest the ideal of a natural gift of eloquence. The first
consists in the claim that the teaching of rhetorical figures is unimportant for
the effectiveness of persuasion, possibly even harmful, since experience shows that
an unadorned style is more effective than an artificial one. To this we reply with
Walter Jens (1971: 437) that “the locutio simplex can be a rhetorical style just as
well as the locutio figurata”. Indeed, it turns out that such texts as are assigned
to the sermo humilis, which occurs in texts such as the Bible, are particularly
characterized by the use of this locutio simplex (Auerbach 1941; Biihlmann/Scherer
1994).
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locutio simplex
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Therefore it is not true that figuration is totally absent from the simple style;
it is merely different from the artificial style. Assuming, however, that a
persuasive text really shows a very scanty presence of the elocutionary code, then
its persuasiveness will possibly derive from some other rhetorical code, such as
the argumentative code. A persuasive text that does not activate any rhetorical
code is unthinkable.
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The second erroneous opinion goes further than the first. It denies not only the
usefulness of the rhetorical elocutio but of rhetorical theory altogether; for—as
Quintilian already declared (Inst. Or. X.vii.16)—“pectus est [...], quod disertos
facit”, which explains why 83 ordinary people who have never touched a rhetorical
textbook so often act more rhetorically than a trained speaker. To this we have to
reply: Apart from the fact that this opinion is a faulty interpretation of
Quintilian, who by this statement never intended to declare the discipline he
taught as superfluous, it is quite possible that a rhetorique du peuple (Barthes)
is not based upon a production theory for persuasive texts made deliberately
available; but this possibility does not relieve the scholar of his/her obligation
to postulate a rhetoric as analytical theory for such texts. Otherwise rhetoricity
cannot be verified.
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A modern theory of rhetoric will certainly not be entitled to adopt grosso modo the
ancient doctrine of the emotions but will aim at differentiated functional
specifications, based on the research of pragmalin- guistics, communication theory,
and ideological criticism.
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To round off this section, let us point out two concepts that make available
pragmatic possibilities for the interpretation of rhetorical figures. The first is
already quite old, dating back to Antiquity. The second concept is of more recent
origin. 1) The behaviouristic concept: In the framework of this interpretative
pattern, the rhetorical figure appears as an emotional agent which serves to give
manifest plausibility to a state of affairs when the audience has been
psychologically conditioned in a certain manner. Conventional rhetoric in the
classical tradition grouped the figures of speech according to the intensity of
their effect into “ethical” and “pathetical” schemes (Dockhorn 1968). On the basis
of modern psycholinguistic research, it should be possible to provide a more
scientific treatment of the rhetorical emotions.
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rhetorical emotions
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aesthetic use
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competences figure
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we arrive at the model of performance shown in table 6. The table reveals that
elocutio can occur in various communicative situations, with different purposes:
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model of performance
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case, a complete blurring of functions takes place when—as with Kenneth Burke
(1931: 265-266)—poetic texts are represented as fundamentally effect-related and
thus actionally identical with persuasive texts.
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phonological figures
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Two groups of figures arise from this contraposition: the figures of phonological
deviation, or metaphonemes, where the term “deviation” is used in the narrower
(norm-destructive) sense, and the figures of phonological equivalence or
isophonemes.
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barbarism. mtaplasm
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diaeresis
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synthesis synalefa
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spoonerism
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substitution. antisthecon
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b) Substitutive phonic figures often lead to a play on words. This occurs when the
substitution of one or more phonemes is accompanied by semantic changes. In the
following examples the “background” of the deviation is formed by linguistic
conventions (semantic, syntactic, morphological). Thus, the title of the cabaret
program Die ehr- bare Bime (“The Honest Pear”) as a paradigmatic wordplay upon
Sartre’s (well-known) drama title, Die ehrbare Dime (“The Honest Prostitute”)
represents a semantic deviation and, at the same time, forms a transformed semantic
figure (metaphor).
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We shall begin this presentation with the following condition: Let the monosyllabic
sound sequence C-V-C (consonant-vowel-conso- nant) be given. This combination of
phonemes is to be repeated in such a way that each phoneme in a certain phonotactic
position is given the same sound quality. 1.1.2.1 Position
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1.1.2.2 Extent The extent of the repetition in our sound structure CVC can comprise
one, two or three phonemes. Single-phoneme repetition has already CHAPTER ONE been
illustrated in 1.1.2.1. The two-phoneme repetition has the following appearance:
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similarity
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1.1.2.4 Frequency Phonological recurrence can be measured, on the one hand, with
respect to the language as a whole and, on the other, with regard to one or more
texts. The first case is what Mukarovsky has in mind when he writes that “the
euphonic validity of a given sound is dependent not only on the number of
repetitions but also on its relative frequency compared to its normal frequency”
(cited by Levy 1969: 214). It is therefore a valid statement to make that in the
verse Wir singen und sagen vom Grafen so gem, the ^-alliteration stands out more
than the 5-alliteration because the consonant g occurs less frequently in German.
The restriction “in German” is important since the measured relationships in
various languages differ considerably.
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frequency
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the absolute frequency of the phonological repetition unit; the extension of the
context in which the equivalence concerned makes its appearance; the frequency
compared with that of other phonological units in the text.
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(5) O Tite tute Tati tibi tanta Tyranne tulisti, shows nearly the maximum possible
recurrence of the alliterative Itl (quite apart from other forms of equivalence).
This kind of phonological repetition—called paromoiosis in classical rhetoric—is of
course an extreme case.
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paromoiosis
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1.1.2.5 Distribution When dealing with the aspect of frequency we ignored one
important factor almost completely: the distribution of the phonological
equivalence in the text. Yet this factor is of crucial relevance to the
determination of the structural aspect of linguistic phonaestheticity. For
instance, one distributional observation one could make is that in the Ennius verse
quoted (5), each of the eight words except the first has a t as initial consonant;
the result is a sevenfold alliteration.
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distribution
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If we assume two different species of rhyme, a and b, we may then find that, in
accordance with the tabulated structural schemata (1) to (6), the end rhyme becomes
one of the well-known possibilities, the rhyming couplet [schema (l)-(2)], the
cross rhyme [schema (3)-(4)], and the enclosing rhyme [schema (5)-(6)]. For
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homoioteleuton
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homoioteluton
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How can one objectivise the phonaesthetic equivalence structure of a text? The
adequate form of representation is a “text score” in which the complete acoustic
structure or “orchestration” (Rene Wellek) of the text is made visible, but
especially the structure of its phonological correspondences.
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orchrestation of a text
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alliteration
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For this procedure we choose two modes of representation: a ray diagram, and a
matrix (with plus and minus poles). The phonological equivalence classes will be
marked by A (alliteration), B (assonance) and C (end rhyme). We illustrate the
procedure by means of the first two verse lines. PHONOLOGICAL FIGURES
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ray diagram
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hendiadyon
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verse def
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In all sustained spoken English we sense a rhythm, that is, a recognisable though
variable pattern in the beat of the stresses in the stream of sound. If this rhythm
of stresses is structured into a recurrence of regular—that is, approximately
equivalent—units of stress pattern, we call it meter.
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regular rythm i verse
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claisccal figures
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Larger prosodic repeat units arise from a sequence of several verses. By tradition,
any sequence that constantly repeats the same accent pattern is called “stichic.”
One generally distinguishes between the monostichon (one verse line), the distichon
(two verse lines), the CHAPTER ONE tristichon (three verse lines), the tetrastichon
(four verse lines), and so on. A more complex equivalence structure is shown by the
strophe-, it is determined not only by the varying lengths of the verse lines and
the variation of the accent figures, but partly also by the many varieties of
rhyme. As an example, we cite the Sapphic strophe: Its metrical
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strophe
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If metre has been called a “concept” and rhythm a “percept,” the following was
meant: metre is a thought construction, a system of regularities without reality.
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Let us draw some conclusions from the above discussion: a survey of the
phonological figures shows that they represent a rather differentiated instrument
for “orchestrating” a text. In contrast to figures that violate grammar
(metaphonemes), we have those that make full use of the possibilities of repeat
equivalent phonemes and phoneme combinations. Where the phonological equivalence
figures (isophonemes) meet somewhere in a text, this creates a texture of high
poetic density that can even be further intensified by graphemic, morphological,
syntactic and semantic factors. Admittedly, the possibility that continuous
repetition of the same equivalence classes can lead to a structural monotony that
threatens the recipient with fatigue also exists. That is counteracted by secondary
deviation as a principle of variation. If pursued consistently, it offers a basis
for a change of the phonaesthetic norm. The best proof of this claim is offered by
the innovation of vers libre (Hrushovski 1968). In chapter 37, “On the Aesthetics
of Poetry,” of his great work The World as Will and Representation (Die Welt als
Wille und Vorstellung) the German philosopher Arthur Schopenhauer (1788-1860) gives
what can be regarded as another summary of the present chapter on phonological
figures: Metre and rhyme are a fetter, but also a veil which the poet casts round
himself, and under which he is permitted to speak as otherwise he would not dare to
do; and this is what delights us. Thus he is only half responsible for all that he
says. Metre and rhyme must answer for the other half. Metre or measure, as mere
rhythm, has its essence only in time, which is a pure intuition a priori; hence, in
the language of Kant, it belongs merely to pure sensibility. Rhyme, on the other
hand, is a matter of sensation in the organ of hearing, and thus of empirical
sensibility. Therefore, rhythm is a much nobler and worthier expedient than rhyme,
which the ancients accordingly despised, and which found its origin in the
imperfect languages resulting from the corruption of the earlier languages of
barbarous times (Schopenhauer 1958, II 427-428). This explication on the sound
structure of poetry can be termed a brief contribution to its pragmatics.
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conclusions
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morphological figures
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mtamophems
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metamorfema adicion
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metamorpheme substraction.
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PM
A special case is that of haplology, the contamination of two (or more) words
accompanied by the loss of individual elements of at least one word. Hans Marchand
(1969: 451) describes the generating process of such word hybrids (“blends”)
concisely as “compounding by means of curtailed words.” This paves the way for a
broad range of variations of these linguistic phenomena which—as coined by Lewis
Carroll—are also called portmanteau words. Well-known representatives are found in
English everyday language in Oxbridge ((Ox(ford) + Cambridge),
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haplology
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permutation.
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2.1.1.4 Substitution
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metamorpheme substitution
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syntactic nvironment
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bound morphemes
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Realism, seen broadly as truthfulness to the way things are, cannot be mere
verisimilitude, cannot be mere lifelikeness, or lifesameness, but what I must call
lifeness:, life on the page, life brought to different life by the highest
artistry. And it cannot be a genre; instead, it makes other forms of fiction seem
like genres. For realism of this kind—lifeness—is the origin.
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How Fiction Works (Unknown)
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lifeness
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How Fiction Works (Unknown)
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The true writer, that free servant of life, is one who must always be acting as if
life were a category beyond anything the novel had yet grasped; as if life itself
were always on the verge of becoming conventional.
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bibliography
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diastraic deviations
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diatopic deviations
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standard languages
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standard translation
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diachronic devatios
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The distinction between artificial archaisms (deliberately used) and natural
archaisms (arising from the diachronic text progression) is not always an easy one;
it requires a study of historical grammar and of the historical vocabulary. The
appearance of ever new “natural” archaisms causes texts to gain in poeticity as
they become older. From this point of view, the works by Shakespeare, Racine and
Goethe are more poetic nowadays than they were at the time they were produced
(Klinkenberg 1970).
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renovation of arcaisms.
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conversion
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anlysis o cummings
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isomorphemes
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isomorpheme position
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geminatio
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kyklos
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What is clear is that type (a) corresponds to anaphora, type (b) to epiphora, and
type (d) to anadiplosis. However, we have to ask ourselves whether, for instance,
types (c), (f) and (i) could still fall under the category of anaphora or whether
one should not, for the sake of precision, adopt new terminology.
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isomorpheme extent
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 252 | Loc. 3861 | Added on Friday, July 10, 2015, 07:35 PM
isomorpheme frequency
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 253 | Loc. 3875 | Added on Friday, July 10, 2015, 07:37 PM
isomorpheme distrinution
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Highlight on Page 253 | Loc. 3879-83 | Added on Friday, July 10, 2015, 07:37 PM
isomorpheme smilarity
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 255 | Loc. 3908 | Added on Friday, July 10, 2015, 07:39 PM
polypopton
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 258 | Loc. 3946 | Added on Friday, July 10, 2015, 07:40 PM
paronimy
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 258 | Loc. 3949 | Added on Friday, July 10, 2015, 07:42 PM
figura eymologica
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Highlight on Page 260 | Loc. 3978 | Added on Friday, July 10, 2015, 07:45 PM
is variatio delectat.
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 260 | Loc. 3978 | Added on Friday, July 10, 2015, 07:45 PM
variatio delectat
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 260 | Loc. 3980 | Added on Friday, July 10, 2015, 07:45 PM
The structural patterns of (c) and (d) are also known by the names synonym and
homonym or polyseme (Ullmann 1968). Whereas (f) is relatively irrelevant, (c) and
(e) belong to the realm of semantic and graphemic figures, respectively. In cases
(a), (b) and (d) we speak of homophonic (isophonic), homographic (isographic) and
homonymous or polysemic wordplay; here we have to do with repetition-forms with
different meaning in each case. As a result these plays on words display different
kinds of ambiguity. The context in which equivalent word-forms are embedded
performs a signal function. The description that follows is devoted to an
explication of this and other significant types of wordplay.
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Highlight on Page 261 | Loc. 3995-4003 | Added on Friday, July 10, 2015, 07:49
PM
This means that the wordplay finds its realisation in the sequence of the textual
succession. An example would be Antony’s lament over Caesar in Shakespeare’s Julius
Caesar (III.i.207-208): (55) O World! thou wast the Forrest to this Hart, And this
indeed, O World, the Hart of thee, where the first Hart is the male deer, while the
second is “heart”—in the Folio edition here quoted this is an homonymous wordplay
but in modern editions, with the printed rendition hart/heart, a homophonic
wordplay.
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 262 | Loc. 4003 | Added on Friday, July 10, 2015, 07:49 PM
(56) Ask for me to-morrow, and you shall find me a grave man. (III.i.97-98), where
grave has two meanings: 1) solemn, 2) in, or ready for, a grave, which are
inferable from the textual and situational context.
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Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 262 | Loc. 4011 | Added on Friday, July 10, 2015, 07:50 PM
a grave man
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Humboldt's Gift (Saul Bellow)
- Highlight on Page 47 | Loc. 716-18 | Added on Saturday, July 11, 2015, 04:11 PM
I had gone out one evening to amuse myself in vulgar company and I had fallen into
the moronic inferno. Vulgar company was not my own expression. What I
was in fact hearing was the voice of my ex-wife.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 47 | Loc. 718 | Added on Saturday, July 11, 2015, 04:11 PM
had escaped the marital "I-told-you-so." But here I was, supplying it myself.
For Denise continually spoke to me about myself. She would say, "I just
can't believe the way you are. The man who's had all those wonderful insights, the
author of all these books, respected by scholars and intellectuals all over the
world. I sometimes have to ask myself, "Is that my husband? The man I know?"'
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 48 | Loc. 728 | Added on Saturday, July 11, 2015, 04:12 PM
introyected hysteria
==========
Humboldt's Gift (Saul Bellow)
- Highlight on Page 48 | Loc. 735-37 | Added on Saturday, July 11, 2015, 04:13 PM
old mother's words for Denise would have been "Edel, gebildet, gelassen," for
Denise was an upper-class person. She grew up in Highland Park. She went to Vassar
College. Her father, a federal judge, also came from the West Side Chicago gutters.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 49 | Loc. 737 | Added on Saturday, July 11, 2015, 04:13 PM
hysteria
==========
Humboldt's Gift (Saul Bellow)
- Highlight on Page 51 | Loc. 769-78 | Added on Saturday, July 11, 2015, 04:19 PM
Yes, Denise would be overjoyed to hear of this atrocity. She had seen Renata
speeding past in the silver Mercedes. "And you, the passenger," said Denise,
"getting to be as bald as a barber pole, even if you comb your side-hair over to
hide it, and grinning. She'll give you something to grin about, that fat broad."
From insult Denise went into prophecy. "Your mental life is going to
dry out. You're sacrificing it to your erotic needs (if that's the term for what
you have). After sex, what can you two talk about... @? Well, you wrote a few
books, you wrote a famous play, and even that was half ghosted. You
associated with people like Von Humboldt Fleisher. You took it into your head that
you were some kind of artist. We know better, don't we. And what you really want is
to get rid of everybody, to tune out and be a law unto yourself. Just you and your
misunderstood heart, Charlie. You couldn't bear a serious relationship, that's why
you got rid of me and the children. Now you've got this tramp with the fat figure
who wears no bra and shows her big nipples to the world. You've got ignorant kikes
and hoodlums around you. You're crazy with your own brand of pride and snobbery.
There's nobody good enough for you... I could have helped you. Now it's too late!"
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 51 | Loc. 778 | Added on Saturday, July 11, 2015, 04:19 PM
I had to recover my calm. Seeking stability, I did the one Yoga exercise I know. I
took the small change and the keys out of my pockets, I removed my shoes, took a
position on the floor, advancing my toes, and, with a flip, I stood on my head.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 56 | Loc. 856 | Added on Saturday, July 11, 2015, 04:35 PM
Under Nixon the great corporations became drunk with immunity. The good old
bourgeois virtues, even as window dressing, are gone forever.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 57 | Loc. 873 | Added on Saturday, July 11, 2015, 04:38 PM
I've reached an age at which you can see your neurotic impulses advancing on you.
There's not much that I can do when the dire need of help comes over me. I stand at
the edge of a psychic pond and I know that if crumbs are thrown in, my carp will
come swimming up. You have, like the external world, your own phenomena inside. At
one time I thought the civilized thing to do was to make a park and a garden for
them, to keep these traits, your quirks, like birds, fishes, and flowers.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 59 | Loc. 898 | Added on Saturday, July 11, 2015, 04:41 PM
image of neurosis
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Humboldt's Gift (Saul Bellow)
- Highlight on Page 62 | Loc. 943-49 | Added on Saturday, July 11, 2015, 04:52 PM
"No," I said. "The French government gave me that. The Legion of Honor. I'm a
knight, a chevalier. Their ambassador decorated me." On that occasion,
Humboldt had sent me one of his unsigned post cards. "Shoveleer! Your name is now
lesion!" He had been on a Finnegans Wake kick for years. I remembered
our many discussions of Joyce's view of language, of the poet's passion for
charging speech with music and meaning, of the dangers that hover about all the
works of the mind, of beauty falling into abysses of oblivion like the snow chasms
of the Antarctic, of Blake and Vision versus Locke and the tabula rasa. As I saw
the cops out I was remembering with sadness of heart the lovely conversations
Humboldt and I used to have. Humanity divine incomprehensible!
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 62 | Loc. 949 | Added on Saturday, July 11, 2015, 04:52 PM
music in language
==========
Humboldt's Gift (Saul Bellow)
- Highlight on Page 63 | Loc. 952-55 | Added on Saturday, July 11, 2015, 04:54 PM
Yes, the medal reminded me of Humboldt. Yes, when Napoleon gave the
French intellectuals ribbons stars and baubles, he knew what he was doing. He took
a boatload of scholars with him to Egypt. He ditched them. They came up with the
Rosetta stone. From the time of Richelieu and earlier, the French had been big in
the culture business. You'd never catch De Gaulle wearing one of these ridiculous
trinkets.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 63 | Loc. 955 | Added on Saturday, July 11, 2015, 04:54 PM
He had too much selfesteem. The fellows who bought Manhattan from the
Indians didn't wear beads themselves. I would gladly have given this gold medal to
Humboldt. The Germans tried to honor him. He was invited to Berlin in 1952 to
lecture at the Free University. He wouldn't go. He was afraid of being abducted by
the GPU or the NKVD. He was a longtime contributor to the Partisan Review and a
prominent anti-Stalinist, so he was afraid that the Russians would try to kidnap
and kill him. "Also, if I spent a year in Germany I'd be thinking of one thing
only," he stated publicly (i was the only one listening"). "For twelve months I'd
be a Jew and nothing else. I can't afford to give an entire year to that." But I
think a better explanation is that he was having a grand time being mad in New
York.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 63 | Loc. 961 | Added on Saturday, July 11, 2015, 04:55 PM
From the papers he later learned that I had become a Shoveleer. I had
heard that he was living with a gorgeous black girl who studied the French horn at
the Juilliard School. But when I last saw him on Forty-sixth Street I knew that he
was too destroyed to be living with anyone. He was destroyed--I can't help
repeating this. He wore a large gray suit in which he was floundering. His face was
dead gray, East River gray. His head looked as if the gypsy moth had gotten into it
and tented in his hair. Nevertheless I should have approached and spoken to him. I
should have drawn near, not taken cover behind the parked cars. But how could I? I
had had my breakfast in the Edwardian Room of the Plaza, served by rip-off footmen.
Then I had flown in a helicopter with Javits and Bobby Kennedy. I was skirring
around New York like an ephemerid, my jacket lined with jolly psychedelic green. I
was dressed up like Sugar Ray Robinson. Only I didn't have a fighting spirit, and
seeing that my old and close friend was a dead man I beat it. I went to La Guardia
and took a 727 back to Chicago. I sat afflicted in the plane, drinking whisky on
the rocks, overcome with horror, ideas of Fate and other humanistic lah-de-dah--
compassion. I
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 64 | Loc. 973 | Added on Saturday, July 11, 2015, 04:57 PM
But the picture on the obituary page of the Times was frightful. I opened the paper
one morning and there was Humboldt, ruined, black and gray, a disastrous newspaper
face staring at me from death's territory.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 64 | Loc. 980 | Added on Saturday, July 11, 2015, 04:58 PM
The leading sentiment naturally inspired by the scenes of this drama is, I believe,
that of delighted wonder. And such, as appears from the heroine's name, Miranda,
who is the potency of the drama, is probably the sentiment which the play was meant
to inspire. But the grace and efficacy in which the workmanship is steeped are so
etherial and so fine, that they can hardly be discoursed in any but the poetic form
: it may well be doubted whether Criticism has any fingers delicate enough to grasp
them. So much is this the case, that it seemed to me quite doubtful whether I
should do well to undertake the theme at all. For Criticism is necessarily obliged
to substitute, more or less, the forms of logic for those of art; and art, it
scarce need be said, can do many things that are altogether beyond the reach of
logic. On the other hand, the charm and verdure of these scenes are so unwithering
and inexhaustible, that I could not quite make up my mind to leave the subject
untried. Nor do I know how I can better serve my countrymen than by engaging and
helping them in the study of this great inheritance of natural wisdom and
unreproved delight. For, assuredly, if they early learn to be at home and to take
pleasure in Shakespeare's workmanship, their whole after-life will be the better
and the happier for it.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 11 | Loc. 155 | Added on Monday, July 13, 2015, 05:13 PM
Yet this strange, uncouth, but life-like confusion of natures Prospero has educated
into a sort of poet. This, however, has nowise tamed, it has rather increased, his
innate malignity and crookedness of disposition; education having of course but
educed what was in him. Even his poetry is, for the most part, made up of the
fascinations of ugliness ; a sort of inverted beauty; the poetry of dissonance and
deformity; the proper music of his nature being to curse, its proper laughter to
snarl. Schlegel finely compares his mind to a dark cave, into which the light of
knowledge falling neither illuminates nor warms it, but only serves to put in
motion the poisonous vapours generated there.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 20 | Loc. 299 | Added on Monday, July 13, 2015, 09:24 PM
For no kind of traffic Would I admit; no name of magistrate; Letters should not be
known ; riches, poverty, And use of service, none ; contract, succession, Bourn,
bound of land, tilth, vineyard, none; No use of metal, corn, or wine, or oil; No
occupation ; all men idle, all, And women too, but innocent and pure; No
sovereignty: — Sebas. Yet he would be king on't. Anto. The latter end of his
commonwealth forgets the beginning.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 40 | Loc. 606 | Added on Tuesday, July 14, 2015, 03:45 PM
contradiccionde l utopia.
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Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 70 | Loc. 1062-66 | Added on Wednesday, July 15, 2015, 04:20
PM
70 Blue-eyed and blue eyes were used, not for what we so designate, but for
blueness about the eyes. So, in As You Like It, iii. 2, we have " a blue eye, and a
sunken," to denote a gaunt, haggard, and cadaverous look. And so, in the text,
blue-eyed is used as signifying extreme ugliness. In the Poet's time, what we call
blue eyes were commonly called gray, and were considered eminently beautiful.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 70 | Loc. 1065 | Added on Wednesday, July 15, 2015, 04:20 PM
We'll visit Caliban my slave, who never Yields us kind answer. Mira. Tis a viliain,
sir, I do not love to look on. Pros. But, as 'tis, We cannot miss him : 75 he does
make our fire, Fetch in our wood, and serves in offices That profit us. — What,
ho ! slave ! Caliban ! Thou earth, thou ! speak.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 72 | Loc. 1102 | Added on Wednesday, July 15, 2015, 04:24 PM
Cal. I must eat my dinner. This island's mine, by Sycorax my mother, Which thou
takest from me. When thou earnest here first, Thou strokedst me, and madest much of
me ; wouldst give me Water with berries in't ; 83 and teach me how To name the
bigger light, and how the less, That burn by day and night: and then I loved thee,
And show'd thee all the qualities o' the isle, The fresh springs, brine-pits,
barren place, and fertile :
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 74 | Loc. 1124 | Added on Wednesday, July 15, 2015, 04:27 PM
Cursed be I that did so ! All the charms Of Sycorax, toads, beetles, bats, light on
you ! For I am all the subjects that you have, Which first was mine own king : and
here you sty me In this hard rock, whiles you do keep from me The rest o' the
island.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 75 | Loc. 1142 | Added on Wednesday, July 15, 2015, 04:30 PM
maldice caliban
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 76 | Loc. 1153-56 | Added on Thursday, July 16, 2015, 01:33 PM
" Caliban is all earth, all condensed and gross in feelings and images ; he has the
dawnings of understanding, without reason or the moral sense; and in him, as in
some brute animals, this advance to the intellectual faculties, without the moral
sense, is marked by the appearance of vice. For it is in the primacy of the moral
being only that man is truly human; in his intellectual powers he is certainly
approached by the brutes; and, man's whole system duly considered, those powers
cannot be viewed as other than means to an end, that is, morality."
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 76 | Loc. 1156 | Added on Thursday, July 16, 2015, 01:33 PM
coleridge on caliban
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Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 76 | Loc. 1159-60 | Added on Thursday, July 16, 2015, 05:12 PM
Cat. You taught me language ; and my profit on't Is, I know how to curse. The red
plague rid 85 you For learning me your language !
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 76 | Loc. 1160 | Added on Thursday, July 16, 2015, 05:12 PM
88 Setebos was the name of an American god, or rather devil, worshipped by the
Patagonians. In Eden's History o/Travaile, 1577, is an account of Magellan's voyage
to the South Pole, containing a description of this god and his worshippers ;
wherein the author says : " When they felt the shackles fast about their legs, they
began to doubt; but the captain did put them in
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 77 | Loc. 1179 | Added on Thursday, July 16, 2015, 05:14 PM
setebos
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 79 | Loc. 1200-1201 | Added on Thursday, July 16, 2015, 05:20
PM
Ferd. The ditty does remember my drown'd father. This is no mortal business, nor no
sound That the Earth owes. 92 I hear it now above me.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 79 | Loc. 1206 | Added on Thursday, July 16, 2015, 05:21 PM
Ferd. So they are : My spirits, as in a dream, are all bound up. My father's loss,
the weakness which I feel, The wreck of all my friends, and this man's threats To
whom I am subdued, are light to me, Might I but through my prison once a day
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 85 | Loc. 1301 | Added on Thursday, July 16, 2015, 05:49 PM
lamento de feerdinand
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 101 | Loc. 1545 | Added on Friday, July 17, 2015, 04:40 AM
But the guests knew that they had been invited as low company. Nowadays the
categories are grasped by those who belong to them.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 72 | Loc. 1094 | Added on Saturday, July 18, 2015, 12:06 PM
Steph. What's the matter ? Have we devils here ? Do you put tricks upon's with
savages and men of Inde, ha?
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 112 | Loc. 1716 | Added on Saturday, July 18, 2015, 02:51 PM
How earnest thou hither? swear, by this bottle, how thou earnest hither.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 115 | Loc. 1762 | Added on Saturday, July 18, 2015, 07:37 PM
the manithemoon
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 118 | Loc. 1804-7 | Added on Saturday, July 18, 2015, 07:41 PM
CaL No more dams I'll make for fish ; Nor fetch in firing at requiring; Nor scrape
trencher, nor wash dish : 'Ban, 'Ban, Ca — Caliban Has a new master; get a new man.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 118 | Loc. 1807 | Added on Saturday, July 18, 2015, 07:41 PM
Owing to the T B I connected breathing with joy, and owing to the gloom of the ward
I connected joy with light, and owing to my irrationality I related light on the
walls to light inside me. I appear to have become a Hallelujah and Glory type.
Furthermore (concluding) America is a didactic country whose people always offer
their personal experiences as a helpful lesson to the rest, hoping to hearten them
and to do them good--an intensive sort of personal public-relations project. There
are times when I see this as idealism. There are other times when it looks to me
like pure delirium. With everyone sold on the good how does all the evil get done?
When Humboldt called me an ingenu, wasn't this what he was getting at?
Crystallizing many evils in himself, poor fellow, he died as an example, his legacy
a question addressed to the public. The death question itself, which Walt Whitman
saw as the question of questions.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 78 | Loc. 1184 | Added on Saturday, July 25, 2015, 11:53 AM
My mind was in one of its Chicago states. How should I describe this phenomenon? In
a Chicago state I infinitely lack something, my heart swells, I feel a tearing
eagerness. The sentient part of the soul wants to express itself. There are some of
the symptoms of an overdose of caffeine. At the same time I have a sense of being
the instrument of external powers. They are using me either as an example of human
error or as the mere shadow of desirable things to come. I drove. The huge pale
lake washed forward. To the east was a white Siberian sky and McCormick Place, like
an aircraft carrier, moored at the shore. Life had withdrawn from the grass. It had
its wintry buff color. Motorists swerved up alongside to look at the
Mercedes, so incredibly mutilated.
==========
Humboldt's Gift (Saul Bellow)
- Note on Page 79 | Loc. 1201 | Added on Saturday, July 25, 2015, 11:55 AM
chicago state
==========
Humboldt's Gift (Saul Bellow)
- Highlight on Page 79 | Loc. 1203-8 | Added on Saturday, July 25, 2015, 11:57 AM
incest
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Humboldt's Gift (Saul Bellow)
- Highlight on Page 79 | Loc. 1210 | Added on Saturday, July 25, 2015, 12:00 PM
Ferd. Ay, with a heart as willing As bondage e'er of freedom : 8 here's my hand.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 124 | Loc. 1893 | Added on Sunday, July 26, 2015, 05:41 PM
bondage freedom
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 127 | Loc. 1934-35 | Added on Sunday, July 26, 2015, 05:55 PM
monster natural
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Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 132 | Loc. 2016-17 | Added on Sunday, July 26, 2015, 06:03 PM
Trin. This is the tune of our catch, play'd by the picture of Nobody. 17
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Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 132 | Loc. 2017 | Added on Sunday, July 26, 2015, 06:03 PM
picture of nobody
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 143 | Loc. 2179-83 | Added on Wednesday, July 29, 2015, 03:13
PM
Pros. Then, as my gift, and thine own acquisition Worthily purchased, take my
daughter : but, If thou dost break her virgin-knot 3 before All sanctimonious 4
ceremonies may With full and holy rite be minister'd, No sweet aspersion 5 shall
the Heavens let fall To make this contract grow; but barren hate, Sour-eyed
disdain, and discord, shall bestrew The union of your bed with weeds so loathly, 6
That you shall hate it both : therefore take heed, As Hymen's lamps shall light
you.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 143 | Loc. 2183 | Added on Wednesday, July 29, 2015, 03:13 PM
miranda s virginity
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 144 | Loc. 2207 | Added on Wednesday, July 29, 2015, 03:15 PM
do u love me master
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 150 | Loc. 2288-89 | Added on Wednesday, July 29, 2015, 03:23
PM
In the very end of harvest J ' 23 Scarcity and want shall shun you
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 150 | Loc. 2289 | Added on Wednesday, July 29, 2015, 03:23 PM
Pros. Now does my project gather to a head: My charms crack not; my spirits obey ;
and Time Goes upright with his carriage. 1 How's the day?
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 164 | Loc. 2502 | Added on Wednesday, July 29, 2015, 04:23 PM
Weak masters though ye be 8 — I have be-dimm'd The noon-tide Sun, call'd forth the
mutinous winds, And 'twixt the green sea and the azure vault Set roaring war
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 166 | Loc. 2541 | Added on Wednesday, July 29, 2015, 09:45 PM
weak masters
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 166 | Loc. 2543-54 | Added on Wednesday, July 29, 2015, 09:47
PM
Have I made shake, and by the spurs 9 pluck'd up The pine and cedar : graves at my
command Have waked their sleepers, oped, and let 'em forth By my so potent art. But
this rough magic I here abjure ; and, when I have required Some heavenly music, —
which even now I do, — To work mine end upon their senses that This airy charm is
for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did
ever plummet sound I'll drown my book. \_Solemn music.
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 167 | Loc. 2554 | Added on Wednesday, July 29, 2015, 09:47 PM
boiled brains
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Highlight on Page 168 | Loc. 2563-66 | Added on Wednesday, July 29, 2015, 09:49
PM
A solemn air, as the best comforter To an unsettled fancy, cure the brains, Now
useless, boil'd 10 within the skull! —
==========
Shakespeare's The tempest. With introduction, and notes explanatory and critical.
For use in schools and classes (William, 1564-1616 Shakespeare and Henry Norman,
1814-1886, ed Hudson)
- Note on Page 168 | Loc. 2566 | Added on Wednesday, July 29, 2015, 09:49 PM
un aire solemne
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Highlight on Page 262 | Loc. 4017 | Added on Thursday, July 30, 2015, 01:39 PM
homophonic wordplay
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 264 | Loc. 4041 | Added on Thursday, July 30, 2015, 01:40 PM
paronomasia
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Highlight on Page 267 | Loc. 4084-88 | Added on Thursday, July 30, 2015, 01:45
PM
(62) The second example comes from Shakespeare’s Henry IV Part I (I.ii.57-58): ...
were it not here apparent that thou art heir apparent...,
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 267 | Loc. 4087 | Added on Thursday, July 30, 2015, 01:45 PM
paronomasia example
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 267 | Loc. 4091 | Added on Thursday, July 30, 2015, 10:51 PM
metataxeme addition
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Note on Page 276 | Loc. 4226 | Added on Thursday, July 30, 2015, 11:10 PM
parenthesis
==========
Literary Rhetoric: Concepts-structures-analyses (International Studies in the
History of Rhetoric, 2) (Plett)
- Highlight on Page 277 | Loc. 4240-45 | Added on Thursday, July 30, 2015, 11:14
PM
dignidad de un padre
==========
la leccion de pintura (Couve)
- Highlight on Page 5 | Loc. 77 | Added on Friday, July 31, 2015, 10:08 AM
prospeccion
==========
la leccion de pintura (Couve)
- Highlight on Page 6 | Loc. 77-81 | Added on Friday, July 31, 2015, 10:09 AM
Augusto ya pertenecia a la vida del barrio. El rnuneco del nino era muy particular,
puesto que en vez de una sola cara poseia tres, accionadas por una manivela que
tenia en la cabeza. Al girarla, aparecian alternadamente los distintos rostros,
cada uno de los cuales mostraba una expresion diferente. Cuando la cara son- riente
estaba a la vista, las otras quedaban ocultas bajo la gorrita de felpa. A la
risuena sucedia una dormida, y a esta, a su vez, otra acongo- jada, con lagrimas
pintadas en las mejillas.
==========
la leccion de pintura (Couve)
- Note on Page 6 | Loc. 81 | Added on Friday, July 31, 2015, 10:09 AM
El rostro dormido era sdlo para la noche. Asi, Elvira, al regresar, se encontraba
con dos ninos de expresion identical una accionada por la mano de su dueno; la
otra, por la fatiga.
==========
la leccion de pintura (Couve)
- Note on Page 6 | Loc. 88 | Added on Friday, July 31, 2015, 10:10 AM
Se sumaba al circulo la senorita Toro, una costurera que vivia a la salida del
pueblo, hecho este que lc facilitaba el viaje, pues lo hacia a pie. Lsaba anteojos
con marco negro, y se decia que en una ocasion se permitio mostrar al senor Aguiar
y sus amigos una escultura obscena que habia desde tiempos inmcmoriales en su casa,
lo que provoco un prolongado silencio que dejo a la senorita Toro excluida varios
meses de tan selecta compania.
==========
la leccion de pintura (Couve)
- Note on Page 10 | Loc. 149 | Added on Friday, July 31, 2015, 10:30 AM
la escultura obscena.
==========
la leccion de pintura (Couve)
- Highlight on Page 11 | Loc. 155-59 | Added on Friday, July 31, 2015, 10:31 AM
Todo aquello lo habia leido en una revista femenina durante las interminables horas
en que la farmacia permanecia desierta.
==========
la leccion de pintura (Couve)
- Highlight on Page 14 | Loc. 203 | Added on Friday, July 31, 2015, 10:41 AM
Ambroise Vollard, Memorias de un vendedor de cuadros,
==========
la leccion de pintura (Couve)
- Note on Page 14 | Loc. 203 | Added on Friday, July 31, 2015, 10:41 AM
lugar comun
==========
la leccion de pintura (Couve)
- Highlight on Page 14 | Loc. 215-18 | Added on Friday, July 31, 2015, 10:43 AM
Se hablb enseguida de enfermedades, lapso que aprovecho Elvira para traer dos
grandes bandejas con queso cortado v aceitunas. Aguiar escancio licor en todos los
vasos, menos en el de la vieja Berta, que Elvira lleno de cafe con leche. Como
compensacion, Aguiar le ofrecio entonces una manzana. Y mientras saboreaban
aquellos bocadillos, no sabiendo donde depositar los mondadientes, el farmaceutico
cogib su violin, v, entrecerrando los ojos, se dejb transportar por una melodia de
Saint-Saens.
==========
la leccion de pintura (Couve)
- Note on Page 15 | Loc. 218 | Added on Friday, July 31, 2015, 10:43 AM
enfermedad y comida
==========
la leccion de pintura (Couve)
- Highlight on Page 15 | Loc. 219-24 | Added on Friday, July 31, 2015, 10:45 AM
En eso estaban cuando se sucedieron ciertos hechos insolitos que perturbaron a los
asistentes. Primero fue el viento, que se empeno en golpear una y otra vez la
puerta de rejilla; luego el caballo del fiacre, que con un prolongadoacompanamiento
hizo sus necesidades, distra- yendo vivamente al auditorio; y finalmente, para
sorpresa de todos, un nifio con el pelo cubriendole la frente y apretando un
marinero de pano banado en l^grimas, puso sus pies desnudos sobre el inmaculado
pavimento. Los concurrentes se desconcertaron. Elvira, no sabiendo como reaccionar,
quedb atonita, retorcibndose las manos, mientras Aguiar, sin dejar de tocar, se
inclinaba hasta poner el instrumento a la altura de ese par de grandes ojos negros.
Luego, sonriendo, apartb el arco de las cuerdas.
==========
la leccion de pintura (Couve)
- Note on Page 15 | Loc. 224 | Added on Friday, July 31, 2015, 10:45 AM
entra auguto
==========
la leccion de pintura (Couve)
- Highlight on Page 16 | Loc. 233-34 | Added on Friday, July 31, 2015, 10:46 AM
—Traiga al chico cada ve/. que lo desee. Creamc que en nada me molesta. Por el
contrario, me agrada.
==========
la leccion de pintura (Couve)
- Note on Page 16 | Loc. 234 | Added on Friday, July 31, 2015, 10:46 AM
traiga al chico
==========
la leccion de pintura (Couve)
- Highlight on Page 16 | Loc. 235-37 | Added on Friday, July 31, 2015, 10:46 AM
Esa noche, mientras atravesaban el barrio, sintid la madre una gran alegria y un
cierto alivio, que demostro secretamente al oprimir con elusion la manita de
Augusto. Al llegar a la plazoleta ante su casa, giro la cabeza hacia la cruz vacia
y en su entusiasmo, creyo ver la ima- gen que las Uuvias v el viento habian
disuelto.
==========
la leccion de pintura (Couve)
- Note on Page 16 | Loc. 237 | Added on Friday, July 31, 2015, 10:46 AM
salvador cristo?
==========
la leccion de pintura (Couve)
- Highlight on Page 16 | Loc. 241-49 | Added on Friday, July 31, 2015, 10:47 AM
pupilo
==========
la leccion de pintura (Couve)
- Highlight on Page 17 | Loc. 259-66 | Added on Friday, July 31, 2015, 10:50 AM
Como el pequeno era rapido en resolver los problemas que el senor Aguiar le
planteaba, y este se impacientara porque a cada mo- mento el chico lo interrumpia,
empezo Augusto, para tardar mas tiempo, a dibujar al pie de las cifras y de las
frases. Al inicio fueron simples puntos de colores, luego figuras ornamentales, y
finalmente dibujos que lo absorbian de tal modo que esta vez era Aguiar quien debia
llamarlo. En un principio, el farmaceutico lo regano por «decorar» las pa- ginas,
cuando su obligacion era presentarlas impecables; pero con el tiempo comenzo a
interesarse mas por los dibujos que por el resultado de las operaciones. Sobre todo
que, a medida que estos prosperaban, los numeros empezaron a arrojar resultados
erroneos. — ^De donde has copiado esto? — inquirid en cierta ocasidn al observar el
dibujo de una carretela igual a la de la droguerfa, tirada por un caballo que
mostraba un escorzo complicado.
==========
la leccion de pintura (Couve)
- Note on Page 18 | Loc. 266 | Added on Friday, July 31, 2015, 10:50 AM
el duelo
==========
la leccion de pintura (Couve)
- Highlight on Page 20 | Loc. 293-94 | Added on Friday, July 31, 2015, 10:52 AM
augusto tu no sabes
==========
la leccion de pintura (Couve)
- Highlight on Page 20 | Loc. 296-97 | Added on Friday, July 31, 2015, 10:53 AM
museos, exitos, honores; y ante los ojillos avi- dos de Aguiar volvicron a pasar
las innumerables paginas de sus bio- grafias de artistas, confundiendose entre
ellas la del pequeno Augusto.
==========
la leccion de pintura (Couve)
- Note on Page 20 | Loc. 297 | Added on Friday, July 31, 2015, 10:53 AM
Esta politica del tutor permitio a Augusto alternar su dedicacion por cl dibujo y
la acuarela con la practica de la amistad y el descubri- miento de la naturaleza.
Por ello era frecuente que durante dias sc au- sentara de la drogueria,
permaneciendo en Morande allegado a alguna familia numerosa, donde se sentia
hermano de utros nifios e hijo de un hogar normal.
==========
la leccion de pintura (Couve)
- Note on Page 21 | Loc. 314 | Added on Friday, July 31, 2015, 10:55 AM
cisneentrelopatos
==========
la leccion de pintura (Couve)
- Highlight on Page 21 | Loc. 322-32 | Added on Friday, July 31, 2015, 03:20 PM
Intuyendo Aguiar que las cosas tomarian otro giro, ya que el ni- no muy pronto
dejaria de serlo, pensb que a modo de secreta despedi- da resultaria conveniente
llevarlo a Santiago. Antes le hizo confeccio- nar por la senorita Toro un abrigo
escoc£s, al que ella, por su cuenta y sin respelar la moda, le agrego una pequena
esclavina del mismo gene- ro y una gorra con visera. Aguiar, habituado a la
indumentaria de los pintores malditos de Montmartre, quedo encantado con la
apariencia un tanto anacronica de su pupilo.
==========
la leccion de pintura (Couve)
- Note on Page 23 | Loc. 341 | Added on Friday, July 31, 2015, 03:22 PM
virginio arias
==========
la leccion de pintura (Couve)
- Highlight on Page 23 | Loc. 353 | Added on Friday, July 31, 2015, 03:24 PM
monvoison
==========
la leccion de pintura (Couve)
- Highlight on Page 24 | Loc. 360-64 | Added on Friday, July 31, 2015, 03:27 PM
Al darse cuenta de que al muchacho le eran indiferentes sus opi- niones, se relirio
a la tecnica del pintor decimononico para terminar de desprestigiarlo: — ,-Quieres
saber como hacla sus retratos? El nino aparto la vista del cuadro y observo curioso
a su protector. — Cuando retrataba, para ahorrarse tiempo y trabajo, pegaba los
encajes directamente a la pintura fresca y luego los arrancaba, dejan- dolos
impresos, y asi conseguia enganar al cliente con toda una treta artificiosa, ya que
no tenia el talento de lograrlo de otro modo. jNego- ciante! ;Para ganar mas dinero
y «hacerse la America»! En cambio... los 190 impresionistas... con nada... dos o
trcs toques... jte alejas y se arma toda la calidad de los panos!
==========
la leccion de pintura (Couve)
- Note on Page 25 | Loc. 372 | Added on Friday, July 31, 2015, 03:29 PM
el reproductor vs los impresionistas
==========
la leccion de pintura (Couve)
- Highlight on Page 25 | Loc. 378-83 | Added on Monday, August 03, 2015, 09:06 AM
tension
==========
la leccion de pintura (Couve)
- Highlight on Page 27 | Loc. 413-17 | Added on Monday, August 03, 2015, 09:20 AM
precariedad material
==========
la leccion de pintura (Couve)
- Note on Page 31 | Loc. 462 | Added on Monday, August 03, 2015, 09:25 AM
rubinstein
==========
la leccion de pintura (Couve)
- Highlight on Page 31 | Loc. 466-68 | Added on Monday, August 03, 2015, 09:26 AM
— El arte, mi amigo, es asunto de los jovenes. Despues de los cin- cuenla anos es
necesario dedicarse a Dios. Por eso he dejado todo esto, incluso hecambiado mi
biblioteca pagana por libros pios. Nada de mun- do...
==========
la leccion de pintura (Couve)
- Note on Page 31 | Loc. 468 | Added on Monday, August 03, 2015, 09:26 AM
mi hermana es ciega
==========
la leccion de pintura (Couve)
- Note on Page 32 | Loc. 482 | Added on Monday, August 03, 2015, 09:27 AM
los mnias
==========
la leccion de pintura (Couve)
- Highlight on Page 33 | Loc. 501-4 | Added on Monday, August 03, 2015, 12:36 PM
eclesiastes
==========
la leccion de pintura (Couve)
- Highlight on Page 37 | Loc. 563-67 | Added on Monday, August 03, 2015, 03:01 PM
Pero esta vez se privo de su eterno juego, y apresurando el paso, quiso llegar lo
antes posible junto a ella, la unica persona que tenia en el mundo para huir de
esta realidad v adentrarse en la de Los Matas, de El prime Busilio, El mandarin, La
ciudady las sierras, La reliefuiay tantos otros temas del otro- ra popular y ahora
olvidado narrador lusitano.
==========
la leccion de pintura (Couve)
- Note on Page 37 | Loc. 567 | Added on Monday, August 03, 2015, 03:01 PM
libros luitanos
==========
la leccion de pintura (Couve)
- Highlight on Page 38 | Loc. 574-76 | Added on Monday, August 03, 2015, 03:12 PM
ingres
==========
la leccion de pintura (Couve)
- Highlight on Page 39 | Loc. 592-97 | Added on Monday, August 03, 2015, 04:22 PM
la delicadeza y la violencia
==========
la leccion de pintura (Couve)
- Highlight on Page 40 | Loc. 609-12 | Added on Monday, August 03, 2015, 04:24 PM
la histeria vs neoclasicismo
==========
la leccion de pintura (Couve)
- Highlight on Page 41 | Loc. 618-21 | Added on Monday, August 03, 2015, 04:25 PM
Admirada, temerosa de corregir algo que tal vez despues que- dara peor, se limitaba
a exponer consideraciones esteticas, finalizando el discurso con un despectivo
«;anacrbnico!», que hacia a los jovenes de vanguardia mirarse en forma complice,
para luego continuar en cuatro patas pegando v estucando sobre cl lino.
==========
la leccion de pintura (Couve)
- Note on Page 41 | Loc. 621 | Added on Monday, August 03, 2015, 04:25 PM
retrato de auguto
==========
la leccion de pintura (Couve)
- Highlight on Page 44 | Loc. 674-76 | Added on Monday, August 03, 2015, 04:30 PM
«Un buen profesor no tiene por que ser un buen pintor», le habia dicho el senor de
Morais en cierta ocasion.
==========
la leccion de pintura (Couve)
- Note on Page 45 | Loc. 690 | Added on Monday, August 03, 2015, 04:34 PM
Y mientras Augusto observaba a esa pareja desde la ventanilla del vagon, y de que
manera guardaban las apariencias, De Morais cir- cunspecto, mas preocupado de
parecer correcto de lo que lo era en realidad, y ella, locuaz y hasta coqueta en su
afan de disimulo perpetuo, penso que el corazon de un artista era inconfundible y
que con aquella cualidad se nacia, siendo hasta secundaria la realizacion
deficiente o acertada de sus obras.
==========
la leccion de pintura (Couve)
- Note on Page 46 | Loc. 705 | Added on Monday, August 03, 2015, 04:37 PM
artista se nce
==========
la leccion de pintura (Couve)
- Highlight on Page 47 | Loc. 713-15 | Added on Monday, August 03, 2015, 04:39 PM
“Economy” is evidently not the French word best suited to translate oikonomia
psuchon. The Latins translated it as regimen animarum, “government or regimen
(régime) of souls,” which is not bad, but it is clear that in French we either
benefit from or are the victims of, have the advantage or disadvantage, as you
prefer, of possessing a word whose ambiguity is nonetheless quite interesting for
translating this economy of souls. What’s more, the word, with its ambiguity, was
introduced relatively recently and we only begin to find it in the two meanings I
am now going to talk about from the end of the sixteenth and [the start of] the
seventeenth century§;
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 296 | Loc. 4536 | Added on Monday, August 03, 2015, 07:48 PM
regimen animarum
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 297 | Loc. 4542-62 | Added on Monday, August 03, 2015, 07:49
PM
conduction of souls
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 298 | Loc. 4570 | Added on Monday, August 03, 2015, 07:50 PM
These revolts of conduct are often linked up with the problem of women and their
status in society, in civil society or in religious society. You see these revolts
of conduct flourish in convents, in the movement that is called Rhenish
Nonnenmystik in the twelfth century.[82] There are also all those groups formed
around women prophets in the Middle Ages, like Jeanne Dabenton,1 Marguerite
Porete,! and so on. Later, you see them in those curious semi-fashionable and semi-
popular groups of conduct, or rather of spiritual direction, in sixteenth century
Spain with Isabelle de la Cruz,§ or in France with Armelle Nicolas,[83] Marie des
Vallées,^ and Madame
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 305 | Loc. 4674 | Added on Monday, August 03, 2015, 08:01 PM
these revolts of conduct may well be specific in their form and objective, but
whatever the identifiable character of their specificity, they are never
autonomous, they never remain autonomous. And then, from start to finish, the
English Revolution of the seventeenth century, with all the complexity of its
institutional conflicts, class confrontations, and economic problems, allows us to
see a quite special dimension of the resistance of conduct, of conflicts around the
problem of conduct. By whom do we consent to be directed or conducted? How do we
want to be conducted? Towards what do we want to be led? This is my second remark
on the non-autonomous specificity of these resistances, these revolts of conduct.1
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 306 | Loc. 4691 | Added on Monday, August 03, 2015, 08:05 PM
nonautonomous revolts
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 307 | Loc. 4705-72 | Added on Monday, August 03, 2015, 08:13
PM
First, waging war. For a long time, let’s say in the seventeenth and eighteenth
centuries, apart from those for whom being a man of war was a status (broadly
speaking the nobility), waging war was more or less, often less rather than more, a
voluntary occupation, and to that extent military recruitment allowed scope for a
whole series of resistances, refusals, and desertions. Desertion was an absolutely
ordinary practice in all the armies of the seventeenth and eighteenth centuries.
But when waging war became not just a profession or even a general law, but an
ethic and the behavior of every good citizen of a country, when being a soldier was
a form of political and moral conduct, a sacrifice, a devotion to the common cause
and common * John Huss (Jan Hus) (?1370-1415). Ordained priest in 1400, dean of
the Prague Faculty of Theology the following year, he is the most illustrious
representative of the reforming tendency arising from the crisis of the Czech
Church in the middle of the fourteenth century. He translated the Gospels into
Czech and, according to him, these are the only infallible rule of faith and preach
evangelical poverty. An admirer of Wyclif, whose condemnation he refused to accept,
he lost the support of King Wenceslas IV and, excommunicated (1411, then 1412), he
withdrew into southern Bohemia where, among other writings, he wrote De ecclesia
(1413). Having refused to retract during the Council of Constance, he died at the
stake in 1415. See, Cohn, The Pursuit of the Millennium, pp. 219-221; Jean Boulier,
Jean Hus (Paris: Club français du Livre, 1958); P. De Vooght, L’Hérésie de Jean
Huss (Louvain: Bureau de la Revue d’histoire ecclésiastique, 1960 [followed by an
appendix volume Hussiana]); M. Spinka, John Hus’ Concept of the Church (Princeton,
NJ: Princeton University Press, 1966). t On these revolts of conduct based on the
interpretation of Scripture, see the Foucault’s lecture, “Qu’est-ce que la
critique? [Critique et Aufklärung]” given on 27 May 1978, Bulletin de la Société
française de philosophie, 84 (2), April-June 1990, pp. 38-39. î See above, lecture
of 15 February, note 45. salvation directed by a public conscience and public
authority within the framework of a tight discipline; when being a soldier was
therefore no longer just a destiny or a profession but a form of conduct, then, in
addition to the old desertion-offence, you see a different form of desertion that I
will call desertion-insubordination. Refusing to be a soldier and to spend some
time in this profession and activity, refusing to bear arms, appears as a form of
conduct or as a moral counter-conduct, as a refusal of civic education, of
society’s values, a refusal of a certain obligatory relationship to the nation and
the nation’s salvation, of the actual political system of the nation, and as a
refusal of the relationship to the death of others and of oneself. You see then
that a phenomenon of resistance of conduct appears here that no longer has the old
form of desertion and that is not without analogy with some of the phenomena of
resistance of religious conduct [that we have seen in the][85] Middle Ages.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 312 | Loc. 4772 | Added on Monday, August 03, 2015, 08:13 PM
The U.S. Constitution, as Jefferson said, is the one best calibrated for extensive
Empire. We should emphasize once again that this Constitution is imperial and not
imperialist. It is imperial because (in contrast to imperialism’s project always to
spread its power linearly in closed spaces and invade, destroy, and subsume subject
countries within its sovereignty) the U.S. constitutional project is constructed on
the model of rearticulating an open space and reinventing incessantly diverse and
singular relations in networks across an unbounded terrain.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 239 | Loc. 3658 | Added on Tuesday, August 04, 2015, 07:50 AM
us imperial constitution
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 240 | Loc. 3669 | Added on Tuesday, August 04, 2015, 07:54 AM
The limitations ofthese critiques become clear when we question their power to
transform not only the objective we are aiming for, but also the standpoint of
critique. One brief example should be sufficient to illustrate this difficulty. The
fifth part of Spinoza’s Ethics is perhaps the highest development of the modern
critique ofmodernity. Spinoza takes on the theoretical challenge to establish full
knowledge of truth and discover the path of the liberation of the body and the
mind, positively, in the absolute. All other modern metaphysical positions,
particularly those transcendental positions of which Descartes and Hobbes are the
first major representatives, are inessential and mystificatory with respect to this
project of liberation. Spinoza’s primary objective is the ontological development
of the unity of true knowledge and the powerful body along with the absolute
construction of singular and collective immanence. Never before had philosophical
thought so radically undermined the traditional dualisms of European metaphysics,
and never before, consequently, had it so powerfully challenged the political
practices of transcendence and domination. Every ontology that does not bear the
stamp of human creativity is cast aside. The desire (cupiditas) that rules the
course of the existence and action of nature and humans is made love (amor)—which
invests at once both the natural and the divine. And yet, in this final part of the
Ethics, this utopia has only an abstract and indefinite relation to reality. At
times, setting out from this high level of ontological development, Spinoza’s
thought does attempt to confront reality, but the ascetic proposal halts, stumbles,
and disappears in the mystical attempt to reconcile the language of reality and
divinity. Finally, in Spinoza as in the other great modern critics of modernity,
the search for an outside seems to run aground and propose merely phantasms of
mysticism, negative intuitions of the absolute.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 245 | Loc. 3746 | Added on Tuesday, August 04, 2015, 08:09 AM
The outside has also declined in terms of a rather different modern dialectic that
defined the relation between public and private in liberal political theory. The
public spaces of modern society, which constitute the place of liberal politics,
tend to disappear in the postmodern world. According to the liberal tradition, the
modern individual, at home in its private spaces, regards the public as its
outside. The outside is the place proper to politics, where the action of the
individual is exposed in the presence of others and there seeks recognition.7 In
the process of postmodernization, however, such public spaces are increasingly
becoming privatized. The urban landscape is shifting from the modern focus on the
common square and the public encounter to the closed spaces of malls, freeways, and
gated communities. The architecture and urban planning of megalopolises such as Los
Angeles and Sao Paolo have tended to limit public access and interaction in such a
way as to avoid the chance encounter of diverse populations, creating a series of
protected interior and isolated spaces.8
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 247 | Loc. 3777 | Added on Tuesday, August 04, 2015, 08:14 AM
The striated space of modernity constructed places that were continually engaged in
and founded on a dialectical play with their outsides. The space of imperial
sovereignty, in contrast, is smooth. It might appear to be free of the binary
divisions or striation of modern boundaries, but really it is crisscrossed by so
many fault lines that it only appears as a continuous, uniform space. In this
sense, the clearly defined crisis of modernity gives way to an omnicrisis in the
imperial world. In this smooth space of Empire, there is no place of power—it is
both everywhere and nowhere. Empire is an ou-topia, or really a non-place.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 250 | Loc. 3821 | Added on Tuesday, August 04, 2015, 03:50 PM
We should look more closely, however, at how imperial racist theory operates.
Etienne Balibar calls the new racism a differentialist racism, a racism without
race, or more precisely a racism that does not rest on a biological concept of
race. Although biology is abandoned as the foundation and support, he says, culture
is made to fill the role that biology had played.15 We are accustomed to thinking
that nature and biology are fixed and immutable but that culture is plastic and
fluid: cultures can change historically and mix to form infinite hybrids. From the
perspective of imperial racist theory, however, there are rigid limits to the
flexibility and compatibility of cultures. Differences between cultures and
traditions are, in the final analysis, insurmountable. It is futile and even
dangerous, according to imperial theory, to allow cultures to mix or insist that
they do so: Serbs and Croats, Hutus and Tutsis, African Americans and Korean
Americans must be kept separate. As a theory of social difference, the cultural
position is no less ‘‘essentialist’’ than the biological one, or at least it
establishes an equally strong theoretical ground for social separation and
segregation. Nonetheless, it is a pluralist theoretical position: all cultural
identities are equal in principle. This pluralism accepts all the differences of
who we are so long as we agree to act on the basis of these differences of
identity, so long as we act our race.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 253 | Loc. 3866 | Added on Tuesday, August 04, 2015, 10:59 PM
The material practices set out for the subject in the context of the institution
(be they kneeling down to pray or changing hundreds of diapers) are the production
processes of subjectivity. In a reflexive way, then, through its own actions, the
subject is acted on, generated. Second, the institutions provide above all a
discrete place (the home, the chapel, the classroom, the shop floor) where the
production of subjectivity is enacted. The various institutions of modern society
should be viewed as an archipelago of factories of subjectivity. In the course of a
life, an individual passes linearly into and out of these various institutions
(from the school to the barracks to the factory) and is formed by them. The
relation between inside and outside is fundamental. Each institution has its own
rules and logics of subjectivation: ‘‘School tells us, ‘You’re not at home
anymore’; the army tells us, ‘You’re not in school anymore.’ ’’18 Nevertheless,
within the walls of each institution the individual is at least partially shielded
from the forces of the other institutions; in the convent one is normally safe from
the apparatus of the family, at home one is normally out of reach of factory
discipline. This clearly delimited place of the institutions is reflected in the
regular and fixed form of the subjectivities produced. In the passage to imperial
society, the first aspect of the modern condition is certainly still the case, that
is, subjectivities are still produced in the social factory. In fact, the social
institutions produce subjectivity in an ever more intense way. We might say that
postmodernism is what you have when the modern theory of social constructivism is
taken to its extreme and all subjectivity is recognized as artificial. How is this
possible, however, when today, as nearly everyone says, the institutions in
question are everywhere in crisis and continually breaking down? This general
crisis does not necessarily mean that the institutions no longer produce
subjectivity. What has changed, rather, is the second condition: that is, the place
of the production of subjectivity is no longer defined in this same way. The crisis
means, in other words, that today the enclosures that used to define the limited
space of the institutions have broken down so that the logic that once functioned
primarily within the institutional walls now spreads across the entire social
terrain. Inside and outside are becoming indistinguishable. This omni-crisis of the
institutions looks very different in different cases. For example, continually
decreasing proportions of the U.S. population are involved in the nuclear family,
while steadily increasing proportions are confined to prisons. Both institutions,
however, the nuclear family and the prison, are equally in crisis, in the sense
that the place of their effectivity is increasingly indeterminate. One should not
think that the crisis of the nuclear family has brought a decline in the forces of
patriarchy. On the contrary, discourses and practices of ‘‘family values’’ seem to
be everywhere across the social field. The old feminist slogan ‘‘The personal is
the political’’ has been reversed in such a way that the boundaries between public
and private have fractured, unleashing circuits of control throughout the
‘‘intimate public sphere.’’19 In a similar way the crisis of the prison means that
carceral logics and techniques have increasingly spread to other domains of
society. The production of subjectivity in imperial society tends not to be limited
to any specific places. One is always still in the family, always still in school,
always still in prison, and so forth. In the general breakdown, then, the
functioning of the institutions is both more intensive and more extensive. The
institutions work even though they are breaking down—and perhaps they work all the
better the more they break down. The indefiniteness of the place of the production
corresponds to the indeterminacy of the form of the subjectivities produced. The
imperial social institutions might be seen, then, in a fluid process of the
generation and corruption of subjectivity.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 259 | Loc. 3961 | Added on Thursday, August 06, 2015, 04:06 PM
In a certain sense, then, the colonial might be considered more ideological and the
imperial more pragmatic. Consider as an example of imperial strategy the practice
of New England factories and Appalachian coal mines at the beginning of the
twentieth century. The factories and mines were dependent on the labor of recent
immigrants from various European countries, many of whom carried with them
traditions of intense worker militancy. Bosses, however, did not shy away from
bringing together this potentially explosive mixture of workers. They found, in
fact, that carefully managed proportions of workers from different national
backgrounds in each workshop and each mine proved to be a powerful formula of
command. The linguistic, cultural, and ethnic differences within each work force
were stabilizing because they could be used as a weapon to combat worker
organization. It was in the bosses' interest that the melting pot not dissolve
identities and that each ethnic group continue to live in a separate community
maintaining its differences.
==========
Empire (Professor Michael Hardt and Antonio Negri)
- Note on Page 262 | Loc. 4011 | Added on Thursday, August 06, 2015, 04:12 PM
As a general rule, people, even the wicked, are much more naïve and simple-hearted
than we suppose. And we ourselves are, too.
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Note on Page 11 | Loc. 163 | Added on Thursday, August 06, 2015, 09:12 PM
inocencia. ingenuidad
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Highlight on Page 31 | Loc. 461-67 | Added on Friday, August 07, 2015, 07:39 AM
The genuine realist, if he is an unbeliever, will always find strength and ability
to disbelieve in the miraculous, and if he is confronted with a miracle as an
irrefutable fact he would rather disbelieve his own senses than admit the fact.
Even if he admits it, he admits it as a fact of nature till then unrecognized by
him. Faith does not, in the realist, spring from the miracle but the miracle from
faith. If the realist once believes, then he is bound by his very realism to admit
the miraculous also. The Apostle Thomas said that he would not believe till he saw,
but when he did see he said, “My Lord and my God!” Was it the miracle forced him to
believe? Most likely not, but he believed solely because he desired to believe and
possibly he fully believed in his secret heart even when he said, “I do not believe
till I see.”
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Note on Page 31 | Loc. 467 | Added on Friday, August 07, 2015, 07:39 AM
In the same way, if he had decided that God and immortality did not exist, he would
at once have become an atheist and a socialist. For socialism is not merely the
labor question, it is before all things the atheistic question, the question of the
form taken by atheism to-day, the question of the tower of Babel built without God,
not to mount to heaven from earth but to set up heaven on earth. Alyosha would have
found it strange and impossible to go on living as before. It is written: “Give all
that thou hast to the poor and follow Me, if thou wouldst be perfect.”
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Note on Page 32 | Loc. 481 | Added on Friday, August 07, 2015, 07:44 AM
socialism is theological
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Highlight on Page 52 | Loc. 788-98 | Added on Friday, August 07, 2015, 09:54 AM
“You have known for a long time what you must do. You have sense enough: don't give
way to drunkenness and incontinence of speech; don't give way to sensual lust; and,
above all, to the [pg 042] love of money. And close your taverns. If you can't
close all, at least two or three. And, above all—don't lie.” “You mean about
Diderot?” “No, not about Diderot. Above all, don't lie to yourself. The man who
lies to himself and listens to his own lie comes to such a pass that he cannot
distinguish the truth within him, or around him, and so loses all respect for
himself and for others. And having no respect he ceases to love, and in order to
occupy and distract himself without love he gives way to passions and coarse
pleasures, and sinks to bestiality in his vices, all from continual lying to other
men and to himself. The man who lies to himself can be more easily offended than
any one. You know it is sometimes very pleasant to take offense, isn't it? A man
may know that nobody has insulted him, but that he has invented the insult for
himself, has lied and exaggerated to make it picturesque, has caught at a word and
made a mountain out of a molehill—he knows that himself, yet he will be the first
to take offense, and will revel in his resentment till he feels great pleasure in
it, and so pass to genuine vindictiveness. But get up, sit down, I beg you. All
this, too, is deceitful posturing....”
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Note on Page 53 | Loc. 798 | Added on Friday, August 07, 2015, 09:54 AM
lyring to yourself
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Highlight on Page 59 | Loc. 898-905 | Added on Friday, August 07, 2015, 10:45 AM
“My Nikita tried to comfort me with the same words as you. ‘Foolish one,’ he said,
‘why weep? Our son is no doubt singing with the angels before God.’ He says that to
me, but he weeps himself. I see that he cries like me. ‘I know, Nikita,’ said I.
‘Where could he be if not with the Lord God? Only, here with us now he is not as he
used to sit beside us before.’ And if only I could look upon him one little time,
if only I could peep at him one little time, without going up to him, without
speaking, if I could be hidden in a corner and only see him for one little minute,
hear him playing in the yard, calling in his little voice, ‘Mammy, where are you?’
If only I could hear him pattering with his little feet about the room just once,
only once; for so often, so often I remember how he used to run to me and shout and
laugh, if only I could hear his little feet I should know him! But he's gone,
Father, he's gone, and I shall never hear him again. Here's his little sash, but
him I shall never see or hear now.”
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Note on Page 60 | Loc. 905 | Added on Friday, August 07, 2015, 10:45 AM
lamento materno
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Highlight on Page 69 | Loc. 1044-50 | Added on Monday, August 10, 2015, 11:41 AM
“Yes. But could I endure such a life for long?” the lady went on fervently, almost
frantically. “That's the chief question—that's my most agonizing question. I shut
my eyes and ask myself, ‘Would you persevere long on that path? And if the patient
whose wounds you are washing did not meet you with gratitude, but worried you with
his whims, without valuing or remarking your charitable services, began abusing you
and rudely commanding you, and complaining to the superior authorities of you
(which often happens when people are in great suffering)—what then? Would you
persevere in your love, or not?’ And do you know, I came with horror to the
conclusion that, if anything could dissipate my love to humanity, it would be
ingratitude. In short, I am a hired servant, I expect my payment at once—that is,
praise, and the repayment of love with love. Otherwise I am incapable of loving any
one.”
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Note on Page 69 | Loc. 1050 | Added on Monday, August 10, 2015, 11:41 AM
requited love
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Note on Page 74 | Loc. 1125 | Added on Monday, August 10, 2015, 11:54 AM
may be honest, our Mitya (he is stupid, but honest), but he's—a sensualist. That's
the very definition and inner essence of him. It's your father has handed him on
his low sensuality. Do you know, I simply wonder at you, Alyosha, how you can have
kept your purity. You're a Karamazov too, you know! In your family sensuality is
carried to a disease. But now, these three sensualists are watching one another,
with their knives in their belts. The three of them are knocking their heads
together, and you may be the fourth.” “You are mistaken about that woman. Dmitri—
despises her,” said Alyosha, with a sort of shudder. “Grushenka? No, brother, he
doesn't despise her. Since he has openly abandoned his betrothed for her, he
doesn't despise her. There's something here, my dear boy, that you don't understand
yet. A man will fall in love with some beauty, with a woman's body, or even with a
part of a woman's body (a sensualist can understand that), and he'll abandon his
own children for her, sell his father and mother, and his country, Russia, too. If
he's honest, he'll steal; if he's humane, he'll murder; if he's faithful, he'll
deceive. Pushkin, the poet of women's feet, sung of their feet in his verse. Others
don't sing their praises, but they can't look at their feet without a thrill—and
it's not only their feet. Contempt's no help here, brother, even if he did despise
Grushenka. He does, but he can't tear himself away.”
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Note on Page 98 | Loc. 1502 | Added on Monday, August 10, 2015, 08:36 PM
His whole theory is a fraud! Humanity will find in itself the power to live for
virtue even without believing in immortality. It will find it in love for freedom,
for equality, for fraternity.” Rakitin could hardly restrain himself in his heat,
but, suddenly, as though remembering something, he stopped short.
==========
The Brothers Karamazov (Fyodor Dostoyevsky)
- Note on Page 101 | Loc. 1548 | Added on Monday, August 10, 2015, 08:44 PM
Não falo dos casos de monomania religiosa; apenas citarei um sujeito que, chamando-
se João de Deus, dizia agora ser o deus João, e prometia o reino dos céus a quem o
adorasse, e as penas do inferno aos outros;
==========
Papéis Avulsos (Machado de Assis)
- Note on Page 51 | Loc. 780 | Added on Wednesday, January 06, 2016, 02:27 PM
clasifcaciao
==========
Story (Robert McKee)
- Highlight on Page 17 | Loc. 247-49 | Added on Tuesday, January 12, 2016, 04:59
AM
William Archer, Kenneth Rowe, and John Howard Lawson wrote excellent books on
dramaturgy and the prose arts. Their method was intrinsic, drawing strength from
the big-muscle movements of desire, forces of antagonism, turning points, spine,
progression, crisis, climax—story seen from the inside out.
==========
Story (Robert McKee)
- Note on Page 17 | Loc. 249 | Added on Tuesday, January 12, 2016, 04:59 AM
authors
==========
Story (Robert McKee)
- Highlight on Page 24 | Loc. 368-72 | Added on Tuesday, January 12, 2016, 05:04
AM
Consider a set of facts known as “The Life of Joan of Arc.” For centuries
celebrated writers have brought this woman to the stage, page, and screen, and each
Joan is unique—Anouilh’s spiritual Joan, Shaw’s witty Joan, Brecht’s political
Joan, Dreyer’s suffering Joan, Hollywood’s romantic warrior. In Shakespeare’s hands
she became the lunatic Joan, a distinctly British point of view. Each Joan is
divinely inspired, raises an army, defeats the English, burns at the stake. Joan’s
facts are always the same, but
==========
Story (Robert McKee)
- Note on Page 27 | Loc. 400 | Added on Tuesday, January 12, 2016, 05:07 AM
joan of arc
==========
Steering the Craft: A Twenty-First-Century Guide to Sailing the Sea of Story
(Ursula K. Le Guin)
- Highlight on Page 22 | Loc. 333-34 | Added on Wednesday, January 13, 2016, 03:22
PM
How can a reader trust a writer ignorant of the medium she works in? Who can dance
to a fiddler who plays off key?
==========
Steering the Craft: A Twenty-First-Century Guide to Sailing the Sea of Story
(Ursula K. Le Guin)
- Note on Page 22 | Loc. 334 | Added on Wednesday, January 13, 2016, 03:23 PM
structure
==========
Story (Robert McKee)
- Highlight on Page 33 | Loc. 495-96 | Added on Wednesday, January 13, 2016, 03:33
PM
A STORY EVENT creates meaningful change in the life situation of a character that
is expressed and experienced in terms of a VALUE.
==========
Story (Robert McKee)
- Note on Page 33 | Loc. 496 | Added on Wednesday, January 13, 2016, 03:33 PM
story event
==========
Story (Robert McKee)
- Highlight on Page 33 | Loc. 500-501 | Added on Wednesday, January 13, 2016,
03:34 PM
STORY VALUES are the universal qualities of human experience that may shift from
positive to negative, or negative to positive, from one moment to the next.
==========
Story (Robert McKee)
- Note on Page 33 | Loc. 501 | Added on Wednesday, January 13, 2016, 03:34 PM
values
==========
Story (Robert McKee)
- Highlight on Page 34 | Loc. 511-12 | Added on Wednesday, January 13, 2016, 03:36
PM
A Story Event creates meaningful change in the life situation of a character that
is expressed and experienced in terms of a value and ACHIEVED THROUGH CONFLICT.
==========
Story (Robert McKee)
- Note on Page 34 | Loc. 512 | Added on Wednesday, January 13, 2016, 03:36 PM
conflict
==========
Story (Robert McKee)
- Highlight on Page 34 | Loc. 522-23 | Added on Wednesday, January 13, 2016, 03:38
PM
A SCENE is an action through conflict in more or less continuous time and space
that turns the value-charged condition of a character’s life on at least one value
with a degree of perceptible significance. Ideally, every scene is a STORY EVENT.
==========
Story (Robert McKee)
- Note on Page 35 | Loc. 523 | Added on Wednesday, January 13, 2016, 03:38 PM
beat
==========
Story (Robert McKee)
- Highlight on Page 37 | Loc. 562-64 | Added on Wednesday, January 13, 2016, 03:41
PM
This scene is built around six beats, six distinctively different behaviors, six
clear changes of action/reaction: teasing each other, followed by a give-and-take
of insults, then threatening and daring each other, next pleading and
==========
Story (Robert McKee)
- Note on Page 37 | Loc. 564 | Added on Wednesday, January 13, 2016, 03:41 PM
action reaction
==========
Story (Robert McKee)
- Highlight on Page 38 | Loc. 569-70 | Added on Wednesday, January 13, 2016, 03:41
PM
sequence
==========
Story (Robert McKee)
- Highlight on Page 41 | Loc. 620-21 | Added on Wednesday, January 13, 2016, 03:42
PM
act
==========
Story (Robert McKee)
- Highlight on Page 42 | Loc. 631-32 | Added on Wednesday, January 13, 2016, 03:43
PM
STORY CLIMAX: A story is a series of acts that build to a last act climax or story
climax which brings about absolute and irreversible change.
==========
Story (Robert McKee)
- Note on Page 42 | Loc. 632 | Added on Wednesday, January 13, 2016, 03:43 PM
story climax
==========
Story (Robert McKee)
- Note on Page 42 | Loc. 632 | Added on Wednesday, January 13, 2016, 03:46 PM
irreversible change
==========
Story (Robert McKee)
- Highlight on Page 43 | Loc. 648-49 | Added on Wednesday, January 13, 2016, 03:46
PM
To PLOT means to navigate through the dangerous terrain of story and when
confronted by a dozen branching possibilities to choose the correct path. Plot is
the writer’s choice of events and their design in time.
==========
Story (Robert McKee)
- Note on Page 43 | Loc. 649 | Added on Wednesday, January 13, 2016, 03:46 PM
plot
==========
Story (Robert McKee)
- Highlight on Page 44 | Loc. 660 | Added on Wednesday, January 13, 2016, 03:48 PM
TENDER MERCIES
==========
Story (Robert McKee)
- Note on Page 44 | Loc. 660 | Added on Wednesday, January 13, 2016, 03:48 PM
tender mercies
==========
Story (Robert McKee)
- Highlight on Page 45 | Loc. 677-81 | Added on Wednesday, January 13, 2016, 03:49
PM
CLASSICAL DESIGN means a story built around an active protagonist who struggles
against primarily external forces of antagonism to pursue his or her desire,
through continuous time, within a consistent and causally connected fictional
reality, to a closed ending of absolute, irreversible change. This collection of
timeless principles I call the Archplot: Arch (pronounced “ark” as in archangel) in
the dictionary sense of “eminent above others of the same kind.”
==========
Story (Robert McKee)
- Note on Page 45 | Loc. 681 | Added on Wednesday, January 13, 2016, 03:50 PM
archplot triangle
==========
Story (Robert McKee)
- Note on Page 46 | Loc. 697 | Added on Wednesday, January 13, 2016, 03:51 PM
examples
==========
Story (Robert McKee)
- Highlight on Page 47 | Loc. 716-19 | Added on Wednesday, January 13, 2016, 07:01
PM
A Story Climax of absolute, irreversible change that answers all questions raised
by the telling and satisfies all audience emotion is a CLOSED ENDING. A Story
Climax that leaves a question or two unanswered and some emotion unfulfilled is an
OPEN ENDING.
==========
Story (Robert McKee)
- Note on Page 47 | Loc. 719 | Added on Wednesday, January 13, 2016, 07:01 PM
The Multiplot dates from INTOLERANCE (USA/1916), GRAND HOTEL (USA/1932), THROUGH A
GLASS DARKLY (Sweden/1961), and SHIP OF FOOLS (USA/1965) to its common use today—
SHORT CUTS, PULP FICTION, DO THE RIGHT THING, and EAT DRINK MAN WOMAN.
==========
Story (Robert McKee)
- Note on Page 49 | Loc. 743 | Added on Wednesday, January 13, 2016, 07:03 PM
multiplot examples
==========
Story (Robert McKee)
- Highlight on Page 49 | Loc. 747-50 | Added on Wednesday, January 13, 2016, 07:04
PM
A story with or without flashbacks and arranged into a temporal order of events
that the audience can follow is told in LINEAR TIME. A story that either skips
helter-skelter through time or so blurs temporal continuity that the audience
cannot sort out what happens before and after what is told in NONLINEAR
==========
Story (Robert McKee)
- Highlight on Page 51 | Loc. 779-84 | Added on Thursday, January 14, 2016, 02:39
AM
CAUSALITY drives a story in which motivated actions cause effects that in turn
become the causes of yet other effects, thereby interlinking the various levels of
conflict in a chain reaction of episodes to the Story Climax, expressing the
interconnectedness of reality. COINCIDENCE drives a fictional world in which
unmotivated actions trigger events that do not cause further effects, and therefore
fragment the story into divergent episodes and an open ending, expressing the
disconnectedness of existence.
==========
Story (Robert McKee)
- Note on Page 52 | Loc. 784 | Added on Thursday, January 14, 2016, 02:39 AM
causality coincidence
==========
Story (Robert McKee)
- Highlight on Page 52 | Loc. 795-804 | Added on Thursday, January 14, 2016, 02:41
AM
consistnt incnsistnt
==========
Story (Robert McKee)
- Note on Page 56 | Loc. 845 | Added on Thursday, January 14, 2016, 02:46 AM
nonplot
==========
Story (Robert McKee)
- Highlight on Page 65 | Loc. 993-97 | Added on Thursday, January 14, 2016, 02:52
AM
Cliché is at the root of audience dissatisfaction, and like a plague spread through
ignorance, it now infects all story media. Too often we close novels or exit
theatres bored by an ending that was obvious from the beginning, disgruntled
because we’ve seen these clichéd scenes and characters too many times before. The
cause of this worldwide epidemic is simple and clear; the source of all clichés can
be traced to one thing and one thing alone: The writer does not know the world of
his story.
==========
Story (Robert McKee)
- Note on Page 65 | Loc. 996 | Added on Thursday, January 14, 2016, 02:52 AM
cliche nd ignorance
==========
Story (Robert McKee)
- Highlight on Page 66 | Loc. 1003-4 | Added on Thursday, January 14, 2016, 02:53
AM
setting
==========
Story (Robert McKee)
- Note on Page 66 | Loc. 1006 | Added on Thursday, January 14, 2016, 02:53 AM
period
==========
Story (Robert McKee)
- Note on Page 67 | Loc. 1014 | Added on Thursday, January 14, 2016, 02:54 AM
duration
==========
Story (Robert McKee)
- Note on Page 67 | Loc. 1017 | Added on Thursday, January 14, 2016, 02:54 AM
location
==========
Story (Robert McKee)
- Note on Page 67 | Loc. 1025 | Added on Thursday, January 14, 2016, 02:55 AM
level of conflict
==========
Story (Robert McKee)
- Note on Page 68 | Loc. 1033 | Added on Thursday, January 14, 2016, 02:56 AM
THE PRINCIPLE OF CREATIVE LIMITATION Limitation is vital. The first step toward a
well-told story is to create a small, knowable world. Artists by nature crave
freedom, so the principle that the structure/setting relationship restricts
creative choices may stir the rebel in you. With a closer look, however, you’ll see
that this relationship couldn’t be more positive. The constraint that setting
imposes on story design doesn’t inhibit creativity; it inspires it.
==========
Story (Robert McKee)
- Note on Page 69 | Loc. 1054 | Added on Thursday, January 14, 2016, 02:57 AM
creative limitation
==========
Story (Robert McKee)
- Highlight on Page 70 | Loc. 1071-74 | Added on Thursday, January 14, 2016, 03:00
AM
The irony of setting versus story is this: The larger the world, the more diluted
the knowledge of the writer, therefore the fewer his creative choices and the more
clichéd the story. The smaller the world, the more complete the knowledge of the
writer, therefore the greater his creative choices. Result: a fully original story
and victory in the war on cliché.
==========
Story (Robert McKee)
- Note on Page 70 | Loc. 1074 | Added on Thursday, January 14, 2016, 03:00 AM
film genre
==========
Story (Robert McKee)
- Note on Page 85 | Loc. 1294 | Added on Thursday, January 14, 2016, 03:06 AM
genre cnvention
==========
Story (Robert McKee)
- Highlight on Page 99 | Loc. 1506-7 | Added on Thursday, January 14, 2016, 03:11
AM
TRUE CHARACTER is revealed in the choices a human being makes under pressure—the
greater the pressure, the deeper the revelation, the truer the choice to the
character’s essential nature.
==========
Story (Robert McKee)
- Note on Page 99 | Loc. 1507 | Added on Thursday, January 14, 2016, 03:11 AM
true character
==========
Story (Robert McKee)
- Highlight on Page 102 | Loc. 1554-58 | Added on Thursday, January 14, 2016,
03:12 AM
character arc
==========
Story (Robert McKee)
- Highlight on Page 104 | Loc. 1583-91 | Added on Thursday, January 14, 2016,
03:13 AM
adjetivos y sustantivos
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 320 | Loc. 4901 | Added on Friday, January 15, 2016, 02:50 AM
The terms ‘dialectical method’ and ‘dialectical logic’ are apt to mislead. Neither
in Hegel nor in Marx is dialectical thinking really a set of procedures for
inquiry, still less a set of rules for generating or justifying results. Only harm
can be done by representing dialectic as analogous to formal logic or mathematics
(witness Alexander Herzen’s famous but asinine description of the Hegelian
dialectic as the ‘algebra of revolution’). Instead, dialectic is best viewed as a
general conception of the sort of intelligible structure the world has to offer,
and consequently a program for the sort of theoretical structure which would best
capture it. But this means that the Hegelian dialectic cannot be separated from
Hegel’s vision of reality, and is best presented in terms of it.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 322 | Loc. 4925 | Added on Friday, January 15, 2016, 02:55 AM
spinoza
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 322 | Loc. 4930-31 | Added on Friday, January 15, 2016, 02:56
AM
The idealists accept Spinoza’s monism, and for them the fundamental question of
philosophy is how to conceive of or characterize the metaphysical absolute.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 322 | Loc. 4931 | Added on Friday, January 15, 2016, 02:56 AM
Fichte views the basic issue as a choice between two possible answers to this
question. One answer (which Fichte calls ‘dogmatism’) is the conception of the
absolute as ‘object’ or ‘substance’, determined and determining everything
causally, through the necessity of its nature. The other answer is idealism, which
grasps the absolute as ‘subject’ or ‘ego’, creating both itself and its objects
through freedom. The choice is between seeing ourselves (and the rest of the world)
as products of lifeless objectivity or as manifestations of a free creative self or
ego. Fichte of course opts for idealism, since (he alleges) only it can do justice
to the experience of our own spontaneity as knowing subjects or to our sense of
dignity as free moral agents.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 322 | Loc. 4936 | Added on Friday, January 15, 2016, 02:57 AM
For him, the absolute is ‘a movement of self-positing’, that is, a process through
which ‘the living substance which is subject’ actualizes itself by becoming object
to itself and then restores its unity with itself by coming to know this object as
its own free expression or manifestation. For Hegel, mind or spirit (Geist) means
this movement of ‘self-restoring sameness’.2
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 323 | Loc. 4945 | Added on Friday, January 15, 2016, 03:01 AM
Here alone, Kant ‘opened up the concept of life, of the idea, and thus did
positively for philosophy what the Critique of Pure Reason had done only in an
imperfect, indirect or negative way’.6 The conception to which Hegel is referring
is that of a living organism or ‘organized being’ through which Kant introduces the
idea of natural teleology. In a living thing, says Kant, ‘the preservation of any
one part depends reciprocally on the rest’, so that ‘the parts [of an organism] are
all organs reciprocally producing each other’.7 The same reciprocity holds between
the organism and its parts. For a thing to be an organism, ‘it is required first
that its parts (as regards their existence and their form) should be possible only
through their relation to the whole ... and second that the parts should so combine
in the unity of a whole that they are reciprocally cause and effect of each other’s
form.’ In virtue of this, a living thing is not only an ‘organized’, but a ‘self-
organizing being’.8
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 325 | Loc. 4983 | Added on Friday, January 15, 2016, 03:08 AM
But a reflective human being, by living out a certain self-conception and a set of
goals and values, can also bring about changes in that conception, in these goals
and values themselves. Therefore, a self-consciousness is like an organism which
can survive radical changes in its organic structure, and can even initiate these
changes. (Its nature is to ‘proceed beyond what is limited’, and thus ‘proceed
beyond itself’.)
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 329 | Loc. 5042 | Added on Friday, January 15, 2016, 03:15 AM
self councioussness
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 329 | Loc. 5042-44 | Added on Friday, January 15, 2016, 03:18
AM
Thus a self-conscious being is like an organism whose final tendencies are not
limited to the maturation and self-maintenance of its structure, but include
systematic tendencies to overthrow and transform its structure through
consciousness.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 329 | Loc. 5044 | Added on Friday, January 15, 2016, 03:19 AM
Its life-processes not only struggle with ‘immediacy’ or ‘finitude’ but even with
themselves.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 329 | Loc. 5045 | Added on Friday, January 15, 2016, 03:19 AM
Hegel sees this pattern of organic development as fundamental to all change which
expresses the nature of spirit, for instance, to the transformation of the culture
and mores of a nation or people in history. ‘A people must know the universal on
which its mores (Sittlichkeit) rest. . . . The highest point in the culture
(Bildung) of a people is this grasping in thought of its life and condition, the
scientific knowledge of its law and mores.’ But this self-knowledge is also the
downfall of what is known and necessitates a new and higher mode of life for the
people which achieves it: ‘Thought as universal has a dissolving force. . . .
Spirit is just this, the dissolution of all determinate content.’
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 330 | Loc. 5056 | Added on Friday, January 15, 2016, 03:21 AM
Fikewise, organic development begins with some spiritual organism in its immediacy.
It is the process by which an organism raises itself toward perfection by
undergoing conflicts inherent in its nature and adopting new organic structures
which enable it to resolve these conflicts.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 332 | Loc. 5078 | Added on Friday, January 15, 2016, 03:49 PM
There are, roughly speaking, two species of dialectic in Hegel, which we may call
respectively the temporal and the hierarchical. As we have pictured organic
development so far, it is literally a temporal process. In his historical lectures,
Hegel presents the history of social mores, political institutions, art, religion
and philosophy as a dialectical series, representing the successive epochs in the
history of a given subject matter as stages of development of spirit in time. The
Phenomenology of Spirit develops the concept of philosophical knowledge from its
most immediate forms up to the standpoint of Hegel’s speculative logic, presenting
different philosophical viewpoints as if they were different phases through which a
philosophical mind might pass in its search for the truth. The dialectic does not
literally trace a temporal process, but its presentation is quasi-temporal, and the
Phenomenology contains extensive allusions to the history of Western philosophy,
religion and culture which are supposed to exhibit this history as following the
inherent series of philosophical views which Hegel is expounding.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 333 | Loc. 5102 | Added on Friday, January 15, 2016, 03:57 PM
temporal dialectic
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 333 | Loc. 5103-10 | Added on Friday, January 15, 2016, 03:57
PM
hierarchical dialectic
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 334 | Loc. 5116-21 | Added on Friday, January 15, 2016, 03:59
PM
Engels criticizes Eugen Diihring for ascribing to Marx the intention of ‘proving
that the process was historically necessary’ by subsuming it under a ‘dialectical
law’. ‘On the contrary. After he has proved historically that in fact this process
has in part already occurred, in part that it must yet occur, he adds a description
of it as a process which follows a determinate dialectical law. That is all.’24
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 337 | Loc. 5154 | Added on Friday, January 15, 2016, 04:06 PM
You have these alternatives because when we think of any two things as opposites we
do so relative to some system of categories or comparisons within which the two
things count either as exclusive and exhaustive complementaries or else as extremes
or poles which define the system.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 338 | Loc. 5175 | Added on Friday, January 15, 2016, 04:09 PM
No body can have a front side unless it has a back. No battle can be won unless it
is also lost.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 339 | Loc. 5198 | Added on Friday, January 15, 2016, 04:11 PM
Since these processes are not merely opposites but tend directly to negate or
abolish one another, Hegel describes them as ‘contradictories’, and concludes that
the nature of things is constituted by contradiction.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 340 | Loc. 5213 | Added on Friday, January 15, 2016, 04:13 PM
contradictories
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 341 | Loc. 5228-32 | Added on Friday, January 15, 2016, 04:15
PM
‘abstract negative’, the mere lack or absence of the property, which may refer to
almost anything. ‘In the doctrine of contradictory concepts, the one concept is,
e.g., blue ... and the other not-blue, so that this other would not be something
affirmative, perhaps yellow, but would be held fast as the abstract negative.’34
This conception saves the correctness of the principles of contradiction and
excluded middle, but only at the cost of childish triviality. In these principles
‘the opposite signifies a mere lack, or rather indeterminateness; the proposition
is so insignificant it is not worth the trouble to state it.’35 The notion of
abstract negation is wholly artificial; nowhere does it enter into the real
constitution of things or explain their processes: ‘In fact there is nowhere,
neither in heaven nor on earth, neither in the spiritual nor the natural world, an
abstract “either/or” of the sort asserted by the understanding.’36
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 346 | Loc. 5291 | Added on Friday, January 15, 2016, 07:25 PM
abstract negation
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 346 | Loc. 5297-99 | Added on Friday, January 15, 2016, 07:26
PM
As I read Hegel, then, his real complaint against formal logic (as it is meant by
formal logicians) is not that its principles are false, but that it is
philosophically sterile.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 346 | Loc. 5299 | Added on Friday, January 15, 2016, 07:26 PM
marx dialectic
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 348 | Loc. 5328-35 | Added on Friday, January 15, 2016, 07:30
PM
Hegel sees reality as structured organically and develop mentally. Things display
their essential natures when they are seen as organized wholes or systems, and as
elements of larger wholes or systems. These systems are characterized by tendencies
not only to self-harmony and self-maintenance, but also to development, both
temporally and hierarchically. Things which exist through time have essential
tendencies to develop, to unfold their natures by continually changing or
revolutionizing their organic structures. Organic structures themselves display a
hierarchy, developing or unfolding a certain abstract essence or basic principle
toward its full concreteness. A theory which captures the structure of reality must
conceive things as organized totalities. It must attend to their essential
tendencies to temporal development, and it must analyze their organic structure
through a hierarchy of concepts of or viewpoints on a whole which reveal all the
levels or stages belonging to its nature.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 348 | Loc. 5335 | Added on Friday, January 15, 2016, 07:30 PM
hegel methaepistemological ontology
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 349 | Loc. 5345-46 | Added on Friday, January 15, 2016, 07:32
PM
As I read Marx, he accepts Hegel’s vision of reality but rejects the Hegelian
metaphysical underpinnings of this vision, together with the epistemological
conclusions which are supposed to follow from them.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 349 | Loc. 5346 | Added on Friday, January 15, 2016, 07:32 PM
marx accepts hegel vision of reality as contradictions but rejects its metaphysics
==========
Steering the Craft: A Twenty-First-Century Guide to Sailing the Sea of Story
(Ursula K. Le Guin)
- Highlight on Page 36 | Loc. 540-42 | Added on Friday, January 15, 2016, 11:55 PM
Style is a very simple matter; it is all rhythm. Once you get that, you can’t use
the wrong words. But on the other hand here am I sitting after half the morning,
crammed with ideas, and visions, and so on, and can’t dislodge them, for lack of
the right rhythm. Now this is very profound, what rhythm is, and goes far deeper
than words. A sight, an emotion, creates this wave in the mind, long before it
makes words to fit it.
==========
Steering the Craft: A Twenty-First-Century Guide to Sailing the Sea of Story
(Ursula K. Le Guin)
- Note on Page 36 | Loc. 542 | Added on Friday, January 15, 2016, 11:55 PM
To say of social structures, for instance, that they are organic wholes is to
recommend that they be studied teleologically. To say that societies change through
inherent tendencies to development is to imply that we should try to understand
them in terms of such tendencies rather than in terms of causal laws. Whatever
these proposals may be, they are not trivial or uncontroversial. In any possible
world where it would be advisable to follow them, there would have to be a degree
of organization and inner development which is considerably greater than many
social theorists have thought there is in the actual world. Looked at in this way,
the thesis that reality is structured dialectically, despite its vagueness,
undoubtedly has empirical significance.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 353 | Loc. 5402 | Added on Tuesday, January 19, 2016, 01:03 AM
In this sense, dialectic is a method, and perhaps the empirical significance of the
dialectical vision of reality is most easily seen when dialectic is construed as a
set of methodological proposals.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 353 | Loc. 5408 | Added on Tuesday, January 19, 2016, 01:05 AM
interaction btween self mainteneance and poitiveness and subversion and negativity
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 359 | Loc. 5491-97 | Added on Tuesday, January 19, 2016, 01:15
AM
Engels’ three famous ‘dialectical laws’ (the unity of opposites, the transition of
quantity into quality and the negation of the negation) are all taken more or less
directly from Hegel, and are best seen as vehicles for expounding his vision of the
world as organically and develop- mentally structured.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 359 | Loc. 5503 | Added on Tuesday, January 19, 2016, 01:17 AM
Some writers claim that Marx does not follow Engels in applying dialectical
categories to nature. Like other attempts to drive a significant philosophical
wedge between Marx and Engels, this thesis was first popularized by Lukacs’ History
and Class Consciousness, is usually supported by an essentially idealistic reading
of Marx, and has no basis whatever in Marx’s texts. It is true that Marx does not
often indulge in Engels’ naturphilosophische speculations and concerns himself
almost exclusively with the application of dialectical thinking to social theory.
But Marx more than once explicitly asserts that dialectical principles are
‘verified equally in history and natural science’.24 Nowhere does he say or imply
the reverse. Marx does endorse Giambattista Vico’s idea that ‘human history is
distinguished from natural history by the fact that we have made the former but not
the latter’, and in this context criticizes ‘the abstract materialism of natural
science, which excludes the historical process’.25 But this is an attack precisely
on that materialism which excludes the dialectical category of organic development
from nature.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 360 | Loc. 5514 | Added on Tuesday, January 19, 2016, 01:18 AM
engels and marx. luckacs
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Highlight on Page 362 | Loc. 5536-48 | Added on Tuesday, January 19, 2016, 03:46
PM
For Marx as for Hegel, the task of science is to penetrate empirical observations,
grasp them in ‘concepts’ and ‘reproduce the concrete in thought’. Marx often
criticizes ‘vulgar economists’ for ‘holding fast to appearance’, ‘reflecting in
their brains only the immediate
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 364 | Loc. 5573 | Added on Tuesday, January 19, 2016, 03:49 PM
Marx emphasizes that the ‘forms of development’ here are not temporal, that the
order of categories in the theory is not to be the order in which the corresponding
social forms appear historically or become historically decisive. The ultimate aim
of Marx’s theory, of course, is to reveal the tendencies to change inherent in
bourgeois society. But the immediate purpose of his system of categories is to
understand the inner structure of society and not to trace its history: ‘It is not
a question of the relation which economic relations assume historically in the
series of different social forms, ... but of the articulation of these relations
within modern bourgeois society.’34
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 365 | Loc. 5585 | Added on Tuesday, January 19, 2016, 03:51 PM
Marx’s theory works toward a model that mirrors the empirical facts in their
concrete detail, but he does not view economic theories or theoretical models
merely as devices for summarizing and predicting observations. The task of Marx’s
theory is to reproduce the structure of the concrete in thought. The function of
more abstract models is to penetrate complex appearances, to get at the basic
social forms from whose inner tendencies the observable phenomena result.
==========
Karl Marx, 2nd Edition (Allen W.Wood)
- Note on Page 366 | Loc. 5608 | Added on Tuesday, January 19, 2016, 03:58 PM
Let’s take another example. In the modern world, from the eighteenth century, you
see the development of secret societies. In the eighteenth century these are still
basically close to forms of religious dissidence. As you know, they have their
dogmas, rituals, hierarchy, postures, ceremonies, and forms of community.
Freemasonry is, of course, a privileged example of this. Then, in the nineteenth
century, they become increasingly composed of political elements and take on
clearer political objectives - plots, political or social revolutions - but always
with an aspect of the pursuit of a different form of conduct: to be led
differently, by other men, and towards other objectives than those proposed by the
apparent and visible official governmentality of society. Its clandestine character
is no doubt a necessary dimension of this political action, but at the same time it
includes and offers this possibility of an alternative to governmental direction in
the form of another form of conduct with its unknown chiefs and specific forms of
obedience, etcetera. We could say that in contemporary societies, in our societies,
there still exist basically two types of political parties. There are those that
are no more than ladders to the exercise of power or to access to functions and
responsibilities, and then there are political parties, or rather there is a
political party, which has ceased being clandestine for a long time however, but
which continues to have the aura of an old project that it has evidently abandoned
but to which its destiny and name remain linked, and which is the project of giving
birth to a new social order and creating a new man.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 313 | Loc. 4785 | Added on Tuesday, January 19, 2016, 04:11 PM
I won’t dwell on this further. I would just like to raise a problem of simple
vocabulary. Could we not try to find a word to designate what I have called
resistance, refusal, or revolt? How can we designate the type of revolts, or rather
the sort of specific web of resistance to forms of power that do not exercise
sovereignty and do not exploit, but “conduct”? I have often used the expression
“revolt of conduct,” but I have to say that I am not very satisfied with it,
because the word “revolt” is both too precise and too strong to designate much more
diffuse and subdued forms of resistance. The secret societies of the eighteenth
century are not revolts of conduct; the mysticism of the Middle Ages I was just
talking about is not exactly a revolt. Second, the word “disobedience” is, on the
other hand, too weak no doubt, although the problem of obedience is in fact at the
center of all this. A movement like Anabaptism,i for example, was much more than
disobedience. Furthermore, these movements that I have tried to pick out definitely
have a productivity, forms of existence, organization, and a consistency and
solidity that the purely negative word of disobedience does not capture.
“Insubordination (insoumission),” perhaps, although we are dealing with a word that
in a way is localized and attached to military insubordination. There is, to be
sure, a word that comes to mind, but I would rather cut my tongue out than use it.
I will just mention it therefore. It is, as you will have guessed, the word
“dissidence.”[86] In fact, maybe the word “dissidence” is exactly suited for these
forms of resistance that concern, set their sights on, and have as their objective
and adversary a power that assumes the task of conducting men in their life and
daily existence. The word would be justified for two reasons, both of them
historical. The first is that in fact the word “dissidence” has often been employed
to designate religious movements of resistance to pastoral organization. Second,
its current application could in fact justify its use since, after all, what we
[call][87] “dissidence” in the East and the Soviet Union,1 really does designate a
complex form of resistance and refusal, which involves a political refusal, of
course, but in a society where political authority, that is, the political party,
responsible for defining both the country’s characteristic form of economy and
structures of sovereignty, is at the same time responsible for conducting
individuals in their daily life through a game of generalized obedience that takes
the form of terror, since terror is not when some command and strike fear into
others.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 316 | Loc. 4837 | Added on Tuesday, January 19, 2016, 04:14 PM
There is terror when those who command tremble with fear themselves, since they
know that the general system of obedience envelops them just as much as those over
whom they exercise their power.§ We
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 316 | Loc. 4840 | Added on Tuesday, January 19, 2016, 09:34 PM
refusal of salvation
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 320 | Loc. 4904-19 | Added on Tuesday, January 19, 2016, 09:41
PM
There is, I think, a profound difference between the structures of obedience and
asceticism. This is why, whenever and wherever pastoral counter-conducts develop in
the Middle Ages, asceticism was one of their points of support and instruments
against the pastorate.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 329 | Loc. 5034 | Added on Tuesday, January 19, 2016, 09:49 PM
Huss even spoke of “the heresy of obedience.”1 When one obeys someone in a state of
mortal sin, when one obeys a pastor who is unfaithful to the law, or who is
unfaithful to the principle of obedience, one becomes a heretic. The heresy of
obedience, says John Huss.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 332 | Loc. 5086 | Added on Friday, January 22, 2016, 10:48 PM
heresy of obedience
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 332 | Loc. 5087-5102 | Added on Friday, January 22, 2016,
10:51 PM
The other doctrinal aspect is the problem of the priest’s sacramental power. What
does the priest’s power to administer the sacraments consist of? From the start,
Church doctrine never ceased to single out, back up, give weight to, and intensify
the priest’s sacramental power.§ In the first place, the priest can control entry
into the community through baptism; he can unbind in heaven what he unbinds on
Earth in confession; and he can give Christ’s body through the Eucharist. The
development of different religious communities constantly challenged all these
aspects of the priest’s sacramental power gradually established by the Church.[100]
There is refusal, for example, of the obligatory baptism of children whose effect
is entirely that of a priest’s act on someone who has no will.11 So, there is
refusal of the baptism of children and a tendency towards adult, voluntary baptism,
that is to say baptism that is voluntary for the individual as well as for the
community that accepts the individual.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 333 | Loc. 5102 | Added on Friday, January 22, 2016, 10:51 PM
This does not mean that the principle of obedience was wholly unrecognized or
suppressed in these communities. There were some communities in which no form of
obedience was recognized. For some pantheistic groups of the Brethren of the Free
Spirit, for example,1 more or less inspired by Amaury de Bene1 and Ulrich de
Strasbourg,§ God was matter itself. Consequently, all individuality was only
illusion. The division between good and evil could not exist and was only a
chimerical effect, and consequently all appetites were legitimate. To that extent
it was, at least in principle, a system that excluded all obedience or, at any
rate, asserted the legitimacy of all conduct.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 337 | Loc. 5155 | Added on Friday, January 22, 2016, 10:55 PM
Better still, mysticism develops on the basis of, and in the form of, absolutely
ambiguous experiences, in a sort of equivocation, since the secret of the night is
that it is an illumination. The secret, the force of illumination, is precisely
that it blinds. In mysticism ignorance is a knowing, and knowledge has the very
form of ignorance.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 339 | Loc. 5195 | Added on Friday, January 22, 2016, 11:00 PM
Finally, [the fifth element], and I will stop here, is eschatological beliefs.
After all, the other way of disqualifying the pastor’s role is to claim that the
times are fulfilled or in the process of being fulfilled, and that God will return
or is returning to gather his flock. He will be the true shepherd. Consequently,
since he is the true shepherd coming to gather his flock, he can give notice to the
pastors of history and time, and it is for him now to make the division, to give
nourishment to the flock, and to guide it. The pastors are given notice, since
Christ is returning, or again, another form of eschatology that developed along a
line that more or less stems from Joachim of Fiore,^ is the assertion of the advent
of a third time or third age in history. The first age is that of the incarnation
of the first person of the Trinity in a prophet, Abraham, and at that point the
Jewish people needed pastors who were the other prophets. The second time, period,
or age, is that of the incarnation of the second person. But the second person of
the Trinity does not act like the first; he does better. The first sent a pastor,
the second is incarnated in person, and this is Christ. But when Christ returned to
heaven he entrusted his flock to pastors who were supposed to represent him. But,
says Joachim of Fiore, the third time, the third period, the third phase in the
history of the world is coming, and the Holy Spirit will descend on Earth. Now the
Holy Spirit is not incarnated in a prophet, and he is not incarnated in a person;
he is spread over the entire world. That is to say, there will be a particle, a
fragment, a spark of the Holy Spirit in each of the faithful and so they will no
longer need a shepherd.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 342 | Loc. 5235 | Added on Friday, January 22, 2016, 11:13 PM
eaxathology anripastor
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 342 | Loc. 5235-41 | Added on Friday, January 22, 2016, 11:14
PM
the conflicts between feudalism and the merchant bourgeoisie, were translated into
a number of religious themes, forms, and concerns that finally result in the
explosion of the Reformation, of the great religious crisis of the sixteenth
century. If we do not take the problem of the pastorate, of the structures of
pastoral power, as the hinge or pivot of these different elements external to each
other - the economic crises on one side and religious themes on the other - if we
do not take it as a field of intelligibility, as the principle establishing
relations between them, as the switch-point between these elements, then I think we
are forced to return to the old conceptions of ideology, [and][106] to say that the
aspirations of a group, a class, and so forth, are translated, reflected, and
expressed in something like a religious belief. The point of view of pastoral
power, of this analysis of the structures of power, enables us, I think, to take up
these things and analyze them, no longer in the form of reflection and
transcription, but in the form of strategies and tactics.[107] There you are.
Forgive me for having taken too long, and next time, this is a promise, we won’t
speak any more about pastors.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 344 | Loc. 5274 | Added on Friday, January 22, 2016, 11:19 PM
ch nine
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Highlight on Page 345 | Loc. 5288-90 | Added on Friday, January 22, 2016, 11:23
PM
TODAY I WOULD FINALLY like to move on from the pastoral of souls to the political
government of men. It should be understood, of course, that I will not try even to
sketch the series of transformations that actually brought about the transition
from this economy of souls to the government of men and populations.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 345 | Loc. 5290 | Added on Friday, January 22, 2016, 11:23 PM
Anyway, I just want to note that this transition from the pastoral of souls to the
political government of men should be situated in this general context of
resistances, revolts, and insurrections of conduct.
==========
Security, Territory, Population: Lectures at the Collège De France : 1977-78
(Michel Foucault)
- Note on Page 347 | Loc. 5312 | Added on Friday, January 22, 2016, 11:26 PM
porque ni tengo qué acotar en el margen, ni qué anotar en el fin, ni menos sé qué
autores sigo en él, para ponerlos al principio, como hacen todos, por las letras
del abecé, comenzando en Aristóteles y acabando en Xenofonte y en Zoílo o Zeuxis,
[21] aunque fue maldiciente el uno y pintor el otro.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 97 | Loc. 1486 | Added on Saturday, January 30, 2016, 03:53 AM
Con silencio grande estuve escuchando lo que mi amigo me decía, y de tal manera se
imprimieron en mí sus razones, que, sin ponerlas en disputa, las aprobé por buenas
y de ellas mismas quise hacer este prólogo, en el cual verás, lector suave, la
discreción de mi amigo,
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 103 | Loc. 1575 | Added on Saturday, January 30, 2016, 11:06 AM
ningunos le parecían tan bien como los que compuso el famoso Feliciano de Silva,
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 118 | Loc. 1804 | Added on Saturday, January 30, 2016, 11:14 AM
cartas de desafio
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 119 | Loc. 1815-17 | Added on Saturday, January 30, 2016,
11:16 AM
muchas veces le vino deseo de tomar la pluma y dalle fin al pie de la letra como
allí se promete; y sin duda alguna lo hiciera, y aun saliera con ello,[30] si otros
mayores y continuos pensamientos no se lo estorbaran.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 119 | Loc. 1817 | Added on Saturday, January 30, 2016, 11:16 AM
asentósele de tal modo en la imaginación que era verdad toda aquella máquina de
aquellas soñadas invenciones que leía,[36]
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 120 | Loc. 1827 | Added on Saturday, January 30, 2016, 11:17 AM
Imaginábase el pobre ya coronado por el valor de su brazo, por lo menos del imperio
de Trapisonda;
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 121 | Loc. 1845 | Added on Saturday, January 30, 2016, 11:20 AM
una gran falta, y era que no tenían celada de encaje,[51] sino morrión simple;[52]
mas a esto suplió su industria,[53]
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 121 | Loc. 1851 | Added on Saturday, January 30, 2016, 11:22 AM
nombre de amadis
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 123 | Loc. 1873-74 | Added on Saturday, January 30, 2016,
11:27 AM
llamarse «don Quijote de la Mancha», con que a su parecer declaraba muy al vivo su
linaje y patria, y la honraba con tomar el sobrenombre de ella.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 123 | Loc. 1874 | Added on Saturday, January 30, 2016, 11:27 AM
dio a entender[64] que no le faltaba otra cosa sino buscar una dama de quien
enamorarse,
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 123 | Loc. 1876 | Added on Saturday, January 30, 2016, 11:27 AM
cap dos
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 124 | Loc. 1901-5 | Added on Saturday, January 30, 2016, 11:40
AM
que le vino a la memoria que no era armado caballero y que, conforme a ley de
caballería, ni podía ni debía tomar armas[4] con ningún caballero, y puesto que lo
fuera,[5] había de llevar armas blancas,[6] como novel caballero, sin empresa[7] en
el escudo, hasta que por su esfuerzo la ganase.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 125 | Loc. 1905 | Added on Saturday, January 30, 2016, 11:40 AM
como a nuestro aventurero todo cuanto pensaba, veía o imaginaba le parecía ser
hecho y pasar al modo de lo que había leído, luego que vio la venta se le
representó que era un castillo con sus cuatro torres y chapiteles[33] de luciente
plata, sin faltarle su puente levadiza y honda cava,[34] con todos aquellos
adherentes[35] que semejantes castillos se pintan.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 128 | Loc. 1949 | Added on Saturday, January 30, 2016, 11:47 AM
visera de papek
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 130 | Loc. 1980 | Added on Saturday, January 30, 2016, 02:21 PM
cita a romance
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 132 | Loc. 2014-15 | Added on Saturday, January 30, 2016,
02:24 PM
que fuesen estas truchuelas como la ternera, que es mejor que la vaca, y el cabrito
que el cabrón.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 132 | Loc. 2015 | Added on Saturday, January 30, 2016, 02:25 PM
juego de diminutivs
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 132 | Loc. 2022-25 | Added on Saturday, January 30, 2016,
02:26 PM
Estando en esto, llegó acaso a la venta un castrador de puercos, y así como llegó,
sonó su silbato de cañas cuatro o cinco veces, con lo cual acabó de confirmar don
Quijote que estaba en algún famoso castillo y que le servían con música y que el
abadejo eran truchas, el pan candeal[72] y las rameras damas y el ventero
castellano del castillo, y con esto daba por bien empleada su determinación y
salida.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 133 | Loc. 2025 | Added on Saturday, January 30, 2016, 02:26 PM
cap tres
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 140 | Loc. 2132-42 | Added on Saturday, January 30, 2016,
06:00 PM
cap cuarto
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 13 | Loc. 197-201 | Added on Saturday, January 30, 2016, 09:13
PM
The Mexican essayist and poet Octavio Paz, another Nobel prize winner, states in
his essay “The Siren and the Seasheir (translated 1991): “Dario was not only the
richest and most wide-ranging of the modernist poets: he was also one of our great
modern poets. He was the beginning” (31). Paz also suggests that the movement known
as Hispanic modernism—of which Dario became the undisputed leader in both Spanish
America and Spain— has yet to run its course and that everything written since
Dario has been influenced in one way or another by him.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 14 | Loc. 201 | Added on Saturday, January 30, 2016, 09:13 PM
To the modernist, the ideological basis or cement of these wildly assorted elements
was a philosophical irratio- nalism in the name of freedom. The
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 17 | Loc. 258 | Added on Saturday, January 30, 2016, 09:18 PM
philosophical irrationalism
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 19 | Loc. 289-90 | Added on Saturday, January 30, 2016, 09:19
PM
[Dario’s lyrical production entered the picture. Poetry and public life Jdiverged,
at least outside the official academies, and the ethos guid- / ing modernist
authors had no concern for wealth or power or place V in society but rather
centered on the cultivation of art and beauty, the bohemian lifestyle, and
rebellious individualism, even an eccentricity ultimately defined by the odd, the
debased, the marginalized, the debauched, Pedro Pinero and Rogelio Reyes, as well
as Anthony Zahareas and Jose Esteban, have published significant studies on the
modernist bohemia, and artistic or lifestyle marginalization is the subject of a
volume edited by Anthony Geist and Josd Monledn.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 20 | Loc. 304 | Added on Saturday, January 30, 2016, 09:21 PM
bohemian ethos
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 23 | Loc. 349 | Added on Saturday, January 30, 2016, 09:24 PM
symthesis of perspectives
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 30 | Loc. 453-57 | Added on Saturday, January 30, 2016, 10:40
PM
literatura mia en mi
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 36 | Loc. 551-56 | Added on Saturday, January 30, 2016, 10:48
PM
poetics of despair.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 39 | Loc. 587 | Added on Sunday, January 31, 2016, 11:23 AM
poeyivs of despair
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 41 | Loc. 615 | Added on Sunday, January 31, 2016, 11:26 AM
dilucidaciones defensa
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 44 | Loc. 669-73 | Added on Sunday, January 31, 2016, 11:32 AM
his deeply tragic poetry. This kind of composition, evident at every stage of his
poetry; has proven to be his least-studied facet by literary scholars: a lifelong
interest in gs&eric doctrines, quite at odds with the usual stereotype of Dario as
a synthetic poet of princesses and swans.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 44 | Loc. 673 | Added on Sunday, January 31, 2016, 11:32 AM
esoteric dario
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 46 | Loc. 698-99 | Added on Sunday, January 31, 2016, 11:35 AM
“Gregorio: nada al cantor deter- mina / como el gentil esrimulo del beso.”
[Gregorio: nothing
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 46 | Loc. 699 | Added on Sunday, January 31, 2016, 11:35 AM
el beso
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 48 | Loc. 727-29 | Added on Sunday, January 31, 2016, 11:39 AM
In 1909, Dario traveled to Italy and to Paris, remaining the most visible defender
of a group of men and women who believed in art, as a human expression of the
divine.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 48 | Loc. 729 | Added on Sunday, January 31, 2016, 11:39 AM
satisfying turn on the carpe diem theme, proposing total, universal enjoyment, but
one compounded with an awareness of death, that irremediable human destiny.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 49 | Loc. 745 | Added on Sunday, January 31, 2016, 11:47 AM
Champion of the poor and oppressed while in Chile, his sympathies suddenly wilted
at the sight of something terrifying in the faces of workers at an anarchist
meeting.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 54 | Loc. 820 | Added on Sunday, January 31, 2016, 11:55 AM
horror pauperi
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 54 | Loc. 823-25 | Added on Sunday, January 31, 2016, 11:56 AM
inconsistent life seems to manifest a core of emptiness not even the creation of
great poetry could fill, an inescapable despair constantly reinforced by his world
and his place in it.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 54 | Loc. 825 | Added on Sunday, January 31, 2016, 11:56 AM
inconsistent life
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 57 | Loc. 874-81 | Added on Sunday, January 31, 2016, 12:07 PM
MA Roosevelt” (To Roosevelt), “Al Rey CW-ar” (To King Oscar), and wSa\utaci6n
deloptimista” (The Optimist’s Salutation).They general^equate life with Hispanic
culture and death with the non-Hispanic v world contemptuous of that culture. Dario
placed his faith in the his- 1 torical greatness of Spain and its former
American colonies and in the I enduring validity of the values that had created
such historical great- l ness.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 58 | Loc. 881 | Added on Sunday, January 31, 2016, 12:07 PM
“Los cisnes” (The swans) anguishes over the imminent destruc- \ tion of Hispanic
culture at the hand of Anglo-Saxon—read. U.S.— \ expansionism.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 58 | Loc. 885 | Added on Sunday, January 31, 2016, 12:08 PM
irrational philosophy. Sorrow and anxiety. Dario tells us, are the curses of
sentient life: innocence is indeed bliss where knowledge is the source of pain. We
become unwitting victims of our own nature, punished in a sense for being the most
self-aware of all creatures.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 61 | Loc. 930 | Added on Sunday, January 31, 2016, 12:13 PM
The first two lines refer to the flesh, not of a particular woman but of all women.
A woman’s body is the heavenly stuff where men find the absolute, the ultimate
union of body and spirit; flesh, clay, sacramental bread, or even better, ambrosia,
the food of the gods, which, consumed with nectar, grants immortality. The poem
places woman at the center of things, a divine presence that makes existence
bearable: Lavida se soporta tan doliente y tan corta, solamente poreso: roce,
mordisco o beso en ese pan divino para el cual nuestra sangre es nuestro vino!
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 65 | Loc. 992 | Added on Sunday, January 31, 2016, 12:19 PM
Death in Dario is almost invariably female, and only in part because of Spanish
grammar.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 67 | Loc. 1020 | Added on Sunday, January 31, 2016, 12:25 PM
Glimpses of erotic despair stem from an ambivalence he himself could not resolve,
perhaps due to his experience with the three most important women in his love life:
his first wife, Rafael Contreras, who died so young; Francisca Sinchez, his
uneducated common-law wife who supported him unconditionally; and Rosario Murillo,
his second wife, 37 who pursued him to the end. In other words, woman as the source
of good and evil, as mothering saint and uncomplaining lover, or as irresistible
siren and enigmatic sphinx.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 67 | Loc. 1025 | Added on Sunday, January 31, 2016, 12:28 PM
women of dario.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Highlight on Page 67 | Loc. 1027-29 | Added on Sunday, January 31, 2016, 12:29
PM
“Por un momento . . [For a moment...) links human sexual needs to contact with the
divine, represented here by the myth of Zeus and Leda.
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 68 | Loc. 1029 | Added on Sunday, January 31, 2016, 12:29 PM
following poem flows naturally from the same myth, from the glory of Leda ravished
at the fountainhead of the erotic harmony of the universe, to the sadness of
returning to this mundane existence with the memory of having touched the divine.
Eroticism is an integral part of Dario’s sense of cosmic harmony: “Ante el celeste,
supremo acto,/dioses y bestias hicieron pacto”
==========
Darío Rubén Cantos de vida y esperanza Intro Songs of life and hope edited and
translated by Will Derusha and Alberto Acereda. (Unknown)
- Note on Page 68 | Loc. 1032 | Added on Sunday, January 31, 2016, 12:30 PM
—Bien está todo eso —replicó don Quijote—, pero quédense los zapatos y las sangrías
por los azotes que sin culpa le habéis dado, que, si él rompió el cuero de los
zapatos que vos pagastes, vos le habéis rompido el de su cuerpo, y si le sacó el
barbero sangre estando enfermo, vos en sanidad se la habéis sacado; así que por
esta parte no os debe nada.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 143 | Loc. 2188 | Added on Sunday, January 31, 2016, 12:35 PM
zaptos y cuerpo
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 145 | Loc. 2213-17 | Added on Sunday, January 31, 2016, 12:37
PM
—También lo juro yo —dijo el labrador—, pero, por lo mucho que os quiero, quiero
acrecentar la deuda, por acrecentar la paga. Y, asiéndole del brazo, le tornó a
atar a la encina, donde le dio tantos azotes, que le dejó por muerto. —Llamad,
señor Andrés, ahora —decía el labrador— al desfacedor de agravios: veréis como no
desface aquéste; aunque creo que no está acabado de hacer, porque me viene gana de
desollaros vivo, como vos temíades.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 145 | Loc. 2217 | Added on Sunday, January 31, 2016, 12:37 PM
cap octavo
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 171 | Loc. 2611 | Added on Monday, February 01, 2016, 11:24 AM
molinos
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 171 | Loc. 2617-19 | Added on Monday, February 01, 2016, 11:24
AM
—Mire vuestra merced —respondió Sancho— que aquellos que allí se parecen no son
gigantes, sino molinos de viento, y lo que en ellos parecen brazos son las aspas,
que, volteadas del viento, hacen andar la piedra del molino.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 171 | Loc. 2619 | Added on Monday, February 01, 2016, 11:24 AM
—Pues aunque mováis más brazos que los del gigante Briareo,[3] me lo habéis de
pagar.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 172 | Loc. 2627 | Added on Monday, February 01, 2016, 11:25 AM
—Calla, amigo Sancho —respondió don Quijote—, que las cosas de la guerra más que
otras están sujetas a continua mudanza;
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 172 | Loc. 2635 | Added on Monday, February 01, 2016, 11:27 AM
cuanto más, que yo pienso, y es así verdad, que aquel sabio Frestón que me robó el
aposento y los libros ha vuelto estos gigantes en molinos, por quitarme la gloria
de su vencimiento: tal es la enemistad que me tiene; mas al cabo al cabo[5] han de
poder poco sus malas artes contra la bondad de mi espada.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 172 | Loc. 2637 | Added on Monday, February 01, 2016, 11:27 AM
Toda aquella noche no durmió don Quijote, pensando en su señora Dulcinea, por
acomodarse a lo que había leído en sus libros, cuando los caballeros pasaban sin
dormir muchas noches en las florestas[14] y despoblados, entretenidos con las
memorias de sus señoras.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 174 | Loc. 2666 | Added on Monday, February 01, 2016, 11:32 AM
No quiso desayunarse don Quijote, porque, como está dicho, dio en sustentarse de
sabrosas memorias.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 175 | Loc. 2672 | Added on Monday, February 01, 2016, 11:33 AM
—Aquí —dijo en viéndole don Quijote— podemos, hermano Sancho Panza, meter las manos
hasta los codos en esto que llaman aventuras. Mas advierte que, aunque me veas en
los mayores peligros del mundo, no has de poner mano a tu espada para defenderme,
si ya no vieres que los que me ofenden es canalla y gente baja, que en tal caso
bien puedes ayudarme; pero, si fueren caballeros, en ninguna manera te es lícito ni
concedido por las leyes de caballería que me ayudes, hasta que seas armado
caballero.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 175 | Loc. 2677 | Added on Monday, February 01, 2016, 11:34 AM
—La vuestra fermosura, señora mía, puede facer de su persona lo que más le viniere
en talante,[27] porque ya la soberbia de vuestros robadores yace por el suelo,
derribada por este mi fuerte brazo; y por que no penéis por saber el nombre de
vuestro libertador, sabed que yo me llamo don Quijote de la Mancha, caballero
andante y aventurero, y cautivo de la sin par y hermosa doña Dulcinea del Toboso;
y, en pago del beneficio que de mí habéis recibido, no quiero otra cosa sino que
volváis al Toboso, y que de mi parte os presentéis ante esta señora y le digáis lo
que por vuestra libertad he fecho.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 178 | Loc. 2720 | Added on Monday, February 01, 2016, 08:21 PM
agrajes amadis
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 181 | Loc. 2761 | Added on Monday, February 01, 2016, 08:26 PM
morisco ue lo lea
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 183 | Loc. 2799-2800 | Added on Monday, February 01, 2016,
08:31 PM
Cuando yo oí decir «Dulcinea del Toboso», quedé atónito y suspenso, porque luego se
me representó que aquellos cartapacios contenían la historia de don Quijote.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 183 | Loc. 2800 | Added on Monday, February 01, 2016, 08:31 PM
crtapacios cn la historia
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 183 | Loc. 2801-2 | Added on Monday, February 01, 2016, 08:31
PM
cide hamete
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 1426 | Loc. 21857-64 | Added on Monday, February 01, 2016,
08:33 PM
comentarista cervantes
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 184 | Loc. 2817-20 | Added on Monday, February 01, 2016, 09:08
PM
Panza, que tenía del cabestro a su asno, a los pies del cual estaba otro rétulo que
decía «Sancho Zancas», y debía de ser que tenía, a lo que mostraba la pintura, la
barriga grande, el talle corto y las zancas largas,[18] y por esto se le debió de
poner nombre de «Panza» y de «Zancas», que con estos dos sobrenombres le llama
algunas veces la historia.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 184 | Loc. 2820 | Added on Monday, February 01, 2016, 09:08 PM
panza
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 184 | Loc. 2820-25 | Added on Monday, February 01, 2016, 09:09
PM
había que advertir, pero todas son de poca importancia y que no hacen al caso a la
verdadera relación de la historia, que ninguna es mala como sea verdadera. Si a
ésta se le puede poner alguna objeción cerca de su verdad, no podrá ser otra sino
haber sido su autor arábigo, siendo muy propio de los de aquella nación ser
mentirosos; aunque, por ser tan nuestros enemigos, antes se puede entender haber
quedado falto en ella que demasiado. Y así me parece a mí, pues cuando pudiera y
debiera extender la pluma en las alabanzas de tan buen caballero, parece que de
industria[20] las pasa en silencio:
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 185 | Loc. 2825 | Added on Monday, February 01, 2016, 09:09 PM
sobre historiadores
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 187 | Loc. 2857 | Added on Monday, February 01, 2016, 09:18 PM
cap diez
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 234 | Loc. 3577 | Added on Monday, February 01, 2016, 09:33 PM
cap xv
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 234 | Loc. 3578 | Added on Monday, February 01, 2016, 09:34 PM
yanguenses
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 235 | Loc. 3592-95 | Added on Monday, February 01, 2016, 09:36
PM
Sucedió, pues, que a Rocinante le vino en deseo de refocilarse[8] con las señoras
facas, y saliendo, así como las olió, de su natural paso y costumbre, sin pedir
licencia a su dueño, tomó un trotico algo picadillo[9] y se fue a comunicar su
necesidad con ellas.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 235 | Loc. 3595 | Added on Monday, February 01, 2016, 09:36 PM
rocinnte e excita
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 235 | Loc. 3597 | Added on Monday, February 01, 2016, 09:36 PM
en pelota.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 235 | Loc. 3597 | Added on Monday, February 01, 2016, 09:36 PM
en pelota
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 236 | Loc. 3618-20 | Added on Monday, February 01, 2016, 09:40
PM
—Querría, si fuese posible —respondió Sancho Panza—, que vuestra merced me diese
dos tragos de aquella bebida del feo Blas,[18] si es que la tiene vuestra merced
ahí a mano: quizá será de provecho para los quebrantamientos de huesos, como lo es
para las feridas.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 237 | Loc. 3620 | Added on Monday, February 01, 2016, 09:40 PM
Mas yo me tengo la culpa de todo, que no había de poner mano a la espada contra
hombres que no fuesen armados caballeros como yo; y así creo que en pena de haber
pasado[20] las leyes de la caballería ha permitido el dios de las batallas que se
me diese este castigo.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 237 | Loc. 3627 | Added on Monday, February 01, 2016, 09:41 PM
potencia propincua
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 239 | Loc. 3661 | Added on Monday, February 01, 2016, 09:46 PM
potencia popincua
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 239 | Loc. 3664-65 | Added on Monday, February 01, 2016, 09:46
PM
amdis y arcalus
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 240 | Loc. 3672-77 | Added on Monday, February 01, 2016, 09:48
PM
cap xvi
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 243 | Loc. 3724-27 | Added on Monday, February 01, 2016, 11:08
PM
Servía en la venta asimismo una moza asturiana, ancha de cara, llana de cogote,[1]
de nariz roma,[2] del un ojo tuerta y del otro no muy sana. Verdad es que la
gallardía del cuerpo suplía las demás faltas: no tenía siete palmos de los pies a
la cabeza, y las espaldas, que algún tanto le cargaban, la hacían mirar al suelo
más de lo que ella quisiera.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 244 | Loc. 3727 | Added on Monday, February 01, 2016, 11:08 PM
maritornes
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 244 | Loc. 3730-33 | Added on Monday, February 01, 2016, 11:09
PM
arriero, que tenía su cama hecha un poco más allá de la de nuestro don Quijote, y,
aunque era de las enjalmas[5] y mantas de sus machos, hacía mucha ventaja a la de
don Quijote, que sólo contenía cuatro mal lisas tablas sobre dos no muy iguales
bancos y un colchón que en lo sutil parecía colcha, lleno de bodoques,[6]
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 244 | Loc. 3733 | Added on Monday, February 01, 2016, 11:09 PM
—Pues ¿cómo vos, siéndolo de este tan buen señor —dijo la ventera—, no tenéis, a lo
que parece, siquiera algún condado? —Aún es temprano —respondió Sancho—, porque no
ha sino un mes que andamos buscando las aventuras, y hasta ahora no hemos topado
con ninguna que lo sea; y tal vez hay que se busca una cosa y se halla otra. Verdad
es que si mi señor don Quijote sana de esta herida… o caída y yo no quedo
contrecho[13] de ella, no trocaría mis esperanzas con el mejor título de España.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 246 | Loc. 3759 | Added on Monday, February 01, 2016, 11:11 PM
Fuera de que Cide Mahamate Benengeli fue historiador muy curioso[20] y muy puntual
en todas las cosas, y échase bien de ver, pues las que quedan referidas, con ser
tan mínimas y tan rateras,[21] no las quiso pasar en silencio; de donde podrán
tomar ejemplo los historiadores graves, que nos cuentan las acciones tan corta y
sucintamente, que apenas nos llegan a los labios, dejándose en el tintero, ya por
descuido, por malicia o ignorancia, lo más sustancial de la obra. ¡Bien haya mil
veces el autor de Tablante de Ricamonte,[22] y aquel del otro libro donde se cuenta
los hechos del conde Tomillas,[23] y con qué puntualidad lo describen todo!
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 247 | Loc. 3787 | Added on Monday, February 01, 2016, 11:22 PM
locuras que buenamente imaginarse pueden; y fue que él se imaginó haber llegado a
un famoso castillo (que, como se ha dicho, castillos eran a su parecer todas las
ventas donde alojaba) y que la hija del ventero lo era del señor del castillo, la
cual, vencida de su gentileza, se había enamorado de él y prometido que aquella
noche, a furto[24] de sus padres, vendría a yacer con él una buena pieza; y
teniendo toda esta quimera que él se había fabricado por firme y valedera, se
comenzó a acuitar[25] y a pensar en el peligroso trance en que su honestidad se
había de ver, y propuso en su corazón[26] de no cometer alevosía a su señora
Dulcinea del Toboso,
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 248 | Loc. 3798 | Added on Monday, February 01, 2016, 11:24 PM
querido, topó con los brazos de don Quijote, el cual la asió fuertemente de una
muñeca y tirándola hacia sí, sin que ella osase hablar palabra, la hizo sentar
sobre la cama.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 249 | Loc. 3806 | Added on Monday, February 01, 2016, 11:27 PM
—¿Adónde estás, puta? A buen seguro que son tus cosas éstas.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 250 | Loc. 3833 | Added on Monday, February 01, 2016, 11:29 PM
sta hermandad
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 252 | Loc. 3858 | Added on Monday, February 01, 2016, 11:32 PM
cap xvii
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 253 | Loc. 3865-67 | Added on Monday, February 01, 2016, 11:33
PM
—Puédeslo creer así, sin duda —respondió don Quijote—, porque o yo sé poco o este
castillo es encantado. Porque has de saber… Mas esto que ahora quiero decirte hasme
de jurar que lo tendrás secreto hasta después de mi muerte.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 253 | Loc. 3867 | Added on Monday, February 01, 2016, 11:33 PM
otras cosas ocultas, que, por guardar la fe que debo a mi señora Dulcinea del
Toboso, dejaré pasar intactas y en silencio? Sólo te quiero decir que, envidioso el
cielo de tanto bien como la ventura me había puesto en las manos, o quizá, y esto
es lo más cierto, que, como tengo dicho, es encantado este castillo, al tiempo que
yo estaba con ella en dulcísimos y amorosísimos coloquios, sin que yo la viese ni
supiese por dónde venía vino una mano pegada a algún brazo de algún descomunal
gigante y asentome una puñada en las quijadas, tal, que las tengo todas bañadas en
sangre; y después me molió de tal suerte, que estoy peor que ayer cuando los
arrieros, que por demasías de Rocinante nos hicieron el agravio que sabes. Por
donde conjeturo que el tesoro de la fermosura de esta doncella le debe de guardar
algún encantado moro, y no debe de ser para mí.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 254 | Loc. 3882 | Added on Monday, February 01, 2016, 11:34 PM
Acabó en esto de encender el candil el cuadrillero y entró a ver el que pensaba que
era muerto; y así como le vio entrar Sancho, viéndole venir en camisa y con su paño
de cabeza[5] y candil en la mano, y con una muy mala cara, preguntó a su amo: —
Señor, ¿si será éste, a dicha,[6] el moro encantado, que nos vuelve a castigar, si
se dejó algo en el tintero?[7] —No puede ser el moro —respondió don Quijote—,
porque los encantados no se dejan ver de nadie. —Si
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 255 | Loc. 3895 | Added on Monday, February 01, 2016, 11:47 PM
procura que se me dé un poco de aceite, vino, sal y romero para hacer el salutífero
bálsamo;
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 255 | Loc. 3909 | Added on Monday, February 01, 2016, 11:48 PM
el balsamo
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 256 | Loc. 3918-26 | Added on Monday, February 01, 2016, 11:49
PM
Sancho Panza, que también tuvo a milagro la mejoría de su amo, le rogó que le diese
a él lo que quedaba en la olla, que no era poca cantidad. Concedióselo don Quijote,
y él, tomándola a dos manos, con buena fe y mejor talante se la echó a pechos y
envasó bien poco menos que su amo. Es, pues, el caso que el estómago del pobre
Sancho no debía de ser tan delicado como el de su amo, y, así, primero que vomitase
le dieron tantas ansias y bascas, con tantos trasudores y desmayos, que él pensó
bien y verdaderamente que era llegada su última hora; y viéndose tan afligido y
congojado, maldecía el bálsamo y al ladrón que se lo había dado.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 257 | Loc. 3934 | Added on Monday, February 01, 2016, 11:50 PM
mirábale también la hija del ventero, y él también no quitaba los ojos de ella, y
de cuando en cuando arrojaba un suspiro,
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 258 | Loc. 3948 | Added on Tuesday, February 02, 2016, 12:05 AM
Sólo he menester que vuestra merced me pague el gasto que esta noche ha hecho en la
venta, así de la paja y cebada de sus dos bestias como de la cena y camas. —Luego
¿venta es ésta? —replicó don Quijote. —Y muy honrada —respondió el ventero. —
Engañado he vivido hasta aquí —respondió don Quijote—, que en verdad que pensé que
era castillo, y no malo;
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 259 | Loc. 3960 | Added on Tuesday, February 02, 2016, 12:05 AM
A lo cual Sancho respondió que, por la ley de caballería que su amo había recibido,
no pagaría un solo cornado,[18] aunque le costase la vida, porque no había de
perder por él la buena y antigua usanza de los caballeros andantes, ni se habían de
quejar de él los escuderos de los tales que estaban por venir al mundo,
reprochándole el quebrantamiento de tan justo fuero.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 260 | Loc. 3977 | Added on Tuesday, February 02, 2016, 12:06 AM
perales. panios
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 260 | Loc. 3979-84 | Added on Tuesday, February 02, 2016,
12:08 AM
manteo de sancho
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 261 | Loc. 3995-99 | Added on Tuesday, February 02, 2016,
12:09 AM
—Hijo Sancho, no bebas agua; hijo, no la bebas, que te matará. ¿Ves? Aquí tengo el
santísimo bálsamo —y enseñábale la alcuza del brebaje—, que con dos gotas que de él
bebas sanarás sin duda. A estas voces volvió Sancho los ojos, como de través, y
dijo con otras mayores: —¿Por dicha hásele olvidado a vuestra merced como yo no soy
caballero, o quiere que acabe de vomitar las entrañas que me quedaron de anoche?
Guárdese su licor con todos los diablos, y déjeme a mí.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 261 | Loc. 3999 | Added on Tuesday, February 02, 2016, 12:09 AM
cap xviii
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 262 | Loc. 4012-13 | Added on Tuesday, February 02, 2016,
12:11 AM
—Ahora acabo de creer, Sancho bueno, que aquel castillo o venta que es encantado
sin duda, porque aquellos que tan atrozmente tomaron pasatiempo contigo ¿qué podían
ser sino fantasmas y gente del otro mundo?
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 262 | Loc. 4013 | Added on Tuesday, February 02, 2016, 12:11 AM
¿qué mayor contento puede haber en el mundo o qué gusto puede igualarse al de
vencer una batalla y al de triunfar de su enemigo? Ninguno, sin duda alguna.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 263 | Loc. 4028 | Added on Tuesday, February 02, 2016, 12:13 AM
y aun podría ser que me deparase la ventura aquella de Amadís, cuando se llamaba el
Caballero de la Ardiente Espada,[5] que fue una de las mejores espadas que tuvo
caballero en el mundo, porque, fuera que tenía la virtud dicha, cortaba como una
navaja y no había armadura, por fuerte y encantada que fuese, que se le parase
delante.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 264 | Loc. 4039 | Added on Tuesday, February 02, 2016, 12:14 AM
Pero estame atento y mira, que te quiero dar cuenta de los caballeros más
principales que en estos dos ejércitos vienen. Y para que mejor los veas y notes,
retirémonos a aquel altillo que allí se hace, de donde se deben de descubrir los
dos ejércitos. Hiciéronlo así y pusiéronse sobre una loma, desde la cual se vieran
bien las dos manadas que a don Quijote se le hicieron ejército, si las nubes del
polvo que levantaban no les turbara y cegara la vista; pero con todo esto, viendo
en su imaginación lo que no veía ni había, con voz levantada comenzó a decir: —
Aquel caballero que allí ves de las armas jaldes,[10] que trae en el escudo un león
coronado, rendido a los pies de una doncella, es el valeroso Laurcalco, señor de la
Puente de Plata;[11] el otro de las armas de las flores de oro, que trae en el
escudo tres coronas de plata en campo azul, es el temido Micocolembo, gran duque de
Quirocia; el otro de los miembros giganteos, que está a su derecha mano, es el
nunca medroso Brandabarbarán de Boliche,[12] señor de las tres Arabias,[13] que
viene
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 266 | Loc. 4079 | Added on Tuesday, February 02, 2016, 12:17 AM
—El miedo que tienes —dijo don Quijote— te hace, Sancho, que ni veas ni oyas a
derechas, porque uno de los efectos del miedo es turbar los sentidos y hacer que
las cosas no parezcan lo que son; y si es que tanto temes, retírate a una parte y
déjame solo, que solo basto a dar la victoria a la parte a quien yo diere mi ayuda.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 270 | Loc. 4125 | Added on Tuesday, February 02, 2016, 12:19 AM
Pero no vayas ahora, que he menester tu favor y ayuda: llégate a mí y mira cuántas
muelas y dientes me faltan, que me parece que no me ha quedado ninguno en la boca.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 272 | Loc. 4156 | Added on Tuesday, February 02, 2016, 12:21 AM
Pero, reparando un poco más en ello, echó de ver en la color, sabor y olor que no
era sangre, sino el bálsamo de la alcuza que él le había visto beber; y fue tanto
el asco que tomó, que, revolviéndosele el estómago, vomitó las tripas sobre su
mismo señor, y quedaron entrambos como de perlas.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 272 | Loc. 4162 | Added on Tuesday, February 02, 2016, 12:22 AM
se vomitan
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 273 | Loc. 4181 | Added on Tuesday, February 02, 2016, 12:23 AM
libro sobre medicina
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 273 | Loc. 4184-89 | Added on Tuesday, February 02, 2016,
12:24 AM
tan piadoso, que hace salir su sol sobre los buenos y los malos y llueve sobre los
injustos y justos.[55] —Más bueno era vuestra merced —dijo Sancho— para predicador
que para caballero andante. —De todo sabían y han de saber los caballeros andantes,
Sancho —dijo don Quijote—, porque caballero andante hubo en los pasados siglos que
así se paraba a hacer un sermón o plática en mitad de un camino real como si fuera
graduado por la Universidad de París; de donde se infiere que nunca la lanza embotó
la pluma, ni la pluma la lanza.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 274 | Loc. 4189 | Added on Tuesday, February 02, 2016, 12:24 AM
caballero o preidcador
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 275 | Loc. 4203 | Added on Tuesday, February 02, 2016, 12:25
AM
Porque te hago saber, Sancho, que la boca sin muelas es como molino sin piedra,
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 275 | Loc. 4203 | Added on Tuesday, February 02, 2016, 12:25 AM
cap xix
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 4 | Loc. 56-59 | Added on Tuesday, February 02, 2016, 12:38 AM
Los Congresos de Literatura serán más aburridos ahora que Angel Rama no puede
asistir a ellos. Verlo polemizar era un espectáculo de alto nivel, el despliegue de
una inteligencia que, enfrentándose a otras, alcanzaba su máximo lucimiento r su
placer.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 4 | Loc. 58 | Added on Tuesday, February 02, 2016, 12:38 AM
rama polemista
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 5 | Loc. 65-71 | Added on Tuesday, February 02, 2016, 12:39 AM
Angel, más sociológico y político; Emir, más literario >■ académico; aquél más a la
izquierda, éste más a la derecha, las diferencias entre ambos uruguayos fueron
providenciales, el origen de los más estimulantes torneos intelectuales a los que
me ha tocado asistir, una confrontación en que, gracias a la destreza dialéctica,
la elegancia r la cultura de los adversarios, no había nunca un derrotado r
resultaban ganando, siempre, el público r la literatura.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 5 | Loc. 77 | Added on Tuesday, February 02, 2016, 12:40 AM
Pero la crítica en que Rama descolló, como muy ¡tocos otros en nuestros días, fue
en aquella que, desde las páginas de un periódico o revista, desde la tribuna de un
aula o el prefacio de un libro, trata de encontrar un orden, establecer ima
jerarquía, descubrir unas llares para sus recintos recónditos. a la ¡iterafura que
esiá nuciendo y haciéndose. Es lo que se dama crítica de actualidad, que algunos
creen rebajar calificándola de “periodística”, como si la palabra fuera sinónimo
forzozo de superficial y efímera. En verdad, ésa es la estirpe de la que han salido
los críticos más influyentes r sugestivos.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 8 | Loc. 123 | Added on Tuesday, February 02, 2016, 12:43 AM
critica de actualidad
==========
Angel Rama (Ciudad Letrada)
- Note on Page 10 | Loc. 148 | Added on Tuesday, February 02, 2016, 12:45 AM
prologo
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 10 | Loc. 148-53 | Added on Tuesday, February 02, 2016, 12:46
AM
no hay lecturasorganicas
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 11 | Loc. 155 | Added on Tuesday, February 02, 2016, 12:46 AM
balcaniacion
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 13 | Loc. 185-87 | Added on Tuesday, February 02, 2016, 12:49
AM
agradecimiento
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 17 | Loc. 249-51 | Added on Tuesday, February 02, 2016, 12:52
AM
tan insólitas como que la Biblioteca Ayacucho que dirijo desde 1974 no es una
editorial que “frequently publishes the work of Communist writers” {New York Times,
nov. 14)
==========
Angel Rama (Ciudad Letrada)
- Note on Page 18 | Loc. 271 | Added on Tuesday, February 02, 2016, 12:53 AM
la ciuad barroca
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 23 | Loc. 340-44 | Added on Tuesday, February 02, 2016, 01:00
AM
Dentro de ese cauce del saber, gracias a él, surgirán esas ciudades ideales de la
inmensa extensión americana. Las regirá una razón ordenadora que se revela en un
orden social jerárquico transpuesto a un orden distributivo geométrico.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 24 | Loc. 360 | Added on Tuesday, February 02, 2016, 01:02 AM
La palabra clave de todo este sistema es la palabra "7 orden, ambigua en español
como un Dios Jano (el/la),^ activamente desarrollada por las tres mayores
estructuras institucionalizadas (la Iglesia, el Ejército, la \ Administración) y de
obligado manejo en cualquiera de los sistemas clasificatorios (historia natural,
arquitectura. geometría) de conformidad con las definiciones recibidas del término:
“Colocación de las cosas en el lugar que les corresponde. Concierto, buena
disposL ción dejas cosas entre sí. Regla o modo que se observa para hacer las
cosas”.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 25 | Loc. 378 | Added on Tuesday, February 02, 2016, 01:03 AM
palabra orden.
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 26 | Loc. 385-98 | Added on Tuesday, February 02, 2016, 01:07
AM
Vistas las cosas que para los asientos de los lugares son necesarias, y escogido el
sitio más provechoso y en que incurren más de las cosas que para el pueblo son
menester, habréis de repartirlos solares del lugar para hacer las casas, y estos
han de ser repartidos según las calidades de las personas y sean de comienzo dados
por orden; por manera que hechos los solares, el puejblo(parc7.ca ordenado^así en
el lugar que se dejare para plaza, como el lugar en que hubiere la iglesia, como en
el orden que tuvieren las calles; porque en los lugares que de nuevo se hacen dando
la orden en el comienzo sin ningún trabajo ni costa'"quedan ordenados c los otros
jamás se ordenan* La traslación del orden social a unaj-ealidad física, en el caso
de la fundación de las ciudades, implicaba el previo diseño urbanístico mediante
los lenguajes simbólicos de la cultura sujetos a concepción racitmahj^ero a esta se
le exigía que además de componer un diseño, previera un futuro.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 26 | Loc. 398 | Added on Tuesday, February 02, 2016, 01:07 AM
matematicas
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 27 | Loc. 404-6 | Added on Tuesday, February 02, 2016, 01:08
AM
Ll resultado en América Latina fue el diseño en damero, que reprodujeron (con o sin
plano a la vista) las ciudades barrocas y que se prolongó hasta prácticamente
nuestros díase
==========
Angel Rama (Ciudad Letrada)
- Note on Page 27 | Loc. 406 | Added on Tuesday, February 02, 2016, 01:08 AM
damero
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 27 | Loc. 407-12 | Added on Tuesday, February 02, 2016, 01:09
AM
plano circulas
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 28 | Loc. 418-22 | Added on Tuesday, February 02, 2016, 01:10
AM
El orden debe quedar estatuido antes de que la ciudad exista, para así impedir todo
futuro desorden, lo que alude a la peculiar virtud de los signos de permanecer
inalterables en el tiempo y seguir rigiendo la cambiante vida de las cosas dentro
de rígidos encuadres^ Es así que se fijaron las operaciones fundadoras que se
fueron repitiendo a través de una extensa geografía y un extenso tiempo.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 28 | Loc. 421 | Added on Tuesday, February 02, 2016, 01:10 AM
ciudad y signo
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 28 | Loc. 426-28 | Added on Tuesday, February 02, 2016, 01:11
AM
que sólo podía proceder de la palabra escrita, que inició su esplendorosa carrera
imperial en el continente. Esta palabra escrita viviría en América Latina como la
única valedera, en oposición a la palabra hablada que pertenecía al reino de lo
inseguro y lo precario.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 29 | Loc. 436 | Added on Tuesday, February 02, 2016, 01:12 AM
Más aún, pudo pensarse que el habla procedía de la escritura, en una percepción
antisaussuriana. La escritura poseía rigidez y permanencia, un modo autónomo que
remedaba la eternidad.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 29 | Loc. 440 | Added on Tuesday, February 02, 2016, 01:12 AM
diseño gráfico. Este superaba las virtudes del primero porque era capaz de eludir
el pluriseman- tismo de la palabra y porque, además, proporcionaba conjuntamente la
cosa que representaba (la ciudad) y la cosa representada (el diseño) con una_
maravillosa independencia de la realidad, tal como lo traslucen con
lo estableció la Logique de Port Royal en 1662, cuando_ debió establecer la
diferencia entre “las ideas de las cosas y las ideas de los signos”, codificando ya
la concepción moderna. También apeló al modelo privilegiado de signos que
representan los mapas, los cuadros (y los planos), en los cuales la realidad es
absorbida por los signos:
==========
Angel Rama (Ciudad Letrada)
- Note on Page 30 | Loc. 453 | Added on Tuesday, February 02, 2016, 01:13 AM
Mientras el signo exista está asegurae!su propia permanencia, aunque la cosa que
represente pueda haber sido destruida.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 31 | Loc. 463 | Added on Tuesday, February 02, 2016, 01:14 AM
el suenio de l cosa
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 31 | Loc. 472-75 | Added on Tuesday, February 02, 2016, 01:16
AM
plingenesia
==========
Angel Rama (Ciudad Letrada)
- Note on Page 33 | Loc. 501 | Added on Tuesday, February 02, 2016, 01:23 AM
Más que una fabulosa conquista, quedó certificado el triunfo de las ciudades sobre
un inmenso y desconocido territorio, reiterando la concepción griega | que oponía
la polis civilizada a la barbarie de íos no | urbanizados.20
==========
Angel Rama (Ciudad Letrada)
- Note on Page 35 | Loc. 536 | Added on Tuesday, February 02, 2016, 01:26 AM
cional de las ciudades que había sido la norma europea sino que exactamente lo
invertía: en vez de partir del desarrollo agrícola que gradualmente constituía su
polo urbano donde se organizaba el mercado y las comunicaciones al exterior, se
iniciaba con esta urbe, mínima desde luego pero asentada a veces en el valle
propicio que disponía de agua, esperando que ella generara el desarrollo agrícola.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 36 | Loc. 540 | Added on Tuesday, February 02, 2016, 01:26 AM
Euclídes Da Cuntía, que pensaba lo mismo que Sarmiento, comenzó a dudar de esas
premisas civilizadoras cuando presenció la carnicería de la guerra en el sertón de
Canudos y lo contó pesimistamente en Os Sertóes (1902). El reverso de la
modernización capitaneada por las ciudades se había mostrado desnudamente y no era
agradable.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 38 | Loc. 574 | Added on Tuesday, February 02, 2016, 01:30 AM
racimo de poder
==========
Angel Rama (Ciudad Letrada)
- Note on Page 46 | Loc. 702 | Added on Tuesday, February 02, 2016, 01:34 AM
fiesta barroca
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 54 | Loc. 822-31 | Added on Tuesday, February 02, 2016, 02:08
AM
unicos ejercitantes
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 62 | Loc. 947-54 | Added on Tuesday, February 02, 2016, 02:31
AM
Reduciéndonos a un aspecto aparentemente trivial, se la podría reconstruir mediante
la paralela evolución del nomenclátor urbano. Ajjna_primera_cpoca en que se recurre
a nombres particulares para designar sitios o calles, los cuales nacen de objetos
concretos que pertenecen a su estrecha contigüidad (Monjitas se llamará una calle
en Santiago porque allí estaba el convento de monjas) sigue una segunda, en que los
nombres de las calles ya no pertenecen a simples desplazaniientos jncto.nímicos,
sino que manifiestan una voluntad, generalmente honorífica, de recordar sucesos o
per- sonas eminentes.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 63 | Loc. 954 | Added on Tuesday, February 02, 2016, 02:31 AM
nombres de ls calles
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 64 | Loc. 973-77 | Added on Tuesday, February 02, 2016, 02:33
AM
la ciudad escrituraria
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 69 | Loc. 1056-60 | Added on Tuesday, February 02, 2016, 02:38
AM
escribanos y burocratas
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 71 | Loc. 1087-93 | Added on Tuesday, February 02, 2016, 02:41
AM
habla popular
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 73 | Loc. 1119-22 | Added on Tuesday, February 02, 2016, 02:46
AM
Rodeando este primer anillo había otro mucho más vasto, pues aunque También ocupaba
los suburbios (los barrios indígenas de la ciudad de México) se^extendía _por la
jnmensidad de los campos, rigiendo en haciendas, pequeñas aldeas o quilombos de
negros alzados. Este anillo correspondía al uso de las lenguas indígenas o
africanas que establecían el territorio enemigo. Si hubo demanda reiterada al
rey^de España,.siempre re-_ si si idajpq r
==========
Angel Rama (Ciudad Letrada)
- Note on Page 75 | Loc. 1145 | Added on Tuesday, February 02, 2016, 02:48 AM
Aun más significativo que el purismo, que entró a declinar desde la modernización
de fines del XIX, sin que ni aún hoy se haya extinguido, es otro mecanismo que
tiene similar procedencia: la utilización de jdos códigos lexicales paralelos y
diferentes que origina un sistema de equivalencias semánticas, de usojcmtstante
entre los intelectuales, el cual puede ser incluido entre las plurales formas de
supervivencia colonial. Este , mecanismo hace del letrado un traductor, obligándolo
’ a qipclar a un metalenguaje para reconvertir el término deun código a otro,
entendiendo que están colocados en un orden jerárquico de tal modo que uno_ es
superior y_qtrq_inferior. En la carta que Carlos vSigücnza y Góngora remitió al
Almirante Pez, entonces en España, para explicar la rebelión popular en la Nueva
España (carta que conocemos bajo el título que le dio Irving Leonard: “Alboroto y
motín de México del 8 de junio de 1692”) encontramos algunos de estos ejercicios de
traducción: “muchos elotes (son las mazorcas del maíz que aún no está maduro)”:
“zaramullos (que es lo mismo que picaros chulos y anebatacapas)”.10 Trátese de un
mexicanismo o de un vulgarismo, el autor es consciente de la necesidad de una
reconversión explicativa, en la medida en que se dirige a un rcccptor_de aben de el
océano, pues los dos códigos lexicales postulan ia otredad.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 82 | Loc. 1247 | Added on Tuesday, February 02, 2016, 10:53 AM
al que los negros cubanos llaman “la madre de los árboles” no basta para que las
gentes de otras latitudes vean el aspecto de columna rostral de ese árbol
gigantcsco(...) Esto sólo se logra mediante una polarización certera de varios
adjetivos, o. para eludir el adjetivo en sí, por la adjetivación de ciertos
sustantivos que actúan, en este caso, por proceso metafórico. Si se anda con suerte
—literariamente hablando, en este caso— el propósito se logra. El objeto vive, se
contempla, se deja sopesar. Pero la_ prosa que le da vida y consis- lencia. peso y
medida, es una prosa barroca, forzosamente barroca....11 Es obvio que no son las
palabras en_sí sinojos contextos culturales los que permiten ver en la litera- tura
un pino, una Pjjmera o una ceiba^y que mientras los escritores europeos hablaban
para sus lectores desentendiéndose de los marginales extra-europeos, los escritores
de estas regiones siguen (como Carpenticr) añorando la lectura eurocentrista como
la verdadera y_ consagratoria.
==========
Angel Rama (Ciudad Letrada)
- Note on Page 83 | Loc. 1273 | Added on Tuesday, February 02, 2016, 10:55 AM
grafitti
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 87 | Loc. 1332-34 | Added on Tuesday, February 02, 2016, 10:59
AM
escritura clandestina
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 87 | Loc. 1334-38 | Added on Tuesday, February 02, 2016, 10:59
AM
mostró: (1) el grado de autonomía que había alcanzado la ciudad letrada dentro de
la estructurare poder y__su disponibilidad para encarar transformaciones gracias a
j>u función intelectual cuando veía amenazados sus Jueros: nadie lo ilustra
==========
Angel Rama (Ciudad Letrada)
- Note on Page 89 | Loc. 1358 | Added on Tuesday, February 02, 2016, 11:01 AM
rev de 1810. 1 su
==========
Angel Rama (Ciudad Letrada)
- Note on Page 89 | Loc. 1358 | Added on Tuesday, February 02, 2016, 11:01 AM
y que defienden con todas sus fuerzas el nuevo sistema que les favorece”.^ Esta
curiosa virtud, diríamos la de ser un “adaptable freno”, en nada se vio con mayor
fuerza que en la reconversión de la ciudad letrada al servicio de Jos nuevos
poderosos surgidos de la élite militar, sustituyendo a los antiguos delegados
==========
Angel Rama (Ciudad Letrada)
- Note on Page 91 | Loc. 1381 | Added on Tuesday, February 02, 2016, 11:02 AM
adaptable freno
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 91 | Loc. 1394-98 | Added on Tuesday, February 02, 2016, 11:03
AM
organizacion educativa
==========
Angel Rama (Ciudad Letrada)
- Highlight on Page 92 | Loc. 1402-8 | Added on Tuesday, February 02, 2016, 11:04
AM
rey burgues
==========
Angel Rama (Ciudad Letrada)
- Note on Page 92 | Loc. 1410 | Added on Tuesday, February 02, 2016, 11:04 AM
I" _Su obra corrobora que la libertad había sido absor- bida por la escritura. Lo
supieron_todos los educadores de la época (Andrés Bello, Simón Rodríguez, más tarde
Sarmiento) para quienes el problema obsesivo fue la reforma ortográfica, con lo
cual para ellos no \ sólo el asunto central era la escritura (con la notable
excepción de Rodríguez que conjuntamente atendió a la prosodia) sino además un
secreto principio rector:
==========
Angel Rama (Ciudad Letrada)
- Note on Page 96 | Loc. 1460 | Added on Tuesday, February 02, 2016, 11:06 AM
that archive took form, the topic of this book gradually changed from the
intellectual history of twentieth century folklorists to the role of listening to
different sounds considered “voices” in shaping the notions of nature and culture,
so central to understandings of personhood and alterity that imbue the popular in
Latin America.
==========
Ochoa Aurality (Unknown)
- Note on Page 4 | Loc. 59 | Added on Tuesday, February 02, 2016, 05:42 PM
intro
==========
Ochoa Aurality (Unknown)
- Note on Page 10 | Loc. 141 | Added on Tuesday, February 02, 2016, 05:46 PM
But none of these dispersed disciplinary concerns with the local have historically
counted as proper “folklore collections.”
==========
Ochoa Aurality (Unknown)
- Note on Page 12 | Loc. 170 | Added on Tuesday, February 02, 2016, 05:49 PM
If, during the eighteenth and nineteenth centuries, the sciences of nature and
those of language and expressive culture were not seen as totally separate, but as
part and parcel of the epistemological endeavor of building a corpus of knowledge
about the nation at a historical moment when such an endeavor was an urgent
political necessity, then it seems awkward that there was such a distance between
the wealth of information generated by the botanical and cartographic expeditions,
the abundance of philological and poetic texts, and the apparent void in
documenting local aural expressions.
==========
Ochoa Aurality (Unknown)
- Note on Page 12 | Loc. 174 | Added on Tuesday, February 02, 2016, 05:50 PM
This book is about ontologies and epistemologies of the acoustic, particularly the
voice, produced by and enmeshed in different audile techniques, in which sound
appears simultaneously as a force that constitutes the world and a medium for
constructing knowledge about it.
==========
Ochoa Aurality (Unknown)
- Note on Page 12 | Loc. 184 | Added on Tuesday, February 02, 2016, 05:51 PM
Voice was ambiguously located between “nature” and “culture,” and thus was central
for shaping what those terms meant in this historical period.
==========
Ochoa Aurality (Unknown)
- Note on Page 13 | Loc. 185 | Added on Tuesday, February 02, 2016, 05:52 PM
In his book The Lettered City, Angel Rama saw the written word, concentrated in the
cities, the sites of political administration, as constitutive of a highly unequal
public sphere that took shape in the hands of lettered elites that to him resembled
a “priestly caste... that enjoyed dominion over the subsidiary absolutes of the
universe of signs” ([1984] 1996, 16). But in this book I argue that Latin America
was simultaneously and just as importantly constituted by audile techniques
cultivated by both the lettered elite and peoples historically considered
“nonliterate,” giving rise to the types of questions and relations that the
worlding of sound enables.
==========
Ochoa Aurality (Unknown)
- Note on Page 14 | Loc. 205 | Added on Tuesday, February 02, 2016, 05:54 PM
rama only sees written ord. he does not listen
==========
Ochoa Aurality (Unknown)
- Highlight on Page 14 | Loc. 206-9 | Added on Tuesday, February 02, 2016, 05:56
PM
Thus, in this book, the aural is not the other of the lettered dty but rather a
formation and a force that seeps through its crevices demanding the attention of
its listeners, sometimes questioning and sometimes upholding, explicitly or
implicitly, its very foundations.
==========
Ochoa Aurality (Unknown)
- Note on Page 15 | Loc. 224 | Added on Tuesday, February 02, 2016, 05:57 PM
This recent “auditory turn" in critical theory is giving rise today to the
increased formalization of sound studies (Sterne 2012a).
==========
Ochoa Aurality (Unknown)
- Note on Page 17 | Loc. 254 | Added on Tuesday, February 02, 2016, 06:02 PM
auditory turn
==========
Ochoa Aurality (Unknown)
- Highlight on Page 17 | Loc. 256-59 | Added on Tuesday, February 02, 2016, 06:03
PM
question is raised as to whether the deaf ears of history were those of an epochal
moment when the gaze was privileged above all other senses in the West (Jay 1993),
or whether listening practices were always there, hidden by the fact that the
traces left by audibility are enmeshed with different practices, a listening to be
found in the nooks and crannies of history, dispersed across several fields and
sites of knowledge and sound inscription.
==========
Ochoa Aurality (Unknown)
- Note on Page 17 | Loc. 259 | Added on Tuesday, February 02, 2016, 06:03 PM
This is part of a broader history of the gaze; print; the “oral” and the lettered
word as central to the insertion of the region into the global construction of
modem capitalism (Franco 2002; González Echeverría 1990; Pratt 1992; Rama [1984]
1996; Ramos [1989] 2003).
==========
Ochoa Aurality (Unknown)
- Note on Page 18 | Loc. 269 | Added on Tuesday, February 02, 2016, 06:04 PM
Before the invention of sound machines, the inscription of sound took place through
what Lisa Gitelman has called “legible representations of aural experience”
(1999,15).
==========
Ochoa Aurality (Unknown)
- Note on Page 19 | Loc. 278 | Added on Tuesday, February 02, 2016, 06:05 PM
By inscription, following Lisa Gitelman (1999, 2006), I mean the act of recording a
listening into a particular technology of dissemination and transmission (in this
case writing). But the inscription of sounds can also occur on the body, in
different kinds of objects such as stones, waterfalls, or other entities of nature
or of urban life, which are understood by different peoples as containing or
indexing the sound archive (Feld 1996,2012; Seeger 1987; Hill and Chaumeil 2011).
==========
Ochoa Aurality (Unknown)
- Note on Page 19 | Loc. 284 | Added on Tuesday, February 02, 2016, 06:05 PM
inscription
==========
Ochoa Aurality (Unknown)
- Highlight on Page 20 | Loc. 294-96 | Added on Tuesday, February 02, 2016, 06:06
PM
Angel Rama identified the power of the written word as the “autonomy of the order
of signs" in Latin America, “its capacity to structure vast designs has ed on its
own premises” ([1984] 1996, 60), a particular order of things done with written
words central to the structure of governmentality in the region.
==========
Ochoa Aurality (Unknown)
- Note on Page 20 | Loc. 296 | Added on Tuesday, February 02, 2016, 06:06 PM
Listening appears as the nomadic sense par excellence and the voice as highly
flexible, an instrument that can he manipulated to position the relation between
the body and the world in multiple ways (Weidman 2006),
==========
Ochoa Aurality (Unknown)
- Note on Page 21 | Loc. 313 | Added on Tuesday, February 02, 2016, 06:08 PM
voice nomadic
==========
Ochoa Aurality (Unknown)
- Highlight on Page 21 | Loc. 316-17 | Added on Tuesday, February 02, 2016, 06:09
PM
rites of possesion
==========
Ochoa Aurality (Unknown)
- Note on Page 22 | Loc. 324 | Added on Tuesday, February 02, 2016, 06:10 PM
In this chapter I also explore the work of Alexander von Humboldt in the Americas
in the broader context of his role in the “Berlin Enlightenment” and the rise of an
“enlightened vitalism” that challenged contemporary European mechanical
understandings of natural history and aspects of the Cartesian mind-body division
as definitive to the consolidation of a European Enlightenment (Reill 2005). These
ideas on vitalist theories were developed among German and French scholars through
intense and mostly unacknowledged exchanges with naturalists of the Americas,
through writings and ideas about the region that circulated as
==========
Ochoa Aurality (Unknown)
- Note on Page 26 | Loc. 396 | Added on Tuesday, February 02, 2016, 06:17 PM
humboldt
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Highlight on Page 33 | Loc. 500-501 | Added on Wednesday, February 03, 2016,
09:18 PM
lo puedo entender: que de la Pequeña Bretaña saldrían dos dragones que tendrían su
señorío en Gaula y sus corazones en la Gran Bretaña y de allí saldrían a comer
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Note on Page 33 | Loc. 501 | Added on Wednesday, February 03, 2016, 09:18 PM
Oriana había nombre, de hasta diez años, la más hermosa criatura que nunca se vio,
tanto, que ésta fue
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Note on Page 36 | Loc. 547 | Added on Wednesday, February 03, 2016, 09:42 PM
oriana hermosa
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Highlight on Page 39 | Loc. 595-602 | Added on Wednesday, February 03, 2016,
09:46 PM
linaje de amadis
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Highlight on Page 41 | Loc. 627-30 | Added on Wednesday, February 03, 2016,
09:48 PM
—Acuérdese, señora —dijo el Doncel—, que el día que de aquí vuestro padre partió me
tomó la reina por la mano y poniéndome ante vos dijo: "Este doncel os doy que os
sirva", y dijisteis que os placía. Desde entonces me tengo y me tendré por vuestro
para os servir sin que otro ni yo mismo sobre mi señorío tenga en cuanto viva. —Esa
palabra —dijo ella— tomasteis vos con mejor entendimiento que a la fin que se dijo,
mas bien me place que así sea.
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Note on Page 42 | Loc. 630 | Added on Wednesday, February 03, 2016, 09:48 PM
confiesanse el amor
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Highlight on Page 44 | Loc. 663-64 | Added on Wednesday, February 03, 2016,
09:49 PM
espada
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Highlight on Page 46 | Loc. 699 | Added on Wednesday, February 03, 2016, 09:51
PM
yelmo
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Highlight on Page 47 | Loc. 718 | Added on Wednesday, February 03, 2016, 09:53
PM
da e yelmo a gandalin
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Note on Page 52 | Loc. 792 | Added on Wednesday, February 03, 2016, 09:57 PM
yelmo
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Note on Page 52 | Loc. 798 | Added on Wednesday, February 03, 2016, 09:58 PM
tirar el yelmo
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Highlight on Page 61 | Loc. 926-28 | Added on Wednesday, February 03, 2016,
10:12 PM
Oriana, que vio que este camino no se podía excusar, acordó de recoger sus joyas y
andándolas recogiendo vio la cera que tomara al Doncel del Mar y membrósele de él y
viniéronle las lágrimas a los ojos, y apretó las manos con cuita de amor que la
forzaba y quebrantó la cera y vio la carta que dentro estaba y leyéndola halló que
decía: —Éste es Amadís Sin Tiempo, hijo de rey.
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Note on Page 67 | Loc. 1015 | Added on Wednesday, February 03, 2016, 10:17 PM
El Doncel del Mar estuvo llagado quince días en casa del caballero y de la
doncella, su sobrina, que le curaba, en cabo de los cuales, comoquiera que las
heridas aún recientes fuesen, no quiso ahí más detenerse y partióse un domingo de
mañana, y Gandalín con él, que nunca de él se partió. Esto era en el mes de abril y
entrando por una floresta oyó cantar las aves, y
==========
Amadís de Gaula (Garci Rodríguez de Montalvo)
- Note on Page 68 | Loc. 1029 | Added on Wednesday, February 03, 2016, 10:22 PM
floresta
==========
Ochoa Aurality (Unknown)
- Highlight on Page 28 | Loc. 427-30 | Added on Monday, February 08, 2016, 05:09
PM
hearing is spherical
==========
Ochoa Aurality (Unknown)
- Highlight on Page 29 | Loc. 443-46 | Added on Tuesday, February 09, 2016, 11:53
AM
This generates a complex network between culture and politics in which the value of
“the people” is recognized as a political figure yet denied its political
singularity, and the “other s” culture is recognized as a culture of alterity yet
subordinated to the principles of high culture (Martin- Barbero [1987] 2001).
Moreover
==========
Ochoa Aurality (Unknown)
- Note on Page 30 | Loc. 445 | Added on Tuesday, February 09, 2016, 11:53 AM
subprdonatiomn pf culture
==========
Ochoa Aurality (Unknown)
- Highlight on Page 30 | Loc. 447-48 | Added on Tuesday, February 09, 2016, 11:54
AM
the “political theology” of orality (Sterne 2011) and the spectrality of the
acoustic, the modems generated a
==========
Ochoa Aurality (Unknown)
- Note on Page 30 | Loc. 448 | Added on Tuesday, February 09, 2016, 11:54 AM
obeso e isaacs
==========
Ochoa Aurality (Unknown)
- Highlight on Page 32 | Loc. 488-98 | Added on Tuesday, February 09, 2016, 12:01
PM
One of the main questions generated by the critique of modernity in the history of
the senses has been if, after all, such a history has been overwhelmingly
ocularcentric or if it has been understood as such because of privileging specific
practices of modernization that have made it seem so.10 And yet, one of the most
baffling issues about the “audiovisual litany” and its complex relation to the
political theology of orality and to alterity is its capacity to return as an
obvious construction despite repeated historical deconstructions. Wbat Sterne calls
“the political theology” of the audiovisual litany and of orality is what here I am
calling the “spectral politics” (Ludueña 2010) of modem aural- ity— this capacity
to present itself as “an other” when it is in fact “the same” as a recurrent
history of the oral/aural. Even when we change the terms of reference: folklore for
intangible heritage, orality for voice, racialized bodies for knowledge of the
body, monotonous music for savvy rhythms, and so forth, 16 * INTRODUCTION
frequently, without suspecting it, what we are doing is reproducing the same
sensorial/ expressive scheme that we are critiquing.
==========
Ochoa Aurality (Unknown)
- Note on Page 33 | Loc. 498 | Added on Tuesday, February 09, 2016, 12:01 PM
In the case of trying to rethink the relation between the colonial and the modern
in Latin America and the Caribbean, we see that throughout the twentieth century,
the region is often presented as having a different modernity, one that highlights
the oral/aural bodily knowledge as a particular knowledge of the subaltern opposed
to the ocularcentrism of the elite.11 Such “fonocentrism” (Ramos 2010, 30) tends to
take two forms: a celebration of the acoustic that limits the expression of sonic
difference to the body and the voice, and a difficulty of recognizing a dense
history of the sonorous and audiovisual as a field that has generated multiple
modes of action, thought, and critical theorization, except when it is posited as a
contrasting othering. Thus, in the name of recognizing the knowledge of “the other”
such “fonocentrism” ends up reproducing an unexpected Cartesian dichotomy of the
body and the mind, divided between subalterns and elites.
==========
Ochoa Aurality (Unknown)
- Note on Page 33 | Loc. 506 | Added on Tuesday, February 09, 2016, 12:02 PM
fonocentrism
==========
Ochoa Aurality (Unknown)
- Note on Page 34 | Loc. 509 | Added on Tuesday, February 09, 2016, 12:02 PM
One of the philosophical problems of the voice in the West since Aristotle has been
how it manifests the animal dimensions of the human, thus demanding a politics of
differentiation of the human and nonhuman elements of the voice in the constitution
of the political history of the person. In chapter 41 explore how eloquence was
used as a means to correct the fallibility of the ear and guarantee a proper
relation between voicing, pronunciation, and orthography in order to produce a
desired political idea of the person.
==========
Ochoa Aurality (Unknown)
- Note on Page 35 | Loc. 525 | Added on Tuesday, February 09, 2016, 12:04 PM
Rufino José Cuervo (1844-1911), a Colombian philologist and colleague of Caro who
wrote a large part of his work in Paris, became one of the most important
etymologists of Latin America through his work on the history of words for the
creation of his Diccionario de construcción y régimen de la lengua castellana
(Dictionary of construction and regimentation of the Castilian language). For him
as for Andrés Bello working in Chile, language was “a living body” (un cuerpo
viviente) (Bello 1905, viii) and, like a living.body, it was characterized by
different “life epochs” (Cuervo [1914] 1987,23). Etymological techniques emerged as
the means to control language’s tendency, as a “living body,” toward
diversification across time, by selectively determining the correct origin of a
word in order to authorize its proper use in the present. The dangers of language
change through inappropriate mixtures were often metaphorically expressed as akin
to the dangers of promiscuous sexuality reflected in inadequate race mixtures.
==========
Ochoa Aurality (Unknown)
- Note on Page 36 | Loc. 543 | Added on Tuesday, February 09, 2016, 12:06 PM
jose cuervo
==========
Ochoa Aurality (Unknown)
- Highlight on Page 36 | Loc. 546-47 | Added on Tuesday, February 09, 2016, 12:07
PM
Through etymology the popular was given significance as a “politics of the prior"
In the governance of the prior “the sociological figure of the indigenous (first or
prior) person is necessary to produce the modern Western form of nation-state
sovereignty even as it continually undermines this same form" (Povinelli 2011,15).
==========
Ochoa Aurality (Unknown)
- Note on Page 36 | Loc. 551 | Added on Tuesday, February 09, 2016, 12:08 PM
have the same means of dissemination. In his Nuevo sistema de escritura musical
(New system of musical notation) (1869) and Arte de leer, escribiry dictar músicaj
Sistema Alfabético (Art of reading, writing, and dictating music, Alphabetic
System) (1885), he developed a system of musical notation based on alphabetic
writing. His books show the extent to which alphabetic writing was acoustically
understood as a mediation between sound and writing in this period in Colombia.
==========
Ochoa Aurality (Unknown)
- Note on Page 37 | Loc. 567 | Added on Tuesday, February 09, 2016, 12:09 PM
Through the relationship between theory and the political power of grammarian
presidents who were invested in them, these three anthropotechnolo- gies generated
an “immunization” of the voice in the name of the formation of the political
community of “the people” and in the name of an aesthetics of a proper mode of the
voice. An “immunitary paradigm” is one that protects or inoculates the person
through the use of the very same materials from which itwants to protect them hut
in some attenuated form (Esposito [1998] 2009). Protection against something
through the use of the elements that cause the threat is a basic mimetic principle
in sorcery and magic (Napier 2003; Taussig 1993).
==========
Ochoa Aurality (Unknown)
- Note on Page 38 | Loc. 581 | Added on Tuesday, February 09, 2016, 12:12 PM
immunitary technology
==========
Ochoa Aurality (Unknown)
- Highlight on Page 38 | Loc. 581-83 | Added on Tuesday, February 09, 2016, 12:12
PM
equivocation
==========
Ochoa Aurality (Unknown)
- Highlight on Page 48 | Loc. 728-32 | Added on Tuesday, February 09, 2016, 10:45
PM
Uricoechea and Isaacs stand out as unique and exceptional figures in their approach
to indigenous languages, after centuries of their study for purposes of religious
conversion and in the midst of the rise of nationalistic language policies that
sought to eradicate them. Uricoechea was a Colombian naturalist and philologist who
spent his life between Colombia, the United States, and several European countries.
A scholar who self-defined himself as passionate “for all things American” he
founded the Collection LinguistíqueAméricaine, in
==========
Ochoa Aurality (Unknown)
- Note on Page 48 | Loc. 732 | Added on Tuesday, February 09, 2016, 10:45 PM
uricoechea nd iaacs
==========
Ochoa Aurality (Unknown)
- Note on Page 52 | Loc. 785 | Added on Tuesday, February 09, 2016, 10:49 PM
ch one
==========
Ochoa Aurality (Unknown)
- Highlight on Page 55 | Loc. 833-37 | Added on Tuesday, February 09, 2016, 10:54
PM
As Steven Feld reminds us, “sound, hearing, and voice mark a special bodily nexus
for sensation and emotion because of their coordination of brain, nervous system,
head, ear, chest, muscles, respiration, and breathing” (i996,97).3 Such sounds are
then interpreted and experienced under what Feld has called the “local conditions
of acoustic sensation, knowledge and imagination embodied in the particular sense
of place” (199 6, 97) which he calls an acouste- mology.
==========
Ochoa Aurality (Unknown)
- Note on Page 55 | Loc. 837 | Added on Tuesday, February 09, 2016, 10:54 PM
acoustemology
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 8 | Loc. 112 | Added on Wednesday, February 10, 2016, 02:00 PM
machado mxie
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 9 | Loc. 125-27 | Added on Wednesday, February 10, 2016, 02:02
PM
impotência criativa que assombra, por exemplo, o esforçado Mestre Romão de “Cantiga
de Esponsais” (.Histórias Sem Data, 1884). Neste caso, o do modesto e admirado
regente que não chega nunca a compositor, embora o queira mais que tudo, trata-se
de uma daquelas “vocações sem língua”, que não logram ultrapassar intimamente a
barreira da expressão, numa “luta constante e estéril entre o impulso interior e a
ausência de um modo de comunicação com os homens”.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 9 | Loc. 138 | Added on Wednesday, February 10, 2016, 02:05 PM
outra comunicacao
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 10 | Loc. 142-46 | Added on Wednesday, February 10, 2016,
02:07 PM
faz do compositor não só uma individualidade em crise 2 Machado de Assis, “Cantiga
de Esponsais”. Em: Histórias Sem Data. Rio de Janeiro: Civilização Brasileira/
Brasília: 1NL, 1975, p. 83-7. 18 MACHADO MAXIXE mas um índice gritante da cultura,
um sinal da vida coletiva, um sintoma exemplar de processos que o conto põe em jogo
com grande alcance analítico, e que são muito mais complexos do que a leveza
dançante da narrativa faz supor de imediato.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 10 | Loc. 146 | Added on Wednesday, February 10, 2016, 02:07 PM
permitem insinuar ironicamente que essa propensão é não só congênita (ao vincular a
criação musical ao tema da paternidade e da filiação, como veremos), mas também, e
mais propriamente, o testemunho congenial de uma formação musical consistente -
expressão, malgré lui, de um talento pessoal quin-tessenciado.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 11 | Loc. 162 | Added on Wednesday, February 10, 2016, 02:12 PM
congenita congenial
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 11 | Loc. 167-69 | Added on Wednesday, February 10, 2016,
02:13 PM
congenialidade
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 12 | Loc. 179-84 | Added on Wednesday, February 10, 2016,
02:21 PM
Havia no violoncelo uma poesia austera e pura, uma feição melancólica e severa que
casavam com a alma de Inácio Ramos. A rabeca, que ele ainda amava como o primeiro
veículo de seus sentimentos de artista, não lhe inspirava mais o entusiasmo antigo.
Passara a ser um simples meio de vida; não a tocava com alma, mas com as mãos; não
era a sua arte, mas o seu ofício. O violoncelo sim; para esse guardava Inácio as
melhores das suas aspirações íntimas, os sentimentos mais puros, a imaginação, 0
fervor, 0 entusiasmo. Tocava rabeca para os outros, o violoncelo para si, quando
muito para sua velha mãe. 23 LITERATURA O contraste é completo entre o show de
exterioridade do virtuosístico e esperto tocador de cavaquinho e o aspecto sóbrio e
concentrado do praticante de violoncelo, alheio a qualquer apelo exibicionista e
todo voltado à essenciaÜdade da música, para transcender o ofício em arte.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 15 | Loc. 216 | Added on Wednesday, February 10, 2016, 02:30 PM
Vê-se por aí que Machado se depara, nesse momento final da sua primeira fase, dez
anos antes de “Um Homem Célebre”, com a identificação de uma fratura, operante no
meio cultural brasileiro, entre o repertório da música erudita, que está longe de
fazer parte de um sistema integrado de autores, obras, público e intérpretes, e a
emergência de um fenômeno novo, uma música popular urbana que desponta para a
repercussão de massas, a identificação com a demanda do público e a normalização
como mercadoria.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 15 | Loc. 226 | Added on Wednesday, February 10, 2016, 02:32 PM
não deixa de dizer algo sintomático, também, sobre a posição da literatura e de seu
reduzido 3 público, no Brasil, o que interessa certamente ao desdobramento do
assunto em Machado.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 15 | Loc. 229 | Added on Wednesday, February 10, 2016, 02:33 PM
Machado de Assis revi-rou esse esquema, dez anos depois, em “Um Homem Célebre”,
abandonando o altivo pressuposto da seriedade artística, diluído em senti-
mentalismo, e deslocando-o para um lugar onde ele não permanece mais como a
garantia de um valor herdado, mas como um crédito artístico não avalizado pelas
transformações do panorama cultural que sofre o primeiro influxo da música de
massas.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 17 | Loc. 251 | Added on Wednesday, February 10, 2016, 02:38 PM
movimiento de autenticidades
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 20 | Loc. 304-13 | Added on Wednesday, February 10, 2016,
07:36 PM
Mas uma mudança decisiva acontece entre “O Machete” e os outros casos, marcando a
diferença crucial entre o primeiro e o segundo Machado. Carlotinha, posta numa
escolha entre o erudito e o popular, e encarnando sestrosamente o desejo feminino
numa sociedade sem lastro letrado, decide-se pelo segundo, deixando sobre o pequeno
mundo das aspirações elevadas um rastro irreparável de desilusão e tragédia.
No Machado posterior, no entanto, a música dará sempre lugar a um triângulo
indecidível, em que ela supera e suspende a antinomia, permanecendo ao mesmo tempo
como solução e como problema insolúvel. É o caso do "Trio em Lá Menor”, em que
Maria Regina, tocando ao piano a "sonata do absoluto”, compatibiliza os dois homens
que nunca escolhe. O esquema será erigido em cifra do Brasil no romance Esaú
e Jacó, em que Flora concilia ao piano as antinomias que não pode resolver na
escolha entre o pretendente monarquista e o republicano. No próprio “Um Homem
Célebre”, é Pestana que está entre a musa da polca (cujo avatar concreto é
Sinhazinha Mota, a fã) e a cantora tísica, Maria, que encarna a esfera da música
elevada. Ao morrer, Pestana acena ironicamente com o eterno retorno da indecidível
polca dos liberais, equivalente inseparável da polca dos conservadores.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 21 | Loc. 313 | Added on Wednesday, February 10, 2016, 07:36 PM
triangulo insoluble
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 21 | Loc. 320-24 | Added on Wednesday, February 10, 2016,
07:39 PM
polca en maxixe
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 22 | Loc. 336 | Added on Wednesday, February 10, 2016, 07:42
PM
polca emaxixe
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 24 | Loc. 354-55 | Added on Wednesday, February 10, 2016,
07:45 PM
relação com o assunto, porque ele envolve uma questão nunca tratada de frente em
sua obra, e que lhe concerne intimamente: a mestiçagem.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 24 | Loc. 355 | Added on Wednesday, February 10, 2016, 07:45 PM
mestisagem
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 24 | Loc. 361-67 | Added on Wednesday, February 10, 2016,
07:47 PM
titulos de la polca
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 27 | Loc. 409-12 | Added on Wednesday, February 10, 2016,
07:51 PM
genero da polca
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 29 | Loc. 441-44 | Added on Wednesday, February 10, 2016,
07:55 PM
16 Roberto Schwarz sugere, em entrevista para a série “Obra Aberta”, da TV PUC, que
o gênero crônica oferece a Machado, já na década de 1870, a perspectiva de
trabalhar com os dados de uma nova realidade, tanto corriqueira quanto mundial, que
se oferece ao sujeito como mercado, conferindo-lhe o desplante inédito de
um consumidor universal.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 29 | Loc. 443 | Added on Wednesday, February 10, 2016, 07:55 PM
Em “Um Homem Célebre” essa tendência aos títulos chistosos dá sinais de um clima
sestroso de gratuidade e sedução que acompanha o flagrante amaxixamento da polca,
pondo-a em contato com o substrato mais arcaico do lundu.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 31 | Loc. 471 | Added on Wednesday, February 10, 2016, 07:57 PM
Temos, assim, um fenômeno musical popular e urbano que ganha um espaço real e
também simbólico: a “polca” é um índice de modos de modernização à brasileira,
decantando uma certa malícia inocente,
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 32 | Loc. 479 | Added on Wednesday, February 10, 2016, 07:58 PM
contrametricidade
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 36 | Loc. 547-49 | Added on Wednesday, February 10, 2016,
08:06 PM
cometricidade
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 37 | Loc. 558-61 | Added on Thursday, February 11, 2016, 01:12
PM
contrametrico
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 38 | Loc. 575-79 | Added on Thursday, February 11, 2016, 01:42
PM
conseqüências. Instado, em seguida, a executar sua recente polca “Não Bula Comigo,
Nhonhô”, o efeito, mesmo a contragosto do pianista compositor, é completamente
outro: “Ouvidos os primeiros compassos, derramou-se pela sala uma alegria nova, os
cavalheiros correram às damas, e os pares entraram a saracotear a polca da moda”. A
“alegria nova” e o “saracoteío”, que comparece novamente aquí, indicam não só a
receptividade ao talento individual do já célebre Pestana, mas a emergência do
gênero novo e seu caráter sincopante, amaxixado e sub-repticíamente africanizado.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 38 | Loc. 579 | Added on Thursday, February 11, 2016, 01:42 PM
amaxixado
==========
MAxete maxixi incomplete (Unknown Author)
- Highlight on Page 39 | Loc. 590-95 | Added on Thursday, February 11, 2016, 01:44
PM
Pois, fugindo assim que pode do sucesso opressivo, e escapando dos ecos
persecutórios de si mesmo que se ouvem pelas janelas das casas e nos assobios das
ruas, Pestana se retira para a sala onde convive com os clássicos, cujos retratos
estão ‘postos ali como santos de uma igreja”. Entre eles, “o piano era o altar”, e
“o evangelho da noite lá estava aberto: era uma sonata de Beethoven”.
==========
MAxete maxixi incomplete (Unknown Author)
- Note on Page 40 | Loc. 613 | Added on Thursday, February 11, 2016, 01:46 PM
For Marchant this duty—a joyful one, a celebration—is distinct from the kind of
intellectual work emanating from the will to knowledge that motivates
university discourse.
==========
Speculative Fiction (Fornazari)
- Note on Page 1 | Loc. 15 | Added on Thursday, February 11, 2016, 03:35 PM
linked to terms such as structural adjustment, economic shock treatment, and the
economic miracle and to a series of economic reforms that have become hy-postatized
under the general rubric of neoliberalism.
==========
Speculative Fiction (Fornazari)
- Note on Page 2 | Loc. 24 | Added on Thursday, February 11, 2016, 03:36 PM
neoliberalism words
==========
Speculative Fiction (Fornazari)
- Highlight on Page 2 | Loc. 24-25 | Added on Thursday, February 11, 2016, 03:37
PM
This transitional moment—understood in Willy Thayer's sense as the passage from the
sovereignty of the state to the sovereignty of the market—marks a moment of capital
flight.
==========
Speculative Fiction (Fornazari)
- Note on Page 2 | Loc. 25 | Added on Thursday, February 11, 2016, 03:37 PM
Capital disengages from the factories and industries (the spaces of extraction and
production associated with an earlier regime of capital accumulation, import-
substitution industrialization) and concentrates on speculative sites such as
investments, mortgages, currency contracts, corporate securities, and the stock
market.3
==========
Speculative Fiction (Fornazari)
- Note on Page 2 | Loc. 27 | Added on Thursday, February 11, 2016, 03:37 PM
figures
==========
Speculative Fiction (Fornazari)
- Highlight on Page 4 | Loc. 54-59 | Added on Thursday, February 11, 2016, 03:42
PM
In the context of the Chilean documentary form, commodified memory refers to the
plight of memory politics during the neoliberal transition. Effectively deployed
during the antidictatorship struggles, memory politics as a contestatory practice
and as a resource for collective action, I argue, needs to be rethought in the age
of the mass-media saturation and the "informationalization" of memory. The figure
of restitution is put forward as a way of thinking about the past that moves us
beyond melancholic angst and the discourse of apology, forgiveness, and repentance,
in order to move toward a fuller understanding of the profound transformations
produced by the coup and the transition.
==========
Speculative Fiction (Fornazari)
- Note on Page 4 | Loc. 58 | Added on Thursday, February 11, 2016, 03:42 PM
restitution
==========
Speculative Fiction (Fornazari)
- Highlight on Page 4 | Loc. 59-63 | Added on Thursday, February 11, 2016, 03:52
PM
The imbunche—a figure from Mapuche mythology that has all of its bodily orifices
sewn closed by witches— which was perhaps most famously resignified in Jose
Donoso's El obsceno pajaro de la noche, was taken up by the visual artist Catalina
Parra in 1977 to signal howthe dictatorship was producing sutured, mutilated, and
censored bodies. This figure was resignified again in the neoliberal moment as a
vehicle for thinking the problems of a critical visual arts practice in a time when
its antiinstitutional strategies seemed to have been effectively subsumed by the
speculative logic of neoliberal capitalism.
==========
Speculative Fiction (Fornazari)
- Note on Page 5 | Loc. 63 | Added on Thursday, February 11, 2016, 03:52 PM
imbunce parra donoso
==========
Speculative Fiction (Fornazari)
- Highlight on Page 5 | Loc. 67-69 | Added on Thursday, February 11, 2016, 03:52
PM
disappearance.6 The question then is, what can the Chilean neoliberal
experience offer the world regarding our understanding of the transformations that
have occurred and the kinds of antagonistic logics that are now possible?
==========
Speculative Fiction (Fornazari)
- Note on Page 5 | Loc. 69 | Added on Thursday, February 11, 2016, 03:52 PM
structural reforms
==========
Speculative Fiction (Fornazari)
- Highlight on Page 6 | Loc. 86-89 | Added on Thursday, February 11, 2016, 03:57
PM
Thus for the Chilean case, neoliberalism—understood here in its limited sense as a
set of economic reforms that put into practice the Chicago School's reworking of
classical economic doctrine (privatization, flexibilization of labor, "downsizing"
and rationalization, deregulation and diminished capital market restrictions)—needs
to be situated in relation to a longer period of economic and political
transformation."
==========
Speculative Fiction (Fornazari)
- Note on Page 6 | Loc. 89 | Added on Thursday, February 11, 2016, 03:57 PM
tw stages
==========
Speculative Fiction (Fornazari)
- Highlight on Page 7 | Loc. 105-10 | Added on Thursday, February 11, 2016, 03:58
PM
map its effects in the realm of cultural production. Although informed by economic
and policy approaches, my reading of neoliberalism does not focus on it as a
strictly economic field. Rather, following Brett Levinson's reflections on the
market, I explore it as "a kind of thinking" and "a way of comprehending the
globe."18 Instead of reproducing a policy-oriented approach to neoliberalism, the
following chapters engage with the theoretical underpinnings and most radical
ideas produced by the neoliberal movement in order to understand and assess its
relation to the cultural expressions associated with it.
==========
Speculative Fiction (Fornazari)
- Note on Page 8 | Loc. 110 | Added on Thursday, February 11, 2016, 03:58 PM
cultureof nlib
==========
Speculative Fiction (Fornazari)
- Highlight on Page 8 | Loc. 122-28 | Added on Thursday, February 11, 2016, 04:00
PM
dedifferentiation
==========
Speculative Fiction (Fornazari)
- Note on Page 9 | Loc. 131 | Added on Thursday, February 11, 2016, 04:00 PM
foucault
==========
Speculative Fiction (Fornazari)
- Highlight on Page 10 | Loc. 140-44 | Added on Thursday, February 11, 2016, 04:01
PM
authoritarian neolib
==========
Speculative Fiction (Fornazari)
- Highlight on Page 10 | Loc. 149-52 | Added on Thursday, February 11, 2016, 04:03
PM
introduces into the latter's work what Agamben considers a blind spot in regard to
the most biopolitical of modern spaces: the concentration camp. In this way a
connection is established between a fascist biopolitics (the emergence of Homo
sacer, which I explore through the Chilean concentration camp testimonio and the
documentary form) and the neoliberal biopolitical project (the emergence of
Homo economicus, which I explore through Chilean narrative and visual arts).
==========
Speculative Fiction (Fornazari)
- Note on Page 10 | Loc. 152 | Added on Thursday, February 11, 2016, 04:03 PM
agamben. concentration camp and neolib
==========
Speculative Fiction (Fornazari)
- Highlight on Page 10 | Loc. 153-55 | Added on Thursday, February 11, 2016, 04:03
PM
garrreton
==========
Speculative Fiction (Fornazari)
- Highlight on Page 11 | Loc. 166-67 | Added on Thursday, February 11, 2016, 04:04
PM
The general architectural assembly ofthis book is laid out in the following way: it
is organized around a central problem, that is, the challenge Jose Donoso's work
passes on to future generations of writers and artists regarding what kind of
writing is possible after the epochal transition that 1973 represents. The book's
subsequent chapters explore different ways—and different mediums (the
novel, documentary film, the testimonio, visual arts, and cultural theory)— that
the following generation of writers, artists, and thinkers has taken up in order to
address Donoso's challenge.
==========
Speculative Fiction (Fornazari)
- Note on Page 12 | Loc. 179 | Added on Thursday, February 11, 2016, 04:05 PM
escena postvanguardista
==========
El Golpe (Thayer)
- Note on Page 1 | Loc. 11 | Added on Thursday, February 11, 2016, 04:07 PM
solo rupturas
==========
El Golpe (Thayer)
- Note on Page 1 | Loc. 13 | Added on Thursday, February 11, 2016, 04:07 PM
escena sin representacion
==========
El Golpe (Thayer)
- Highlight on Page 2 | Loc. 28-29 | Added on Thursday, February 11, 2016, 04:08
PM
golpe es pogolpe
==========
El Golpe (Thayer)
- Highlight on Page 4 | Loc. 49-50 | Added on Thursday, February 11, 2016, 04:10
PM
odio al pasado
==========
El Golpe (Thayer)
- Highlight on Page 5 | Loc. 67-68 | Added on Thursday, February 11, 2016, 04:12
PM
dictadura soberana
==========
El Golpe (Thayer)
- Highlight on Page 7 | Loc. 96-97 | Added on Thursday, February 11, 2016, 04:14
PM
postortura. silencio
==========
El Golpe (Thayer)
- Highlight on Page 9 | Loc. 128-29 | Added on Thursday, February 11, 2016, 04:17
PM
20. El suplicio no busca que el sujeto diga la verdad, sino que sea la verdad.
La experiencia de “ser la verdad”, como la experiencia de la no experiencia, corta
la lengua.
==========
El Golpe (Thayer)
- Note on Page 9 | Loc. 129 | Added on Thursday, February 11, 2016, 04:17 PM
ser la verdad
==========
El Golpe (Thayer)
- Highlight on Page 12 | Loc. 169-73 | Added on Thursday, February 11, 2016, 04:19
PM
memoria conertacionista
==========
El Golpe (Thayer)
- Highlight on Page 13 | Loc. 196-200 | Added on Thursday, February 11, 2016,
04:21 PM
unica difnigfad
==========
El Golpe (Thayer)
- Highlight on Page 18 | Loc. 264-66 | Added on Thursday, February 11, 2016, 04:46
PM
dignidad es burguesa.
==========
El Golpe (Thayer)
- Highlight on Page 21 | Loc. 319-27 | Added on Thursday, February 11, 2016, 04:50
PM
schmitt
==========
El Golpe (Thayer)
- Highlight on Page 25 | Loc. 381-84 | Added on Thursday, February 11, 2016, 04:52
PM
12. En “Dos palabras sobre arte y factorfa”24, E Galende expone su filosofia del
acontecimiento: “llamamos acontecimiento —dice— a algo que emerge rodeado de nada,
soste-niendose en un acto similar a sf mismo, en un comienzo reple-to de sf. El
acontecimiento no es, pero aparece. Y si pudiese hablarse a sf mismo, cosa que no
sabemos, seguro que se dirfa: caramba, si sigo asf, a solas, nadie me notara.
==========
El Golpe (Thayer)
- Note on Page 26 | Loc. 384 | Added on Thursday, February 11, 2016, 04:52 PM
acontecimiento
==========
Lumperica (Eltit)
- Highlight on Page 2 | Loc. 21 | Added on Thursday, February 11, 2016, 04:54 PM
la luz electrica
==========
Lumperica (Eltit)
- Highlight on Page 4 | Loc. 58-62 | Added on Thursday, February 11, 2016, 05:00
PM
Por eso es que en la plaza se conjuga dos tipos de engranajes electricos: por una
parte el asignado al cuadrante y por otra. el que se desliza del luminoso; esa luz
que se vende. Asi por conlrapunto sus labios han perdido su obsecuencia y su figura
se devuelve enganadora bajo los rayos que convergen hasta su centro. Pero no esta
sola alii. Todas sus identidades posibles han aflorado por desborde —clavando sus
puntos anatomicos— sobrepasandola en sus zonas. Regida nada mas que por el horario
asignado a la luz electrica en la plasmacion del luminoso que la estri'a.
==========
Lumperica (Eltit)
- Note on Page 4 | Loc. 62 | Added on Thursday, February 11, 2016, 05:00 PM
Aunque no es nada novedoso, el luminoso anuncia que se venden cuerpos. Si. cuerpos
se venden en la plaza.
==========
Lumperica (Eltit)
- Note on Page 6 | Loc. 87 | Added on Thursday, February 11, 2016, 05:02 PM
se venden cuerpos
==========
Macunaíma (Mário de Andrade)
- Note on Page 1 | Loc. 6 | Added on Friday, February 19, 2016, 01:42 PM
un ninio feo
==========
Macunaíma (Mário de Andrade)
- Note on Page 7 | Loc. 100 | Added on Friday, February 19, 2016, 01:46 PM
no querida hablar
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 7 | Loc. 104-5 | Added on Friday, February 19, 2016, 01:47 PM
E também espertava quando a família ia tomar banho no rio, todos juntos e nus.
Passava o tempo do banho dando mergulho, e as mulheres soltavam gritos gozados por
causa dos guaiamuns diz-que habitando a água-doce por lá.
==========
Macunaíma (Mário de Andrade)
- Note on Page 7 | Loc. 105 | Added on Friday, February 19, 2016, 01:47 PM
mujeres gozo
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 7 | Loc. 106-7 | Added on Friday, February 19, 2016, 01:48 PM
Nos machos guspia na cara. Porém respeitava os velhos e freqüentava com aplicação a
murua a poracê o torê o bacororô a cucuicogue, todas essas danças religiosas da
tribo.
==========
Macunaíma (Mário de Andrade)
- Note on Page 7 | Loc. 107 | Added on Friday, February 19, 2016, 01:48 PM
Puxou-o por uma perna. Macunaíma gemia de gosto se agarrando no tronco gigante.
Então a moça abocanhou o dedão do pé dele e engoliu. Macunaíma chorando de alegria
tatuou o corpo dela com o sangue do pé.
==========
Macunaíma (Mário de Andrade)
- Note on Page 10 | Loc. 153 | Added on Friday, February 19, 2016, 01:55 PM
Então pegou na gamela cheia de caldo envenenado de aipim e jogou a lavagem no piá.
Macunaíma fastou sarapantado mas só conseguiu livrar a cabeça, todo o resto do
corpo se molhou. O herói deu um espirro e botou corpo. Foi desempenando crescendo
fortificando e ficou do tamanho dum homem taludo. Porém a cabeça não molhada ficou
pra sempre rombuda e com carinha enjoativa de piá.
==========
Macunaíma (Mário de Andrade)
- Note on Page 17 | Loc. 256 | Added on Friday, February 19, 2016, 10:39 PM
No outro dia os manos foram pescar e caçar, a velha foi no roçado e Macunaíma ficou
só com a companheira de Jiguê. Então ele virou na formiga quenquém e mordeu Iriqui
pra fazer festa nela. Mas a moça atirou a quenquém longe. Então Macunaíma virou num
pé de urucum. A linda Iriqui riu, colheu as sementes se faceirou toda pintando a
cara e os distintivos. Ficou lindíssima. Então Macunaíma, de gostoso, virou gente
outra feita e morou com a companheira de Jiguê.
==========
Macunaíma (Mário de Andrade)
- Note on Page 18 | Loc. 265 | Added on Friday, February 19, 2016, 10:41 PM
fetichista
==========
Macunaíma (Mário de Andrade)
- Note on Page 19 | Loc. 281 | Added on Friday, February 19, 2016, 10:43 PM
epitafio
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 19 | Loc. 282-83 | Added on Friday, February 19, 2016, 10:44
PM
Então Macunaíma deu a mão pra Iriqui, Iriqui deu a mão pra Maanape, Maanape deu a
mão pra Jiguê e os quatro partiram por esse mundo.
==========
Macunaíma (Mário de Andrade)
- Note on Page 19 | Loc. 283 | Added on Friday, February 19, 2016, 10:44 PM
ci dormida
==========
Macunaíma (Mário de Andrade)
- Note on Page 20 | Loc. 296 | Added on Friday, February 19, 2016, 10:46 PM
cuerpo y vicios
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 20 | Loc. 303-6 | Added on Friday, February 19, 2016, 10:47 PM
Os manos vieram e agarraram Ci. Maanape trançou os braços dela por detrás enquanto
Jiguê com a murucu lhe dava uma porrada no coco. E a icamiaba caiu sem auxílio nas
samambaias da serrapilheira. Quando ficou bem imóvel, Macunaíma se aproximou e
brincou com a Mãe do Mato. Vieram então muitas jandaias, muitas araras vermelhas
tuins coricas periquitos, muitos papagaios saudar Macunaíma, o novo Imperador do
Mato-Virgem.
==========
Macunaíma (Mário de Andrade)
- Note on Page 20 | Loc. 306 | Added on Friday, February 19, 2016, 10:47 PM
viola a ci
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 21 | Loc. 319-26 | Added on Friday, February 19, 2016, 10:49
PM
– Ai! que preguiça!... que o herói suspirava enfarado. E dando as costas pra ela
adormecia bem. Mas Ci queria brincar inda mais... Convidava convidava... O herói
ferrado no sono. Então a Mãe do Mato pegava na txara e cotucava o companheiro.
Macunaíma se acordava dando grandes gargalhadas estorcegando de cócegas. – Faz isso
não, oferecida! – Faço! – Deixa a gente dormir, seu bem... – Vamos brincar. – Ai!
que preguiça!... E brincavam mais outra vez.
==========
Macunaíma (Mário de Andrade)
- Note on Page 22 | Loc. 326 | Added on Friday, February 19, 2016, 10:49 PM
Macunaíma tremeu assustado espantou os mosquitos e caiu no pajuari por demais pra
ver si espantava o medo também. Bebeu e dormiu noite inteira. Então chegou a Cobra
Preta e tanto que chupou o único peito vivo de Ci que não deixou nem o apojo. E
como Jiguê não conseguira moçar nenhuma das icamiabas o curumim sem ama chupou o
peito da mãe no outro dia, chupou mais, deu um suspiro envenenado e morreu.
==========
Macunaíma (Mário de Andrade)
- Note on Page 24 | Loc. 357 | Added on Friday, February 19, 2016, 10:54 PM
muraqita. estrela
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 24 | Loc. 362-64 | Added on Friday, February 19, 2016, 10:55
PM
No outro dia quando Macunaíma foi visitar o túmulo do filho viu que nascera do
corpo uma plantinha. Trataram dela com muito cuidado e foi o guaraná. Com as
frutinhas piladas dessa planta é que a gente cura muita doença e se refresca
durante os calorões de Vei, a Sol.
==========
Macunaíma (Mário de Andrade)
- Note on Page 24 | Loc. 364 | Added on Friday, February 19, 2016, 10:55 PM
que ele gemia... Então ficava muito sofrendo, muito! e invocava os deuses bons
cantando cânticos de longa duração... “Rudá, Rudá!... Tu que secas as chuvas, Faz
com que os ventos do oceano Desembestem por minha terra Pra que as nuvens vão-se
embora
==========
Macunaíma (Mário de Andrade)
- Note on Page 25 | Loc. 378 | Added on Saturday, February 20, 2016, 01:58 AM
Parou. O choro pingava nos joelhos de Macunaíma e ele soluçou tremido. – Si...
si... si a boboiúna aparecesse eu... eu matava ela!
==========
Macunaíma (Mário de Andrade)
- Note on Page 28 | Loc. 421 | Added on Saturday, February 20, 2016, 02:05 AM
matar l serpiente
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 29 | Loc. 443-46 | Added on Saturday, February 20, 2016, 02:10
AM
Porém jacaré abriu? nem eles! e a cabeça não pôde entrar. Macunaíma não sabia que a
cabeça ficara escrava dele e não vinha pra fazer mal não. A cabeça esperou muito
porém vendo que não abriam mesmo matutou no que ia ser. Si fosse ser água os outros
bebiam, si fosse ser formiga esmagavam, si fosse mosquito flitavam, si fosse trem-
de-ferro descarrilava, si fosse rio punham no mapa... Resolveu: “Vou ser Lua.”
==========
Macunaíma (Mário de Andrade)
- Note on Page 30 | Loc. 446 | Added on Saturday, February 20, 2016, 02:10 AM
Quando foi ali pela hora antes da madrugada a boiúna Capei chegou no céu. Estava
gorducha de tanto fio comido e muito pálida do esforço. Todo o suor dela caía sobre
a Terra em gotinhas de orvalho novo. Por causa do fio geado é que Capei é tão fria.
Dantes Capei foi a boiúna mas agora é a cabeça da Lua lá no campo vasto do céu.
Desde essa feita as caranguejeiras preferem fazer fio de-noite.
==========
Macunaíma (Mário de Andrade)
- Note on Page 31 | Loc. 466 | Added on Saturday, February 20, 2016, 02:12 AM
vencesau
==========
Bad News Days (Hal Foster)
- Highlight on Page 3 | Loc. 40-41 | Added on Saturday, February 20, 2016, 02:06
PM
move away from the primary assumptions of postmodernist art, in particular away
from its privileging of the imagistic and the textual and toward a probing of the
real and the historical.
==========
Bad News Days (Hal Foster)
- Note on Page 3 | Loc. 41 | Added on Saturday, February 20, 2016, 02:06 PM
Put more strongly, they suggest that, even if art is not driven toward any
teleological goal, it still develops by way of progressive debate, and this means—
why not say it?—that there is ail that is more (and less) salient, more (and less)
significant, more (and less) advanced.3
==========
Bad News Days (Hal Foster)
- Note on Page 4 | Loc. 49 | Added on Saturday, February 20, 2016, 02:07 PM
disconnected projects.
==========
Bad News Days (Hal Foster)
- Note on Page 4 | Loc. 47 | Added on Saturday, February 20, 2016, 02:07 PM
against disconnectedness
==========
Bad News Days (Hal Foster)
- Highlight on Page 4 | Loc. 58-60 | Added on Saturday, February 20, 2016, 02:09
PM
it is certainly not “a thing of the past” in the Hegelian sense. It is too early to
historicize this art, but perhaps not too early to theorize it. My project, then,
is a provisional attempt to come to terms with some of this work: not to apply
theory, much less to impose it, but to extract some concepts embedded in some
practices, and when appropriate to point to parallels in other disciplines along
the way.6
==========
Bad News Days (Hal Foster)
- Note on Page 5 | Loc. 70 | Added on Saturday, February 20, 2016, 02:10 PM
That said, my subject here is post-1989 art. After the events of 1989, especially
the fall of the Berlin Wall and the uprising at Tiananmen Square, there was
some optimism about the possibility of both a new Europe and a new world
order different from the ones conjured by the Bushes and the Clintons; there was
also a boom in architectural projects and art markets.
==========
Bad News Days (Hal Foster)
- Note on Page 6 | Loc. 80 | Added on Saturday, February 20, 2016, 02:11 PM
1989
==========
Bad News Days (Hal Foster)
- Highlight on Page 6 | Loc. 84-85 | Added on Saturday, February 20, 2016, 02:12
PM
after 9/11 conditions became even more extreme, as emergency did prove to be more
the norm than the exception. The artistic response to this situation is another
point of emphasis ofthis book.
==========
Bad News Days (Hal Foster)
- Note on Page 6 | Loc. 85 | Added on Saturday, February 20, 2016, 02:12 PM
it does not pretend that it can break absolutely with the old order or found a new
one; instead it seeks to trace fractures that already exist within the given order,
to pressure them further, even to activate them somehow. Far from defunct, this
avant-garde is alive and well today.
==========
Bad News Days (Hal Foster)
- Note on Page 6 | Loc. 91 | Added on Saturday, February 20, 2016, 02:13 PM
place for innovative art and independent thought: Artists Space, Cabinet Magazine,
Dia Art Foundation, Issue Project Room, the Kitchen, Light Industry, n+1, the New
Museum, Storefront for Art and Architecture, Triple Canopy, the Whitney Museum
Independent Study Program, White Columns, and there are many more.
==========
Bad News Days (Hal Foster)
- Note on Page 7 | Loc. 97 | Added on Saturday, February 20, 2016, 02:14 PM
abject
==========
Bad News Days (Hal Foster)
- Highlight on Page 8 | Loc. 110-11 | Added on Saturday, February 20, 2016, 02:15
PM
the gaze “comes to symbolize this central lack expressed in the phenomenon of
castration.”1
==========
Bad News Days (Hal Foster)
- Note on Page 8 | Loc. 110 | Added on Saturday, February 20, 2016, 02:15 PM
to look at Lacan “at the level of the point of light, the point at which everything
that looks at me is situated.” Thus seen as (s)he sees, pictured as (s)he pictures,
the Lacanian subject is fixed in a double position, and this leads Lacan to
superimpose on the usual cone of vision that emanates from the subject another cone
that emanates from the object, at the point of light. It is this regard that he
calls “the gaze.”
==========
Bad News Days (Hal Foster)
- Note on Page 8 | Loc. 117 | Added on Saturday, February 20, 2016, 02:16 PM
simply that punctiform being located at the geometral point from which the
perspective is grasped. No doubt, in the depths of my eye, the picture is painted.
The picture, certainly, is in my eye. But I, I am in the picture.’’2
==========
Bad News Days (Hal Foster)
- Note on Page 8 | Loc. 120 | Added on Saturday, February 20, 2016, 02:21 PM
i am in the picture
==========
Bad News Days (Hal Foster)
- Highlight on Page 9 | Loc. 137-38 | Added on Saturday, February 20, 2016, 02:23
PM
Thus, even as the gaze can trap the subject, the subject can tame the gaze, at
least provisionally. This is the function of the image screen: to negotiate a
“laying down” of the gaze in the sense of a laying down of a weapon.
==========
Bad News Days (Hal Foster)
- Note on Page 9 | Loc. 138 | Added on Saturday, February 20, 2016, 02:23 PM
he imagines the gaze as maleficent, even violent, a force that can arrest,
even kill, if it is not disarmed first in images.5 At its more urgent, then,
picture-making is apotropaic;
==========
Bad News Days (Hal Foster)
- Note on Page 10 | Loc. 140 | Added on Saturday, February 20, 2016, 02:23 PM
apotrpaic
==========
Bad News Days (Hal Foster)
- Highlight on Page 10 | Loc. 142-44 | Added on Saturday, February 20, 2016, 02:28
PM
“relax” the viewer from its grip (think of Neoclassical painting, perhaps, or
geometric abstraction). Such is aesthetic contemplation according to Lacan: while
some painting attempts a trompe-l’oeil, a tricking of the eye, all painting aspires
to a dompte-regard, a taming of the gaze.
==========
Bad News Days (Hal Foster)
- Note on Page 10 | Loc. 144 | Added on Saturday, February 20, 2016, 02:28 PM
Some art in the late 1980s and early 1990s came to refuse this age-old mandate to
pacify the gaze. It is as though this art wanted the gaze to shine, the object
to exist, the real to appear, in all the glory (or the horror) of its pulsatile
desire, or at least to evoke this sublime condition.
==========
Bad News Days (Hal Foster)
- Note on Page 10 | Loc. 147 | Added on Saturday, February 20, 2016, 02:28 PM
refuse pacification
==========
Bad News Days (Hal Foster)
- Highlight on Page 10 | Loc. 147 | Added on Saturday, February 20, 2016, 02:30 PM
other feminists
==========
Bad News Days (Hal Foster)
- Highlight on Page 11 | Loc. 157-59 | Added on Saturday, February 20, 2016, 02:33
PM
self surveillnce
==========
Bad News Days (Hal Foster)
- Highlight on Page 12 | Loc. 178-81 | Added on Saturday, February 20, 2016, 02:35
PM
and bedtime stories alike, horror means, first and foremost, horror of the maternal
body made strange, even repulsive, in repression. This body is the primary site of
the abject as well, a category of (non)being defined by Julia Kristeva as neither
subject nor object, but somehow before one is the first (before full separation
from the mother) or after one is the second (as a corpse given over to objecthood)7
==========
Bad News Days (Hal Foster)
- Note on Page 12 | Loc. 181 | Added on Saturday, February 20, 2016, 02:35 PM
Such images verge on a representation of the body as though it were turned inside
out, of the subject literally ab-jected, thrown out of itself
==========
Bad News Days (Hal Foster)
- Note on Page 12 | Loc. 183 | Added on Saturday, February 20, 2016, 02:36 PM
informe
==========
Bad News Days (Hal Foster)
- Highlight on Page 14 | Loc. 203-4 | Added on Saturday, February 20, 2016, 05:59
PM
these ambiguities affect the cultural-political import of abject art.11 Can the
abject be represented at all? If it is opposed to culture, can it be exposed in
culture? If it is unconscious, can it be made conscious and remain abject? In other
words, can there be such a thing as conscientious abjection, or is this all there
can be? At the extreme, can abject art ever escape an instrumental, even
moralistic, evocation of the abject?12
==========
Bad News Days (Hal Foster)
- Note on Page 14 | Loc. 214 | Added on Saturday, February 20, 2016, 06:00 PM
If subject and society abject what they deem to be alien, is abjection then not
a regulatory operation? That is, might abjection stand in relation to regulation
as transgression stands in relation to taboo—an exceeding that is also a
reaffirming? (“Transgression does not deny the taboo” runs the famous formulation
of Bataille, “but transcends and completes it.”)13
==========
Bad News Days (Hal Foster)
- Note on Page 15 | Loc. 220 | Added on Saturday, February 20, 2016, 06:01 PM
Kristevan abject, still other artists explored the prime object of paternal
repression—the maternal body—in order to exploit its disruptive effects (a
representative example is Kiki Snith).
==========
Bad News Days (Hal Foster)
- Note on Page 15 | Loc. 229 | Added on Saturday, February 20, 2016, 06:03 PM
the goal of the avant-garde is not to break with the symbolic order absolutely (the
dream of absolute transgression is dispelled) but to reveal it in crisis—to
register its points not only of breakdown but also of breakthrough, that is, to
register the points at which new possibilities are opened up by this very crisis.
==========
Bad News Days (Hal Foster)
- Note on Page 16 | Loc. 237 | Added on Saturday, February 20, 2016, 06:04 PM
problematic, as they were in Surrealism many decades before. Surrealism also used
the abject to test the limits of sublimation; in fact, Andre Breton claimed the
coming together of desublimatory and sublimatory impulses to be the very point of
his movement.18 Yet it was at this point, too, that Surrealism broke down, that it
split into the two factions headed by Breton and Bataille, respectively. According
to Breton, Bataille was an “excrement-philosopher” who refused to rise above mere
matter, who failed to elevate the low to the high.19 For Bataille, on the other
hand, Breton was a “juvenile victim” who was involved in an Oedipal game, an
“Icarian pose” that was taken up less to undo the law than to provoke its
punishment: despite his celebration of desire, Breton was as committed to
sublimation as the next aesthete.20 Elsewhere Bataille termed this aesthetic le jeu
des transpositions, and he dismissed this “game of substitutions” as no match for
the power of perversions: “I defy any amateur of painting to love a picture as much
as a fetishist loves a shoe.”21
==========
Bad News Days (Hal Foster)
- Note on Page 17 | Loc. 257 | Added on Saturday, February 20, 2016, 06:06 PM
antagonistic surrealism
==========
Bad News Days (Hal Foster)
- Highlight on Page 18 | Loc. 264-66 | Added on Saturday, February 20, 2016, 06:07
PM
post-structuralism. Often enough, this seemed to be the limited option that abject
art offered: Oedipal naughtiness or infantile perversion; to act dirty with the
secret wish to be spanked, or to wallow in shit with the secret faith that the most
defiled position might reverse into the most sacred, the most perverse position
into the most potent.22
==========
Bad News Days (Hal Foster)
- Note on Page 18 | Loc. 266 | Added on Saturday, February 20, 2016, 06:07 PM
oedpal or perversio
==========
Bad News Days (Hal Foster)
- Highlight on Page 18 | Loc. 268-69 | Added on Saturday, February 20, 2016, 06:08
PM
a turning away from the father that was also a twisting of his law. In the early
1990s this defiance was manifest in a general flaunting of the excremental.
==========
Bad News Days (Hal Foster)
- Note on Page 18 | Loc. 269 | Added on Saturday, February 20, 2016, 06:08 PM
Its Discontents (1930) he offered an origin myth to show us why. This famous story
turns on the erection of man, his rising up from all fours to two feet, from the
horizontal to the vertical. With this change in posture, Freud argued, came a
revolution in sense: smell was degraded and sight privileged, the anal
was repressed and the genital pronounced. And the rest was literally history: with
his genitals exposed, man learned shame; in contradistinction to animals, his
sexual frequency became continuous, not periodic; and this coming together of
permanent shame and regular sex impelled him to seek a mate, to form a family, in
short, to found a society. Zany as this heterosexist tale is, it does reveal a
normative conception of civilization—not only as a general sublimation of instincts
but also as a specific reaction against anal eroticism (which is also a specific
abjection of male homosexuality).
==========
Bad News Days (Hal Foster)
- Note on Page 18 | Loc. 276 | Added on Saturday, February 20, 2016, 06:09 PM
And in this art there was a symbolic reversal of the phallic visuality of the erect
body as the primary model of traditional painting and sculpture—the human figure as
both subject and frame of representation in Western art.
==========
Bad News Days (Hal Foster)
- Note on Page 19 | Loc. 279 | Added on Saturday, February 20, 2016, 06:10 PM
difference. Lumpen, the German word for “rag” that appears inLumpensammler, the
ragpicker that intrigued Walter Benjamin, as well as Lumpenproletariat, the mass
too ragged to form a class that interested Marx, “the scum, the leavings, the
refuse of all classes,” was a crucial word in the Kelley lexicon too, which he
developed as a third term between the informe of Bataille and the abject of
Kristeva.29
==========
Bad News Days (Hal Foster)
- Note on Page 20 | Loc. 301 | Added on Saturday, February 20, 2016, 06:12 PM
lumperica
==========
Bad News Days (Hal Foster)
- Highlight on Page 21 | Loc. 310-13 | Added on Saturday, February 20, 2016, 06:19
PM
Was there a cultural politics in abject art? Often in the general culture of
abjection in the late 1980s and early 1990s, this posture of indifference expressed
a fatigue with the politics of difference. Yet sometimes, too, this posture
intimated a more fundamental fatigue: a strange drive to indistinction, a
paradoxical desire to be desireless, a strong call of regression that went beyond
the infantile to the inorganic.31
==========
Bad News Days (Hal Foster)
- Note on Page 21 | Loc. 312 | Added on Saturday, February 20, 2016, 06:19 PM
The breaching of the body, the gaze attacking the subject, the subject becoming
space, the state of mere similarity: these are conditions evoked in much art of
the late 1980s and early 1990s.
==========
Bad News Days (Hal Foster)
- Note on Page 22 | Loc. 324 | Added on Saturday, February 20, 2016, 06:24 PM
becoming space
==========
Bad News Days (Hal Foster)
- Highlight on Page 22 | Loc. 324-32 | Added on Saturday, February 20, 2016, 06:25
PM
to understand this “convulsive possession” in recent art, it must be split into its
two constituent registers: on the one hand, an ecstasy in the imagined breakdown of
image screen and symbolic order; on the other hand, a horror at this breakdown
followed by a despair about it. Early definitions of postmodernism evoked the first
structure of feeling, the ecstatic one, sometimes in analogy with schizophrenia.
Indeed, for Fredric Jameson, the primary symptom of postmodern culture was a quasi-
schizophrenic breakdown in language and time that produced a compensatory
investment in image and space—a capture in the endless present of spectacle.34 And,
in the 1980s, many artists did create images that featured srmulacral intensities
and ahistorical pastiches. In elaborations in the 1990s, however, the second
structure of feeling, the melancholic one, dominated, and sometimes, as in
Kristeva, it too was associated with a symbolic order in crisis. Here, artists were
drawn not to the highs of the simulacra! image but to the lows of the depressive
thing. In this respect, if some modernist artists transcended the referential, and
some postmodernist artists delighted in the imaginary, some abject artists
approached the real.
==========
Bad News Days (Hal Foster)
- Note on Page 22 | Loc. 332 | Added on Saturday, February 20, 2016, 06:25 PM
an ambition to inhabit a place of total affect on the one hand and to be drained of
affect altogether on the other—or, even more extremely, to possess the obscene
vitality of the wound on the one hand and to occupy the radical nihility of the
corpse on the other.35
==========
Bad News Days (Hal Foster)
- Note on Page 22 | Loc. 335 | Added on Saturday, February 20, 2016, 06:26 PM
And one result was this: a special truth came to reside in abject states, in
damaged bodies. To be sure, the violated body is often the evidentiary basis of
important witnessings to truth, of necessary testimonials against power.
==========
Bad News Days (Hal Foster)
- Note on Page 23 | Loc. 348 | Added on Saturday, February 20, 2016, 06:29 PM
archival
==========
Bad News Days (Hal Foster)
- Highlight on Page 26 | Loc. 392-94 | Added on Saturday, February 20, 2016, 06:34
PM
In the first instance, these archival artists are drawn to historical information
that is lost or suppressed, and they seek to make it physically present once
more. To
==========
Bad News Days (Hal Foster)
- Note on Page 26 | Loc. 394 | Added on Saturday, February 20, 2016, 06:34 PM
post critical
==========
Bad News Days (Hal Foster)
- Highlight on Page 92 | Loc. 1408-15 | Added on Saturday, February 20, 2016,
06:42 PM
How did we arrive at a point where critique is dismissed? Over the last few
decades, most of the charges, at least from the Left, have concerned the
positioning of the critic. First, there was a rejection of judgment, especially of
the moral right that seems to be arrogated in any act of critical evaluation. Then,
too, there was a refusal of authority, particularly of the political privilege that
allows the critic to speak abstractly on behalf of others. Finally, there was a
skepticism about distance, about the very possibility of separation from the
culture that the critic purports to examine. “Criticism is a matter of correct
distancing,” Walter Benjamin wrote almost ninety years ago. “It was at home in a
world where perspectives and prospects counted and where it was still possible to
adopt a standpoint. Now things press too urgently on human society.”4 How much more
urgent is that pressing in our age of instantaneous media?
==========
Bad News Days (Hal Foster)
- Note on Page 93 | Loc. 1415 | Added on Saturday, February 20, 2016, 06:42 PM
for the charges involving judgment and authority, they boil down to two in the end:
that critique is not reflexive enough about its own claims to truth, and that it is
often driven by a will to power. Two concerns underlie these objections in turn:
that the critic as ideological patron might displace the social group that he means
to represent (a caution first raised by Benjamin in “Author as Producer” [1934] and
later revised by Michel Foucault, Gayatri Spivak, and others), and that critical
theory might be granted a scientific truth (such as Louis Althusser claimed for the
M arx of Capital) that it cannot attain. Such objections are often valid, yet they
are hardly reason enough to throw the baby out with the bathwater.
==========
Bad News Days (Hal Foster)
- Note on Page 93 | Loc. 1423 | Added on Saturday, February 20, 2016, 06:44 PM
critic a ranciere
==========
Bad News Days (Hal Foster)
- Highlight on Page 98 | Loc. 1495-97 | Added on Saturday, February 20, 2016,
06:52 PM
However, some art today does imagine the artwork in terms of subjecthood. In recent
sculpture, for example, the fetish and the part object have returned as common
models for practice, and they explicitly present the artwork as though it were
animated by its own desires.25
==========
Bad News Days (Hal Foster)
- Note on Page 98 | Loc. 1497 | Added on Saturday, February 20, 2016, 06:52 PM
Why take up the bedraggled banner of critique now? The reason is simple (and it
returns us to the concerns with which I began): criticism is essential to the
public sphere, at least as this notion was articulated by Jurgen Habermas in 1962
and developed thereafter.35
==========
Bad News Days (Hal Foster)
- Note on Page 101 | Loc. 1537 | Added on Saturday, February 20, 2016, 07:08 PM
he not only assumed “the point of view of a public visitor,” but also created, in
writing about the art on view, a representation of the public—a representation that
helped different groups become self-aware as a public.36
==========
Bad News Days (Hal Foster)
- Note on Page 101 | Loc. 1540 | Added on Saturday, February 20, 2016, 07:08 PM
Today the social bond is as pressured as the public sphere is atrophied, and
criteria more robust than discursivity and sociability are required in response.
Perhaps the hapless condition of the public sphere makes the concept on which
it depends, citizenship, radical once again (certainly Hannah Arendt has returned
as an essential resource). In any case, citizenship is also under enormous strain,
and this is so on every front.
==========
Bad News Days (Hal Foster)
- Note on Page 102 | Loc. 1560 | Added on Saturday, February 20, 2016, 07:11 PM
citizenship as radical
==========
Bad News Days (Hal Foster)
- Highlight on Page 102 | Loc. 1564-67 | Added on Saturday, February 20, 2016,
07:12 PM
Certainly we need new accounts of citizenship, ones that aim to take the full
measure of neoliberalism, perhaps along the lines of the citizen of Europe proposed
by Habermas or, even more broadly, of the citizen of the Anthropocene suggested by
Latour.42 Perhaps, too, artists and critics can assist, even lead, in this
imagining (a little wishful thinking of my own), and in this respect the global
range of the contemporary art world might well be a virtue.
==========
Bad News Days (Hal Foster)
- Note on Page 103 | Loc. 1567 | Added on Saturday, February 20, 2016, 07:12 PM
ejemplos
==========
Bad News Days (Hal Foster)
- Note on Page 77 | Loc. 1178 | Added on Saturday, February 20, 2016, 07:13 PM
precarious
==========
Bad News Days (Hal Foster)
- Highlight on Page 78 | Loc. 1185-86 | Added on Saturday, February 20, 2016,
07:14 PM
Here the political dimension of the precarious shades into the ethical. “To give a
form to the precarious,” Hirschhom comments, is to attest to “the fragility of
life,” awareness of which “compels me to be awakened, to be present, to be
attentive, to be open; it compels me to be active.”13 In “Precarious Life” (2004),
her brief essay on Emmanuel Levinas, Judith Butler writes in a similar vein: “In
some way we come to exist in the moment of being addressed, and something about our
existence proves precarious when that address fails.” Here Butler explores the
notion of “the face,” which Levinas posed as the very image of “the extreme
precarious ness of the other.” “To respond to the face, to understand its meaning,”
Butler argues, “means to be awake to what is precarious in another life or, rather,
the precarious-ness of life itself.”14 Hirschhom attempts “to respond to the face,”
to meet its gaze, in his work.
==========
Bad News Days (Hal Foster)
- Note on Page 81 | Loc. 1242 | Added on Saturday, February 20, 2016, 07:26 PM
Gramsci (to whom, again, Hirschhorn dedicated his fourth monument) once defined
“common sense” as “the folklore of philosophy,” that is, as a reserve not only of
superstition to be exposed but also of truth to be deployed.27 Sartre wrote about
“the commonplace” in a similar way: “This fine word has several meanings,” the
philosopher remarked; “it refers, doubtless, to the most hackneyed of thoughts, but
these thoughts had become the meeting-place of the community. Everyone finds
himself in them and finds the others too. The commonplace is everyone’s and it
belongs to me; it belongs in me to everyone and it is the presence of everyone in
me.”28
==========
Bad News Days (Hal Foster)
- Note on Page 86 | Loc. 1308 | Added on Saturday, February 20, 2016, 07:39 PM
commonplace commonsense
==========
Bad News Days (Hal Foster)
- Highlight on Page 86 | Loc. 1308-9 | Added on Saturday, February 20, 2016, 07:40
PM
“Energy yes, quality no,” Hirschhorn proclaims. It is a motto that speaks to his
desire to recharge art, especially public art, and his altars, kiosks, monuments,
and festivals do stage a passionate kind of public pedagogy. For Hirschhorn as
for Bataille, any economy is plagued not only by scarcity but also by
surplus. “Energy,” Bataille writes in La part maudite (1949), a key text for
Hirschhorn, “must necessarily be lost without profit; it must be spent, willingly
or not, gloriously or catastrophically”; it is “the accursed share” that must be
expended.29 Hirschhorn
==========
Bad News Days (Hal Foster)
- Note on Page 86 | Loc. 1316 | Added on Saturday, February 20, 2016, 07:41 PM
li evidente
==========
Bad News Days (Hal Foster)
- Highlight on Page 87 | Loc. 1326-30 | Added on Saturday, February 20, 2016,
08:24 PM
enigmatically of his art, “It’s about absolute value.”33 This formulation suggests
that he aims not only to subject capitalist exchange to critique but also to
propose a different exchange altogether; along the lines of the “general economy”
of nonproductive expenditure advocated by Bataille 34 “This motive is very
important in my work,” Hirschhom says of the Bataillean account of the potlatch in
La part maudite. “I want to make a lot, give a lot ... I want to do that in order
to challenge the other people, the viewers, to get equally involved, so that they
also have to give.’35
==========
Bad News Days (Hal Foster)
- Note on Page 87 | Loc. 1330 | Added on Saturday, February 20, 2016, 08:24 PM
gift reciprocity
==========
Bad News Days (Hal Foster)
- Highlight on Page 88 | Loc. 1341 | Added on Saturday, February 20, 2016, 08:26
PM
It is little wonder, then, that the concept of the state of exception, developed by
Carl Schmitt in the early 1920s, has returned with such force. For Schmitt,
who became a Nazi jurist, the state of exception to the law that founds the law is
not a primordial act lost in the mists of time; it recurs whenever a government not
simply suspends its judicial code (that is a state of emergency) but actually
nullifies it.42 In fact, as foreseen by Benjamin in “Theses on the Philosophy of
History” (1940), his final text before his suicide while in flight from Nazi
Europe, this state threatens to be “not the exception but the rule.”43 More
recently, Giorgio Agamben has turned this foreboding into a principle: “The Jews
were exterminated not in a mad and giant holocaust,” he argues, “but exactly as
Hitler has announced, ‘as lice,’ which is to say, as bare life.” Agamben extends
this principle to a judgment on contemporary modernity at large: bare life now
approaches normative status, he avers, and the camp is the “new biopolitical nomos
[law] of the planet.”44 In a well-known formulation, Agamben defines “bare life” as
“the life of homo sacer (sacred man), who may be killed and yet not sacrificed.”45
==========
Bad News Days (Hal Foster)
- Note on Page 90 | Loc. 1366 | Added on Saturday, February 20, 2016, 08:28 PM
stae of exception.
==========
Bad News Days (Hal Foster)
- Highlight on Page 91 | Loc. 1392-94 | Added on Saturday, February 20, 2016,
08:30 PM
In such a time, “commitment” and “autonomy” are not in contradiction (as they are
often said to be in aesthetic discourse in general), for the autonomy that
interests Hirschhorn is not the “self-sufficiency” of art but “the autonomy of
courage, the autonomy of assertion, the autonomy to authorize myself
==========
Bad News Days (Hal Foster)
- Note on Page 91 | Loc. 1394 | Added on Saturday, February 20, 2016, 08:30 PM
autonomy ad commitment
==========
Bad News Days (Hal Foster)
- Note on Page 103 | Loc. 1575 | Added on Saturday, February 20, 2016, 08:32 PM
in praise of actuality
==========
Bad News Days (Hal Foster)
- Highlight on Page 105 | Loc. 1597-1605 | Added on Saturday, February 20, 2016,
08:34 PM
which need not be the case at all, and the second is that a finished work in the
traditional sense cannot activate the viewer as effectively, which is also
false. For purposes of activation and attention give me a Piet Mondrian over a
George M aciunas any day.11
==========
Bad News Days (Hal Foster)
- Note on Page 107 | Loc. 1640 | Added on Saturday, February 20, 2016, 08:38 PM
“It becomes a question of address.”14 Yet when is this activation too great a
burden to place on the viewer; and when is this address too invasive a test for the
audience? Ironically, as with process art again, there is a risk of illegibility
here: often the death of the author has meant not the birth of the reader, as
Barthes imagined, so much as the befuddlement of the viewer. This might serve only
to reposition the artist as both origin and end of the work—the very default that
was to be undone in the first place.15
==========
Bad News Days (Hal Foster)
- Note on Page 109 | Loc. 1659 | Added on Saturday, February 20, 2016, 08:57 PM
9. Activation of the viewer has become an end, not a means, and not
enough attention is given to the quality of subjectivity and sociality thus
effected.
==========
Bad News Days (Hal Foster)
- Note on Page 109 | Loc. 1660 | Added on Saturday, February 20, 2016, 08:57 PM
activation as an end
==========
Bad News Days (Hal Foster)
- Highlight on Page 109 | Loc. 1660-61 | Added on Saturday, February 20, 2016,
09:01 PM
Today museums cannot seem to leave us alone; they prompt and program us as many of
us do our children.
==========
Bad News Days (Hal Foster)
- Note on Page 109 | Loc. 1661 | Added on Saturday, February 20, 2016, 09:01 PM
infatilizacionde lo museos
==========
Bad News Days (Hal Foster)
- Highlight on Page 109 | Loc. 1662-63 | Added on Saturday, February 20, 2016,
09:01 PM
This activation helps to validate the museum, to overseers and onlookers alike, as
relevant, vital, or simply busy, yet, more than the viewer, it is the museum that
the museum seeks to activate.
==========
Bad News Days (Hal Foster)
- Note on Page 109 | Loc. 1663 | Added on Saturday, February 20, 2016, 09:01 PM
Rather than adapt to this oddly static fluidity, however, one might strive, on
the one hand, to exacerbate it critically and, on the other, to resist it formally.
==========
Bad News Days (Hal Foster)
- Note on Page 111 | Loc. 1702 | Added on Saturday, February 20, 2016, 09:06 PM
13.1 attempted to make the case for mimetic critique in Chapter 3; the argument for
formal resistance is more familiar. “The true and most important function of
the avant-garde,” Clement Greenberg wrote in “Avant-Garde and Kitsch” (1939)
during a period of enormous turmoil, was “to find a path along which it would be
possible to keep culture moving in the midst of ideological confusion and
violence.”26
==========
Bad News Days (Hal Foster)
- Note on Page 112 | Loc. 1705 | Added on Saturday, February 20, 2016, 09:06 PM
Rather; what I value is a sense of actuality, in the strong sense of the term
artworks that are able to constellate not only different registers of experience
(aesthetic, cognitive, and critical) but also different orders of temporality. This
constellation is opposed to the virtual confusion of spaces and the zombie
confusion of times with which I began. Yet neither does this actuality simply mean
presence (I have also questioned the desire for presence, or rather
the manipulation of that desire), much less presentism (though a purchase on
the present is one effect of the artistic constellation I have in mind). Any
artwork holds together various times of production and reception, not only as we
confront it in the present of our own experience, but also as other moments are
inscribed in the work as it passes through history.34
==========
Bad News Days (Hal Foster)
- Note on Page 114 | Loc. 1745 | Added on Saturday, February 20, 2016, 09:11 PM
Desses tesouros Macunaíma apartou pra viagem nada menos de quarenta vezes quarenta
milhões de bagos de cacau, a moeda tradicional.
==========
Macunaíma (Mário de Andrade)
- Note on Page 33 | Loc. 505 | Added on Sunday, February 21, 2016, 05:49 PM
tesoro y dinero
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 33 | Loc. 505-6 | Added on Sunday, February 21, 2016, 05:49 PM
Calculou com eles um dilúvio de embarcações. E ficou lindo trepando pelo Araguaia
aquele poder de igaras, duma em uma duzentas em ajojo que nem flecha na pele do
rio.
==========
Macunaíma (Mário de Andrade)
- Note on Page 33 | Loc. 506 | Added on Sunday, February 21, 2016, 05:49 PM
Nem bem Jiguê percebeu o milagre, se atirou na marca do pezão do Sumé. Porém a água
já estava muito suja da negrura do herói e por mais que Jiguê esfregasse feito
maluco atirando água pra todos os lados só conseguiu ficar da cor do bronze novo.
==========
Macunaíma (Mário de Andrade)
- Note on Page 34 | Loc. 518 | Added on Sunday, February 21, 2016, 05:53 PM
E estava lindíssimo na Sol da lapa os três manos um loiro um vermelho outro negro,
de pé bem erguidos e nus.
==========
Macunaíma (Mário de Andrade)
- Note on Page 35 | Loc. 524 | Added on Sunday, February 21, 2016, 05:55 PM
Nos ramos das ingazeiras das aningas das mamoranas das embaúbas dos catauaris de
beira-rio o macaco-prego o macaco-de-cheiro o guariba o bugio o cuatá o barrigudo o
coxiú o cairara, todos os quarenta macacos do Brasil, todos, espiavam babando de
inveja. E os sabiás, o sabiacica o sabiapoca o sabiaúna o sabiapiranga o sabiagongá
que quando come não me dá, o sabiá-barranco o sabiá-tropeiro o sabiá-laranjeira o
sabiá-gute, todos esses ficaram pasmos e esqueceram de acabar o trinado, vozeando
vozeando com eloqüência. Macunaíma teve ódio.
==========
Macunaíma (Mário de Andrade)
- Note on Page 35 | Loc. 529 | Added on Sunday, February 21, 2016, 05:56 PM
E foi numa boca-da-noite fria que os manos toparam com a cidade macota de São Paulo
esparramada a beira-rio do igarapé Tietê. Primeiro foi a gritaria da papagaiada
imperial se despedindo do herói. E lá se foi o bando sarapintado volvendo pros
matos do norte.
==========
Macunaíma (Mário de Andrade)
- Note on Page 36 | Loc. 545 | Added on Sunday, February 21, 2016, 05:58 PM
Todas as estrelas tinham descido do céu branco de tão molhado de garoa e banzavam
pela cidade.
==========
Macunaíma (Mário de Andrade)
- Note on Page 36 | Loc. 547 | Added on Sunday, February 21, 2016, 05:59 PM
Macunaíma lembrou de procurar Ci. Êh! dessa ele nunca poderia esquecer não, porque
a rede feiticeira que ela armara pros brinquedos fora tecida com os próprios
cabelos dela e isso torna a tecedeira inesquecível.
==========
Macunaíma (Mário de Andrade)
- Note on Page 36 | Loc. 549 | Added on Sunday, February 21, 2016, 06:00 PM
hermosura branca
==========
Macunaíma (Mário de Andrade)
- Note on Page 36 | Loc. 550 | Added on Sunday, February 21, 2016, 06:03 PM
a inteligencia perturbada
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 37 | Loc. 555-57 | Added on Sunday, February 21, 2016, 06:08
PM
un ascensor
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 928 | Loc. 14228 | Added on Wednesday, February 24, 2016,
11:38 AM
segundo— que hay raras habilidades perdidas en el mundo y que son mal empleadas en
aquellos que no saben aprovecharse de ellas.» «Las nuestras
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 931 | Loc. 14267 | Added on Wednesday, February 24, 2016, 11:44 AM
habilidades perdidas
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 932 | Loc. 14290 | Added on Wednesday, February 24, 2016, 11:46 AM
retablo melisendra
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 936 | Loc. 14339-41 | Added on Wednesday, February 24, 2016,
11:50 AM
—Ahora digo —dijo a esta sazón don Quijote— que el que lee mucho y anda mucho ve
mucho y sabe mucho. Digo esto porque ¿qué persuasión fuera bastante para
persuadirme que hay monos en el mundo que adivinen, como lo he visto ahora por mis
propios ojos?
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 936 | Loc. 14341 | Added on Wednesday, February 24, 2016, 11:50 AM
—No me entiendes, Sancho: no quiero decir sino que debe de tener hecho algún
concierto con el demonio de que infunda esa habilidad en el mono, con que gane de
comer, y después que esté rico le dará su alma, que es lo que este universal
enemigo pretende. Y háceme creer esto el ver que el mono no responde sino a las
cosas pasadas o presentes, y la sabiduría del diablo no se puede extender a más,
que las por venir no las sabe si no es por conjeturas, y no todas veces, que a solo
Dios está reservado conocer los tiempos y los momentos,[40] y para Él no hay pasado
ni porvenir, que todo es presente.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 937 | Loc. 14360 | Added on Wednesday, February 24, 2016, 11:52 AM
—Con todo eso, querría —dijo Sancho— que vuestra merced dijese a maese Pedro
preguntase a su mono si es verdad lo que a vuestra merced le pasó en la cueva de
Montesinos, que yo para mí tengo, con perdón de vuestra merced, que todo fue
embeleco y mentira, o por lo menos cosas soñadas.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 938 | Loc. 14373 | Added on Wednesday, February 24, 2016, 11:52 AM
gaiferos
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 941 | Loc. 14421-24 | Added on Wednesday, February 24, 2016,
11:57 AM
Vuelvan vuestras mercedes los ojos a aquella torre que allí parece, que se
presupone que es una de las torres del alcázar de Zaragoza, que ahora llaman la
Aljafería;[9] y aquella dama que en aquel balcón parece vestida a lo moro es la sin
par Melisendra, que desde allí muchas veces se ponía a mirar el camino de Francia,
y, puesta la imaginación en París y en su esposo, se consolaba en su cautiverio.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 941 | Loc. 14424 | Added on Wednesday, February 24, 2016, 11:57 AM
torre de mlisendra
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 942 | Loc. 14435-37 | Added on Wednesday, February 24, 2016,
01:24 PM
—Niño, niño —dijo con voz alta a esta sazón don Quijote—, seguid vuestra historia
línea recta y no os metáis en las curvas o transversales,[15] que para sacar una
verdad en limpio menester son muchas pruebas y repruebas.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 942 | Loc. 14437 | Added on Wednesday, February 24, 2016, 01:24 PM
no os metais en curvas
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 944 | Loc. 14461-70 | Added on Wednesday, February 24, 2016,
01:27 PM
—¡Eso no! —dijo a esta sazón don Quijote—. En esto de las campanas anda muy
impropio maese Pedro, porque entre moros no se usan campanas, sino atabales y un
género de dulzainas que parecen nuestras chirimías;[21] y esto de sonar campanas en
Sansueña sin duda que es un gran disparate. Lo cual oído por maese Pedro, cesó el
tocar[22] y dijo: —No mire vuesa merced en niñerías, señor don Quijote, ni quiera
llevar las cosas tan por el cabo, que no se le halle. ¿No se representan por ahí
casi de ordinario mil comedias llenas de mil impropiedades y disparates, y, con
todo eso, corren felicísimamente su carrera y se escuchan no sólo con aplauso, sino
con admiración y todo? Prosigue, muchacho, y deja decir, que como yo llene mi
talego,[23] siquiera represente[24] más impropiedades que tiene átomos el sol. —Así
es la verdad —replicó don Quijote.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 944 | Loc. 14470 | Added on Wednesday, February 24, 2016, 01:27 PM
comedias cn impropiedades
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 944 | Loc. 14473-80 | Added on Wednesday, February 24, 2016,
01:39 PM
Viendo y oyendo, pues, tanta morisma y tanto estruendo don Quijote, pareciole ser
bien dar ayuda a los que huían, y levantándose en pie, en voz alta dijo: —No
consentiré yo que en mis días y en mi presencia se le haga superchería[25] a tan
famoso caballero y a tan atrevido enamorado como don Gaiferos. ¡Deteneos, mal
nacida canalla, no le sigáis ni persigáis; si no, conmigo sois en batalla! Y,
diciendo y haciendo, desenvainó la espada y de un brinco se puso junto al retablo,
y con acelerada y nunca vista furia comenzó a llover cuchilladas sobre la titerera
morisma, derribando a unos, descabezando a otros, estropeando a éste, destrozando a
aquél, y, entre otros muchos, tiró un altibajo[26] tal, que si maese Pedro no se
abaja, se encoge y agazapa, le cercenara la cabeza con más facilidad que si fuera
hecha de masa de mazapán.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 945 | Loc. 14480 | Added on Wednesday, February 24, 2016, 01:39 PM
Daba voces maese Pedro, diciendo: —Deténgase vuesa merced, señor don Quijote, y
advierta que estos que derriba, destroza y mata no son verdaderos moros, sino unas
figurillas de pasta. Mire, ¡pecador de mí!, que me destruye y echa a perder toda mi
hacienda.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 945 | Loc. 14482 | Added on Wednesday, February 24, 2016, 01:40 PM
Finalmente, en menos de dos credos, dio con todo el retablo en el suelo, hechas
pedazos y desmenuzadas todas sus jarcias y figuras,[27] el rey Marsilio malherido,
y el emperador Carlomagno, partida la corona y la cabeza en dos partes. Alborotose
el senado de los oyentes, huyose el mono por los tejados de la venta, temió el
primo, acobardose el paje, y hasta el mismo
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 945 | Loc. 14486 | Added on Wednesday, February 24, 2016, 01:40 PM
titeres destruidos
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 945 | Loc. 14487 | Added on Wednesday, February 24, 2016,
01:41 PM
—Quisiera yo tener aquí delante en este punto todos aquellos que no creen ni
quieren creer de cuánto provecho sean en el mundo los caballeros andantes. Miren,
si no me hallara yo aquí presente, qué fuera del buen don Gaiferos y de la hermosa
Melisendra: a buen seguro que ésta fuera ya la hora que los hubieran alcanzado
estos canes[28] y les hubieran hecho algún desaguisado. En resolución, ¡viva la
andante caballería sobre cuantas cosas hoy viven en la tierra!
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 946 | Loc. 14492 | Added on Wednesday, February 24, 2016, 01:42 PM
—¡Viva enhorabuena —dijo a esta sazón con voz enfermiza maese Pedro—, y muera yo!,
pues soy tan desdichado, que puedo decir con el rey don Rodrigo: Ayer fui señor de
España, y hoy no tengo una almena que pueda decir que es mía.[29] No ha media hora,
ni aun un mediano momento, que me vi señor de reyes y de emperadores, llenas mis
caballerizas y mis cofres y sacos de infinitos caballos y de innumerables galas, y
ahora me veo desolado y abatido, pobre y mendigo, y sobre todo sin mi mono, que a
fe que primero que le vuelva a mi poder me han de sudar los dientes; y todo por la
furia mal considerada de este señor caballero, de quien se dice que ampara pupilos
y endereza tuertos y hace otras obras caritativas, y en mí solo ha venido a faltar
su intención generosa, que sean benditos y alabados los cielos, allá donde tienen
más levantados sus asientos. En fin, el Caballero de la Triste Figura había de ser
aquel que había de desfigurar las mías.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 946 | Loc. 14500 | Added on Wednesday, February 24, 2016, 01:43 PM
queja de maesepedro
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 947 | Loc. 14510-12 | Added on Wednesday, February 24, 2016,
01:46 PM
—Ahora acabo de creer —dijo a este punto don Quijote— lo que otras muchas veces he
creído: que estos encantadores que me persiguen no hacen sino ponerme las figuras
como ellas son delante de los ojos, y luego me las mudan y truecan en las que ellos
quieren.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 947 | Loc. 14512 | Added on Wednesday, February 24, 2016, 01:46 PM
Real y verdaderamente os digo, señores que me oís, que a mí me pareció todo lo que
aquí ha pasado que pasaba al pie de la letra: que Melisendra era Melisendra, don
Gaiferos don Gaiferos, Marsilio Marsilio, y Carlomagno Carlomagno.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 947 | Loc. 14513 | Added on Wednesday, February 24, 2016, 08:47 PM
It should be stated immediately that the critical analysis of the basic principles
of contemporary architectural ideology does not pretend to have any "revolutionary"
aim. What is of interest here is the precise identification of those tasks which
capitalist develop-ment has taken away from architecture. That is to say, what it
has taken away in general from ideological pre-figuration.
==========
Architecture and Utopia (Tafuri)
- Note on Page 5 | Loc. 62 | Added on Saturday, February 27, 2016, 05:05 PM
With this, one is led almost automatically to the discovery of what may well be the
"drama" of architecture today: that is, to see architecture obliged to return to
pure architecture, to form without utopia; in the best cases, to sublime
uselessness.
==========
Architecture and Utopia (Tafuri)
- Note on Page 5 | Loc. 64 | Added on Saturday, February 27, 2016, 05:06 PM
No regret, because when the role of a discipline ceases to exist, to try to stop
the Preface ix course of things is only regressive utopia, and of the worst kind.
==========
Architecture and Utopia (Tafuri)
- Note on Page 5 | Loc. 69 | Added on Saturday, February 27, 2016, 05:06 PM
regressive utopia
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 6 | Loc. 78-85 | Added on Saturday, February 27, 2016, 05:08
PM
Of course, once the work of ideological criticism has been completed, there remains
the problem of deciding what instruments of knowledge might be immediately useful
to the political struggle. It is precisely here that my discourse must end, but
certainly not by choice. x Preface From the criticism of ideology it is necessary
to pass on to the analysis of the techniques of programing and of the ways in which
these techniques actually affect the vital relationships of production. That is to
say, we must proceed to analyses that, in the field of building activities, are
only today being attempted with the necessary precision and coherence. For those
anxiously seeking an operative criticism, I can only respond with an invitation to
transform themselves into analysts of some precisely defined economic sector, each
with an eye fixed on bringing together capitalist development and the processes of
reorganization and consolidation of the working class.
==========
Architecture and Utopia (Tafuri)
- Note on Page 6 | Loc. 85 | Added on Saturday, February 27, 2016, 05:08 PM
To ward off anguish by understanding and absorbing its causes would seem to be one
of the principal ethical exigencies of bourgeois art.
==========
Architecture and Utopia (Tafuri)
- Note on Page 6 | Loc. 92 | Added on Saturday, February 27, 2016, 05:13 PM
From the time the capitalist system first needed to represent its own anguish—in
order to continue to func- Reason's Adventures 1 tion, reassuring itself with that
"virile objectivity" discussed by Max Weber—ideology was able to bridge the gap
between the exigencies of the bourgeois ethic and the universe of Necessity.
==========
Architecture and Utopia (Tafuri)
- Note on Page 7 | Loc. 102 | Added on Saturday, February 27, 2016, 05:14 PM
culture and its own function as mediator. regulte forms of dissension. moe formal
morehidden social structures
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 8 | Loc. 108-11 | Added on Saturday, February 27, 2016, 05:25
PM
Attacking the subject of architectural ideology from this point of view means
trying to explain why the apparently most functional proposals for the
reorganization of this sector of capitalist development have had to suffer the most
humiliating frustrations—why they can be presented even today as purely objective
proposals devoid of any class connotation, or as mere "alternatives," or even as
points of direct clash between intellectuals and capital.
==========
Architecture and Utopia (Tafuri)
- Note on Page 8 | Loc. 111 | Added on Saturday, February 27, 2016, 05:25 PM
atacking he subject of architectural ieology why even mot functional proposals fail
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 8 | Loc. 112-16 | Added on Saturday, February 27, 2016, 05:28
PM
original purity of the act of designing the environment, and at the same time it
shows an understanding of the preeminently antiorganic quality of the city. But
==========
Architecture and Utopia (Tafuri)
- Note on Page 10 | Loc. 148 | Added on Saturday, February 27, 2016, 05:31 PM
To what extent Laugier's ideas on the city could have influenced Cozens' theory of
landscape painting, or Robert Castell's considerations in The Villas of the
Ancients, is not known. What is certain is that the urban invention of the French
abbe and the theories of the English painter have in common a basic method,
in which the tool for a critical intervention in "natural" reality is selection.2
==========
Architecture and Utopia (Tafuri)
- Note on Page 10 | Loc. 153 | Added on Saturday, February 27, 2016, 05:32 PM
Laugier's words are a penetrating summary of the formal reality of the eighteenth-
century city. No longer archetypal schemes of order, but instead the acceptance of
the antiperspective character of the urban space. And even his reference to the
park has new significance: in its variety, the nature that is now called upon to
form part of the urban structure does away with that comforting rhetorical and
didactic naturalism that had dominated the episodic continuity of Baroque
layouts from the seventeenth to the mid-eighteenth century. Thus Laugier's call to
naturalism
==========
Architecture and Utopia (Tafuri)
- Note on Page 9 | Loc. 135 | Added on Saturday, February 27, 2016, 05:34 PM
other nturalism
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 12 | Loc. 184-85 | Added on Saturday, February 27, 2016, 05:35
PM
What, on the ideological plane, does reducing the city to a natural phenomenon
signify?
==========
Architecture and Utopia (Tafuri)
- Note on Page 13 | Loc. 185 | Added on Saturday, February 27, 2016, 05:35 PM
On the other hand, this naturalism has a function of its own, which is that of
assuring to artistic activity an ideological role in the strictest sense of the
term. And here it is significant that, in exactly the moment when bourgeois economy
began to discover and invent its own categories of action and judgment, giving
to "values" contents directly commeasurable with the dictates of new methods of
production and exchange, the crisis of the old system of values was
immediately hidden by recourse to new sublimations, rendered artificially objective
by means of the call to the universality of Nature.
==========
Architecture and Utopia (Tafuri)
- Note on Page 13 | Loc. 194 | Added on Saturday, February 27, 2016, 06:19 PM
univ of nature
==========
Architecture and Utopia (Tafuri)
- Note on Page 13 | Loc. 194 | Added on Saturday, February 27, 2016, 06:19 PM
corbu text
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 14 | Loc. 203-9 | Added on Saturday, February 27, 2016, 06:22
PM
Urban naturalism, the insertion of the picturesque into the city and into
architecture, as the increased importance given to landscape in artistic ideology
all tended to negate ^the now obvious dichotomy between urban reality and the
reality of the countryside. They served to prove that there was no disparity
between the value acredited to nature and the value acredited to the city as a
productive mechanism of new forms of economic accumulation. The rhetorical and
Arcadian naturalism of the seventeenth century was now replaced by a widely
persuasive naturalism. It is, however, important to underline that the deliberate
abstraction of Enlightenment theories of the city served only at first to destroy
Baroque schemes of city planning and development.
==========
Architecture and Utopia (Tafuri)
- Note on Page 14 | Loc. 209 | Added on Saturday, February 27, 2016, 06:22 PM
At a later date, it served to 8 Reason's Adventures 1 John Gwynn, plate from London
and Westminster Improved, 1776. discourage, rather than condition, the formation of
global models of development. It is therefore not surprising that such a gigantic
and avant-garde operation as the reconstruction of Lisbon after the earthquake
of 1755 was carried out, under the guidance of the Marquis di Pombal, in a
completely empirical spirit, devoid of theoretical abstractions.6
==========
Architecture and Utopia (Tafuri)
- Note on Page 14 | Loc. 214 | Added on Saturday, February 27, 2016, 06:23 PM
piranessi radical
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 19 | Loc. 280-82 | Added on Saturday, February 27, 2016, 06:35
PM
Piranesi's critical interpretation of the Campo Marzio was not without a prophetic
quality. In this work the most advanced point of Enlightenment architecture seems
precisely and emphatically to warn of the imminent danger of losing altogether the
organic quality of form. It was now the ideal of totality and universality that was
in crisis.
==========
Architecture and Utopia (Tafuri)
- Note on Page 19 | Loc. 282 | Added on Saturday, February 27, 2016, 06:35 PM
Formal invention seems to declare its own primacy, but the obsessive reiteration of
the inventions reduces the whole organism to a sort of gigantic "useless machine."
Rationalism would seem thus to reveal its own irrationality. In the attempt to
absorb all its own contradictions, architectural "reasoning" applies the technique
of shock to its very foundations. Individual architectural fragments push one
against the other, each indifferent to jolts, while as an accumulation they
demonstrate the uselessness of the inventive effort expended on their formal
definition.
==========
Architecture and Utopia (Tafuri)
- Note on Page 20 | Loc. 295 | Added on Saturday, February 27, 2016, 06:37 PM
problem was that of the equilibrium of opposites, which in the city finds its
appointed place: failure to resolve this problem would mean the destruction of
the very concept of architecture.
==========
Architecture and Utopia (Tafuri)
- Note on Page 20 | Loc. 301 | Added on Saturday, February 27, 2016, 06:38 PM
equilibrium of opposites
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 21 | Loc. 320-27 | Added on Saturday, February 27, 2016, 06:41
PM
the destruction of the very concept of space merges with a symbolic allusion to the
new condition being created by a radically changing society. (Piranesi's "Romanity"
is always matched by an awareness and concern that is European.) In these etchings
the space of the building—the prison—is an infinite space. What has been destroyed
is the center of that space, signifying the correspondence between the collapse of
ancient values, of the ancient order, and the "totality" of the disorder. Reason,
the author of this destruction—a destruction felt by Piranesi to be fatal—is
transformed into irrationality. But the prison, precisely because infinite,
coincides with the space of human existence. This is very clearly indicated by the
hermetic scenes Piranesi designs within the mesh of lines of his "impossible"
compositions. Thus what we see in the Car-ceri is only the new existential
condition of human collectivity, liberated and condemned at the same time i by its
own reason.
==========
Architecture and Utopia (Tafuri)
- Note on Page 22 | Loc. 327 | Added on Saturday, February 27, 2016, 06:41 PM
The plan of the city should be distributed in such a way 11 F. Milizia, Principi di
architettura civile, 3rd ed., Bassano 1813, vol. II, pp. 26—27. This passage, as
indeed Milizia's whole treatise, is a plagarism: he merely paraphrases Laugier's
ideas. But his text is of interest a6 testimony of the diffusion of the theory of
the "naturalistic city" in the course of the eighteenth century. 20 Reason's
Adventures that the magnificence of the whole is subdivided in an infinity of
individual beauties, all so different one from the other that the same object is
never encountered twice, and moving from one end to the other one finds in each
quarter something new, unique, and surprising. Order must reign, but in a kind of
confusion and from a multitude of regular parts the whole must give a certain idea
of irregularity and chaos, which is so fitting to great cities.12
==========
Architecture and Utopia (Tafuri)
- Note on Page 24 | Loc. 362 | Added on Saturday, February 27, 2016, 06:46 PM
radiating city
==========
Architecture and Utopia (Tafuri)
- Note on Page 26 | Loc. 390 | Added on Saturday, February 27, 2016, 07:51 PM
The two roads of modern art and architecture are here already delineated. It is, in
fact., the inherent opposition within all modern art: those who search into the
very bowels of reality in order to know and assimilate its values and wretchedness;
and those who desire to go beyond reality, who want to construct ex novo new
realities, new values, and new public symbols. What divides the Napoleonic
Commission from An-tolini is the same difference that separates Monet from Cezanne,
Munch from Braque, Raoul Hausmann from Mondrian, Haring from Mies, or Rauschenberg
from Vasarely.
==========
Architecture and Utopia (Tafuri)
- Note on Page 26 | Loc. 395 | Added on Saturday, February 27, 2016, 07:53 PM
With him came into being "radical America, or rather the ambiguous conscience of
American intellectuals, who acknowledge the foundations of the democratic system
while opposing its concrete manifestations.
==========
Architecture and Utopia (Tafuri)
- Note on Page 28 | Loc. 421 | Added on Saturday, February 27, 2016, 07:56 PM
Seen in this light Jefferson's democracy was again a man, "II presidente Jefferson
e il palladianismo americano, Bollettino del cen-tro studi A. Palladio, VI, 1964,
part II, pp. 39—48. For a complete bibliography up to 1959 see W. B. O'Neal, A
Checklist of Writings on Thomas Jefferson as an Architect, American Association of
Architectural Biographers, 1959. utopia, but no longer of the vanguard; rather, it
was a utopia of the rear guard. (In passing we may note the ideological affinity
between Jefferson and Frank Lloyd Wright, discussed by such critics as Fitch
and Scully.)17
==========
Architecture and Utopia (Tafuri)
- Note on Page 28 | Loc. 427 | Added on Saturday, February 27, 2016, 07:57 PM
geomtric antisymbolic
==========
Architecture and Utopia (Tafuri)
- Note on Page 31 | Loc. 462 | Added on Saturday, February 27, 2016, 08:00 PM
network of orthogonal and radial roads (of the urban forest—i.e., of nature
made into an object of civic use)
==========
Architecture and Utopia (Tafuri)
- Note on Page 33 | Loc. 494 | Added on Saturday, February 27, 2016, 08:04 PM
The city of Washington gives form to the immobility and conventionality of those
principles, there represented as ahistoric. New York, Chicago, and Detroit are left
to be the protagonists of development. (And this is true even if Burnham and the
City Beautiful planners tried to interpret the new dimension of those cities in
terms of a formal quality. What Burnham and the others were actually doing was
anticipating, at a very abstract and ingenuous suprastructural level, the need for
unitary control over development.)
==========
Architecture and Utopia (Tafuri)
- Note on Page 35 | Loc. 533 | Added on Saturday, February 27, 2016, 08:09 PM
The classicism that informs them is complete, not mediated or compromised as in the
academic architecture of Europe in the period between 1920 and 1940. Without
inhibitions these designs demonstrate that, for the ideal of the Union, history has
come to a standstill. In their enormous scale these works simply do not attempt to
relate to the individual. The only thing of interest here is the public, social,
world dimension. Reason become democracy must enunciate to the world the abstract
principles of the pax Americana.
==========
Architecture and Utopia (Tafuri)
- Note on Page 36 | Loc. 545 | Added on Saturday, February 27, 2016, 08:10 PM
Values, stability, and form are thus presented as objects that are unreal but have
nonetheless taken material form. They are symbols of the American longing
for something other than itself, terms of reference for a society continually
terrified by the processes it has itself set in motion and indeed considers
irreversible. Classicism, as an ideal of uncontaminated Reason, is thus consciously
presented in all its regressive character. This
==========
Architecture and Utopia (Tafuri)
- Note on Page 37 | Loc. 554 | Added on Saturday, February 27, 2016, 08:11 PM
Thus urban planning and architecture are finally separated. The geometric character
of the plan of Washington, as earlier that of Philadelphia and later that of New
York, does not seek an architectural correspondence in the forms of the single
buildings. Unlike what happens in Saint Petersburg or Berlin, architecture is free
to explore the most diverse expressions. The urban system assumes only the task of
stating the degree to which figurative liberty may be exploited or, better, of
guaranteeing, with its own formal rigidity, a stable reference of dimension.
==========
Architecture and Utopia (Tafuri)
- Note on Page 38 | Loc. 583 | Added on Saturday, February 27, 2016, 08:14 PM
architecture has laid bare is the crisis of the traditional concept of form, a
crisis which arose precisely through the growing awareness of the city as an
autonomous field of architectural intervention. (Our historical excursus into
the development of Washington has provided a perfect illustration of this
situation.)
==========
Architecture and Utopia (Tafuri)
- Note on Page 40 | Loc. 614 | Added on Sunday, February 28, 2016, 12:40 AM
eclecticism and plurality of expression was the proper answer to the multiple
disintegrative stimuli induced by the new physical environment configured by
technology's "universe of precision.
==========
Architecture and Utopia (Tafuri)
- Note on Page 41 | Loc. 625 | Added on Sunday, February 28, 2016, 01:28 AM
universe of pecision
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 41 | Loc. 625-29 | Added on Sunday, February 28, 2016, 01:30
AM
The fact that architecture could respond to that "universe of precision" with
nothing more than an "approximation" is not surprising. It was in reality the urban
structure, precisely in its registration of the conflicts created by that victory
of technological progress, that had radically changed. The city had become an open
structure, within which it was utopian to seek points of equilibrium. But
architecture, at least as traditionally conceived, is a stable structure, which
gives form to permanent values and consolidates urban morphology.
==========
Architecture and Utopia (Tafuri)
- Note on Page 41 | Loc. 629 | Added on Sunday, February 28, 2016, 01:30 AM
Those wishing to give up this traditional conception and bind architecture instead
to the destiny of the city, had only to regard the city as the specific place
of technological production—and the city itself as a technological product—thus
reducing architecture to a mere link in the production chain. Piranesi's prophecy
of the bourgeois city as an "absurd machine" was, in a certain way, actually
realized in the metropolises organized in the nineteenth century as primary
structures of the capitalist economy.
==========
Architecture and Utopia (Tafuri)
- Note on Page 42 | Loc. 633 | Added on Sunday, February 28, 2016, 01:38 AM
For all that has been said, it will be seen that this problem is intrinsic to the
formation of the urban ideology. And in the abstract, it is familiar to all
the figurative arts of the nineteenth century, since the very origin of romantic
eclecticism was the redemption of ambiguity as a critical value in itself: exactly
that ambiguity pushed to the extreme by Piranesi.
==========
Architecture and Utopia (Tafuri)
- Note on Page 42 | Loc. 640 | Added on Sunday, February 28, 2016, 01:53 AM
Being directly related to the reality of production, architecture was not only the
first to accept, with complete lucidity, the consequences of its own
commercialization, but was even able to put this acceptance into effect before the
mechanisms and theories of political economy had furnished the instruments for such
a task. Starting from its own specific problems, modern architecture as a whole had
the means to create an ideological situation ready to fully integrate design, at
all levels, with the reorganization of production, distribution, and consumption in
the new capitalist city.
==========
Architecture and Utopia (Tafuri)
- Note on Page 45 | Loc. 685 | Added on Sunday, February 28, 2016, 02:32 AM
Analyzing the course of the modern movement as an ideological instrument from the
second half of the nineteenth century up to 1931, the date in which the crisis was
felt in all sectors and at all levels, means tracing a history divided into three
successive phases: (a) a first, which witnesses the formation of urban ideology
as an overcoming of late romantic mythology; (b) a second, which sees the task
of the artistic avant-garde develop as the creation of ideological projects and the
individualization of 1'unsatisfied needs, which are then consigned for concrete
resolution to architecture (painting, poetry, music, and sculpture being able to
realize this objective on but a purely ideal level); (c) a third, in which
architectural ideology becomes ideology of the plan. This phase is in turn put in
crisis and supplanted when, after the crisis of 1929, with the 48 Form as
Regressive Utopia elaboration of the anticyclical theories and the international
reorganization of capital, and after the launching in Russia of the First Five-Year
Plan, architecture's ideological function seems to be rendered superfluous, or
limited to rear-guard tasks of marginal importance.
==========
Architecture and Utopia (Tafuri)
- Note on Page 46 | Loc. 696 | Added on Sunday, February 28, 2016, 02:34 AM
The unproductiveness of intellectual work was the crime that weighed upon the
conscience of the cultural world of the nineteenth century, and which
advanced ideologies had to overcome. To turn ideology into utopia thus became
imperative. In order to survive, ideology had to negate itself as such, break its
own crystallized forms, and throw itself entirely into the "construction of the
future." This revision of ideology was thus a project for establishing the dominion
of a realized ideology over the forms of development.
==========
Architecture and Utopia (Tafuri)
- Note on Page 47 | Loc. 712 | Added on Sunday, February 28, 2016, 02:47 AM
This is why Mannheim was obliged to offer a rather mystified version of the
functioning and reality of utopia.26 Ideologists, for Mannheim, are nothing other
than a "class of cultured persons" who act as freischwebende Intellektuelle, as
thinkers who provide but justification. Their job is solely the consolidation of
existing reality.27
==========
Architecture and Utopia (Tafuri)
- Note on Page 49 | Loc. 741 | Added on Sunday, February 28, 2016, 02:52 AM
single thing receives its significance only from some other thing that is ahead of
it or above it, from a utopia of the future or from a norm that exists above
being. "Conservative thought," on the other hand, "deduced the significance of the
particular from something that stands behind it, from the past or from that
which already exists at least in embryonic form.
==========
Architecture and Utopia (Tafuri)
- Note on Page 50 | Loc. 761 | Added on Sunday, February 28, 2016, 02:53 AM
progr and cons thought
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 50 | Loc. 761-64 | Added on Sunday, February 28, 2016, 02:53
AM
Utopia is therefore nothing other than "a structural vision of the totality that is
and is becoming,"29 the transcendence of the pure "datum, a system of orientation
intent upon "breaking the relationships of the existing order" in order to recover
them at a higher and different level.30
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- Note on Page 50 | Loc. 763 | Added on Sunday, February 28, 2016, 02:53 AM
utopi becoming
==========
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- Highlight on Page 52 | Loc. 787-97 | Added on Sunday, February 28, 2016, 03:05
AM
This was also the main objective of the historical avant-garde movements. The
specific aim of Futurism and Dada was just such a desacralization of
values, considered to be the new, unique value.
==========
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- Note on Page 53 | Loc. 799 | Added on Sunday, February 28, 2016, 03:05 AM
desacralization of values
==========
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- Highlight on Page 53 | Loc. 799-817 | Added on Sunday, February 28, 2016, 03:06
AM
32 M. Cacciari, "Sulla genesi del pensiero negativo, Contropiano, 1969, no. 1, pp.
186—187 Extremely important is the connection Cacciari has established beyond doubt
between Nietzsche's criticism of values and Weber's use of that negation. Cacciari
writes: "The criticism, implicit and explicit, in all of Nietzsche, of the idea of
Vergeistigung is intended precisely to underline the separation of the Geist from
the general process of rationalization; or, better, to emphasize how that
Vergeistigung is to be understood as useful to the material life, to the
preservation in the process, of the capitalist system. That Geist is no longer
Kultur, extraneous or even contrary to the process of the system but the
rationalization of the system, of its all-embracing existence" {op. cit. p. 182).
Nietzsche's happy science consists in just this: in recognizing itself as
an active, effective principle of an existence accepted in the entirety of its
contradictions. Nietzsche's disenchantment is therefore the predecessor of
Weber's acceptance of "destiny." For both Nietzsche and Weber "to emancipate
the ideology of the system from the problematic question of 'values' is to find
the true scientific mentality, also and precisely when they see that it is this
system which is liberated from values and which insists on imposing itself.
Therefore ideology is true only in the measure in which it is coherent with and
structurally functional to this material process, and in the measure in which it
criticizes and opposes anything putting this process in doubt or crisis" {op. cit.,
p. 183).
==========
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- Note on Page 54 | Loc. 817 | Added on Sunday, February 28, 2016, 03:06 AM
The "Dadaist revolution, much more than that of the Surrealists, lies precisely in
the courage to explode the contradiction which belongs to the system by placing
itself before it as reality. Liberation from value in this sense signifies
establishing the premises for action in that reality, in that field of
indeterminant, fluid, and ambiguous forces. For this reason all interpretations
of Dadaism or Futurism as hermetic self-recognitions of the irrational, or as cupio
dissolvi in it, must be considered completely erroneous. For the avant-
garde movements the destruction of values offered a wholly new type of rationality,
which was capable of coming face to face with the negative, in order to make
the negative itself the release valve of an unlimited potential for development.
The cynicism of the avant-garde—at least where it is explicit—is nothing but
the "disposition" to this ideology of development, of the revolution of individual
and collective behavior, of the complete dominion over existence.
==========
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- Note on Page 54 | Loc. 827 | Added on Sunday, February 28, 2016, 03:08 AM
What Walter Benjamin calls the "end of the aura" expresses this exactly: the
integration of the subjective moment with the complex mechanism of rationalization,
but at the same time the identification of an "ethic .of rationalization"
completely directed upon itself.
==========
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- Note on Page 55 | Loc. 829 | Added on Sunday, February 28, 2016, 03:08 AM
end of aura
==========
Architecture and Utopia (Tafuri)
- Note on Page 56 | Loc. 854 | Added on Sunday, February 28, 2016, 03:10 AM
Development's dynamic and dialectic character having been revealed, a plan was
required against the constant danger of internal deflagration. It is in this way
that, demolishing the old orders and stressing reality as the "realm of absurdity,"
the avant-garde threw itself into ideological anticipations, into partial utopias
of the plan.
==========
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- Note on Page 56 | Loc. 859 | Added on Sunday, February 28, 2016, 03:11 AM
By now ideology is given once and for all in the form of a dialectic that is
founded on the negative, that makes the contradiction the propelling factor of
development, that recognizes the reality of the system starting from the presence
of the contradiction. Such a dialectic no longer need return continually to
ideology. Not constituting an abstract scheme of behavior, but, rather, defining at
one and the same time the real bases of the interrelationships of capitalist
production and a strategy of planning, this ideology does away with any utopian
model and any possibility of the development of ideology itself. In other words,
any reelaboration of ideology carried out in an institutional system of values is
but pure and simple repetition. Ideology can only pass again through the same
stages already passed, continually finding the highest form of itself in the form
of the mediation of the contradiction.
==========
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- Note on Page 57 | Loc. 865 | Added on Sunday, February 28, 2016, 03:12 AM
No longer Hegel but Keynes, not the ineffectual ideology of plans but the plan in
the concreteness of its development, not the ideology of the New Deal but post-
Keynesian economy. Ideology, become concrete and stripped of any trace of
utopianism, now descends directly into individual fields of endeavor; which is
the same as saying that it is suppressed. All the bourgeois talk about the "crisis
of ideology" hides precisely this reality. The lament over the crisis is only an
indication of an unhealthy nostalgia for the tradition based on Kultur's
ineffectuality.
==========
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- Note on Page 58 | Loc. 878 | Added on Sunday, February 28, 2016, 03:14 AM
The plan tends, on one hand, to be identified with the institution that supports
it, and on the other, to be set forth as a specific institution in itself. The
dominion of capital is thus realized strictly in terms of the logic of its own
mechanisms, without any extrinsic justifications, 36 Typical examples of this are
the theories of Abendroth and Dahrendorf on the necessary integration of
competition into the factory and into society. See R. Dahrendorf, Soziale Klassen
und Klassenkonflikt in der industriellen Gessellschaft, Stuttgart 1957; and W.
Abendroth, Antagonistische Gesellshaft und politische Demokratie, Neuweid-Berlin
1967. Ideology and Utopia 61 absolutely independent of any abstract "ethical" end,
of any teleology, or any "obligation to be.
==========
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- Note on Page 58 | Loc. 885 | Added on Sunday, February 28, 2016, 03:14 AM
There did exist, however, a common element relating the intellectual anticipations
of the first decades of the twentieth century to one another. What the theories
of Weber, Max Scheler, or Mannheim sanctioned as a "necessary" shift of method in
the structure of intellectual work, what Keynes and later Schumpeter lead back to
the terms of an economic plan which presupposes a highly articulated functioning of
capital in its totality, and what the ideologies of the avant-garde introduced as a
proposal for social behavior, was the transformation of traditional ideology into
utopia, as a prefiguration of an abstract final moment of development coincident
with a global rationalization, with a positive realization of the dialectic.
==========
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- Note on Page 59 | Loc. 890 | Added on Sunday, February 28, 2016, 04:24 PM
a dynamic model once capital has resolved the problem of creating new institutions
capable of making its own internal contradictions function as the propelling
factors of development. Now the economic models are devised starting from the
crisis and not abstractly, against it. And
==========
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- Note on Page 59 | Loc. 893 | Added on Sunday, February 28, 2016, 04:25 PM
when idelogy becomes regessive and separates definetly from utopia utopia start its
own exenction
==========
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- Highlight on Page 60 | Loc. 906-10 | Added on Sunday, February 28, 2016, 04:39
PM
From the point of view of our particular analysis, however, it must be emphasized
that, precisely in that crushing criticism, the work of the intellectuals seems to
have been directed to devising hypotheses intended for the most part to redimension
cultural work itself. The real problem was one of taking sides on the ques-
Ideology and Utopia 63 tion of whether or not intellectual work should be political
The avant-garde now presumed to set itself at the head of "social redemption."
==========
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- Note on Page 60 | Loc. 910 | Added on Sunday, February 28, 2016, 04:39 PM
We are here faced with two tendencies, following two different and complementary
directions, that were tojbe perpetuated up to our own day: ly The self-recognition
of intellectual work as essen- 39 H.M. Enzensberger, "Gemeinplatze,
di iteratur betreffend, Kursbuch, 15, Frankfurt 1968. Ideology and Utopia 65
tially work pure and simple, and therefore not something able to serve a
revolutionary movement. The autonomy of such work is recognized explicitly as
relative, only the political or economic patron being able to give a sense to the
efforts of the intellectual disciplines. 2 An intellectual work that negates itself
as such, claiming a position of pure ideology, and that itself wants to substitute
the political organization, or to honor or criticize it from within. Its objective,
however, is always to get out of productive work and stand before it as its
critical conscience.40
==========
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- Note on Page 62 | Loc. 944 | Added on Sunday, February 28, 2016, 05:05 PM
These two movements have but one ultimate significance. The inteUectual avant-garde
had to occupy an area from which until now it had attentively kept its distance:
that of work. It being no longer possible to maintain the distance from productive
work, which in the past had ensured the sacredness of intellectual research, there
was nothing for the intellectual avant-garde to do but voluntarily take the plunge.
This, however, implied the destruction of its own classic role. Benjamin's "end of
the aura" is not induced only by the general application of new production methods,
but is also the result of a conscious choice.
==========
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- Note on Page 63 | Loc. 951 | Added on Sunday, February 28, 2016, 05:06 PM
The capitalist counterattack assumes for itself and redefines the fundamental
elements of "socialist" strategy. Socialism as accelerated accumulation, industrial
reconstruction, and state intervention in the economic cycle, but above all as a
universal defense of live work The Sozialismus of large German capital, between
1918 and 1921, thus guarantees itself an organic relationship in actual tact with
the political and trade-union organization of the working class. And it
is inevitable that this phase be obdurately swept away when, after any danger of an
autonomous organization at the working-class level has been destroyed, capital can
again assume directly the social management and organization of its own cycle.44
==========
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- Note on Page 65 | Loc. 989 | Added on Sunday, February 28, 2016, 05:10 PM
capita assumes agin social managemnt and organiation of its own cycle
==========
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- Highlight on Page 64 | Loc. 970-74 | Added on Sunday, February 28, 2016, 05:10
PM
The order we will reach will be a system, like the present one, of private economy,
but not a private economy without controls. It will have to be imbued with a
collective will, that same will which today imbues any jointly responsible human
work.42 Thus were laid the foundations of "democratic capitalism, with notable
theoretical consequences in the field of economy and in the organization of the
city. Rathenau, in fact, continued:
==========
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- Note on Page 64 | Loc. 974 | Added on Sunday, February 28, 2016, 05:10 PM
Organization and planning are thus the passwords of both democratic socialism and
democratic capitalism. Rathenau and Naumann are its spokesmen.
==========
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- Note on Page 65 | Loc. 991 | Added on Sunday, February 28, 2016, 05:11 PM
Literature and art as means of recovering Totality and of transfer- 72 Ideology and
Utopia ing it to the new historic subject by election—the working class—were part
of a design that took its place in the rear guard of capitalist development. And
this is true even if that design fulfilled precise duties in that development. What
is of greater interest is the way in which these two choices (or the compromise
mediating them) were realized.
==========
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- Note on Page 68 | Loc. 1032 | Added on Sunday, February 28, 2016, 05:22 PM
Only a humanity that has absorbed and made its own the ideology of work, that does
not persist in considering production and organization something other than itself
or simply instruments, that recognizes itself to be part of a comprehensive plan
and as such fully accepts that it must function as the cogwheels of a global
machine: only this humanity can atone for its "original sin. And this sin is not in
having created a system of means without knowing how to control the "revolt of the
objects" against their inventor, as Lowith and the young Lukacs understood Marxist
alienation. This sin consists instead in man's "diabolical" insistence on remaining
man, in taking his place as an "imperfect machine" in a social universe in which
the only consistent behavior is that of pure silence.47 This was exactly the
ideology that informed the Futurist manifestos, Dadaist mechanicalism, De Stijl
==========
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- Note on Page 69 | Loc. 1056 | Added on Sunday, February 28, 2016, 07:41 PM
"Negative thought" had enunciated its own project for survival in its refutation of
the Hegelian dialectic and a recovery of the contradictions this had eliminated.
"Positive thought" does nothing but overturn that negativeness on itself. The
negative is revealed as such, even in its "ineluctability." Resignation to it
is only a first condition for making possible the perpetuation of the intellectual
disciplines; for making possible the recovery for intellectual work (at the price
of destroying its "aura") of the tradition of its "sacred" extraneousness to the
world; for providing a reason, no matter how minimal, for its survival.
==========
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- Note on Page 71 | Loc. 1081 | Added on Sunday, February 28, 2016, 07:51 PM
critiqe of levistrauss
==========
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- Note on Page 72 | Loc. 1101 | Added on Sunday, February 28, 2016, 07:53 PM
The mass is so intrinsic to Baudelaire that in his writings one looks in vain for a
description of it . Baudelaire does not describe the population or the city. And it
was precisely in avoiding this that he was able to evoke the one in the image of
the other. His crowd is always that of the metropolis; his Paris is always
overpopulated. This is what makes him so superior to Barbier, in whom—the procedure
being description—the masses and the city are independent one from the other. In
the Tableaux parisiens, one can almost always feel the secret presence of a mass.52
The presence, or rather immanence, of the real relationships of production in the
behavior of the "public" who use the city, who are at the same time unconscious of
being used by it, is similar to the presence of an observer such as Baudelaire.
==========
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- Note on Page 75 | Loc. 1141 | Added on Sunday, February 28, 2016, 08:14 PM
The arcades and department stores of Paris, like the great expositions, were
certainly the places in which the crowd, itself become a spectacle, found the
spatial and visual means for a self-education from the point of view of capital.56
But throughout the nineteenth century this recreational-pedagogical experience,
precisely in being concentrated in exceptional architectural types, still
dangerously revealed its restricted scope. The ideology of the public is not, in
fact, an end in itself. It is only a moment of the ideology of the city as a
productive unity in the proper sense of the term and, simultaneously, as an
instrument of coordination of the production-distribution-consumption cycle. This
is why the ideology of consumption, far from constituting an isolated or successive
moment of the organization of production, must be offered to the 55 Ibid. 56
The relation between the rise of the ideology of the public and the program of
the great expositions has been analyzed by A. Abruzzese in the essay "Spet-tacolo e
alienazione/' Contropiano, 1968, no. 2, pp. 379-421. On arcades see the recent and
very well documented volume by J. F. Geist, Passagen, ein Bautyp des 19.
Jahrhunderts, Bastei Verlag, Munich 1969. The Dialectic of the Avant-Garde 83
public as the ideology of the correct use of the city. (It may be appropriate to
recall here how much the problem of behavior influenced the experience of the
European avant-garde, and the symptomatic example of Loos, who in 1903, upon his
return from the United States, published two numbers of Das Andere, dedicated with
a polemical and ironic tone to introducing into bourgeois Vienna the "modern" ways
of the city-dweller.)
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- Note on Page 78 | Loc. 1187 | Added on Sunday, February 28, 2016, 08:18 PM
Free the experience of shock from any automatism; found, on the basis of that
experience, visual codes and codes of action transformed by the already
consolidated characteristics of the capitalist metropolis (rapidity
of transformation, organization and simultaneousness of communications, accelerated
tempo of use, eclecticism); reduce the artistic experience to a pure object
(obvious metaphor for object-merchandise); involve the public, unified in an avowed
interclass and therefore anti-bourgeois ideology: these are the tasks that all
together were assumed by the avant-garde of the twentieth century. And I must
repeat, all together, and without any distinction between Constructivism and the
art of protest. Cubism, Futurism, Dada, all the historical avant-garde movements
arose and succeeded each other according 84 The Dialectic of the Avant-Garde mzp 12
E. R. Graham (of D. Burnham & Co.), Equitable Life Insurance Building, New York,
1913 — 1915. to the typical law of industrial production, the essence of which is
the continual technical revolution. For all the avant-garde movements—and not only
in the field of painting—the law of assemblage was fundamental. And since the
assembled objects belonged to the real world, the picture became a neutral field on
which to project the experience of the shock suffered in the city. f The problem
now was that of teaching that one is not to //suffer,/ that shock, but to absorb it
as an inevitable condition of existence.
==========
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- Note on Page 79 | Loc. 1203 | Added on Sunday, February 28, 2016, 08:21 PM
how to absorb the shock provoked by the metropolis by transforming it into a new
principle of dynamic development;
==========
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- Note on Page 82 | Loc. 1245 | Added on Sunday, February 28, 2016, 08:23 PM
But more importantly, both Piranesi and Picasso, by means of the excess of truth
acquired through their intensely critical formal elaborations, make "universal"
a reality which could otherwise be considered completely particular. The "project"
inherent in the Cubist painting, however, goes beyond the painting itself.
==========
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- Note on Page 83 | Loc. 1269 | Added on Sunday, February 28, 2016, 08:26 PM
The city was the object to which neither Cubist painting, nor the Futurist
"cuffings, nor Dadaist nihilism refer specifically, but which—precisely because
continually presupposed—was the benchmark of the avant-garde movements. Mondrian
was to have the courage to "name" the city as the final object toward which
neoplastic composition tended. But he was to be forced to recognize that, once it
had been translated into urban structures, painting—by now reduced to a pure
model of behavior—would have to die.59
==========
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- Note on Page 85 | Loc. 1289 | Added on Sunday, February 28, 2016, 08:29 PM
city as benchmark for art. at the same time its realization tended to its death
==========
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- Highlight on Page 86 | Loc. 1305-7 | Added on Sunday, February 28, 2016, 08:31
PM
De Stijl and the Bauhaus introduced the ideology of the plan into a design method
that was always closely related to the city as a productive structure. Dada,
by means of the absurd, demonstrated—without naming it—the necessity of a plan.
==========
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- Note on Page 86 | Loc. 1307 | Added on Sunday, February 28, 2016, 08:31 PM
Dada instead plunged into chaos. By representing chaos, it confirmed its reality;
by treating it with irony, it exposed a necessity that had been lacking. This
unprovided necessity was precisely that control of formlessness and chaos that De
Stijl, all the European Constructivist currents, and even the formalist aesthetic
of the nineteenth century—from Sichtbarkeit on—posed as the new frontier of visual
communications. Thus it is not surprising that Dadaist anarchy and De Stijl
order converged and mingled from 1922 on, from the aspect of theory as well as that
of practice, in which the main concern was that of working out the means of a
new synthesis.61
==========
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- Note on Page 87 | Loc. 1325 | Added on Sunday, February 28, 2016, 08:33 PM
But the real place of the improbable is the city. The formlessness and chaos of the
city is therefore to be redeemed by extracting from within it all its
progressive virtues. The necessity of a programed control of the new forces
released by technology was very clearly pointed out by the avant-garde movements,
who immediately after discovered they were not capable of giving concrete form to
this entreaty of Reason. It was at this point that architecture could enter the
scene, absorbing and going beyond all the entreaties of the avant-garde movements.
And architecture alone being in a position to really respond to the needs
indicated by Cubism, Futurism, Dada, De Stijl, and international '96 The Dialectic
of the Avant-Garde Constructivism, these movements were thrown into crisis.
==========
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- Note on Page 88 | Loc. 1348 | Added on Sunday, February 28, 2016, 08:36 PM
how architecture absorbs the avant garde demands of making sense of the city
==========
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- Highlight on Page 89 | Loc. 1351-53 | Added on Sunday, February 28, 2016, 09:01
PM
industral design. ideology was not superimposed but was part of the objects
==========
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- Highlight on Page 89 | Loc. 1354-56 | Added on Sunday, February 28, 2016, 09:03
PM
Despite its realism, however, even industrial design left certain needs
unsatisfied; and in the impetus it gave to the organization of individual
enterprises and the organization of production it contained a margin of utopia. But
this was now a utopia serving the objectives of the reorganization of production.
==========
Architecture and Utopia (Tafuri)
- Note on Page 89 | Loc. 1356 | Added on Sunday, February 28, 2016, 09:03 PM
mation of Le Corbusier's Plan Voisin (1925) and the transformation of the Bauhaus
(1923), contained this contradiction: starting from the particular sector
of building production, architecture discovered that the preestablished objectives
could be reached only by relating that sector to the reorganization of the
city. Thus, just as the necessities singled out by the avant-garde had referred to
the sectors of visual communica-tiQn most directly related to the economic process—
architecture and industrial design—so the planning enunciated by architectural and
urban theories referred to something other than itself. In this case the
something other was a restructuring of production and consumption in general; in
other words, the planned coordination of production. In this sense architecture—
beginning with itself—mediated realism and utopia. The utopia consisted in
obstinately hiding the fact that the ideology of planning could be realized in
building production only by indicating that it is beyond it that the true plan can
take form; rather, that once come within the sphere of the reorganization of
production in general, architecture and urbanism would have to be the objects and
not the subjects of the Plan.
==========
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- Note on Page 91 | Loc. 1381 | Added on Sunday, February 28, 2016, 09:04 PM
architecture become the object and not the subject o he plan
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 91 | Loc. 1381-83 | Added on Sunday, February 28, 2016, 09:05
PM
Architecture between 1920 and 1930 was not ready to accept such consequences. What
was clear was its "political" role. Architecture (read: programing and planned
reorganization of building production and of the city as a productive organism)
rather than revolution. Le Corbusier clearly enunciated this alternative.
==========
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- Note on Page 91 | Loc. 1383 | Added on Sunday, February 28, 2016, 09:05 PM
technically. Accepting with lucid objectivity all the conclusions on the "death of
the aura" and on the purely "technical" function of the intellectual
apocalyptically announced by the avant-garde movements, the central European Neue
Sachlichkeit adapted the method of designing to the idealized structure of the
assembly line. The forms and methods of industrial work became part of
the organization of the design and were reflected even in the ways proposed for the
consumption of the object. From the standarized element, to the cell, the single
block, the housing project and finally the city: architecture between the two wars
imposed this assembly line with an exceptional clarity and coherence. Each
"piece" on the line, being completely resolved in itself, tended to disappear or,
better, to formally dissolve in the assemblage.
==========
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- Note on Page 91 | Loc. 1392 | Added on Sunday, February 28, 2016, 09:06 PM
The user, summoned to complete Mies van der Rohe's or Gropius' "open" spaces,
was the central element of this process. Since the new forms were no longer meant
to be absolute values but instead proposals for the organization of collective life
—the integrated architecture of Gropius—architecture summoned the public to
participate in its work of design. Thus through architecture the ideology of the
public took a great step forward.
==========
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- Note on Page 92 | Loc. 1397 | Added on Sunday, February 28, 2016, 09:07 PM
The architecture of the large city depends essentially on the solution given to two
factors: the elementary cell and the urban organism as a whole. The single room
as the constituent element of the habitation will determine the aspect of the
habitation, and since the habitations in turn form blocks, the room will become a
factor of urban configuration, which is .architecture's true goal. Reciprocally,
the planimetric structure of the citv will have a substantial influence on the
design of the habitation and the room.63
==========
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- Note on Page 92 | Loc. 1409 | Added on Sunday, February 28, 2016, 09:39 PM
Thus the large city is, properly speaking, a unity. Reading beyond the author's
intentions we may interpret his assertions to mean that, in its structure, the
entire modern city becomes an enormous "social machine."
==========
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- Note on Page 92 | Loc. 1411 | Added on Sunday, February 28, 2016, 09:39 PM
social machine
==========
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- Highlight on Page 93 | Loc. 1418-22 | Added on Monday, February 29, 2016, 02:26
AM
The cell is not only the prime element of the continuous production line
that concludes with the city, but it is also the element that conditions the
dynamics of the aggregations of building structures. Its standard quality permits
its analysis and its solution in the abstract. The building cell understood in this
sense represents the basic structure of a production program, from which is
excluded any other standard component. The single building is no longer an
"object." It is only the place in which the elementary assemblage of single cells
assumes physical form. Since
==========
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- Note on Page 93 | Loc. 1422 | Added on Monday, February 29, 2016, 02:26 AM
architect as producer of objects had indeed become an inadequate figure. It was now
no longer a question of giving form to single elements of the city, nor even to
simple prototypes. The real unity of the production cycle having been identified in
the city, the only suitable role for the architect was as organizer of that cycle.
Carrying the proposition to the extreme, the activity of deviser of models of
organization, on which Hilberseimer insisted, was the only one completely
reflecting both the necessity of Taylorizing building production and the new
role of technician that had become so much a part of this necessity.
==========
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- Note on Page 95 | Loc. 1456 | Added on Monday, February 29, 2016, 02:41 PM
With this outlook Hilberseimer could avoid involving himself in the "crisis of the
object," noted with disquiet by architects such as Loos or Taut. For Hilberseimer,
the "object" did not enter into crisis: it had already disappeared from the
panorama of his considerations, and the only situation there demanding
his attention was that dictated by the laws of organization. The real value of
Hilberseimer's contribution has been seen, correctly, to lie precisely in this.
==========
Architecture and Utopia (Tafuri)
- Note on Page 96 | Loc. 1460 | Added on Monday, February 29, 2016, 02:42 PM
The Hofe in Vienna and the public buildings of Poelzig or Mendelsohn were certainly
extraneous to the new methods of urban intervention of the avant-garde "Radical"
Architecture and the City 109 movements. They indeed rejected the new horizons
discovered by an art that had accepted its own "technical reproducibility" as a
means of influencing human behavior. Nevertheless, they seem to assume a
critical value, and precisely in regard to the development of the modern industrial
city. Works such as Poelzig's Grosses Schauspielhaus in Berlin, the Chile house and
other works in Hamburg by Fritz Hoger, and the buildings in Berlin by Hans
Hertlin and Ernst and Gunther Paulus certainly did not construct a new urban
reality. But, resorting to formal exasperations rife with pathos, they commented
the contradictions of the operative reality.
==========
Architecture and Utopia (Tafuri)
- Note on Page 97 | Loc. 1487 | Added on Monday, February 29, 2016, 02:45 PM
In the specific field of architecture the crisis exploded in 1930 in the Berlin
Siemensstadt. It is incredible that contemporary historical study has not yet
recognized della Repubblica di Weimar/' Controspazio, 1970, no. 4/5, pp. 8-15;
L'abitazione razionale. Atti dei Congressi Cl AM, 1929-1930, edited by C. Aymonino,
Marsilio, Padua 1971; M. Tafuri, "Sozialdemokratie und Stadt in der Weimarer
Republik (1923-1933)," Werk, 1974, no. 3, pp. 308-319. idem, Austromarxismo e
citta: 'Das rote Wein'," Contropxano, 1971, no. 2, pp. 259-311. On the outcome of
the German experience see the essay by M. De Michelis, "L'organizzazione della
citta industrial nel Primo Piano Quinquen-nale," in the volume by various authors,
Socialismo, cittd, architettura, cit. 116 "Radical" Architecture and the City this
famous settlement, planned by Scharoun, as the work in which one of the most
serious ruptures within the "modern movement" became evident.
==========
Architecture and Utopia (Tafuri)
- Note on Page 103 | Loc. 1569 | Added on Monday, February 29, 2016, 04:25 PM
berlin siemenstadt
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 103 | Loc. 1572-76 | Added on Monday, February 29, 2016, 04:26
PM
Gropius and Bartning remained faithful to the concept of the housing project as an
assembly line, but contrasting with this were Scharoun's allusive irony and
Haring's emphatic organic expression. If the ideology of the Siedlung consummated,
to use Benjamin's phrase, the destruction of the "aura" traditionally connected
with the "piece" of architecture, Scharoun's and Haring's "objects" tended instead
to recover an "aura, even if it was one conditioned by new production methods and
new formal structures.
==========
Architecture and Utopia (Tafuri)
- Note on Page 103 | Loc. 1575 | Added on Monday, February 29, 2016, 04:26 PM
antiurban utopias
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 106 | Loc. 1624-25 | Added on Monday, February 29, 2016, 04:30
PM
strong nostalgia for Ton-nies' "organic community," for a religious sect adverse to
external organizations, for a communion of subjects who do not know the anguish of
metropolitan alienation.
==========
Architecture and Utopia (Tafuri)
- Note on Page 106 | Loc. 1625 | Added on Monday, February 29, 2016, 04:30 PM
on wright
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 108 | Loc. 1653-57 | Added on Monday, February 29, 2016, 04:31
PM
on rpassocofamerica
==========
Architecture and Utopia (Tafuri)
- Note on Page 109 | Loc. 1670 | Added on Monday, February 29, 2016, 04:33 PM
Absorb that multiplicity, reconcile the improbable through the certainty of the
plan, offset organic and disorganic qualities by accentuating their
interrelationship, demonstrate that the maximum level of programing of productivity
coincides with the maximum level of the productivity of the spirit: these are the
objectives delineated by Le Corbusier with a lucidity that has no comparison in
progressive European culture.
==========
Architecture and Utopia (Tafuri)
- Note on Page 110 | Loc. 1674 | Added on Monday, February 29, 2016, 06:24 PM
crbu objectives
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 110 | Loc. 1674-77 | Added on Monday, February 29, 2016, 06:26
PM
arcitect as organizer
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 110 | Loc. 1682-83 | Added on Monday, February 29, 2016, 06:27
PM
e maximum articulation of form is the means of rendering the public an active and
participant consumer of the architectural product.
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 110 | Loc. 1679-82 | Added on Monday, February 29, 2016, 06:27
PM
ciam. mediating
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 110 | Loc. 1683-86 | Added on Monday, February 29, 2016, 06:28
PM
More precisely, form assumes the task of rendering authentic and natural the
unnatural universe of technological precision. And since that universe tends
to subjugate nature totally in a continual process of transformation, for Le
Corbusier it is the whole anthropo-geographic landscape that becomes the subject
on which the reorganization of the cycle of building production must insist.74
==========
Architecture and Utopia (Tafuri)
- Note on Page 110 | Loc. 1685 | Added on Monday, February 29, 2016, 06:28 PM
corbu painting
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 112 | Loc. 1709-15 | Added on Monday, February 29, 2016, 08:52
PM
biblio on corbu
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Architecture and Utopia (Tafuri)
- Highlight on Page 112 | Loc. 1716-23 | Added on Monday, February 29, 2016, 08:54
PM
Obus plan does not require merely a new land statute that by overcoming the
anarchic paleocapitalist accumulation of terrain makes all the city soil
available for a total and organic reorganization, becoming thus an urban system in
the proper sense of the term.76 In this case the complete availability of the
terrain is not enough. The fact is that the industrial object does not presuppose
any single given location in the space of the city. Serial production here
basically implies a radical overcoming of any spatial hierarchy. The
technological universe is impervious to the here and the there. Rather, the natural
place for its operations is the entire human environment—a pure topological field,
as Cubism, Futurism, and Elementarism well understood. Thus in the reorganization
of the city it is the entire three-dimensional space that must become available.
==========
Architecture and Utopia (Tafuri)
- Note on Page 113 | Loc. 1723 | Added on Monday, February 29, 2016, 08:54 PM
the curvilinear buildings—in the same free forms as the interior of Villa Savoye or
the ironic assemblages of the Bestegui attic on the Champs Elysees —are enormous
objects that mimic an abstract and sublimated "dance of contradictions."
==========
Architecture and Utopia (Tafuri)
- Note on Page 114 | Loc. 1738 | Added on Monday, February 29, 2016, 08:55 PM
It is obvious that this conception of the city involves the distinction of two
scales of intervention, two cycles of production and consumption. The restructuring
of the total urban space and landscape necessitates the rationalization of the
overall organization of the city machine. On this scale technological structures
and systems of communication must be such that they can construct a unitary image.
They must so operate that the antinaturalism of the artificial 76 Le Corbusier's
experience at Algiers needs still further study. See, however, the chapter
dedicated to Le Corbusier's city planning in the small volume by G. Piccinato,
L'architettura contemporanea in Francia, Cappelli, Bologna 1965; S. von Moos, Le
Corbusier. Elemente einer Synthese, Verlag Huber, Frauenfeld 1968 (French ed.
Horizons, Paris 1971); and R. Panella, "Architettura e citta in-torno al '30.
Algeri nei progetti di Le Corbusier," in the volume by various authors. Per una
ricerca di progettazione, 3. II ruolo dell'abitazione nella for-mazione e nello
sviluppo della cittd moderna e contemporanea, Istituto Univer-sitaria di
Architettura di Venezia, Venice 1971. 128 The Crisis of Utopia: Le Corbusier at
Algiers terrains laid out at various levels and the exceptional character of the
road network (highways that run up to the last level of the serpentine block
destined for working-class housing) acquire a symbolic value.
==========
Architecture and Utopia (Tafuri)
- Note on Page 114 | Loc. 1735 | Added on Monday, February 29, 2016, 08:57 PM
two trends of corbu urnban cnception. one an image of the city. symbolisation of
roads and terrain
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 114 | Loc. 1738-42 | Added on Monday, February 29, 2016, 08:58
PM
Also on the scale of the urban structure, now finally resolved in an organic whole,
what emerges is the positive quality of the contradictions, the reconciliation of
the irrational and the rational, the "heroic" composition of violent tensions. By
means of the structure of the image, and only by this means, is the reign of
necessity fused with that of liberty. The former is explicated by the rigorously
controlled calculations of the plan; the latter, by the recovery within it of a
higher human consciousness.
==========
Architecture and Utopia (Tafuri)
- Note on Page 114 | Loc. 1741 | Added on Monday, February 29, 2016, 08:58 PM
tw poitive contradictions
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 115 | Loc. 1754-56 | Added on Monday, February 29, 2016, 11:47
PM
On any level that it might be read or used, Le Corbusier's Algiers imposes a total
involvement upon the public. It should be noted, however, that the participation to
which the public is conditioned is a critical, reflective, and intellectual
participation. An "unatten-tive reading" of the urban images would produce an
occult impression.
==========
Architecture and Utopia (Tafuri)
- Note on Page 115 | Loc. 1756 | Added on Monday, February 29, 2016, 11:47 PM
79 On the basis of these considerations one could refute the thesis of Banham, who
from a technological point of view criticizes the masters of the modern movement
for their unprogressive stand in relation to the problem of building types. "In
opting for stabilised types or norms, architects opted for the pauses when the
normal processes of technology were interrupted, those processes of change and
renovation that, as far as we can see, can only be halted by abandoning technology
as we know it today, and bringing both research and mass-production to a stop." (R.
Banham, Theory and Design in the First Machine Age, Architectural Press, London
1960, p. 329). It is perhaps superfluous to note that all the architectural science
fiction that has proliferated from 1960 up to today, emphasizing the value of the
technological processes as "image," is sadly far behind Le Corbusier's Obus plan.
==========
Architecture and Utopia (Tafuri)
- Note on Page 117 | Loc. 1792 | Added on Tuesday, March 01, 2016, 01:44 AM
critique to banham
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 118 | Loc. 1796-99 | Added on Tuesday, March 01, 2016, 01:48
AM
We must now try to answer the obvious question. Why did Le Corbusier's plan for
Algiers, as well as his later plans for European and African cities and even
his lesser proposals, remain a dead letter? We have said that those proposals
constitute, even today, the most advanced and formally elevated hypotheses of
bourgeois culture in the field of architectural design and urbanism. Is this
statement not contradicted by the failures experienced by Le Corbusier?
==========
Architecture and Utopia (Tafuri)
- Note on Page 118 | Loc. 1799 | Added on Tuesday, March 01, 2016, 01:48 AM
To this question there are many possible answers, all valid and complementary. It
should first of all be noted that Le Corbusier worked as an "intellectual" in
the strict sense of the term. He was not, like Taut, May, or Wagner, associated
with the local or state authorities. His hypotheses were derived from a specific
reality (certainly the particular formation of the terrain and the historical
stratification of Algiers are exceptions and the form of the plan that takes
account of them is not repeatable), but his method can most surely be
broadly applied. From the particular to the universal: the exact contrary of the
method followed by the intellectuals of the Weimar Republic. It is also significant
that Le Corbusier worked at Algiers for more than four years The Crisis of Utopia:
Le Corbusier at Algiers 133 without an official appointment or compensation. He
"invented" his commission, made it generally applicable and was disposed to
personally pay for his own active and creative role.
==========
Architecture and Utopia (Tafuri)
- Note on Page 118 | Loc. 1807 | Added on Tuesday, March 01, 2016, 01:51 AM
This gives his models all the characteristics of laboratory experiments, and it is
impossible that a laboratory experiment become directly in itself a reality.
==========
Architecture and Utopia (Tafuri)
- Note on Page 118 | Loc. 1808 | Added on Tuesday, March 01, 2016, 01:51 AM
laboratory of experiments
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 118 | Loc. 1809-11 | Added on Tuesday, March 01, 2016, 01:58
AM
backward structures it was intended to stimulate. Since the aim was that of
a revolutionizing of architecture in accord with the most advanced tasks of an
economic and technological reality still incapable of assuming coherent and organic
form, it is hardly surprising that the realism of Le Corbusier's hypotheses was
regarded as utopian.
==========
Architecture and Utopia (Tafuri)
- Note on Page 119 | Loc. 1811 | Added on Tuesday, March 01, 2016, 01:58 AM
It is significant that almost all the objectives formulated in the economic field
by Keynes' General Theory can be found as pure ideology in modern architecture.
"Free oneself from the fear of the future by fixing the future as the present"
(Negri): the basis of Keynesian interventionism is the same as that of modern art.
And in a precisely political sense it is also at the base of Le Corbusier's
theories of urbanism. Keynes reckons with the "party of catastrophy" and trys
to control its menace by absorbing it at an always new level.81 Le Corbusier takes
account of the reality of class in the modern city and transposes the conflicts to
a higher level, giving life to the most elevated proposal for the integration of
the public, involved as operators and active consumers in the urban mechanism of
development, now rendered organically "human.
==========
Architecture and Utopia (Tafuri)
- Note on Page 120 | Loc. 1828 | Added on Tuesday, March 01, 2016, 03:05 AM
The recovery of the concept of art thus serves this new cover-up role. It is true
that whereas industrial design takes a lead position in technological production
and conditions its quality in view of an increase in consumption, pop art,
reutilizing the residues and castoffs of that production, takes its place in the
rear guard. But this is the exact reflection of the twofold request now made to the
techniques of visual communication. Art which refuses to take its place in the
vanguard of the production cycle, actually demonstrates that the process of
consumption tends to the infinite. Indeed even the rejects, sublimated into useless
or nihilist objects which bear a new value of use, enter into the production-
consumption cycle, if only through the back door.
==========
Architecture and Utopia (Tafuri)
- Note on Page 122 | Loc. 1861 | Added on Tuesday, March 01, 2016, 03:08 AM
This art that deliberately places itself in the rear guard is also indicative of
the refusal to come to terms with the contradictions of the city and resolve
them completely; to transform the city into a totally organized machine without
useless squanderings of an archaic character or generalized dysfunction.
==========
Architecture and Utopia (Tafuri)
- Note on Page 122 | Loc. 1868 | Added on Tuesday, March 01, 2016, 03:09 AM
newurban ideology. type of populism. persuade the publiv of the richnessof the new
momnt
==========
Architecture and Utopia (Tafuri)
- Note on Page 123 | Loc. 1874 | Added on Tuesday, March 01, 2016, 03:11 AM
livre blanc
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 124 | Loc. 1889-1903 | Added on Tuesday, March 01, 2016, 03:13
AM
Beyond its immense possibilities and the unlimited realms it opens to us,
technology bears witness to the flexibility indispensible in a period of
transition: it makes it possible for the conscious artist to operate, no longer on
the formal effects of communication, but on its very terms, on the human
imagination. Contemporary technology indeed permits the imagination to take over:
freed of any normative shackle, of any problem of realization or production, the
creative imagination becomes the same as the planetary conscience. The prospective
aesthetic is the vehicle of man's greatest hope: his collective liberation.
The socialization of art directs the convergence of creative forces and production
to an objective of dynamic synthesis: the technological metamorphosis. It is
through this restructuring that man and reality find their true modern face, that
they become natural, all alienation past.84 The circle closes. Marcusian mythology
is adopted to demonstrate that only by immersion in the present relationships of
production is it possible to achieve the vaguely identified "collective liberty."
It is enough to "socialize art" and place it at the head of technological 84
Emphasis supplied. 140 The Crisis of Utopia: Le Corbusier at Algiers "progress." It
matters little if the whole cycle of modern art shows clearly the utopianism of
such propositions. Thus it is even possible to take up the most ambiguous slogans
of the protest of May '68 in France. "L'imagi-nation au pouvoir" sanctions the
agreement between protest and preservation, between symbolic metaphor and
productive processes, between evasion and real-politik.
==========
Architecture and Utopia (Tafuri)
- Note on Page 125 | Loc. 1902 | Added on Tuesday, March 01, 2016, 03:13 AM
liberation have only to choose. They could consider the nomad villages of the
American hippy communities (here "liberty" and technology are brought together, the
temporary housing making use of Buckminster Fuller structures), or the environment
designs presented at the 14th Triennale in Milan, or the erotic exhibitionism of
Sottsass, Jr., or yet again the interiors and the negative-designs worked up for
the exhibition "Italy: The New Domestic Landscape," organized by The Museum of
Modern Art in New York in 1972.86
==========
Architecture and Utopia (Tafuri)
- Note on Page 126 | Loc. 1919 | Added on Tuesday, March 01, 2016, 03:14 AM
elite
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 126 | Loc. 1925-32 | Added on Tuesday, March 01, 2016, 03:17
AM
The fact that such games, more or less skillful, are given ample space in design is
due to the split existing between the building cycle and those industries producing
"objects. And one might ask if in this explosion of images we are not witnessing
the prelude to a great 86 See the catalogue of the exhibition Italy: The New
Domestic Landscape. Achievements and Problems of Italian Design, edited by Emilio
Ambasz, The Museum of Modern Art, New York 1972. 142 The Crisis of Utopia: Le
Corbusier at Algiers change in the control of production, already indicated by the
new techniques of automation, and that a technological restructuring of building
activity would render inevitable.87
==========
Architecture and Utopia (Tafuri)
- Note on Page 126 | Loc. 1931 | Added on Tuesday, March 01, 2016, 03:17 AM
90 There is nothing more erroneous than the interpretation of Mies van der Rohe in
his late works as contradicting the Mies of the 1920s, or the reading of his late
designs as renunciatory incursions into the unruffled realm of the neoacademic. It
is impossible to understand Mies—perhaps the most "difficult" of the architects of
the "golden generation"—if one separates his radical elemen-tarism (which formed
part of the tragically ascetic atmosphere of the Berlin avant-garde of 1919-1922)
from the experiences of Dadaism. Indeed, I believe that his friendship with Kurt
Schwitters and Hans Richter and his collaboration with magazines such as Friihlicht
and G can explain many things otherwise incomprehensible. On the other hand, it
should be noted that his relationship with the De Stijl group, on which Zevi
insisted (see B. Zevi, Poetica dell'archi-tettura neoplastica, Tamburini, Milan
1959), has been denied by Mies himself in an interview with Peter Blake (see P.
Blake, "A Conversation with Mies," edited by G. M. Kallmann, in Four Great Makers
of Modern Architecture, symposium held at Columbia University, Da Capo Press, New
York 1970, p. 93 ff.). In order to understand the reason for such an affirmation
one must go back to the completely antiutopian culture of the early Mies, as he
expresses it, for example, in his essay "Rundschau zum neuen Jahrgang," Die Form,
1927, no. 2, p. 59. In this sense I reject the interpretation of Mies' late works
in the article by P. Serenyi, "Spinoza, Hegel and Mies: the Meaning of the New
National Gallery in Berlin," Journal of the Society of Architectural Historians,
XXX, 1971, no. 3, p. 240, or that of S. Moholy-Nagy, "Has 'Less is More'
become 'Less is Nothing'?" in Four Great Makers, cit., pp. 118-123. More
objective, even if far from the hypotheses stated here, is the essay by U. Conrads,
"Ich mache ein Bild Ludwig Mies van der Rohe. Baumeister einer
strukturellen Architektur," in Jahrhuch Preussischer Kulturhesitz 1968, Grote,
Cologne-Berlin 1969, vol. VI, pp. 57-74.
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- Note on Page 131 | Loc. 2007 | Added on Tuesday, March 01, 2016, 03:22 AM
mies as dada
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 130 | Loc. 1984-87 | Added on Tuesday, March 01, 2016, 11:47
AM
What the apodictic products of that enfant terrible of modern architecture, Mies
van der Rohe, prophesied has by now become a reality. In their absolutely asemantic
quality the Seagram Building in New York or the Federal Center in Chicago are
objects that "exist by means of their own death," only in this way saving
themselves from certain failure.90
==========
Architecture and Utopia (Tafuri)
- Note on Page 130 | Loc. 1986 | Added on Tuesday, March 01, 2016, 11:47 AM
these languages are systems of communication that come into being from a plan of
development.
==========
Architecture and Utopia (Tafuri)
- Note on Page 133 | Loc. 2031 | Added on Tuesday, March 01, 2016, 11:51 AM
But had not the pure sign, the object devoid of reference to anything but itself,
the absolute autonomy of the linguistic "material," been "discovered" already by
the avant-garde as early as the years before World War I? In essence Malevich's
Gegenstandlose Welt was the same as El Lissitzky's Proun, the senseless phoneme 92
See V. Erlich, Russian Formalism, The Hague 1954, 2nd ed. 1964; G. Della Volpe, "I
conti con i formalisti russi," in Critica dell'ideologia contemporanea, Editori
Riuniti, Rome 1967, pp. 121-137; I. Ambrogio, Formalismo e avanguar-dia in Russia,
Editori Riuniti, Rome 1968. On the specific relations between the artistic avant-
garde movements and Russian formalism, see my essay, "II socialismo realizzato e la
crisi delle avanguardie," in Socialismo, cittd, architet-tura, cit., pp. 43-87 152
Architecture and Its Double: Semiology and Formalism of the onomatopoeic verses of
Hugo Ball or Schwitters, and the collages and photomontages of Hausmann.
Van Doesburg's Elementarism or the theses advocated by magazines such as Mecano, G,
or MA were only a lucid codification of what the tormented experience of the avant-
garde had revealed.
==========
Architecture and Utopia (Tafuri)
- Note on Page 135 | Loc. 2061 | Added on Tuesday, March 01, 2016, 11:56 AM
The fact is that the discovery of the possibility of inflecting signs devoid of any
significance, of manipulating arbitrary relationships between linguistic
''materials" in themselves mute or indifferent, did away with any pretense of art
as a "political" expression or protest. The only utopia the art of the avant-garde
was able to proffer was the technological utopia.
==========
Architecture and Utopia (Tafuri)
- Note on Page 135 | Loc. 2063 | Added on Tuesday, March 01, 2016, 11:58 AM
(c) a setting forth, as the only and authentic "norm" of work on the word or the
language carried out by avant-garde art, not only a very high degree of uncertainty
and improbability—and therefore a high quantum of information—but also a constant
alteration of internal relationships. Indeed the avant-garde was dedicated to an
ideology of permanent and programed innovation.
==========
Architecture and Utopia (Tafuri)
- Note on Page 138 | Loc. 2109 | Added on Tuesday, March 01, 2016, 12:13 PM
The complete independence of the sign and its manipulation are at the base not only
of semiology and behavioral analysis, but also of the passage of avant-garde art
into the realms of production and publicity.
==========
Architecture and Utopia (Tafuri)
- Note on Page 138 | Loc. 2112 | Added on Tuesday, March 01, 2016, 12:15 PM
avant garde formalism and architecture as the most connected with production
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 138 | Loc. 2116-19 | Added on Tuesday, March 01, 2016, 01:33
PM
97 The relations between Le Corbusier and Surrealism have been outlined in the
volume by S. von Moos, Le Corbusier. Elemente einer Synthese, cit. The subject
requires, however, a specific and detailed analysis, which I hope to carry out
elsewhere.
==========
Architecture and Utopia (Tafuri)
- Note on Page 139 | Loc. 2119 | Added on Tuesday, March 01, 2016, 01:33 PM
melnikov
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 140 | Loc. 2137-40 | Added on Tuesday, March 01, 2016, 01:47
PM
But, on the other hand, to reduce architecture to an "ambiguous object" within that
total Merz, the con- 100 See H. M. Enzensberger, "L'aporia deiravanguardia/'
Angelus Novus, 1964, no. 2, pp. 97-116, and the essays by F. Fortini, "Due
avanguardie," and G. Scalia, "La nuova avanguardia, o della 'miseria della
poesia'," in the volume by various authors, Avanguardia e neoavanguardia, Sugar,
Milan 1964, p. 95 ff. and p. 22 ff. 160 Architecture and Its Double: Semiology and
Formalism temporary city, signifies accepting completely the marginal and
suprastructural role which the present capitalist use of land assigns to a purely
ideological phenomenon like architecture.
==========
Architecture and Utopia (Tafuri)
- Note on Page 142 | Loc. 2173 | Added on Tuesday, March 01, 2016, 01:51 PM
This phenomenon is easily explained. Through semiology architecture seeks its own
meaning, while tormented by the sense of having lost its meaning altogether. In
this is clearly to be seen a further contradiction. An architecture that has
accepted the reduction of its own elements to pure signs, and the construction of
its own structure as an ensemble of tautological relationships that refer to
themselves in a maximum of "negative entropy"—according to the language of
information theory—cannot turn to reconstructing "other" meanings through the use
of analytic techniques which have their origins in the application of neo-
positivist theories.
==========
Architecture and Utopia (Tafuri)
- Note on Page 143 | Loc. 2179 | Added on Tuesday, March 01, 2016, 01:52 PM
But it is not by pure chance that historically the fate of formalism is always to
end by the work on form being used for advertising.
==========
Architecture and Utopia (Tafuri)
- Note on Page 144 | Loc. 2198 | Added on Tuesday, March 01, 2016, 01:54 PM
ideology of communication
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 147 | Loc. 2241-44 | Added on Tuesday, March 01, 2016, 01:59
PM
With this we are back again to our initial subject. It is not sufficient to create
languages of the plan artificially. It is, however, necessary to immerse the public
in the image of development, in the city as a programed network of communications,
the subject of which is always the "necessity" of the capitalist plan of
integration. (In this regard Richard Meier's analyses are explicit.)104
==========
Architecture and Utopia (Tafuri)
- Note on Page 147 | Loc. 2243 | Added on Tuesday, March 01, 2016, 01:59 PM
not enough to plan but to invoke and advertise the plan to the public
==========
Architecture and Utopia (Tafuri)
- Note on Page 147 | Loc. 2251 | Added on Tuesday, March 01, 2016, 02:00 PM
political-economic forces demonstrate that they are not interested in finding the
ways and means to carry out the tasks indicated by the architectural ideologies of
the modern movement. In other words, the ineffectiveness of ideology is clear.
Urban approximations and the ideologies \>f the plan appear as old idols, to be
sold off to collectors of antique relics.
==========
Architecture and Utopia (Tafuri)
- Note on Page 148 | Loc. 2259 | Added on Saturday, July 30, 2011, 08:13 PM
The difficulty of the struggle for urban legislation, for the reorganization of
building activity, and for urban renewal, has created the illusion that the fight
for planning could in itself constitute an objective of the class struggle.
==========
Architecture and Utopia (Tafuri)
- Note on Page 148 | Loc. 2265 | Added on Saturday, July 30, 2011, 08:18 PM
And the problem is not even that of opposing bad plans with good ones. If, however,
this were done with the cunning of the lamb, so to speak, it could lead to
an understanding of the factors conditioning the structures of the plan that in
each case correspond with the contingent objectives of the working class. This
means that giving up the dream of a "new world" arising from the realization of the
principle of Reason become the Plan involves no "renunciation." The recognition
of the uselessness of outworn instruments is only a first necessary step, bearing
in mind the ever-present risk of intellectuals taking up missions and ideologies
disposed of by capital in the course of their rationalization.105
==========
Architecture and Utopia (Tafuri)
- Note on Page 149 | Loc. 2270 | Added on Saturday, July 30, 2011, 08:21 PM
abandoning the plan is not a bad thing strategically. wehave to think in their
objective conditions not dream of new world
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 149 | Loc. 2271-78 | Added on Saturday, July 30, 2011, 08:22
PM
105 In a seminal essay Mario Tronti has written: "We have before us no longer the
great abstract syntheses of bourgeois thought, but the cult of the most vulgar
empiricism as the practices of capital; no longer the logical system of knowledge,
the scientific principles, but a mass without order of historical facts,
disconnected experiences, great deeds that no one ever conceived. Science and
ideology are again mixed and contradict one another; not, however, in
a systematization of ideas for eternity, but in the daily events of the
class struggle. All the functional apparatus of bourgeois ideology has been
consigned by capital into the hands of the officially recognized working
class movement. Capital no longer manages its own ideology; it has it managed
by the working class movement. This is why we say that today the criticism
of ideology is a task that concerns the working class point of view and that only
in a second instance regards capital" (M. Tronti, "Marx, forza lavoro,
classe operaia, in
==========
Architecture and Utopia (Tafuri)
- Note on Page 149 | Loc. 2278 | Added on Saturday, July 30, 2011, 08:22 PM
Beyond the criticism of ideology there exists the "partisan" analysis of such a
reality, in which it is always necessary to recognize the hidden tendencies, the
real objectives of contradictory strategies, and the interests
connecting apparently independent economic areas. It seems to me that, for an
architectural culture that would accept such a terrain of operations, there exists
a task yet to be initiated. This task lies in putting the working class, as
organized in its parties and unions, face to face with the highest levels achieved
by the dynamics of capitalist development, and relating particular moments to
general designs.
==========
Architecture and Utopia (Tafuri)
- Note on Page 150 | Loc. 2287 | Added on Saturday, July 30, 2011, 08:24 PM
Instead of simply reflecting a 'moment" of development, the plan now takes on the
form of a new political institution.108
==========
Architecture and Utopia (Tafuri)
- Note on Page 151 | Loc. 2310 | Added on Saturday, July 30, 2011, 08:26 PM
decison theory
==========
Architecture and Utopia (Tafuri)
- Highlight on Page 154 | Loc. 2348-50 | Added on Saturday, July 30, 2011, 08:28
PM
For Rittel it is thus the very structure of the plan that generates its systems of
evaluation. All opposition between plan and "value" falls away, precisely
as recognized in Max Bense's lucid theorizing.111
==========
Architecture and Utopia (Tafuri)
- Note on Page 154 | Loc. 2349 | Added on Saturday, July 30, 2011, 08:28 PM
It is even possible that there exist many specific tasks for architecture. What is
of greater interest to us here is to inquire how it is possible that up to now
Marxist-inspired culture has, with a care and insistence that it could better
employ elsewhere, guiltily denied or covered up a simple truth. This truth is, that
just as there cannot exist a class political economy, but only a class criticism of
political economy, so too there cannot be founded a class aesthetic, art, or
architecture, but only a class criticism of the aesthetic, of art, of architecture,
of the city itself. A coherent Marxist criticism of the ideology of architecture
and urbanism could not but demystify the contingent and historical realities,
devoid of objectivity and universality, that are hidden behind the unifying terms
of art, architecture, and city. It would likewise recognize the new levels attained
by capitalist development, with which recognitions the class movements should be
confronted.
==========
Architecture and Utopia (Tafuri)
- Note on Page 157 | Loc. 2402 | Added on Saturday, July 30, 2011, 08:34 PM
Building on Hortense Spillers’s distinction between body and flesh and , the writ
of habeas corpus, I use the phrase habeas Discus—“You shall have the flesh”—on the
one hand, to signal how violent political domination activates a fleshly surplus
that simultaneously sustains and disfigures said brutality, and, on the other hand,
to reclaim the atrocity of flesh as a pivotal arena for the politics emanating from
different traditions of the oppressed. The
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 5 | Loc. 71 | Added on Saturday, July 30, 2011, 08:40 PM
habeas discus
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 6 | Loc. 79-81 | Added on Saturday, July 30, 2011, 10:38 PM
When I initially began thinking about this book I wondered about the very basic
possibility of agency and/or resistance in extreme circumstances such as slave
plantations or concentration camps.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 6 | Loc. 81 | Added on Saturday, July 30, 2011, 10:38 PM
As will become evident, habeas viscus is but one modality of imagining the
relational ontological totality of the human. Yet in order to consider habeas
viscus as an object of knowledge in the service of producing new formations of
humanity, we must venture past the perimeters of bare life and biopolitics
discourse and the juridical history of habeas corpus, because neither sufficiently
addresses how deeply anchored racialization is in the somatic field of the human.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 8 | Loc. 116 | Added on Saturday, July 30, 2011, 10:43 PM
racializing assemblages
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 9 | Loc. 126 | Added on Saturday, July 30, 2011, 10:45 PM
era. The volatile rapport between race and the human is defined above all by
two constellations: first, there exists no portion of the modern human that is
not subject to racialization, which determines the hierarchical ordering of
the Homo sapiens species into humans, not-quite-humans, and nonhumans; second, as a
result, humanity has held a very different status for the traditions of the
racially oppressed. Man will only be abolished “like a face drawn in sand at the
edge of the sea” if we disarticulate the modern human (Man) from its twin:
racializing assemblages.13
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 13 | Loc. 194 | Added on Saturday, July 30, 2011, 11:01 PM
That is to say that the challenges posed to the smooth operadons of western
Man since the 1960s by continental thought and minority discourse, though
historically, conceptually, institutionally, and politically relational, tend to
be segregated, because minority discourses seemingly cannot inhabit the space of
proper theoretical reflection, which is why thinkers such as Foucault and Agamben
need not reference the long traditions of thought in this domain that are directly
relevant to biopolitics and bare life.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 15 | Loc. 223 | Added on Saturday, July 30, 2011, 11:26 PM
universalizing exceptioon
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 18 | Loc. 267-73 | Added on Saturday, July 30, 2011, 11:55 PM
fuentesen maniiestos
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 23 | Loc. 341 | Added on Sunday, July 31, 2011, 12:01 AM
zapatista
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 23 | Loc. 346-47 | Added on Sunday, July 31, 2011, 12:02 AM
while conjuring anterior futures also lay claim to and make demands in the here-
and-NOW.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 23 | Loc. 347 | Added on Sunday, July 31, 2011, 12:02 AM
now
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 44 | Loc. 669-72 | Added on Sunday, July 31, 2011, 12:03 AM
According to Agamben’s influential theorization, modern sovereignty is haunted and
shadowed by the figure of the “homo sacer.”1 The homo sacer, a human being that
cannot be ritually offered, but whom one can kill without incurring the penalty of
murder, first appears in the city-states of Roman antiquity.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 44 | Loc. 672 | Added on Sunday, July 31, 2011, 12:03 AM
homo sacer
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 44 | Loc. 674-78 | Added on Sunday, July 31, 2011, 12:04 AM
The homo sacer’s ban from the political community facilitates a double movement
that is contradictory but necessary: on the one hand, these subjects, by being
barred from the category of the human, are relegated to bare or naked life, being
both literally and symbolically stripped of all accoutrements associated with
the liberalist subject. Conversely, this bare life stands at the center of the
state’s exercise of its biopower, its force of legislating life and death, which,
in this framework, provides one of the central features of the modem nationstate.2
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 45 | Loc. 677 | Added on Sunday, July 31, 2011, 12:04 AM
Nazi death camps provide the ultimate incarnation of this arrangement not as a
deviation but as the sine qua non of modem politics as sovereignty, one that
resonates in various current biopolitical institutions such as refugee and
detainment camps. The concentration camp and its progeny map a terrain in which the
central aim of politics is the manufacture of bare life, and, according to
Agamben, it is the politics in which we live.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 46 | Loc. 693 | Added on Sunday, July 31, 2011, 12:07 AM
property.13 Consequently, slavery conjures a different form of bare life than the
concentration camp, since the more prevalent version of finitude in this
context was what Orlando Patterson has referred to as “social death, ” the purging
of Bare Life 37 all citizenship rights from slaves save their mere life.16
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 50 | Loc. 759 | Added on Sunday, July 31, 2011, 12:16 AM
given that both thinkers tend to disembody the homo sacer figure. Hortense
Spillers’s distinction between body and flesh extends, while also offering a
corrective to these approaches by highlighting the embodiment of those banished to
the zone of indistinction and by showing how bare life is transmitted historically
so as to become affixed to certain bodies.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 50 | Loc. 765 | Added on Sunday, July 31, 2011, 12:26 AM
Spillers concentrates on the processes through which slaves are transformed into
bare life/flesh and then subjected to the pleasure of the bodied subject, arguing,
“before the ‘body’ there is ‘flesh,’ that zero degree of social conceptualization
that does not escape concealment under the brush of discourse or the reflexes of
iconography.... We regard this human and social irreparability as high crimes
against the flesh, as the person of African females and males registered the
wounding.”21
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 52 | Loc. 792 | Added on Sunday, July 31, 2011, 12:35 AM
process o lesh
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 2 | Loc. 28-30 | Added on Sunday, July 31, 2011, 12:44 AM
particularida en aleijandinho
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 4 | Loc. 52-54 | Added on Sunday, July 31, 2011, 12:48 AM
principalmente en la arquitectyra
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 4 | Loc. 58-59 | Added on Sunday, July 31, 2011, 12:50 AM
Caldas Barbosa e Mestre Valentim são mulatos. Leandro Joaquim, da mesma época e dos
melhores pintores do Rio, é mestiço também. O padre José Maurício Nunes Garcia
(1767-1830), mulatíssimo e o mais notável dos nossos músicos coloniais. Estou
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 4 | Loc. 60 | Added on Sunday, July 31, 2011, 12:50 AM
E o Aleijadinho é mais outro mulato. Bastam estes exemplos para se compreender este
lado, não dominante, mas intensamente visível, de como a raça brasileira se impunha
no momento.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 5 | Loc. 66 | Added on Sunday, July 31, 2011, 12:51 AM
É curioso de observar que todos estes mulatos aparecem brilhando principalmente nas
artes plásticas e na música. Mostram assim o que tinha de fortemente negro neles.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 5 | Loc. 67 | Added on Sunday, July 31, 2011, 12:52 AM
Me espanta mas é muito, ver a sinceridade mesquinha com que historiadores e poetas
depreciam o mulato. Capistrano de Abreu, Oliveira Lima, obedecendo sem nenhuma
revisão honesta, á quizilia que já na Colônia os reinois manifestavam contra os
mulatos, deixaram páginas sôbre isso que não correspondem a nenhuma verdade nem
social, nem psicológica. Ültimamente
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 5 | Loc. 77 | Added on Sunday, July 31, 2011, 12:55 AM
Que os mulatos eram façanhudos não tem dúvida que sim. Mas eram porém, pelo simples
fato de formarem a classe servil numerosa, mas livre. É tantas vezes a classe que
desclassifica os homens... Em São Paulo agora os entreveros e crimes surgem -entre
os Pistone, os Elias Faraht, e também nas últimas noites, entre húngaros, tchecos e
alvuras arianas.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 6 | Loc. 83 | Added on Sunday, July 31, 2011, 12:58 AM
casos salientes e históricos: será difícil decidir quem que tem alma de “mulato”
entre esses portugas e brasilianos sem firmeza nenhuma de caráter. Mulatos, mais
“mulatos” que os desrraçados mulatos da maior mulataria.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 6 | Loc. 91 | Added on Sunday, July 31, 2011, 01:00 AM
mulatos desrraziados
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 6 | Loc. 92-93 | Added on Sunday, July 31, 2011, 01:01 AM
Porque carece lembrar principalmente essa verdade étnica: os mulatos eram então uns
desrraçados. Raças aqui tinha os portugueses e os negros. Sob
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 6 | Loc. 92 | Added on Sunday, July 31, 2011, 01:01 AM
(1) Aquele conceito totalista do artista criador grego, tão bem demonstrável pelo
exemplo de Fidias e principalmente pela noção do Músico ao mesmo tempo poéta e
ator, se apagára com o anonimato con-gregacional em que permaneceram praticamente
os artistas do primeiro Cristianismo até a alta Idade Média. São exemplos
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 8 | Loc. 109 | Added on Sunday, July 31, 2011, 01:08 AM
por 1780, pra morrer em 1833. E era no entanto um dos mais fortes pintores
nacionais, espécie de Dela-croix antecipado, pelo vigor dramatico das suas
concepções e movimento impetuoso das formas. Joga as figuras com uma eloqüência de
gesto vivo e sabe dar vida, feito um Greco, ao claro-escuro.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 9 | Loc. 135 | Added on Sunday, July 31, 2011, 05:54 PM
delacroix aticipado
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 9 | Loc. 137-39 | Added on Sunday, July 31, 2011, 05:55 PM
Mas no momento em que o Aleijadinho, ali pelos trinta anos de vida ou talvez mais,
impôs o gênio dêle, Minas decaía como quem despenca. 0 que perseverava era apenas o
brilho exterior. E este, essa tradição de fausto é que alimentou e graças--a-deus
fez funcionar Antonio Francisco Lisboa, e o parceiro dêle na pintura, Manuel da
Costa Ataíde.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 10 | Loc. 142 | Added on Sunday, July 31, 2011, 05:56 PM
procesiones melodramticas
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 11 | Loc. 158-61 | Added on Sunday, July 31, 2011, 06:01 PM
Não podiam matutar exegeses folclóricas esses mineiros. Passeavam, rezavam, mapia-
vam, nem se imaginando decadentes, festança ali. E no meio da noite chegada, cada
vulto, varapau magruço meio curvo, gente mineira banzava nas ruas carcundas,
fazendo relumear nas luminárias de janelas e portas, os botões de ouro do colete e
as botas de couro alvinho.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 11 | Loc. 161 | Added on Sunday, July 31, 2011, 06:01 PM
Si nos encaravam logo se percebia que eram gente boa, bem cabeluda no braço e
no peito entrado e com olhos dum negrume calmo, meigo pra todo o sempre,
Meiguice... Muita melosidade, é certo.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 11 | Loc. 162 | Added on Sunday, July 31, 2011, 06:02 PM
negrume calmo
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 11 | Loc. 162-64 | Added on Sunday, July 31, 2011, 06:02 PM
No fundo, já aquela moléstia tão dos brasileiros e que Nabuco simbolizou: uma
timidez acaipi-rada, envergonhada da terra sem tradições. Sem tradições porque
ignoravam a patria e a terra. Em verdade, na consciência daquela gente inda
não tinha se geografado o mapa do imenso Brasil.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 11 | Loc. 164 | Added on Sunday, July 31, 2011, 06:02 PM
anonimato de su tiempo
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 12 | Loc. 178 | Added on Sunday, July 31, 2011, 06:06 PM
Aliás, durante todo o século passado se esqueceram dêle, e mesmo os que o amam
agora e lhe salientam o valor, o deformam as mais das vezes por cruéis
incompreensões. Me parece importante sobretudo evitar que lhe ajuntem à
personalidade o epiteto ASPECTOS DAS ABTES PLÁSTICAS NO BBASIL 27 de “primitivo”.
Primitivo por que? Em relação a que? Com a palavra vaga, que tanto pode
significar primário como turtuveante iniciador de orientações estéticas novas, a
gente salva a própria incompreensão e principalmente o mêdo das feiuras.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 13 | Loc. 186 | Added on Sunday, July 31, 2011, 06:08 PM
contrael adjetivo de pimitivo
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 13 | Loc. 188-92 | Added on Sunday, July 31, 2011, 06:10 PM
manuel bandeira
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 14 | Loc. 201-2 | Added on Sunday, July 31, 2011, 06:13 PM
E, sonhando com as belezas arquitetônicas do Velho Mundo, não tem uma palavra de
elogio para a obra-prima, antes conclui conselheiral que os povos jovens, da mesma
forma que a rapaziada, carecem saber que a genialidade principia pela imitação, e
só depois cria por si. E que quando a criança precede precocemente a imitação, no
geral os resultados são de mau-gôsto, desgraciosos e grotescos. O conselho não é de
todo péssimo, porém a verdade é que o Aleijadinho estava imitando! E si genializava
o imitado, culpa não era dêle de possuir a violência de temperamento, a grandeza
divinatória que o tornava origina] sem querer.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 15 | Loc. 221 | Added on Sunday, July 31, 2011, 06:23 PM
(1) De maneira que pra Burton, não passa de excentricidade o princípio muito mais
lógico de serem redondas as torres exclusivamente de acesso aos sinos, refletindo
no exterior a estrutura interna das escadas em caracol... Perdoe-se Burton, que não
sabia patavina de estética e arquitetura, quando pra tantos arquitetos de agora, os
princípios de Gropius ou Le Corbusier também não passam de excentricidades.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 15 | Loc. 224 | Added on Sunday, July 31, 2011, 06:24 PM
Quem talvez milhor percebeu o valor do gênio, creio que foi Von Weech, no segundo
escrito que publicou sobre o Brasil, a relação da viagem (2). É verdade que
passando em Ouro Prêto, elogia as fontes da cidade, distingue uma igreja sem
janelas (?), e do Aleijadinho e suas obras, nem pio. Mas diante dos profetas da
escadaria de Congonhas, aos quais o protestante chama de apóstolos, percebe
o homem.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 16 | Loc. 231 | Added on Sunday, July 31, 2011, 06:26 PM
O Aleijadinho não teve o estrangeiro que... lhe desse gênio. E por isso nós não
acreditamos em nós. O que os brasileiros sabem no geral é que teve um homem
bimaneta neste. país, que amarrava o camartelo nos cotos dos braços e esculpia
assim. E isso os impressiona tanto, que contam pros companheiros, e estes pros seus
companheiros.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 16 | Loc. 236 | Added on Sunday, July 31, 2011, 06:28 PM
Nas igrejas mineiras do século XVIII a gente percebe a luta de duas influências
principais: a do Aleijadinho e a do engenheiro reinol Pedro Gomes Chaves, anterior
ao brasileiro.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 18 | Loc. 265 | Added on Sunday, July 31, 2011, 06:32 PM
Pedro Gomes Cha- ASPECTOS DAS ARTES PLÁSTICAS NO BRASIL 33 ves já aplica o processo
das fachadas em planos irregulares, às vezes curvilíneos. O documento disso é a N.
S. do Pilar de Ouro Preto (1720), empreitada pelo mestre-carapina Antonio Francisco
Pombal, tio do Aleijadinho. E é fácil de ver que este imitou o engenheiro
português. A fachada da São Francisco de Ouro Preto, não passa dum desenvolvimento
mais equilibrado e muitíssimo mais gracioso, da solução de N. S. do Pilar.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 18 | Loc. 270 | Added on Sunday, July 31, 2011, 06:33 PM
É certo que elas não possuem majestade, como bem denunciou Saint-Hilaire. Mas a
majestade não faz parte do brasileiro, embora faça parte comum da nossa paisagem.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 19 | Loc. 291 | Added on Sunday, July 31, 2011, 06:39 PM
Carece, no entanto, compreender que o sublime não implica exatamente majestade. Não
é preciso ser ingente pra ser sublime. As igrejas do Aleijadinho não se acomodam
com o apelativo ASPECTOS DAS ARTES PLASTICAS NO BRASIL 35 “belo”, próprio á São
Pedro de Roma, á catedral de Reims, á Batalha, ou á horrível São Marcos de
Veneza. Mas são muito lindas, são bonitas como o quê. São dum sublime pequenino,
dum equilíbrio, duma pureza tão bem arranjadinha e sossegada, que são feitas pra
querer bem ou pra acarinhar, que nem na cantiga nordestina.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 20 | Loc. 296 | Added on Sunday, July 31, 2011, 06:40 PM
São barrocas, não tem dúvida, mas a sua lógica e equilíbrio de solução é tão
perfeito, que o jesuitismo enfeitador desaparece, o enfeite se aphca com 'uma
naturalidade tamanha, que si o estilo é barroco, o sentimento é renascente. 0
Aleijadinho soube ser arquiteto de engenharia. Escapou genialmente da luxuosidade,
da superfecta-ção, do movimento inquietador, do dramático, conservando uma clareza,
uma claridade é melhor, puramente da Renascença.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 20 | Loc. 299 | Added on Sunday, July 31, 2011, 06:41 PM
Ainda como santeiro, o Aleijadinho nada tem de primitivo. As suas estátuas e altos-
relevos não divergem sensivelmente da estatuaria religiosa his-pano-portuguêsa, nem
siquer por um individualismo pronunciado. Divergem muitas apenas por serem melhores
que o comum, sobretudo providas de mais caráter, e algumas por serem genialmente
plásticas. Porém o individualismo propriamente não se reflete nelas, mesmo nas
estátuas torturadas dos Passos. Um ou outro processo de tornear bocas, golpear
olhos, etc., é mais maneira técnica de ser, que individualismo propriamente.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 20 | Loc. 303 | Added on Sunday, July 31, 2011, 06:42 PM
obras de aleijadinho
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 21 | Loc. 309-12 | Added on Sunday, July 31, 2011, 07:08 PM
Manuel Bandeira constata que tôda a fachada respira a arte do Aleijadinho. Respira.
O frontão, mais pueril e esbelto, lembra a desenvoltura audaciosa da São Francisco
de Ouro Prêto. Os janelões da fachada lembram os da outra São Francisco. A rosaça
da clarabóia emprega a perfeição do círculo, que está nas outras duas igrejas
certas do Aleijadinho, e rara nas Minas de então.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 21 | Loc. 314 | Added on Sunday, July 31, 2011, 07:09 PM
pedrasabao
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 22 | Loc. 329-36 | Added on Sunday, July 31, 2011, 07:13 PM
Mas vários argumentos contrariam com fôrça tudo isso. O principal de todos é a
concepção do conjunto, absolutamente contrária em estilo e liberdade, aos outros
portais do Aleijadinho. Êle possuia uma audácia admirável, movimentadíssima
apesar de serena, do decorativo barroco. Fugiu do nicho até quando êste se tomava
provável como na fonte da 3 MARIO DE ANDRADE 38 São Francisco de Ouro Preto.
Sentindo nas mãos o dengue mulato da pedra azul, fazia ela se estorcer com ardor
molengo e lento. Mas esses dois pórticos apresentam uma composição, uma ordem fria,
quasi luisfelípica na São Bom Jesus, e compacta por demais, incipiente, de
estudante nas Mercês. Principalmente isso: frieza. Com excepção do arcanjo do
nicho, esses pórticos gelam a gente. Não possuem aquela volúpia plástica, que é a
qualidade mais forte das pedras do mulato.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 22 | Loc. 336 | Added on Sunday, July 31, 2011, 07:13 PM
não revela aquela audácia esti-lizadora que modelou as volutas de nuvens na sacris-
tia do Carmo, o lião
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 22 | Loc. 337 | Added on Sunday, July 31, 2011, 07:24 PM
volutas de nuvens
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 25 | Loc. 381-83 | Added on Sunday, July 31, 2011, 07:27 PM
enefermedad en congonhas
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 25 | Loc. 375-80 | Added on Sunday, July 31, 2011, 07:30 PM
É certo que em Congonhas o Aleijadinho tratou mais a madeira do que a pedra. Ora,
êle foi um técnico formidável que sabia perfeitamente se condicionar aos materiais
que empregava, bem como até que ponto os podia condicionar á sua
imaginação expressiva. Os planos arredondados, principalmente o audacioso
embarrigamento das paredes laterais,
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 26 | Loc. 391 | Added on Sunday, July 31, 2011, 08:45 PM
planos arredondados
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 26 | Loc. 391-98 | Added on Sunday, July 31, 2011, 08:46 PM
Só duas vêzes o Aleijadinho escapou dêsse... classicismo da pedra. Uma delas foi no
São Francisco da fonte de sacristia. Nessa figura maravilhosa, a pedra não vem mais
tratada como um valor dinamogênico puramente plástico, mas antes o corpo está
concebido com uma intensidade, uma fôrça esplendida de vida.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 27 | Loc. 400 | Added on Sunday, July 31, 2011, 08:47 PM
tempo imaginei, que no caso dos profetas da escadaria de Congonhas, isso derivasse
das necessidades da escultura arquitetural, a desproporção vindo de propósito pra
que se desse proporcionalização dentro da perspectiva. Que é proposital estou
certo. Mas si nos profetas de Congonhas ela se justifica pela necessidade
arquitetônica, o caso dos púlpitos historiados parece antes designar uma intenção
expressiva, pra tornar mais impressionantes as cenas descritas. Já o processo
desaparece nas fontes de sacristia, vem raro e com manifesta intenção
expressionistica nos Passos, pra tornar certas figuras (no geral os infiéis) mais
impressionantes, mais assombradas.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 27 | Loc. 412 | Added on Sunday, July 31, 2011, 08:49 PM
Mas com a doença, o sofredor insofrido, vira expressionista, duma violência tão
exasperada que não raro se toma caricatural.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 28 | Loc. 419 | Added on Sunday, July 31, 2011, 08:50 PM
é que o serve totalmente, e aos seus ódios terríveis (a série caricata dos soldados
romanos), a seus amores divinos (alguns dos Cristos, principalmente o que está
sendo pregado na cruz), e aos seus carinhos humanos (como na figurinha da criança
com o cravo, o São João dormindo, as mulheres na subida ao Calvário, o bom ladrão).
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 28 | Loc. 422 | Added on Sunday, July 31, 2011, 08:51 PM
afectos de aleijadinho
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 29 | Loc. 438-39 | Added on Sunday, July 31, 2011, 08:53 PM
atmosferamusico plastica
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 29 | Loc. 444-46 | Added on Sunday, July 31, 2011, 08:56 PM
Era de todos, o único que se poderá dizer nacional, pela originalidade das suas
soluções. Era já um produto da terra, e do homem vivendo nela, e era um
inconsciente de outras existências melhores de além-mar: um aclimado, na extensão
psicológica do têrmo.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 30 | Loc. 445 | Added on Sunday, July 31, 2011, 08:56 PM
aleijao nacional
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 30 | Loc. 446-49 | Added on Sunday, July 31, 2011, 08:57 PM
Mas, engenho já nacional, era o maior boato-falso da nacionalidade, ao mesmo tempo
que caracterizava tôda a falsificação da nossa entidade civilizada, feita não de
desenvolvimento interno, natural, que vai do centro pra periferia e se toma
excêntrica por expansão, mas de importações acomodatícias e
irregulares, artificial, vinda do exterior. De fato Antonio Francisco Lisboa
profetizava para a nacionalidade um gênio plástico que os Almeida Juniores
posteriores, tão raros! são insuficientes pra confirmar.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 30 | Loc. 449 | Added on Sunday, July 31, 2011, 08:57 PM
genio plastico
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 30 | Loc. 449-51 | Added on Sunday, July 31, 2011, 08:57 PM
Por outro lado, êle coroa, como gênio maior, o período em que a entidade brasileira
age sob a influência de Portugal. É a solução brasileira da Colônia. É o mestiço e
é logicamente a independência. Deforma a coisa lusa, mas não é uma coisa fixa
ainda.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 30 | Loc. 451 | Added on Sunday, July 31, 2011, 08:57 PM
Vem economicamente atrasado, porque a técnica artística nas Minas foi mais lenta a
se desenvolver, que o esplendor econômico feito apenas das sobras dum colonianismo
que visava unicamente enriquecer Portugal. Por isso, êle surge quando já não
correspondia a nenhuma estabilidade financeira. É um verdadeiro aborto luminoso,
como abortos luminosos foram a valorização da borracha e do café, e por muitas
partes a industrialização de São Paulo.
==========
O Aleijandinho (De Andrade Mario)
- Note on Page 30 | Loc. 454 | Added on Sunday, July 31, 2011, 08:58 PM
aborto luminoso
==========
O Aleijandinho (De Andrade Mario)
- Highlight on Page 30 | Loc. 455-56 | Added on Sunday, July 31, 2011, 08:59 PM
que lleguen a tus oídos las plegarias y rogaciones de este tu venturoso amante, por
tu inaudita belleza te ruego las escuches, que no son otras que rogarte no me
niegues tu favor y amparo, ahora que tanto le he menester. Yo voy a despeñarme, a
empozarme y a hundirme en el abismo que aquí se me representa, sólo porque conozca
el mundo que si tú me favoreces no habrá imposible a quien yo no acometa y acabe.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 906 | Loc. 13886 | Added on Monday, August 01, 2011, 02:58 AM
—¡Dios te guíe y la Peña de Francia, junto con la Trinidad de Gaeta,[40] flor, nata
y espuma de los caballeros andantes! ¡Allá vas, valentón del mundo, corazón de
acero, brazos de bronce! ¡Dios te guíe, otra vez, y te vuelva libre, sano y sin
cautela[41] a la luz de esta vida que dejas por enterrarte en esta escuridad que
buscas!
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 907 | Loc. 13897 | Added on Monday, August 01, 2011, 03:00 AM
Iba don Quijote dando voces que le diesen soga y más soga, y ellos se la daban poco
a poco; y cuando las voces, que acanaladas por la cueva salían, dejaron de oírse,
ya ellos tenían descolgadas las cien brazas de soga y fueron de parecer de volver a
subir a don Quijote, pues no le podían dar más cuerda. Con todo eso, se detuvieron
como media hora, al cabo del cual espacio volvieron a recoger la soga con mucha
facilidad y sin peso alguno, señal que les hizo imaginar que don Quijote se quedaba
dentro, y creyéndolo así Sancho, lloraba amargamente y tiraba con mucha priesa por
desengañarse; pero llegando, a su parecer, a poco más de las ochenta brazas,
sintieron peso, de que en extremo se alegraron. Finalmente, a las diez vieron
distintamente a don Quijote, a quien dio voces Sancho, diciéndole: —Sea vuestra
merced muy bien vuelto, señor mío, que ya pensábamos que se quedaba allá para
casta.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 907 | Loc. 13905 | Added on Monday, August 01, 2011, 03:01 AM
Pero no respondía palabra don Quijote; y sacándole del todo, vieron que traía
cerrados los ojos, con muestras de estar dormido. Tendiéronle en el suelo y
desliáronle, y, con todo esto, no despertaba; pero tanto le volvieron y
revolvieron, sacudieron y menearon, que al cabo de un buen espacio volvió en sí,
desperezándose, bien como si de algún grave y profundo sueño despertara; y mirando
a una y otra parte, como espantado, dijo:
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 908 | Loc. 13909 | Added on Monday, August 01, 2011, 03:01 AM
dormido
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 908 | Loc. 13909-13 | Added on Monday, August 01, 2011, 03:02
AM
aventura apocrifa
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 909 | Loc. 13926-27 | Added on Monday, August 01, 2011, 03:04
AM
Éntrale una pequeña luz por unos resquicios o agujeros, que lejos le responden,[3]
abiertos en la superficie de la tierra.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 909 | Loc. 13927 | Added on Monday, August 01, 2011, 03:04 AM
entra en la concavidad
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 909 | Loc. 13932-34 | Added on Monday, August 01, 2011, 03:06
AM
me salteó un sueño profundísimo, y cuando menos lo pensaba, sin saber cómo ni cómo
no, desperté de él y me hallé en la mitad del más bello, ameno y deleitoso prado
que puede criar la naturaleza, ni imaginar la más discreta imaginación humana.
Despabilé los ojos, limpiémelos, y vi que no dormía, sino que realmente estaba
despierto.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 909 | Loc. 13934 | Added on Monday, August 01, 2011, 03:06 AM
«Luengos tiempos ha, valeroso caballero don Quijote de la Mancha, que los que
estamos en estas soledades encantados esperamos verte, para que des noticia al
mundo de lo que encierra y cubre la profunda cueva por donde has entrado, llamada
la cueva de Montesinos: hazaña sólo guardada para ser acometida de tu invencible
corazón y de tu ánimo estupendo.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 910 | Loc. 13947 | Added on Monday, August 01, 2011, 03:08 AM
lo esperaban
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 910 | Loc. 13947-48 | Added on Monday, August 01, 2011, 03:09
AM
conmigo, señor clarísimo, que te quiero mostrar las maravillas que este
transparente alcázar solapa,
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 910 | Loc. 13948 | Added on Monday, August 01, 2011, 03:09 AM
castillo transparente
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 910 | Loc. 13950 | Added on Monday, August 01, 2011, 03:09 AM
soy el mismo Montesinos, de quien la cueva toma nombre». Apenas me dijo que era
Montesinos, cuando
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 910 | Loc. 13950 | Added on Monday, August 01, 2011, 03:09 AM
montesinos
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 910 | Loc. 13950-54 | Added on Monday, August 01, 2011, 03:10
AM
le pregunté si fue verdad lo que en el mundo de acá arriba se contaba, que él había
sacado de la mitad del pecho, con una pequeña daga, el corazón de su grande amigo
Durandarte y llevádole a la señora Belerma, como él se lo mandó al punto de su
muerte.[13] Respondiome que en todo decían verdad, sino en la daga, porque no fue
daga, ni pequeña, sino un puñal buido,[14] más agudo que una lezna.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 911 | Loc. 13954 | Added on Monday, August 01, 2011, 03:10 AM
Tenía la mano derecha (que a mi parecer es algo peluda y nervosa, señal de tener
muchas fuerzas su dueño) puesta sobre el lado del corazón; y antes que preguntase
nada a Montesinos, viéndome suspenso mirando al del sepulcro, me dijo: «Éste es mi
amigo Durandarte, flor y espejo de los caballeros enamorados y valientes de su
tiempo. Tiénele aquí encantado, como me tiene a mí y a otros muchos y muchas,
Merlín, aquel francés encantador que dicen que fue hijo del diablo;
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 911 | Loc. 13965 | Added on Monday, August 01, 2011, 03:12 AM
durandarte
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 911 | Loc. 13962-64 | Added on Monday, August 01, 2011, 03:13
AM
Tenía la mano derecha (que a mi parecer es algo peluda y nervosa, señal de tener
muchas fuerzas su dueño) puesta sobre el lado del corazón; y antes que preguntase
nada a Montesinos, viéndome suspenso mirando al del sepulcro, me dijo: «Éste es mi
amigo Durandarte, flor y espejo de los caballeros enamorados y valientes de su
tiempo.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 911 | Loc. 13964 | Added on Monday, August 01, 2011, 03:13 AM
durandarte
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 911 | Loc. 13964-67 | Added on Monday, August 01, 2011, 03:13
AM
Tiénele aquí encantado, como me tiene a mí y a otros muchos y muchas, Merlín, aquel
francés encantador que dicen que fue hijo del diablo;[16] y lo que yo creo es que
no fue hijo del diablo, sino que supo, como dicen, un punto más que el diablo. El
cómo o para qué nos encantó nadie lo sabe, y ello dirá andando los tiempos, que no
están muy lejos, según imagino.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 911 | Loc. 13967 | Added on Monday, August 01, 2011, 03:13 AM
merlin
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 912 | Loc. 13972 | Added on Monday, August 01, 2011, 03:14 AM
introd de romances
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 911 | Loc. 13968-70 | Added on Monday, August 01, 2011, 03:15
AM
después de muerto le saqué el corazón con mis propias manos; y en verdad que debía
de pesar dos libras, porque, según los naturales,[17] el que tiene mayor corazón es
dotado de mayor valentía del que le tiene pequeño.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 912 | Loc. 13970 | Added on Monday, August 01, 2011, 03:15 AM
tamanio dl corazon
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 912 | Loc. 13981-83 | Added on Monday, August 01, 2011, 03:16
AM
Roncesvalles eché un poco de sal en vuestro corazón, porque no oliese mal y fuese,
si no fresco, a lo menos amojamado[20] a la presencia de la señora Belerma, la
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 912 | Loc. 13983 | Added on Monday, August 01, 2011, 03:16 AM
sala el corazon
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 913 | Loc. 13985-88 | Added on Monday, August 01, 2011, 03:16
AM
Solamente faltan Ruidera y sus hijas y sobrinas, las cuales llorando, por compasión
que debió de tener Merlín de ellas, las convirtió en otras tantas lagunas, que
ahora en el mundo de los vivos y en la provincia de la Mancha las llaman las
lagunas de Ruidera;[21] las siete son de los reyes de España, y las dos sobrinas,
de los caballeros de una orden santísima que llaman de San Juan.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 913 | Loc. 13988 | Added on Monday, August 01, 2011, 03:16 AM
geografia y fantasia
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 913 | Loc. 13989-92 | Added on Monday, August 01, 2011, 03:18
AM
guadiana se entierra
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 913 | Loc. 13998-4000 | Added on Monday, August 01, 2011,
05:26 AM
don Quijote de la Mancha, digo, que de nuevo y con mayores ventajas que en los
pasados siglos ha resucitado en los presentes la ya olvidada andante caballería,
por cuyo medio y favor podría ser que nosotros fuésemos desencantados, que las
grandes hazañas para los grandes hombres están guardadas».
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 913 | Loc. 14000 | Added on Monday, August 01, 2011, 05:26 AM
lo nombran en la fantasia
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 914 | Loc. 14002-4 | Added on Monday, August 01, 2011, 05:27
AM
Durandarte y de Belerma, que allí con sus dos señores estaban encantados, y que la
última, que traía el corazón entre el lienzo y en las manos, era la señora Belerma,
la cual con sus doncellas cuatro días en la semana hacían aquella procesión y
cantaban o, por mejor decir, lloraban endechas[26] sobre el cuerpo y sobre el
lastimado corazón de su primo; y que si me había parecido algo fea, o no tan
hermosa como tenía la fama, era la causa las malas noches y peores días que en
aquel encantamento pasaba, como lo podía ver en sus grandes ojeras y en su color
quebradiza.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 914 | Loc. 14013 | Added on Monday, August 01, 2011, 05:28 AM
belrma
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 915 | Loc. 14019-21 | Added on Monday, August 01, 2011, 03:37
PM
don Montesinos: cuente vuesa merced su historia como debe, que ya sabe que toda
comparación es odiosa, y, así, no hay para qué comparar a nadie con nadie. La sin
par Dulcinea del Toboso es quien es, y la señora doña Belerma es quien es y quien
ha sido, y quédese aquí.»
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 915 | Loc. 14021 | Added on Monday, August 01, 2011, 03:37 PM
iguala al diferenciarlas
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Highlight on Page 915 | Loc. 14021-24 | Added on Monday, August 01, 2011, 03:37
PM
Quijote, perdóneme vuesa merced, que yo confieso que anduve mal y no dije bien en
decir que apenas igualara la señora Dulcinea a la señora Belerma, pues me bastaba a
mí haber entendido por no sé qué barruntos que vuesa merced es su caballero, para
que me mordiera la lengua antes de compararla sino con el mismo cielo». Con esta
satisfacción que me dio el gran Montesinos se quietó mi corazón del sobresalto que
recibí en oír que a mi señora la comparaban con Belerma.
==========
Don Quijote de la Mancha (Miguel de Cervantes Saavedra)
- Note on Page 915 | Loc. 14024 | Added on Monday, August 01, 2011, 03:37 PM
montesinos se disclpa
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 54 | Loc. 819-22 | Added on Monday, August 01, 2011, 06:55 PM
and anatomical difference, as was the case with Sarah Baartman, the so-called Venus
Hottentot, for instance. Put differently, in the sphere of racial and sexual
difference, anatomy and physiognomy form a continuum in a larger modern assemblage
that requires the physiognomic territorialization of anatomic qualities.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 54 | Loc. 826 | Added on Monday, August 01, 2011, 06:57 PM
Namely, in the same way that black people appear as either nonhuman or magically
hyperhuman within the universe of Man, black subjects are imbued with either a
surplus (hyperfemininity or hypermasculinity) of gender and sexuality or a complete
lack thereof (desex- Bare Life 41 ualization).
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 55 | Loc. 838 | Added on Monday, August 01, 2011, 06:59 PM
As a result, the flesh rests at that precarious threshold where the person
metamorphoses into the group and “the individual-in-the-mass and the mass-in-the-
individual mark an iconic thickness: a concerted function whose abiding centrality
is embodied in the flesh, ” and which is why—as we shall see later—the flesh
resists the legal idiom of personhood as property.33
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 58 | Loc. 881 | Added on Monday, August 01, 2011, 07:12 PM
flesh as treshold
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 58 | Loc. 882-84 | Added on Monday, August 01, 2011, 07:13 PM
For Maurice Merleau-Ponty, the flesh “is not matter, is not mind, is not
substance”; rather, in his phenomenological theorization, the flesh functions as an
integral component of being, which is “not a fact or a sum of facts, and yet
adherent to location and to the now.”34
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 58 | Loc. 883 | Added on Monday, August 01, 2011, 07:13 PM
Though the meaning of ether, long thought to be one of the elements, has been
redefined within the constellation of modern science, I want to keep in play both
its ancient (medium/substance) and modern (anesthetic) significations to highlight
how the flesh stands as both the cornerstone and potential ruin of the world of
Man.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 59 | Loc. 895 | Added on Monday, August 01, 2011, 07:15 PM
To subsist in the force field of the flesh, then, might just be better than not
existing at all.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 59 | Loc. 902 | Added on Monday, August 01, 2011, 07:16 PM
Spillers has referred to the enactment of black suffering for a shocked and
titillated audience as “pornotroping”: “This profound intimacy of interlocking
detail is disrupted, however, by externally imposed meanings and uses: (i) the
captive body as the source of an irresistible, destructive sensuality; (2) at the
same time—in stunning contradiction—it is reduced to a thing, to being for the
captor; (3) in this distance jrom a subject position, the captured sexualities
provide a physical and biological expression of‘otherness’; (4) as a category
of‘otherness,’ the captive body translates into a potential for pornotroping and
embodies sheer physical powerlessness that slides into a more general
‘powerlessness’” (“Mama’s Baby,”
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 61 | Loc. 927 | Added on Monday, August 01, 2011, 07:20 PM
pornotroping
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 61 | Loc. 928 | Added on Monday, August 01, 2011, 07:21 PM
etymology of pornotrope
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 62 | Loc. 942-46 | Added on Monday, August 01, 2011, 07:26 PM
Pornotroping, then, names the becoming-flesh of the (black) body and forms a
primary component in the processes by which human beings are converted into bare
life. In the words of Saidiya Hartman, it marks “the means by which the wanton use
of and the violence directed towards the black body come to be identified as its
pleasure and dangers—that is, the expectations of slave property are ontologized as
the innate capacities and inner feelings of the enslaved, and moreover, the
ascription of excess and enjoyment to the African effaces the violence perpetrated
against the enslaved.”8
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 62 | Loc. 946 | Added on Monday, August 01, 2011, 07:26 PM
The violence inflicted upon the enslaved body becomes synonymous with the projected
surplus pleasure that always already moves in excess of the sovereign subject’s
jouissonce; pleasure (rapture) and violence (bondage) deviate from and toward each
other, setting in motion the historical happening of the slave thing: a potential
for pornotroping.9
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 62 | Loc. 949 | Added on Tuesday, August 02, 2011, 05:23 AM
this “bloody transaction” is the liaison between political violence and sexuality,
which appears here both in the references to Ned’s loose morals and in the
spec(tac)ular, partially denuded figuration of how the lick of the whip touches
Aunt Hester.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 65 | Loc. 992 | Added on Tuesday, August 02, 2011, 05:30 AM
violence and sexuality
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 69 | Loc. 1048-51 | Added on Tuesday, August 02, 2011, 05:38
AM
Not noting the pornotropic contours of Douglass’s clash with Covey obscures that it
represents a primal scene of the many ways that blackness, even the heroic
masculine version embodied by Douglass, remains antithetical to the
heteronormative. Thus, placing Douglass’s and Aunt Hester’s sexualized subjugation
side by side reveals the continuum of ungendering that is unleashed by racial
slavery’s violence/sexuality matrix (pomotroping), and which has come to define
sexuality in modernity.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 69 | Loc. 1051 | Added on Tuesday, August 02, 2011, 05:38 AM
For Douglass’s battle with Covey only appears as less libidinally charged than Mr.
Plummer’s whipping of Aunt Hester ifwe suppose: (a) that sexuality is determined
first and foremost by object choice and identity, that is, the master desires Aunt
Hester because he is a man and she is a woman, where Covey cannot possibly desire
Douglass given that both are biological men, and, (b) that libidinousness and
political violence are mutually exclusive, particularly when they interface with
normative masculinity.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 69 | Loc. 1055 | Added on Tuesday, August 02, 2011, 05:39 AM
preconceptions
==========
Habeas Viscus Selection (Weheliye)
- Highlight on Page 69 | Loc. 1056-59 | Added on Tuesday, August 02, 2011, 05:41
PM
I would like to dwell in this space of the pansexual potential for a moment to test
how reading the Covey scene through the black feminist lens usually applied to Aunt
Hester allows us to ask how the ungendered male becomes possible in this context,
if, as we have seen, he can also be conquered by another man or woman.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 70 | Loc. 1059 | Added on Tuesday, August 02, 2011, 05:41 PM
not only can family structures be invaded by property relations at any 96 Chapter
Six given moment in this American grammar book of the flesh, but property
circulates in a thoroughly libidinal economy.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 70 | Loc. 1063 | Added on Tuesday, August 02, 2011, 05:42 PM
the 1970s, and there exists a whole genre of Nazi sexploitation films also
primarily produced during the same period in Italy (Pier Paolo Pasolini’s Solo, or
The 120 Days of Sodom, Lina Wertmiiller’s Seven Beauties, Tinto Brass’s Salon
Kitty, Liliana Cavani’s Niyhtporter, and Luchino Visconti’s The Damned). While not
set in a concentration camp, the s/M relationship between Nazi sympathizer Hendrik
Hoffgens and Afro-German Juliette in Klaus Mann’s novel Mephisto (1936) and its
Oscar-winning 1981 film version is also pertinent here. Another important text in
this tradition is Franz Kafka’s In the Penal Colony, which shines a spotlight on
the porno-tropic modalities of colonial bare life in its extended, sexualized
description of torture.29 Overall, cinema enables the production of bare life as a
politico-sexual form of life, wherein the remainder that is effected but cannot
be contained by the legal order is disseminated in the visual realm.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 72 | Loc. 1090 | Added on Tuesday, August 02, 2011, 05:47 PM
noteworthy for the conspicuous absence of nude flesh, with a few notable
exceptions, and the surplus of pornotroping given that most scenes of subjection
and the recurring images of the master raping the main character, Mona/Shola,
involve at least partially clad bodies.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 73 | Loc. 1110 | Added on Tuesday, August 02, 2011, 05:49 PM
Sankofa opens with images of an African American fashion model, Mona, on a photo
shoot at Elmina Castle on the Atlantic coast of Ghana, one of the places where
slaves were gathered before embarking on the Middle Passage, now a popular tourist
destination. As Mona writhes on the beach in a blond wig and a leopard-print
bathing suit (fig. 6.1), white tourists inspect the castle in the background of the
frame. Later, when Mona enters the dungeon beneath the castle, the voice of a tour
guide recedes and is replaced by the presence of chained slaves awaiting the Middle
Passage as she is teleported back in time (fig. 6.2). Then Mona becomes the slave
Shola despite her protests that she is not African but American. The remainder of
Sankofa depicts Shola’s experiences on the Lafayette plantation in Louisiana. When
she returns to Ghana at the end of the film after being a slave and having
been symbolically reprimanded and punished for her inauthentic blackness, the plot
produces a reformed Mona, who epitomizes all African Americans that have neglected
and/or forgotten the history of slavery and their ties to Africa.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 73 | Loc. 1118 | Added on Tuesday, August 02, 2011, 05:51 PM
We literally see Mona’s body transmuting into Shola’s flesh as she attempts to tell
the slave traders that she is American and not African. The camera pans across
Shola’s bare breasts, resting there, as her body is seared and ripped apart by the
branding iron of the slave traders. Everything rotates around, intensifying its
spectacular shock value: the setting, the camera work, the lighting, the
positioning of the characters, Mona’s screams, the musical soundtrack, and the
martyrological, Christlike iconography of
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 74 | Loc. 1121 | Added on Tuesday, August 02, 2011, 05:52 PM
Here, the black singing voice signals both a radical alterity by pointing to the
aspects of slavery that cannot be represented visually and stands as a marker
for knowability, since it assumes that the black voice can encode the horrors
of slavery aurally.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 75 | Loc. 1139 | Added on Saturday, July 30, 2011, 08:03 PM
the primal scene of the African diaspora, the natal alienation of the slave, with
the added twist that the person undergoing this procedure is a present-day U.S.
citizen, which is key to the allegorical working of Mona’s conversion because it
emphasizes the gulf between body (free U.S. citizen) and flesh (slave).
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 75 | Loc. 1145 | Added on Saturday, July 30, 2011, 08:05 PM
When Mona goes back in time she encounters a group of mute, chained slaves that
serve both as her historical unconscious and as the witnesses of her homo saceriza-
tion.
==========
Habeas Viscus Selection (Weheliye)
- Note on Page 75 | Loc. 1146 | Added on Saturday, July 30, 2011, 08:05 PM
homosacerization
==========
Cultural wars brazil (Williams)
- Highlight on Page 5 | Loc. 69-70 | Added on Sunday, July 31, 2011, 05:58 PM
ignoble label os bestialiçados (the bestialized).2 Local police forces treated them
as such.
==========
Cultural wars brazil (Williams)
- Note on Page 5 | Loc. 70 | Added on Sunday, July 31, 2011, 05:58 PM
bestializados
==========
Cultural wars brazil (Williams)
- Highlight on Page 5 | Loc. 77-78 | Added on Sunday, July 31, 2011, 06:00 PM
The pax republicana was broken in 1929, when President Washington Luiz (Pereira de
Sousa), a member of the São Paulo oligarchy, threw his support behind a fellow
paulista, Julio Prestes (de Albuquerque),
==========
Cultural wars brazil (Williams)
- Note on Page 6 | Loc. 78 | Added on Sunday, July 31, 2011, 06:00 PM
Unwilling to support Luiz’s handpicked successor, elites from Minas, Rio Grande do
Sul, and Paraíba turned to Getúlio Dornelles Vargas, governor of Rio Grande do Sul
and former minister of the treasury.
==========
Cultural wars brazil (Williams)
- Note on Page 6 | Loc. 83 | Added on Sunday, July 31, 2011, 06:01 PM
getulio appears
==========
Cultural wars brazil (Williams)
- Highlight on Page 6 | Loc. 83-85 | Added on Sunday, July 31, 2011, 06:03 PM
Aliança Liberal (Liberal Alliance), Vargas launched an opposition bid for the
presidency on a reformist platform, which drew its strength from
disgruntled regional elites and a heterogeneous coalition of reform-minded
military officers, urban liberals, and industrialists.
==========
Cultural wars brazil (Williams)
- Highlight on Page 7 | Loc. 98-101 | Added on Sunday, July 31, 2011, 06:06 PM
A uniformed Vargas arrived in Rio on October 31 to the ovation of the masses and no
small number of armed troops. When Vargas entered the Presidential Palace to
become chief of the Provisional Government, he set a precedent, to be repeated on
numerous occasions throughout the twentieth century: extraconstitu- Introduction 5
tional measures, including threats of civil war, were legitimate tools for
resolving political crises among elites.
==========
Cultural wars brazil (Williams)
- Note on Page 7 | Loc. 101 | Added on Sunday, July 31, 2011, 06:07 PM
In short order, the Vargas coalition transfigured the coup of 1930 into a
Revolution, remaking the First Republic (1889-1930, also known as the Old Republic)
into the ancien régime and the post-1930 regime into a purifying force of
redemption.
==========
Cultural wars brazil (Williams)
- Note on Page 8 | Loc. 111 | Added on Sunday, July 31, 2011, 06:08 PM
In November 1935, leftist soldiers quartered in the Northeast and Rio mutinied in
hopes of inciting a popular uprising against the landholding elite. The central
government responded to the so-called Intentona Comunista with ferocity, quickly
putting down the rebellion. The state of siege and antileftist purges that followed
the failed uprising circumscribed all democratic institutions.
==========
Cultural wars brazil (Williams)
- Note on Page 9 | Loc. 132 | Added on Sunday, July 31, 2011, 06:12 PM
estado novo
==========
Cultural wars brazil (Williams)
- Highlight on Page 10 | Loc. 142-43 | Added on Sunday, July 31, 2011, 06:15 PM
rockefeller center
==========
Cultural wars brazil (Williams)
- Highlight on Page 12 | Loc. 183-89 | Added on Sunday, July 31, 2011, 06:23 PM
The infamous Queima das Bandeiras (Burning of the Flags) was not merely a
celebration of national unity, but rather an assault upon regional autonomy,
individual rights, and political liberties. When Vargas’s civilian, military, and
ecclesiastical allies watched the symbols of regional sovereignty go up in flames,
they lent their support to the state’s attack upon elements of Brazilian society
deemed threatening. Unbending regional elites, communists, liberal republicans,
Jews, and unacculturated immigrants would bear the brunt of a broader assault on
groups that did not conform to the regime’s vision of Brazilian society. The Estado
Novo anticipated a militarized technology of internal surveillance, policing,
repression, and countersubversion that took on horrid proportions during
the military regime of 1964-T985.
==========
Cultural wars brazil (Williams)
- Note on Page 13 | Loc. 189 | Added on Sunday, July 31, 2011, 06:23 PM
Vargas forever changed the nature of Brazilian politics on the night of 24 August
1954, by turning a firearm on himself. The suicide letter—doctored by allies before
reaching the press—dripped with images of bloodletting, combat, and self-
sacrificing valor.7
==========
Cultural wars brazil (Williams)
- Note on Page 14 | Loc. 205 | Added on Sunday, July 31, 2011, 06:26 PM
metaphor of war
==========
Cultural wars brazil (Williams)
- Highlight on Page 18 | Loc. 264-67 | Added on Sunday, July 31, 2011, 06:36 PM
In 1942, for example, the leftist U.S. publisher Samuel Putnam (1892-1950) spoke
out The Vargas Era and Culture Wars 15 for several Brazilian authors, including
prominent novelists Jorge Amado and Graciliano Ramos, who had been silenced through
the federal government’s proclivity for harrassing intellectuals and literary
figures deemed 1 a threat to the regime’s political and cultural supremacy.
==========
Cultural wars brazil (Williams)
- Note on Page 18 | Loc. 267 | Added on Sunday, July 31, 2011, 06:36 PM
sauel putnam
==========
Cultural wars brazil (Williams)
- Highlight on Page 18 | Loc. 272-77 | Added on Sunday, July 31, 2011, 06:39 PM
The paradox is that the same state that persecuted left-wing intellectuals as
threats to Brazilian culture, while patronizing conservative artists such as
Oswaldo Teixeira, exhibited a high tolerance for cultural nonconformists who
questioned the political and cultural establishment. Rather than censure the
iconoclastic vanguard collectively known as the movimento modernista (modernist
movement), the Vargas regime absorbed modernist artists and modernist projects into
federal cultural management. Modernist literary figures including Mário de Andrade,
Carlos Drummond de Andrade, and even novelist Graciliano Ramos (imprisoned during
the Estado Novo for his leftist political sympathies) gravitated toward the
federal l_ government.
==========
Cultural wars brazil (Williams)
- Note on Page 19 | Loc. 277 | Added on Sunday, July 31, 2011, 06:39 PM
With the cover of state support, these figures wielded considerable influence in
defining and administering Brazil’s cultural identities during the 1930s and 1940s.
Modernist architecture—disparaged by conservatives in Brazil and abroad as
communistic, ugly, and wholly unnational—made its biggest strides in Vargas-era
Brazil because of state sponsorship. Self-consciously "Brazilian” architecture,
exemplified in the neocolonial movement, was certainly tolerated by the Vargas
state .Local adaptations to the stolid federalist style favored by American New
Dealers, the neoimperial architecture favored by European totalitarian states, and
the indigenista public art commissioned by the postrevolutionary Mexican state
would also be found in state architecture in Brazil. Nevertheless, the Vargas
regime tolerated, and at times embraced, the importation of the principles of
modernist architecture promoted by the International Congress of Modern
Architecture and its charismatic leader Le Corbusier. The signature building of the
Estado Novo, celebrated within Brazil and abroad as the pinnacle of cultural change
in Brazil, was the Ministry of Education and Health, a modernist 16 Culture Wars in
Brazil skyscraper whose design was literally taken out of Le Corbusier’s
sketchbooks. At times, the official architecture of the Vargas regime seemed at
direct odds with the regime’s clearly stated war on communism, internationalism,
and other "threats” to the nation.
==========
Cultural wars brazil (Williams)
- Note on Page 19 | Loc. 287 | Added on Sunday, July 31, 2011, 06:41 PM
repaso bibliografico
==========
Cultural wars brazil (Williams)
- Highlight on Page 22 | Loc. 335-37 | Added on Sunday, July 31, 2011, 06:49 PM
1984, the well-known literary critic Antonio Cândido made a brief survey of the
impact of the Revolution of 1930 on Brazilian culture, noting the process of
routinization of cultural renewal that accompanied the regime change.15
==========
Cultural wars brazil (Williams)
- Note on Page 22 | Loc. 337 | Added on Sunday, July 31, 2011, 06:49 PM
candidos account
==========
Cultural wars brazil (Williams)
- Highlight on Page 23 | Loc. 343-48 | Added on Sunday, July 31, 2011, 06:51 PM
cpdoc
==========
Cultural wars brazil (Williams)
- Note on Page 23 | Loc. 350 | Added on Sunday, July 31, 2011, 06:52 PM
tempos e capanema
==========
Cultural wars brazil (Williams)
- Highlight on Page 24 | Loc. 355-60 | Added on Sunday, July 31, 2011, 06:53 PM
The most dramatic reappraisal of culture under Vargas came in 1979, when
sociologist Sérgio Micefi published a study of intellectuals and the elite (classes
dirigentes) in the 1920S-1940S.19 Creatively researched and theoretically
innovative, Micefi’s work introduced an epistemological framework capable of
describing the relationship between culture and the state. Micefi was especially
attuned to the state’s role as an employer that provides intellectuals with the
material and symbolic resources to engage in cultural (and political) creativity.
Pierre Bourdieu’s theories of the "field of cultural production” and economy of
symbolic exchange loomed
==========
Cultural wars brazil (Williams)
- Note on Page 24 | Loc. 360 | Added on Sunday, July 31, 2011, 06:53 PM
micefi
==========
Cultural wars brazil (Williams)
- Highlight on Page 24 | Loc. 362-64 | Added on Sunday, July 31, 2011, 06:54 PM
proved controversial, with critics taking exception to the suggestion that the
protagonists of the modernist movement used a repressive state as a mechanism for
professional and aesthetic advancement. Antonio Cândido questioned Micefi’s
research.20
==========
Cultural wars brazil (Williams)
- Note on Page 24 | Loc. 364 | Added on Sunday, July 31, 2011, 06:54 PM
lavou inteirinho. Mas a água era encantada porque aquele buraco na lapa era marca
do pezão do Sumé, do tempo em que andava pregando o evangelho de Jesus pra indiada
brasileira.
==========
Macunaíma (Mário de Andrade)
- Note on Page 34 | Loc. 514 | Added on Tuesday, August 02, 2011, 04:59 AM
agua evagelizadorablankente
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 34 | Loc. 514-15 | Added on Tuesday, August 02, 2011, 04:59 AM
Quando o herói saiu do banho estava branco loiro e de olhos azuizinhos, água lavara
o pretume dele. E ninguém não seria capaz mais de indicar nele um filho da tribo
retinta dos Tapanhumas.
==========
Macunaíma (Mário de Andrade)
- Note on Page 34 | Loc. 515 | Added on Tuesday, August 02, 2011, 04:59 AM
se blankea
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 37 | Loc. 554 | Added on Tuesday, August 02, 2011, 05:05 AM
De-manhãzinha ensinaram que todos aqueles piados berros cuquiadas sopros roncos
esturros não eram nada disso não, eram mas clácsons campainhas apitos buzinas e
tudo era máquina.
==========
Macunaíma (Mário de Andrade)
- Note on Page 37 | Loc. 558 | Added on Tuesday, August 02, 2011, 05:06 AM
tudo eramaquina
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 37 | Loc. 558-59 | Added on Tuesday, August 02, 2011, 05:08 AM
As onças pardas não eram onças pardas, se chamavam fordes hupmobiles chevrolés
dodges mármons e eram máquinas.
==========
Macunaíma (Mário de Andrade)
- Note on Page 37 | Loc. 559 | Added on Tuesday, August 02, 2011, 05:08 AM
automobles
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 37 | Loc. 560-61 | Added on Tuesday, August 02, 2011, 05:09 AM
aprendendo calado.
==========
Macunaíma (Mário de Andrade)
- Note on Page 37 | Loc. 561 | Added on Tuesday, August 02, 2011, 05:09 AM
aprende en silencio
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 37 | Loc. 563-66 | Added on Tuesday, August 02, 2011, 05:11 AM
Então resolveu ir brincar com a Máquina pra ser também imperador dos filhos da
mandioca. Mas as três cunhãs deram muitas risadas e falaram que isso de deuses era
uma gorda mentira antiga, que não tinha deus não e que com a máquina ninguém não
brinca porque ela mata. A máquina não era deus não, nem possuía os distintivos
femininos de que o herói gostava tanto. Era feita pelos homens.
==========
Macunaíma (Mário de Andrade)
- Note on Page 37 | Loc. 566 | Added on Tuesday, August 02, 2011, 05:11 AM
nem o herói! Se levantou na cama e com um gesto, esse sim! bem guaçu de desdém, tó!
batendo o antebraço esquerdo dentro do outro dobrado, mexeu com energia a munheca
direita pras três cunhãs e partiu. Nesse instante, falam, ele inventou o gesto
famanado de ofensa: a pacova.
==========
Macunaíma (Mário de Andrade)
- Note on Page 38 | Loc. 569 | Added on Tuesday, August 02, 2011, 05:14 AM
gesto e ofensa
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 38 | Loc. 576 | Added on Tuesday, August 02, 2011, 05:16 AM
– Os filhos da mandioca não ganham da máquina nem ela ganha deles nesta luta. Há
empate.
==========
Macunaíma (Mário de Andrade)
- Note on Page 38 | Loc. 576 | Added on Tuesday, August 02, 2011, 05:16 AM
De toda essa embrulhada o pensamento dele sacou bem clarinha uma luz: Os homens é
que eram máquinas e as máquinas é que eram homens.
==========
Macunaíma (Mário de Andrade)
- Note on Page 38 | Loc. 580 | Added on Tuesday, August 02, 2011, 05:17 AM
ogoro
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 40 | Loc. 609-12 | Added on Tuesday, August 02, 2011, 05:21 AM
– Foi gente! Me mostra quem era! Então enxergou o dedo mindinho do herói escondido
e atirou um baníni na direção. Se ouviu um grito gemido comprido, juuúque! e
Macunaíma agachou com a flecha enterrada no coração. O gigante falou pra Maanape: –
Atira a gente que eu cacei!
==========
Macunaíma (Mário de Andrade)
- Note on Page 40 | Loc. 612 | Added on Tuesday, August 02, 2011, 05:21 AM
Então Maanape ficou com muito medo e jogou, truque! o herói no chão. Foi assim que
Maanape com Piaimã inventaram o jogo sublime do truco.
==========
Macunaíma (Mário de Andrade)
- Note on Page 41 | Loc. 623 | Added on Tuesday, August 02, 2011, 05:27 AM
juego el truco
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 43 | Loc. 651-59 | Added on Tuesday, August 02, 2011, 05:31 AM
No outro dia Macunaíma acordou com escarlatina e levou todo o tempo da febre
imaginando que carecia da máquina garrucha pra matar Venceslau Pietro Pietra. Nem
bem sarou foi na casa dos ingleses pedir uma smith-wesson. Os ingleses falaram: –
As garruchas inda estão muito verdolengas porém vamos a ver si tem alguma temporã.
Então foram embaixo da árvore garrucheira. Os ingleses falaram: – Você fica
esperando aqui. Si despencar alguma garrucha então pegue. Mas não deixa ela cair no
chão não! – Feito. Os ingleses sacudiram sacudiram a árvore e caiu uma garrucha
temporã. Os ingleses falaram: – Essa está boa. Macunaíma agradeceu e foi-se embora.
==========
Macunaíma (Mário de Andrade)
- Note on Page 43 | Loc. 659 | Added on Tuesday, August 02, 2011, 05:31 AM
pistola
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 43 | Loc. 659-63 | Added on Tuesday, August 02, 2011, 05:32 AM
Queria que os outros acreditassem que ele falava o inglês porém não falava nem
sweetheart não, os manos é que falavam. Maanape também desejava garrucha balas e
uísque. Macunaíma aconselhou: – Você não fala inglês bem, mano Maanape, vai lá e a
volta é cruel. É capaz de pedir garrucha e darem conversa. Deixa que eu vou. E foi
falar outra vez com os ingleses.
==========
Macunaíma (Mário de Andrade)
- Note on Page 44 | Loc. 663 | Added on Tuesday, August 02, 2011, 05:32 AM
E virou tijolos pedras telhas ferragens numa nuvem de içás que tomou São Paulo por
três dias. O bichinho caiu em Campinas. A tatorana caiu por aí. A bola caiu no
campo. E foi assim que Maanape inventou o bicho-do-café, Jiguê a lagarta-rosada e
Macunaíma o futebol, três pragas.
==========
Macunaíma (Mário de Andrade)
- Note on Page 46 | Loc. 704 | Added on Tuesday, August 02, 2011, 10:26 PM
Venceslau Pietro Pietra já o conhecia bem. Imaginou imaginou e ali pelas quinze
horas teve uma idéia. Resolveu enganar o gigante.
==========
Macunaíma (Mário de Andrade)
- Note on Page 47 | Loc. 706 | Added on Tuesday, August 02, 2011, 10:27 PM
enganhar al gigante
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 47 | Loc. 707-8 | Added on Tuesday, August 02, 2011, 10:28 PM
máquina negócios.
==========
Macunaíma (Mário de Andrade)
- Note on Page 47 | Loc. 707 | Added on Tuesday, August 02, 2011, 10:28 PM
maquina negocios
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 47 | Loc. 709-11 | Added on Tuesday, August 02, 2011, 10:29 PM
– Você imagina então que vou cedendo assim com duas risadas, francesa? Qual! – Mas
eu estou querendo tanto a pedra!... – Vá querendo! – Pois tanto se me dá como se me
dava, regatão! – Regatão uma ova, francesa! Dobre a língua! Colecionador é que é!
==========
Macunaíma (Mário de Andrade)
- Note on Page 48 | Loc. 734 | Added on Wednesday, August 03, 2011, 10:20 PM
mas porém era capaz de dar... “Conforme...” O gigante estava mas era querendo
brincar com a francesa. Quando por causa do jeito de Piaimã o herói entendeu o que
significava o tal de “conforme”, ficou muito inquieto. Matutou: “Será que o gigante
imagina que sou francesa mesmo!... Cai fora, peruano senvergonha!” E saiu correndo
pelo jardim. O gigante correu atrás.
==========
Macunaíma (Mário de Andrade)
- Note on Page 49 | Loc. 747 | Added on Wednesday, August 03, 2011, 10:24 PM
Lembrou de tomar leite. Subiu esperto pela capistrana pra não cansar porém a vaca
era de raça Guzerá muito brava. Escondeu o leitinho pobre. Mas Macunaíma fez uma
oração assim: “Valei-me Nossa Senhora, Santo Antônio de Nazaré, A vaca mansa dá
leite, A braba dá si quisé!” A vaca achou graça, deu leite e o herói chispou pro
sul.
==========
Macunaíma (Mário de Andrade)
- Note on Page 51 | Loc. 775 | Added on Wednesday, August 03, 2011, 10:28 PM
Pinchou fora as anaquilãs e gritou pra Macunaíma: – Agora que te agarro mesmo
porque vou buscar a jararaca Elitê! Quando ouviu isso o herói gelou. Com a jararaca
ninguém não pode não. Gritou pro gigante: – Espera um bocado, gigante, que já saio.
Porém pra ganhar tempo tirou os mangarás do peito e botou na boca do buraco
falando: – Primeiro bota isso pra fora, faz favor. Piaimã estava tão furibundo que
atirou os mangarás longe. Macunaíma presenciou a raiva do gigante. Tirou a máquina
decoletê, pôs ela na boca do buraco, falando outra vez: – Bota isso pra fora, faz
favor. Piaimã inda atirou o vestido mais longe. Então Macunaíma botou a máquina
cinta, depois a máquina sapatos e foi fazendo assim com todas as roupas. O gigante
isso já estava fumando de tão danado. Jogava tudo longe sem nem olhar o que era.
==========
Macunaíma (Mário de Andrade)
- Note on Page 52 | Loc. 796 | Added on Wednesday, August 03, 2011, 10:31 PM
Se aplicou. Num átimo reuniu milietas delas em todas as falas vivas e até nas
línguas grega e latina que estava estudando um bocado. A coleção italiana era
completa, com palavras pra todas as horas do dia, todos os dias do ano, todas as
circunstâncias da vida e sentimentos humanos. Cada bocagem! Mas a jóia da coleção
era uma frase indiana que nem se fala.
==========
Macunaíma (Mário de Andrade)
- Note on Page 53 | Loc. 811 | Added on Wednesday, August 03, 2011, 10:34 PM
Macunaíma estava muito contrariado. Não conseguia reaver a muiraquitã e isso dava
ódio. O milhor era matar Piaimã... Então saiu da cidade e foi no mato Fulano
experimentar força.
==========
Macunaíma (Mário de Andrade)
- Note on Page 54 | Loc. 818 | Added on Wednesday, August 03, 2011, 10:35 PM
llega a la macumba
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 55 | Loc. 831-33 | Added on Thursday, August 04, 2011, 03:39
AM
Tia Ciata era uma negra velha com um século no sofrimento, javevó e galguincha com
a cabeleira branca esparramada feito luz em torno da cabeça pequetita. Ninguém mais
não enxergava olhos nela, era só ossos duma compridez já sonolenta pendependendo
pro chão de terra.
==========
Macunaíma (Mário de Andrade)
- Note on Page 55 | Loc. 833 | Added on Thursday, August 04, 2011, 03:39 AM
tia ciata
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 55 | Loc. 835 | Added on Thursday, August 04, 2011, 03:40 AM
empregados publicos
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 55 | Loc. 841-51 | Added on Thursday, August 04, 2011, 03:41
AM
– Va-mo sa-ra-vá!... Tia Ciata cantava o nome do santo que tinham de saudar: – Ôh
Olorung! E a gente secundando: – Va-mo sa-ra-vá!... Tia Ciata continuava; – Ôh Boto
Tucuchi! E a gente secundando: – Va-mo sa-ra-vá!... Docinho numa reza mui monótona.
– Ôh Iemanjá! Anamburucu! e Oxum! três Mães-d’água! – Va-mo sa-ra-vá!... Assim. E
quando a tia Ciata parava gritando com gesto imenso: – Sai Exu! porque Exu era o
diabo-coxo,
==========
Macunaíma (Mário de Andrade)
- Note on Page 56 | Loc. 851 | Added on Thursday, August 04, 2011, 03:41 AM
foi lá que Macunaíma provou pela primeira vez o cachiri temível cujo nome é
cachaça. Provou estalando com a língua feliz e deu uma grande gargalhada.
==========
Macunaíma (Mário de Andrade)
- Note on Page 57 | Loc. 868 | Added on Thursday, August 04, 2011, 03:43 AM
una macumba seria. que diria nina rodrigues. miedo a q sea falsa
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 58 | Loc. 877-84 | Added on Thursday, August 04, 2011, 03:46
AM
Nem bem reza recomeçou se viu pular no meio da saleta uma fêmea obrigando todos a
silêncio com o gemido meio choro e puxar canto novo. Foi um tremor em todos e as
velas jogaram a sombra da cunhã que nem monstro retorcido pro canto do teto, era
Exu!
==========
Macunaíma (Mário de Andrade)
- Note on Page 58 | Loc. 889 | Added on Thursday, August 04, 2011, 03:47 AM
aparece exu
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 58 | Loc. 889-93 | Added on Thursday, August 04, 2011, 03:48
AM
Ogã pelejava batendo tabaque pra perceber os ritmos doidos do canto novo, canto
livre, de notas afobadas cheio de saltos difíceis, êxtase maluco baixinho tremendo
de fúria. E a polaca muito pintada na cara, com as alças da combinação
arrebentadas, estremecia no centro da saleta, já com as gorduras quase inteiramente
nuas. Os peitos dela balangavam batendo nos ombros na cara e depois na barriga,
juque! com estrondo. E a ruiva cantando cantando. Afinal a espuminha rolou dos
beiços desmanchados, ela deu um grito que diminuiu o tamanhão da noite mais, caiu
no santo e ficou dura.
==========
Macunaíma (Mário de Andrade)
- Note on Page 59 | Loc. 893 | Added on Thursday, August 04, 2011, 03:48 AM
melopeia monotona
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 59 | Loc. 900-901 | Added on Thursday, August 04, 2011, 03:50
AM
Quando acabou, a fêmea abriu os olhos, principiou se movendo bem diferente de já-
hoje e não era mais fêmea era o cavalo do santo, era Exu. Era Exu, o romãozinho que
viera ali com todos pra macumbar.
==========
Macunaíma (Mário de Andrade)
- Note on Page 59 | Loc. 901 | Added on Thursday, August 04, 2011, 03:50 AM
In this essay, I focus upon four types of readings of ethical philosophy in Latín
American and Latinamericanist thought, which I characterize, loosely, as
theological, literary, political, and deconstructive.
==========
Ethical Turn (Erin Graff)
- Note on Page 1 | Loc. 15 | Added on Saturday, August 06, 2011, 08:23 PM
Enrique Dussel’s assimilation of the work of Emmanuel Levinas into his own
philosophy of Latín American liberation. I then, in the second section, juxtapose
Dussel’s Levinasianism with Doris Sommer’s ostensibly very different Levinasian
approach to literary studies, focusing upon her analysis of Mario Vargas Llosa’s El
hablador. While on the surface these two approaches to ethics—one by a liberation
theologian, the other by a literary scholar—seem to be quite distinct, if not
contradictory, I argüe that both tum on the identitary logic that has structured
Latinamericanism historically, and that has framed our discussions of both
subjectivity and alterity.
==========
Ethical Turn (Erin Graff)
- Note on Page 2 | Loc. 20 | Added on Saturday, August 06, 2011, 11:38 PM
In the third section of this chapter, I unpack the debate over the relation between
ethics and political militancy that surfaces in Argentina following the publication
of philosopher Oscar Del Barco’s letter “No Matarás.” Here I suggest, following
Patrick Dove, that the opposition between ethics and politics obscures or overlooks
that which could be most promising in ethical and political thinking.
==========
Ethical Turn (Erin Graff)
- Note on Page 2 | Loc. 23 | Added on Saturday, August 06, 2011, 11:40 PM
Dussel found Levinas’s ethical philosophy formally useful, but was anxious to fill
in what he perceived as a void of meaning in Levinas’s account of the relation to
the other.
==========
Ethical Turn (Erin Graff)
- Note on Page 3 | Loc. 36 | Added on Saturday, August 06, 2011, 11:43 PM
The great limitation of the ethical philosopher, according to Dussel, was his
inability to take the step from ethics to politics, specifically to a politics of
liberation, which—on Dussel’s account— 4 would entail a full recognition of the
other, the comprehension of the other’s particular social and economic conditions
and, finally, the concrete demands of the other.
==========
Ethical Turn (Erin Graff)
- Note on Page 3 | Loc. 42 | Added on Saturday, August 06, 2011, 11:45 PM
according to dussel levinas lcks the political step towards the recognition of the
other
==========
Ethical Turn (Erin Graff)
- Highlight on Page 3 | Loc. 46-47 | Added on Saturday, August 06, 2011, 11:46 PM
remaining tied to the fantasy of knowledge of oneself or of the other, we tum our
attention to of a different kind of justice: a politics of acknowledgment rather
than recognition.
==========
Ethical Turn (Erin Graff)
- Note on Page 4 | Loc. 47 | Added on Saturday, August 06, 2011, 11:46 PM
politics of acknowledgemnt
==========
Ethical Turn (Erin Graff)
- Highlight on Page 3 | Loc. 42-44 | Added on Saturday, August 06, 2011, 11:46 PM
I have argued, in previous work, that for Dussel recognition of the other, and
comprehension of the other’s demand, requires the assignation of a particular
identity to the other. (Graff Zivin 205-07)
==========
Ethical Turn (Erin Graff)
- Note on Page 4 | Loc. 50 | Added on Saturday, August 06, 2011, 11:48 PM
But if on Derrida’s (or Levinas’s account) the other is precisely that which we
cannot anticípate, that for which we cannot prepare, we can, in contrast,
anticípate Dussel’s other, that other person that we can—indeed, must—define as a
victim (the Indian, the woman, the subaltern).
==========
Ethical Turn (Erin Graff)
- Note on Page 4 | Loc. 54 | Added on Saturday, August 06, 2011, 11:49 PM
While he concedes to Levinas his likening of politics to war, or war as the true
face of politics, in which self and other are always necessarily in a relation of
enmity, he calis for a second step, in which a new totality is constructed that
takes into account the demand of the other: “su crítica a la política como la
estrategia del estado de guerra es correcta, valiente, clarividente, pero esto no
evita las dificultades que tiene el gran pensador judío para reconstruir el
sentido positivo y crítico liberador de una nueva política” (“Lo político en
Levinas” 115). In effect, Dussel identifies two different political theologies: one
“good” and one “bad,” bridged by the ethical experience of the face of the other.
Here, ethics comes to interrupt “bad” politics (and therefore is not quite “first
philosophy”) and then replace it with a new, “good” totality, “una nueva totalidad
al servicio del Otro” (119).
==========
Ethical Turn (Erin Graff)
- Note on Page 5 | Loc. 64 | Added on Saturday, August 06, 2011, 11:52 PM
dussel accepts politics as war but thinks of a new totality in the ervice of the
othe
==========
Ethical Turn (Erin Graff)
- Highlight on Page 5 | Loc. 75-78 | Added on Saturday, August 06, 2011, 11:53 PM
At fírst glance, Doris Sommer appears to move beyond Dussel’s ethics of recognition
in favor of a more deconstructive approach in her essay, “About-Face: The Talker
Turns” (1996), in which she uses a loosely Levinasian framework to analyze
the encounter between same and other in Mario Vargas Llosa’s 1987 novel El
hablador.
==========
Ethical Turn (Erin Graff)
- Note on Page 6 | Loc. 77 | Added on Saturday, August 06, 2011, 11:54 PM
doris essay
==========
Ethical Turn (Erin Graff)
- Highlight on Page 6 | Loc. 88-91 | Added on Saturday, August 06, 2011, 11:55 PM
modelo de doris
==========
Ethical Turn (Erin Graff)
- Highlight on Page 6 | Loc. 91-94 | Added on Saturday, August 06, 2011, 11:57 PM
The foundational cali of the other slips between a loosely Levinasian concept of
the demand and the well-known Althusserian scene of ideological interpellation, the
cali of the pólice toward whom we cannot help but turn. Sommer leaves the vast
divide between ethical responsibility to the other and interpellation by
an ideological State apparatus (ISA) largely unthought: the Levinas-Althusser
coupling stands as a flimsy rhetorical gesture upon which an argument about ethics
and politics (not-quite ethics and not-quite politics) will be based.
==========
Ethical Turn (Erin Graff)
- Note on Page 7 | Loc. 94 | Added on Saturday, August 06, 2011, 11:57 PM
The idea of acknowledgment (a synonym, here, for what Sommer calis elsewhere
“respecf ’ for the other), linked to the equally problematic concept of recognition
(of the other as other), is limiting not only if we are to take this moment as the
“final word.” For even if we are to acknowledge difference as a “first step” toward
a second, one would assume, more ethical moment (which Sommer curiously
terms “negotiations,” an activity that would more ofien be associated with politics
in its crudest form), we are caught within the logic of identitarianism, in which
otherness is a mere reflection of the same, where identity and difference are two
sides of the same coin: a logic Sommer ostensibly seeks to abandon.
==========
Ethical Turn (Erin Graff)
- Note on Page 7 | Loc. 101 | Added on Saturday, August 06, 2011, 11:59 PM
Yet Sommer’s work ultimately fetishizes the other as well as, in other work, the
secret of the other.
==========
Ethical Turn (Erin Graff)
- Note on Page 8 | Loc. 120 | Added on Sunday, August 07, 2011, 12:01 AM
sommer fetichization
==========
Ethical Turn (Erin Graff)
- Highlight on Page 8 | Loc. 120-21 | Added on Sunday, August 07, 2011, 12:02 AM
Likewise, Menchú and Morrison’s protagonist (and Morrison herself) remain relegated
to the realm of an identifiable “otherness” that remains beyond the reach of the
reader, here presumed to be privileged, white, hailing from the first world, as if
the subaltem, or everyone else, not only don’t speak but also can’t read.5
==========
Ethical Turn (Erin Graff)
- Note on Page 9 | Loc. 125 | Added on Sunday, August 07, 2011, 12:05 AM
“No attempt at justificatión will make us innocent again,” del Barco asserts: There
are no ‘causes’ or ‘ideáis’ that will let us off the hook. We have to take on that
essentially irredeemable act, the unprecedented responsibility of having
intentionally caused the death of a human being. Responsibility before our loved
ones, responsibility before other human beings, responsibility without meaning or
concept before what we could hesitatingly cali ‘the absolutely other’. But beyond
everything and everybody, including whatever God there might be, there is the Thou
shalt not kill. Faced with a society that kills millions of human beings in
wars, genocides, famines, illness and every kind of torture, at the base of each
of us can be heard weakly or imperiously the Thou shalt not kill. A 12 commandment
that cannot be founded or explained but that nevertheless is there, in me and in
everyone, as a presence without presence, as a forcé without forcé, as being
without being. Not a commandment that comes from outside, from some other place,
but which constitutes our inconceivable and unprecedented immanence. (del Barco
115)
==========
Ethical Turn (Erin Graff)
- Note on Page 11 | Loc. 162 | Added on Wednesday, August 10, 2011, 05:17 PM
Can we say that a turn to ethics (whether an ethics based on recognition or mis-
recognition, understanding or misunderstanding) is a turn away from this
(Schmittian, bellicose) notion of politics, but perhaps an opening to a different
conception of politics?
==========
Ethical Turn (Erin Graff)
- Note on Page 13 | Loc. 186 | Added on Wednesday, August 10, 2011, 07:31 PM
Juan Ritvo and Eduardo Grüner in Conjeturar: “it might be thought that the letter
is not strung ‘on high’ but laid out on the ‘ground’, in ‘politics’, contradicting
what you say about my abandonment of politics, which in reality is an abandonment
of what you mean by politics” (155). What is at stake in del Barco’s letter (as
well as the reactions to it), 15 then, is the question of what we mean bypolitics—
and therefore, also, of what we mean by ethics, and, finally, what we might mean by
the “tura” from one to the other, or the “substitution” of one for the other.
==========
Ethical Turn (Erin Graff)
- Note on Page 14 | Loc. 203 | Added on Wednesday, August 10, 2011, 08:24 PM
We see, here, in both Tatián’s and del Barco’s remarks, that what is being debated,
misunderstood, here is not (only) ethics, and not (only) politics, but the
question of misunderstanding in the Ranciérian sense: the question of
misunderstanding (a disagreement, dissensus over “what we mean by politics”) as
constitutive of both ethics and politics, and of the relation, if there can be one,
between ethics and politics.
==========
Ethical Turn (Erin Graff)
- Note on Page 14 | Loc. 206 | Added on Wednesday, August 10, 2011, 08:25 PM
rancierian miunderstanding
==========
Ethical Turn (Erin Graff)
- Highlight on Page 14 | Loc. 209-12 | Added on Wednesday, August 10, 2011, 08:26
PM
If, on the other hand, we are to conceive of the tum to ethics as intemal to
politics, thus erasing the “away from” as well as any kind of exteriority, we can
begin to think about ethics and politics—that is, an ethics not grounded in
recognition and a politics not based on enmity—as either mutually dependent or
mutually suspensive: of ethics as the condition of possibility and impossibility of
politics and vice-versa.
==========
Ethical Turn (Erin Graff)
- Note on Page 14 | Loc. 212 | Added on Wednesday, August 10, 2011, 08:26 PM
ethical turn functions inside politics
==========
Ethical Turn (Erin Graff)
- Highlight on Page 14 | Loc. 215-19 | Added on Wednesday, August 10, 2011, 08:28
PM
work of Jacques Derrida (Dove, Biset, Moreiras). For this 16 more deconstructive
approach, the other is not identifiable as such, and the other’s demand is
untranslatable: this does not mean, of course that it is not translated, that
the other’s demand does not solicit and require, but rather that it does so without
end, without conveying its sense entirely, or satisfactorily. “Translation,” the
“secret,” and “misunderstanding” are the conceptual levers the deconstructive
approach relies on in order to sketch out what I will cali a marrano ethics, a
marrano politics, and their relation.
==========
Ethical Turn (Erin Graff)
- Note on Page 15 | Loc. 219 | Added on Wednesday, August 10, 2011, 08:28 PM
For many this antagonism takes the form of an either/or: either politics or ethics
(either Marx or Freud, Badiou or Levinas, for instance) but not both. The
translation of this antagonism into the logic of choice comes with a price: it
happens at the expense of thinking what these two spheres might have in common,
either despite the antagonism or precisely because of it. By the same token, the
either/or has the effect of imputing to each ‘sphere’ a sense of stability and
self-consistency that may in fací blind us to what is really at stake in ethical
and political thinking. (280)
==========
Ethical Turn (Erin Graff)
- Note on Page 15 | Loc. 227 | Added on Wednesday, August 10, 2011, 08:32 PM
By identifying the antagonism present not only in the del Barco debate (he notes an
“obligation to take sides”), but also in Latín American studies and philosophy more
17 generally, Dove makes a persuasive case for a thinking of ethics and politics
that would neither oppose ñor confíate the two. He points out that while del Barco
appears to privilege an idea of ethics understood as responsibility for the other
over a politics understood as war, his rehearsal of the ethical scene—however
unexpectedly—ends up reproducing the sacrificial logic of his versión of politics:
“the foundational role played by ethics in del Barco’s critique of political
violence tums out to mirror [...] the sovereign status of the political in militant
reason” (289).7 Del Barco, Dove claims, merely replaces the Schmittian enemy with
the Levinasian figure of the absolutely other, in a rhetorical gesture that does
nothing to unsettle politics, ethics, or their relation.
==========
Ethical Turn (Erin Graff)
- Note on Page 16 | Loc. 235 | Added on Wednesday, August 10, 2011, 08:34 PM
the Levinasian “Thou shalt not kill” in and through its impossibility, as a Kantian
regulative ideal, “something we aim at [while] knowing full well that we must fall
short of it,” it becomes a kind of “ethical fiction” (Dove 293).
==========
Ethical Turn (Erin Graff)
- Note on Page 16 | Loc. 239 | Added on Wednesday, August 10, 2011, 08:36 PM
Dove concludes by pointing to a blind spot in the del Barco debate that acquires a
fascinating afterlife only in and through its reading, Dove’s reading. Tuming to
Otherwise than Being, Dove reminds us that for Levinas, politics, or justice,
always arrives in the figure of the third, a figure that interrupts the face-to-
face encounter 18 between same and other. On this reading, ethics always already
implies the arrival of politics so that ethics cannot do without politics (and,
conversely, politics cannot do without ethics). Politics simultaneously
“establishes the urgency of ’ and “ruins” ethics in a kind of Derridean
undecidability: each serves as the condition of possibility and impossibility for
the other.8
==========
Ethical Turn (Erin Graff)
- Note on Page 17 | Loc. 246 | Added on Wednesday, August 10, 2011, 08:37 PM
In his 2012 book El signo y la hiedra: Escritos sobre Jacques Derrida, Argentinean
philosopher Emmanuel Biset pursues a reading of the “political” Derrida (that is
also always already the ethical Derrida) through a discussion of the
interrelated tropes of undecidability, insitututions, and hospitality.
==========
Ethical Turn (Erin Graff)
- Note on Page 17 | Loc. 249 | Added on Wednesday, August 10, 2011, 08:37 PM
biset s derrida
==========
Ethical Turn (Erin Graff)
- Highlight on Page 17 | Loc. 250-55 | Added on Wednesday, August 10, 2011, 08:39
PM
Justice, for Derrida, is not equated with politics, as it is for Levinas, but
rather with ethics, with the undeconstructible: it is the principie (or beginning,
foundation) of deconstruction (“es el principio de su deconstrucción” [37]). “La
justicia es hospitalidad, una hospitalidad hacia el acontecimiento y hacia los
otros singulares” Biset writes, “el problema es cómo traducir esta ética de la
hospitalidad en una política de la hospitalidad” (39). Yet, according to Biset [?],
this is an unsettled, flawed translation: “Una política de la hospitalidad es la
traducción siempre imperfecta en leyes puntuales de una hospitalidad radical que
nunca se identifica con sus leyes” (39).
==========
Ethical Turn (Erin Graff)
- Note on Page 17 | Loc. 255 | Added on Wednesday, August 10, 2011, 08:39 PM
hospitalidad radical que nunca se identifica cn sus leyes. que seria lo politico
==========
Ethical Turn (Erin Graff)
- Highlight on Page 17 | Loc. 255-59 | Added on Wednesday, August 10, 2011, 08:48
PM
It is in these last words that we see a break with the Levinas of Dussel or Sommer:
politics, here, is not understood as opposed to ethics as war would be opposed to
responsibility for the other. Rather than a relation of opposition, we find, in
Biset’s Derrida, a constitutive flaw, a point of disidentification between the
demand for justice and the institutions that might attempt to guarantee or 19 guard
the possibility of justice, una hospitalidad que nunca se identifica con sus leyes.
==========
Ethical Turn (Erin Graff)
- Note on Page 17 | Loc. 259 | Added on Wednesday, August 10, 2011, 08:48 PM
The nonethical opening to ethics: what could this be? In previous work, Moreiras
has already offered a loose definition of infrapolitics as a kind of mutual
suspensión of ethics and politics: “What if, before ethics, there were another
practice that makes of the double suspensión of the ethical by the political and of
the political by the ethical its very possibility? This practice, which finds its
expression in literature, but is not limited to literature, is infrapolitical
practice” (2010, 186). I do not have time, here, to dwell upon Moreiras’s use of
“before” (by “before ethics” does he mean “in the face of ethics”, or prior to,
perhaps a philosophy prior to ethics as first philosophy?) I want, instead,
to reflect upon Moreiras’s understanding of “suspensión.” In “Infrapolitical
Derrida” (written about a decade later), he will phrase this somewhat differently:
here, infrapolitics “is the double solicitation of the political by the ethical and
of the ethical by the political.” Suspensión, solicitation: are we to understand
that ethics is the condition of possibility for politics and vice-versa, or the
condition of impossibility? Or rather, might we read, in the slippage between
suspensión and solicitation, a negativity that promises, that opens?
==========
Ethical Turn (Erin Graff)
- Note on Page 19 | Loc. 281 | Added on Wednesday, August 10, 2011, 08:54 PM
Hágglund’s critique of Critchley centers upon two principal issues: violence and
temporality. He claims that Critchley is wrong to detect in Derrida’s work a
nonviolent ethical val ence, to establish a conceptual parallel between ethics in
Levinas and unconditional hospitality in Derrida: "The ethical is [...] a matter of
responding to alterity by making decisions and calculations, whereas the
unconditional is the non-ethical opening of ethics, namely, the exposure to an
undecidable other that makes it necessary to decide and calcúlate in the
first place” (Hagglund, “The Non-Ethical..301). This is of course a reference to
Derrida’s “The Violence of the Letter,” in which he defines “arche-writing” as “the
origin of morality as of immorality. The nonethical opening to ethics. A violent
opening” (140).
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 3 | Loc. 46 | Added on Wednesday, August 10, 2011, 09:09 PM
Of course, “prior” may not, or may not only, signify temporal precedence. If we say
that “ethical responsibility is prior to everything else,” we can mean prior in
importance (the arrival of the other is a definitive moment for my ethical being;
of all the moments that constitute me as an ethical being, it is the arrival of the
other that is the most important, inasmuch as it alone is definitive: henee it has
priority in respect to its importance, its definitiveness); prior in time (the
other arrives and then I make a decisión); or prior in terms of logical structure
(the arrival of the other is the necessary condition for there to be an ethical
response: if the other arrives then necessarily my response to the arrival of the
other takes place in, even defines, the domain of the ethical).
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 5 | Loc. 75 | Added on Wednesday, August 10, 2011, 09:18 PM
prior
==========
Deconstruction and its precursors (Erin Graff)
- Highlight on Page 5 | Loc. 75-78 | Added on Wednesday, August 10, 2011, 09:21 PM
passive decision
==========
Deconstruction and its precursors (Erin Graff)
- Highlight on Page 8 | Loc. 112-14 | Added on Thursday, August 11, 2011, 07:20 PM
Let us pretend, for a moment, that Derrida is not speaking of the specters of
Hamlet’s father, or of the specter ofMarx, but the specter of Levinas: what
would it mean to inherit from Levinas’s ghost, to resist reaching consensus about
what this legacy is?
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 8 | Loc. 114 | Added on Thursday, August 11, 2011, 07:20 PM
How does one inherit from, respond to, the marrano specter?
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 8 | Loc. 117 | Added on Thursday, August 11, 2011, 07:20 PM
marrano specter
==========
Deconstruction and its precursors (Erin Graff)
- Highlight on Page 8 | Loc. 121-22 | Added on Thursday, August 11, 2011, 07:23 PM
Before I begin, however, I want to alert you to two things, and also to anticípate
my conclusión, in the form of a suggestion.
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 8 | Loc. 122 | Added on Thursday, August 11, 2011, 07:23 PM
What I’ll be suggesting is that the notion of the precursor that each of
them, Borges and Derrida, addresses, and which is used by critics to place Derrida
and Borges in relation to one another, is tied to a range of undecidable questions
that, because they are undecidable, make different forms of exteriority intrinsic
to the work of Derrida and Borges. The demand that this undecidable, intrinsic
exteriority makes alerts Borges’, and Derrida’s, readers to the constitutive
unlikeness of an author to himself, of a tradition to itself, of a discipline to
itself. Corning to terms with this unlikeness is the task of Latín Americanism
today, still.
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 9 | Loc. 129 | Added on Thursday, August 11, 2011, 07:24 PM
I won’t provide a comprehensive list of the studies comparing Borges and Derrida.
Instead, Fll briefly consider González Echevarría’s 1983 essay “BdeORridaGES
(BORGES Y DERRIDA)” and Rodríguez Monegal’s 1985 “Borges y Derrida: boticarios,”
not as representative studies, but rather as readings that symptomatize a certain
approach to literature, theory, and disciplinarity, as well as to the broader
question of identity and origins in Latín American and Latín Americanist thought. I
will then turn to Borges’s 1951 “Kafka y sus precursores” in order to “unread” or
“misread” Borges as a precursor to Derrida. I will argüe that in drawing upon the
example of Zeno’s paradox of motion, Borges postulates a theory of precursors as
retroactively determined: untimely, intempestivo, at once early and belated.
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 10 | Loc. 140 | Added on Thursday, August 11, 2011, 07:25 PM
The argument is rather straightforward, but has a number of consequences I’d like
to outline here. First: we don’t need Derrida, because we have Borges. This might
lead to a second, implicit point: we don’t need philosophy, critical theory, etc.,
because we have literature. Third, deconstruction’s origins are Latin American
(echoing González Echevarría’s point that Derrida places Borges, a “marginal”
writer, into the “center” of European discourse). This reverses
the center/periphery, original/copy formal relation pervasive in literary criticism
at least until the Latin American avant-garde movements, but does little to
dismantle these oppositions (notice the reference to repetition, tautology,
sameness, familiarity: Derrida as mere repetition of Borges). Beyond identifying a
(Latín American) precursor of French (and later U.S.) deconstruction, beyond
positing a rehierarchization of intellectual geopolitics, the essay affirms the
same logic of identity, of origins and originality that we witness in González
Echevarría’s piece, and which is at the heart of the most commonly accepted
understandings of what a “precursor” is, what work it does.
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 12 | Loc. 174 | Added on Thursday, August 11, 2011, 07:29 PM
which shall not or can not come to pass, alludes as well to the “pre-” ofprecursor
(from the Latínprae, beforehand and currere, to run) so that even in this strange
opening paragraph that would seem to propose a timely study of a chronological
phenomenon, we begin to sense the untimely quality: of the study and of the
precursor itself.
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 13 | Loc. 194 | Added on Thursday, August 11, 2011, 07:32 PM
What, then, of the rapport between Borges and Derrida? When asked in an interview
published in the blog “Outward from Nothingness” about Borges’s influence upon his
work, the French-Algerian philosopher responds in the following way: What would be
my spontaneous attitude to Borges? It’s a pensive one. I am reminded of an
interview with Borges, during a visit to Harvard in 1968. His father had a theory
of forgetting that lingered with him. “I think if I recall something,” his father
said, “for example, if today I look back on this morning, then I get an image of
what I saw this morning. But if tonight, I’m thinking back on this morning, then
what I’m really recalling is not the first image, but the first image in memory. So
that every time I recall something, I’m not recalling it really, I’m recalling the
last time I recalled it, I’m recalling my last memory of it. So that really, I have
no memories whatever, I have no images whatever, about my childhood, my youth.” My
relationship with Borges works precisely in this fashion; I have no relationship
with him whatever. The only relationship I have with him, his writings, is his
ghost - the traces of Borges.
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 15 | Loc. 224 | Added on Friday, August 12, 2011, 02:35 AM
“One always inherits from a secret—which says ‘read me, will you ever be able to
do so?”’ (SM18). Such a demand is doubly impossible, because it hints at the
unreadability of the text, and the aporetic duty to do so.
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 16 | Loc. 231 | Added on Friday, August 12, 2011, 02:36 AM
decision over the unreadable. fact of interpretation. decision violence and ethics.
important paragraph
==========
Deconstruction and its precursors (Erin Graff)
- Highlight on Page 16 | Loc. 243-48 | Added on Friday, August 12, 2011, 02:40 AM
through Kafka’s work, we can retum to the poem and read that which we could not
have read at the moment of its composition, that which Browning himself could not
have anticipated. The uncanny bond between precursor and heir, then, comes about
not only in our reading of Kafka through Browning, but in our untimely, anachronic
retum to Browning/fom Kafka. “El hecho es que cada escritor crea sus precursores.
Su labor modifica nuestra concepción del pasado, como ha de modificar el futuro,”
Borges offers, contradicting the Borges of the opening paragraph, the Borges that
“premeditated,” the Borges that would proceed in chronological order, the
“introduction-Borges” that anticipated—and would be cancelled out by—“conclusion-
Borges.” (89-90)
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 17 | Loc. 248 | Added on Friday, August 12, 2011, 02:40 AM
the heir moodifies also the precursors. bidirectional relation of heir precursor
movement
==========
Deconstruction and its precursors (Erin Graff)
- Highlight on Page 17 | Loc. 248-51 | Added on Friday, August 12, 2011, 02:42 AM
It is here that Borges gives the fatal twist to the significance—the meaning but
also the importance—of a precursor. The precursor, we can now see, is that aspect
of exteriority that alerts us to the constitutive unlikeness of an author to him-
or herself. Borges is not Borges, Kafka is not Kafka, Levinas is not Levinas,
Derrida is not Derrida, the precursor arrives, belatedly, to tell us. And it is
here that we can begin to imagine a rapport not only between Borges and Derrida,
but between literature and philosophy as two disciplines that, as they approach one
another, never arriving, expose the principie of non-identity at the heart of each
(literature is not literature, philosophy is not philosophy, and—we could add
— deconstruction is not deconstruction, Hispanism is not Hispanism).
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 17 | Loc. 257 | Added on Friday, August 12, 2011, 02:43 AM
we never know which Borges is writing, early Borges or late Borges, we never know
which Derrida we’re reading, Derrida haunted by Borges or Derrida haunted by not-
Derrida, “early” Derrida or “late” Derrida. Our search for precursors, then,
insofar as it symptomatizes a desire for identity, for likeness, for origins, is
doomed not to fail, but to succeed: there are always enough precursors, narrowly
understood, to go around, always enough fathers to kill anxiously, following yet
another Yale critic.
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 18 | Loc. 262 | Added on Friday, August 12, 2011, 02:44 AM
The discipline that we invent, our Hispanism, “signifies in the form of one-
penetrated-by-the-other” To read Hispanism, or Latín Americanism, through and from
Derrida is to embark upon new, absolutely non-coinciding inquisitions, new
interdisciplinary or mdisciplinary inquines that hold open the possibility of an
outside, or of an outside within: the unknown that structures every event of
reading.
==========
Deconstruction and its precursors (Erin Graff)
- Note on Page 18 | Loc. 270 | Added on Friday, August 12, 2011, 02:45 AM
espuma de la boca
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 60 | Loc. 910 | Added on Friday, August 12, 2011, 02:50 AM
não era polaca mais, era Exu, o jurupari mais macanudo daquela religião.
==========
Macunaíma (Mário de Andrade)
- Note on Page 60 | Loc. 910 | Added on Friday, August 12, 2011, 02:50 AM
Depois que todos beijaram adoraram e se benzeram muito, foi a hora dos pedidos e
promessas. Um carniceiro pediu pra todos comprarem a carne doente dele e Exu
consentiu. Um fazendeiro pediu pra não ter mais saúva nem maleita no sítio dele e
Exu se riu falando que isso não consentia não. Um namorista pediu pra pequena dele
conseguir o lugar de professora municipal para casarem e Exu consentiu. Um médico
fez um discurso pedindo pra escrever com muita elegância a fala portuguesa e Exu
não consentiu. Assim.
==========
Macunaíma (Mário de Andrade)
- Note on Page 60 | Loc. 914 | Added on Friday, August 12, 2011, 02:51 AM
Afinal veio a vez de Macunaíma o filho novo do fute. E Macunaíma falou: – Venho
pedir pra meu pai por causa que estou muito contrariado. – Como se chama? perguntou
Exu. – Macunaíma, o herói. – Uhum... o maioral resmungou, nome principiado por Ma
tem má-sina... Mas recebeu com carinho o herói e prometeu tudo o que ele pedisse
porque Macunaíma era filho. E o herói pediu que Exu fizesse sofrer Venceslau Pietro
Pietra que era o gigante Piaimã comedor de gente.
==========
Macunaíma (Mário de Andrade)
- Note on Page 60 | Loc. 920 | Added on Friday, August 12, 2011, 02:51 AM
Enfim roxo de pancada sangrando pelo nariz pela boca pelos ouvidos caiu desmaiando
no chão. E era horroroso... Macunaíma ordenou que o eu do gigante fosse tomar um
banho salgado e fervendo e o corpo de Exu fumegou molhando o terreno. E Macunaíma
ordenou que o eu do gigante fosse pisando vidro através dum mato de urtiga e
agarra-compadre até as grunhas da serra dos Andes pleno inverno e o corpo de Exu
sangrou com lapos de vidro, unhadas de espinhos e queimaduras de urtiga, ofegando
de fadiga e tremendo de tanto frio. Era horroroso. E Macunaíma ordenou que o eu de
Venceslau Pietro Pietra recebesse o guampaço dum marruá, o coice dum bagual, a
dentada dum jacaré e os ferrões de quarenta vezes quarenta mil formigas-de-fogo e o
corpo de Exu retorceu sangrando empolando na terra, com uma carreira de dentes numa
perna, com quarenta vezes quarenta mil ferroadas de formiga na pele já invisível,
com a testa quebrada pelo casco dum bagual e um furo de aspa aguda na barriga. A
saleta se encheu dum cheiro intolerável. E Exu gemia: – Me chifra devagar Que isto
dói dói dói! Também tenho família E isto dói dói dói! Macunaíma ordenou muito tempo
muitas coisas assim e tudo o eu de Venceslau Pietro Pietra agüentou pelo corpo de
Exu. Afinal a vingança do herói não pôde inventar mais nada e parou.
==========
Macunaíma (Mário de Andrade)
- Note on Page 62 | Loc. 938 | Added on Friday, August 12, 2011, 08:55 PM
rezo a exu
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 63 | Loc. 952-57 | Added on Friday, August 12, 2011, 08:58 PM
Exu ia sarando sarando, tudo foi desaparecendo por encanto quando a caninha
circulou e o corpo da polaca virou são outra vez. Se escutou uma bulha tamanha e
tomou o espaço um cheiro de breu queimado enquanto a fêmea deitava pela boca um
anel de azeviche. Então voltou do desmaio vermelha gorda só que mui fatigada e
agora estava só a polaca ali, Exu tinha ido embora. E pra acabar todos fizeram a
festa juntos comendo bom presunto e dançando um samba de arromba em que todas essas
gentes se alegraram com muitas pândegas liberdosas. Então tudo acabou se fazendo a
vida real. E os macumbeiros, Macunaíma, Jaime Ovalle, Dodô, Manu Bandeira, Blaise
Cendrars, Ascenso Ferreira, Raul Bopp, Antônio Bento, todos esses macumbeiros
saíram na madrugada.
==========
Macunaíma (Mário de Andrade)
- Note on Page 63 | Loc. 957 | Added on Friday, August 12, 2011, 08:58 PM
vuelve el estado secular. cmo se diferencia de jean rouch
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 64 | Loc. 967-71 | Added on Friday, August 12, 2011, 09:00 PM
– Volomã, me dá uma fruta, Macunaíma pediu. O pau não quis dar. Então o herói
gritou duas vezes: – Boiôiô, boiôiô! quizama quizu! Caíram todas as frutas e ele
comeu bem. Volomã ficou com ódio. Pegou o herói pelos pés e atirou-o pra além da
baía de Guanabara numa ilhota deserta, habitada antigamente pela ninfa Alamoa que
veio com os holandeses.
==========
Macunaíma (Mário de Andrade)
- Note on Page 64 | Loc. 971 | Added on Friday, August 12, 2011, 09:00 PM
– Não hás de ter um amor! – Mandu sarará, Mamãe veio e me botou Um colar feito de
dor, – Mandu sarará... Que o tatu prepare a cova Dos seus dentes desdentados, –
Mandu sarará... Para o mais desinfeliz De todos os desgraçados, – Mandu sarará...”
==========
Macunaíma (Mário de Andrade)
- Note on Page 67 | Loc. 1018 | Added on Friday, August 12, 2011, 09:09 PM
mandu sarara
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 67 | Loc. 1023 | Added on Friday, August 12, 2011, 09:10 PM
rio de janeiro
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 67 | Loc. 1025-28 | Added on Friday, August 12, 2011, 09:12 PM
Vei queria que Macunaíma ficasse genro dela porque afinal das contas ele era um
herói e tinha dado tanto bolo-de-aipim pra ela chupar secando, falou: – Meu genro:
você carece de casar com uma das minhas filhas. O dote que dou pra ti é Oropa
França e Baía. Mas porém você tem de ser fiel e não andar assim brincando com as
outras cunhãs por aí.
==========
Macunaíma (Mário de Andrade)
- Note on Page 68 | Loc. 1028 | Added on Friday, August 12, 2011, 09:12 PM
Macunaíma agradeceu e prometeu que sim jurando pela memória da mãe dele. Então Vei
saiu com as três filhas pra fazer o dia no cerradão, ordenando mais uma vez que
Macunaíma não saísse da jangada pra não andar brincando com as outras cunhãs por
aí. Macunaíma tornou a prometer, jurando outra vez pela mãe.
==========
Macunaíma (Mário de Andrade)
- Note on Page 68 | Loc. 1031 | Added on Friday, August 12, 2011, 09:12 PM
macnaima jura
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 68 | Loc. 1031-34 | Added on Friday, August 12, 2011, 09:13 PM
Nem bem Vei com as três filhas entraram no cerradão que Macunaíma ficou cheio de
vontade de ir brincar com uma cunhã. Acendeu um cigarro e a vontade foi subindo. Lá
por debaixo das árvores passavam muitas cunhãs cunhé cunhé se mexemexendo com
talento e formosura. – Pois que fogo devore tudo! Macunaíma exclamou. Não sou
frouxo agora pra mulher me fazer mal!
==========
Macunaíma (Mário de Andrade)
- Note on Page 68 | Loc. 1034 | Added on Friday, August 12, 2011, 09:13 PM
E uma luz vasta brilhou no cérebro dele. Se ergueu na jangada e com os braços
oscilando por cima da pátria decretou solene: – POUCA SAÚDE E MUITA SAÚVA, OS MALES
DO BRASIL SÃO! Pulou da jangada no sufragante, foi fazer continência diante da
imagem de Santo Antônio que era capitão de regimento e depois deu em cima de todas
as cunhãs por aí.
==========
Macunaíma (Mário de Andrade)
- Note on Page 68 | Loc. 1038 | Added on Friday, August 12, 2011, 09:14 PM
mles de brasil
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 69 | Loc. 1051-60 | Added on Friday, August 12, 2011, 09:16 PM
Macunaíma inda passou esse dia brincando com a varina pela cidade. Quando foi de-
noite eles estavam dormindo num banco do Flamengo quando chegou uma assombração
medonha. Era Mianiquê-Teibê que vinha pra engolir o herói. Respirava com os dedos,
escutava pelo umbigo e tinha os olhos no lugar das mamicas. A boca era duas bocas e
estavam escondidas na dobra interior dos dedos dos pés. Macunaíma acordou com o
cheiro da assombração e jogou no viado Flamengo fora. Então Mianiquê-Teibê comeu a
varina e se foi. No outro dia Macunaíma não achou mais graça na capital da
República. Trocou a pedra Vató por um retrato no jornal e voltou pra taba do
igarapé Tietê.
==========
Macunaíma (Mário de Andrade)
- Note on Page 70 | Loc. 1068 | Added on Friday, August 12, 2011, 09:18 PM
bem verdade que na boa cidade de São Paulo – a maior do universo, no dizer de seus
prolixos habitantes – não sois conhecidas por “icamiabas”, voz espúria, sinão que
pelo apelativo de Amazonas;
==========
Macunaíma (Mário de Andrade)
- Note on Page 71 | Loc. 1079 | Added on Friday, August 12, 2011, 09:19 PM
icamiabas amazonas
==========
On fetish Music (Adorno)
- Highlight on Page 1 | Loc. 2-4 | Added on Thursday, August 18, 2011, 09:52 PM
Complaints about the decline of musical taste begin only a little later than:
mankind's twofold discovery on the threshold of historical time, that music
represents at once the immediate manifestation of impulse and the locus of its
taming.
==========
On fetish Music (Adorno)
- Note on Page 1 | Loc. 4 | Added on Thursday, August 18, 2011, 09:52 PM
The very existence of the subject who could verify such taste has become as
questionable as has, at the opposite pole, the right to a freedom of choice which
empirically, in any case, no one any longer exercises.
==========
On fetish Music (Adorno)
- Note on Page 1 | Loc. 12 | Added on Thursday, August 18, 2011, 09:54 PM
outdated ctegoies
==========
On fetish Music (Adorno)
- Highlight on Page 2 | Loc. 21-26 | Added on Thursday, August 18, 2011, 09:59 PM
Nevertheless, such music is also affected by the change in that the entertainment,
the pleasure, the enjoyment it promises, is given only to be simultaneously denied.
In one of his essays, Aldous Huxley has raised the question of who, in a place of
amusement, is really being amused.1 With the same justice, it can be asked whom
music for entertainment still entertains. Rather, it seems to complement the
reduction of people to silence, the dying out of speech as expression, the
inability to communicate at all. It inhabits the pockets of silence that develop
between people molded by anxiety, work and undemanding docility.
==========
On fetish Music (Adorno)
- Note on Page 2 | Loc. 26 | Added on Thursday, August 18, 2011, 09:59 PM
perennial themes of musical sermonizing are on the same level.f| Among the most
prominent of these are the charge of superficiality and;|^ that of a "cult of
personality." What is attacked is chiefly progress: social,!| essentially the
specifically aesthetic.
==========
On fetish Music (Adorno)
- Note on Page 3 | Loc. 46 | Added on Thursday, August 18, 2011, 10:03 PM
The delight in the moment and the gay facade becomes an excuse for absolving the
listener from the thought of the whole, whose claim is comprised in proper
listening. The listener is converted, along his line of least resistance, into the
acquiescent purchaser. No longer do the partial moments serve as a critique of that
whole; instead, they suspend the critique which the successful aesthetic totality
exerts against the flawed one of society. The unitary synthesis is sacrificed to
them; they no longer produce their own in place of the reified one, but show
themselves complaisant to it.
==========
On fetish Music (Adorno)
- Note on Page 5 | Loc. 69 | Added on Thursday, August 18, 2011, 10:10 PM
promesse du bonheur, once the definition of art, can no longer be found except
where the mask has been torn from the countenance of false happiness. Enjoyment
still retains a place only in the immediate bodily 292
/ Culture, Technology, and Listening presence. Where it requires an
aesthetic appearance, it is illusory by aesthetic standards and likewise cheats the
pleasure-seeker out of itself. Only where its appearance is lacking is the faith in
its possibility maintained.
==========
On fetish Music (Adorno)
- Note on Page 6 | Loc. 85 | Added on Thursday, August 18, 2011, 10:12 PM
only when art lacks aesthetic appearence it can maintain the promise of happiness
==========
On fetish Music (Adorno)
- Highlight on Page 6 | Loc. 89-91 | Added on Thursday, August 18, 2011, 10:15 PM
The power of the street ballad, the. catchy tune and all the swarming forms of the
banal has made itself felt since the beginning of the bourgeois era. Formerly, it
attacked the cultural privilege of the ruling class. But today, when that power of
the banal extends over the entire society, its function has changed.
==========
On fetish Music (Adorno)
- Note on Page 6 | Loc. 91 | Added on Thursday, August 18, 2011, 10:15 PM
This change of function affects all music, not only light music, in whose realm it
could comfortably enough be made light of as simply "gradual," as the result of the
mechanical means of dissemination. The diverse spheres of music must be thought of
together. Their static separation, which certain caretakers of culture have
ardently sought—the totalitarian radio was assigned to the task, on the one hand,
of providing good entertainment and diversion, and on the other, of fostering the
so-called cultural goods, as if there could still be good entertainment and as if
the cultural goods were not, by -their administration, transformed into evils—the
neat parcelling out of music's social field of force is illusionary.
==========
On fetish Music (Adorno)
- Note on Page 7 | Loc. 96 | Added on Thursday, August 18, 2011, 10:16 PM
The unity of the two spheres of music is thus that of an unresolved contradiction.
They do not hang together in such a way that the lower could serve as a sort of
popular introduction to the higher, or that the higher could renew its lost
collective strength by borrowing from the lower. The whole cannot be put together
by adding the separated halves, but in both there appear, however distantly, the
changes of the whole, which only moves in contradiction.
==========
On fetish Music (Adorno)
- Note on Page 8 | Loc. 110 | Added on Thursday, August 18, 2011, 10:20 PM
lower and high music. whole is contradictory. they do not reference each other
==========
On fetish Music (Adorno)
- Highlight on Page 8 | Loc. 112-15 | Added on Thursday, August 18, 2011, 10:21 PM
Beethoven's Fourth Symphony is among the rarities. This selection reproduces itself
in a fatal circle: the most familiar is the most successful and is therefore played
again and again and made still more familiar.
==========
On fetish Music (Adorno)
- Note on Page 9 | Loc. 133 | Added on Friday, August 19, 2011, 04:58 AM
faniliar is reprduced
==========
On fetish Music (Adorno)
- Highlight on Page 10 | Loc. 142-47 | Added on Friday, August 19, 2011, 05:01 AM
At its most passionate, musical fetishism takes possession of the public val-uation
of singing voices. Their sensuous magic is traditional as is the close relation
between success and the person endowed with "material." But:; today it is forgotten
that it is material. For musical vulgar materialists, it : is synonymous to have a
voice and to be a singer. In earlier epochs, technical virtuosity, at least, was
demanded of singing stars, the castrati and x prima donnas. Today, the material as
such, destitute of any function, is v celebrated. One need not even ask about
capacity for musical performance. Even mechanical control of the instrument is no
longer really expected. To legitimate the fame of its owner, a voice need only be
especially voluminous or especially high.
==========
On fetish Music (Adorno)
- Note on Page 10 | Loc. 147 | Added on Friday, August 19, 2011, 05:01 AM
fetishism o signing
==========
On fetish Music (Adorno)
- Highlight on Page 10 | Loc. 152-56 | Added on Friday, August 19, 2011, 05:04 AM
Most of them sound like imitations of those who have made it, even when they
themselves have made it. All this reaches a climax of absurdity in the cult of the
master violins. One promptly goes into raptures at the well-announced sound of a
Stradivarius or Amati, which only the ear of a specialist can tell from that of a
good modern violin, forgetting in the process to listen to the composition and the
execution, from which there is still something to be had. The more the modern
technique of the violin bow progresses, the more it seems that the old instruments
are treasured.
==========
On fetish Music (Adorno)
- Note on Page 11 | Loc. 156 | Added on Friday, August 19, 2011, 05:04 AM
violin
==========
On fetish Music (Adorno)
- Highlight on Page 11 | Loc. 156-61 | Added on Friday, August 19, 2011, 05:06 AM
If the moments of sensual pleasure in the idea, the voice, the instrument are made
into fetishes and torn away from any functions which could give them meaning, they
meet a response equally isolated, equally far from the meaning of the whole, and
equally determined by success in the blind and irrational emotions which form the
relationship to music into which those with no relationship enter. But these are
the same relations as exist between the consumers of hit songs and the hit songs.
Their only relation is to the completely alien, and the alien, as if cut off from
the consciousness of the masses by a dense screen, is what seeks to speak for the
silent. Where they react at all, it no longer makes any difference whether it is to
Beethoven's Seventh Symphony or to a bikini.
==========
On fetish Music (Adorno)
- Note on Page 11 | Loc. 161 | Added on Friday, August 19, 2011, 05:06 AM
Marx defines the fetish-character of the commodity as the veneration of the thing
made by oneself which, as exchange-value, simultaneously alienates itself
from producer to consumer—"human beings." "A commodity is therefore a mysterious
thing, simply because in it the social character of men's labor appears to them as
an objective character stamped upon the product of that labor; because the relation
of the producers to the sum total of their own labor is presented to them as a
social relation, existing not between themselves, but between the products of their
labor."6
==========
On fetish Music (Adorno)
- Note on Page 12 | Loc. 174 | Added on Friday, August 19, 2011, 05:08 AM
commodity fetishism
==========
On fetish Music (Adorno)
- Highlight on Page 12 | Loc. 174-78 | Added on Friday, August 19, 2011, 05:09 AM
This is the real secret of success. It is the mere reflection of what one pays in
the market for the product. The consumer is really worshipping the money that he
himself ! has paid for the ticket to the Toscanini concert. He has literally
"made" the success which he reifies and accepts as an objective criterion, without!
1 recognizing himself in it. But he has not "made" it by liking the concert^! but
rather by buying the ticket.
==========
On fetish Music (Adorno)
- Note on Page 12 | Loc. 178 | Added on Friday, August 19, 2011, 05:09 AM
The more inexorably the principle of exchange-value destroys use-values for human
beings, the more deeply does exchange-value disguise itself as the object of
enjoyment.
==========
On fetish Music (Adorno)
- Note on Page 13 | Loc. 189 | Added on Friday, August 19, 2011, 07:32 PM
the more exchage value destroys yse vaue the more exchgange disguises asthe object
of enjoyment
==========
On fetish Music (Adorno)
- Highlight on Page 13 | Loc. 191-92 | Added on Friday, August 19, 2011, 07:34 PM
general order in which eventually every pleasure which emancipates itself from
exchange-value takes on subversive features.
==========
On fetish Music (Adorno)
- Note on Page 13 | Loc. 192 | Added on Friday, August 19, 2011, 07:34 PM
The works which are the basis of the fetishization and become cultural goods
experience constitutional changes as a result. They become vulgarized. Irrelevant
consumption destroys them. Not merely do the few things played again and again wear
out, like the Sistine Madonna in the bedroom, but reification affects their
internal structure. They are transformed into a conglomeration of irruptions which
are impressed on the listeners by climax and repetition, while the organization of
the whole makes no impression whatsoever. The memorability of disconnected parts,
thanks to climaxes and repetitions, has a precursor in great music itself, in the
technique of late romantic compositions, especially those of Wagner. The
more: reified the music, the more romantic it sounds to alienated ears. Just
in this way it becomes "property."
==========
On fetish Music (Adorno)
- Note on Page 15 | Loc. 222 | Added on Friday, August 19, 2011, 07:38 PM
If the romanticizing of particulars eats away the body of the whole, the endangered
substance is galvanically copper-plated. The climax which emphasizes the reified
parts takes on the character of a magical ritual, in which all the mysteries of
personality, inwardness, inspiration and spontaneity of reproduction, which have
been eliminated from the work itself, are conjured up.
==========
On fetish Music (Adorno)
- Note on Page 15 | Loc. 227 | Added on Friday, August 19, 2011, 07:39 PM
The minuet from Mozart's E-flat Major Symphony played without the other movements,
loses its symphonic cohesion and is turned by the performance into an artisan-type
genre piece that has more to do with the "Stephanie Gavotte"7 than with the sort of
classicism it is supposed to advertise. Then
==========
On fetish Music (Adorno)
- Note on Page 16 | Loc. 236 | Added on Friday, August 19, 2011, 07:41 PM
Muito nos pesou a nós, Imperator vosso, tais dislates da erudição, porém heis de
convir conosco que, assim, ficais mais heróicas e mais conspícuas, tocadas por essa
plátina respeitável da tradição e da pureza antiga.
==========
Macunaíma (Mário de Andrade)
- Note on Page 71 | Loc. 1081 | Added on Friday, March 25, 2016, 05:45 PM
pureza antigua
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 71 | Loc. 1084-87 | Added on Friday, March 25, 2016, 05:46 PM
Por uma bela noite dos idos de maio do ano translato, perdíamos a muiraquitã; que
outrém grafara muraquitã, e, alguns doutos, ciosos de etimologias esdrúxulas,
ortografam muyrakitan e até mesmo muraqué-itã, não sorriais! Haveis de saber que
esse vocábulo, tão familiar ás vossas trompas de Eustáquio, é quasi desconhecido
por aqui.
==========
Macunaíma (Mário de Andrade)
- Note on Page 71 | Loc. 1087 | Added on Friday, March 25, 2016, 05:46 PM
Por estas paragens mui civis, os guerreiros chamam-se polícias, grilos, guardas-
cívicas, boxistas, legalistas, mazorqueiros, etc.; sendo que alguns desses termos
são neologismos absurdos – bagaço nefando com que os desleixados e petimetres
conspurcam o bom falar lusitano.
==========
Macunaíma (Mário de Andrade)
- Note on Page 71 | Loc. 1089 | Added on Friday, March 25, 2016, 05:47 PM
guerreros policias
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 72 | Loc. 1090-92 | Added on Friday, March 25, 2016, 05:47 PM
sexo y dinero
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 72 | Loc. 1096-98 | Added on Friday, March 25, 2016, 05:48 PM
influxo metapsíquico, ou, qui lo sá, provocado por algum libido saùdoso, como
explica o sábio tudesco, doutor Sigmund Freud, (lede Fróide), se nos deparou em
sonho um arcanjo maravilhoso.
==========
Macunaíma (Mário de Andrade)
- Note on Page 72 | Loc. 1098 | Added on Friday, March 25, 2016, 05:48 PM
freud
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 73 | Loc. 1105-7 | Added on Friday, March 25, 2016, 05:50 PM
Sabereis mais que as donas de cá não se derribam á pauladas, nem brincam por
brincar, gratuitamente, senão que á chuvas do vil metal, repuxos brasonados de
champagne, e uns monstros comestíveis, a que, vulgarmente dão o nome de lagostas. E
que monstros encantados, senhoras Amazonas!!!
==========
Macunaíma (Mário de Andrade)
- Note on Page 73 | Loc. 1107 | Added on Friday, March 25, 2016, 05:50 PM
alvíssaras.
==========
Macunaíma (Mário de Andrade)
- Note on Page 72 | Loc. 1102 | Added on Friday, March 25, 2016, 05:52 PM
alvissaras
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 74 | Loc. 1120-22 | Added on Friday, March 25, 2016, 05:52 PM
alvissimas
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 74 | Loc. 1122-24 | Added on Friday, March 25, 2016, 05:53 PM
Que beldades! Que elegáncia! Que cachet! Que dégagé flamífero, ignívomo,
devorador!! Só pensamos nelas, muito embora não nos descuidemos, relapso, da nossa
muiraquitã.
==========
Macunaíma (Mário de Andrade)
- Note on Page 74 | Loc. 1124 | Added on Friday, March 25, 2016, 05:53 PM
E já que nos detivemos neste delicado assunto, não no abandonaremos sem mais alguns
reparos, que vos poderão ser úteis. As donas de São Paulo, sobre serem mui formosas
e sábias, não se contentam com os dons e exceléncia que a Natura lhe concedeu;
assaz se preocupam elas de si mesmas; e não puderam acabarem consigo, que não
mandassem vir de todas as partes do globo, tudo o que de mais sublimado e gentil
acrisolou a ciéncia fescenina, digo, feminina das civilizações avitas.
==========
Macunaíma (Mário de Andrade)
- Note on Page 74 | Loc. 1131 | Added on Friday, March 25, 2016, 05:54 PM
ciencia femenina. no se contentan cn la naturaleza
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 75 | Loc. 1136-38 | Added on Friday, March 25, 2016, 05:55 PM
mestras de fracia
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 75 | Loc. 1143-46 | Added on Friday, March 25, 2016, 05:57 PM
importaciones
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 75 | Loc. 1146-50 | Added on Friday, March 25, 2016, 05:57 PM
Já agora vos falaremos ainda, bem que por alto, dum nitente armento de senhoras,
originárias da Polónia, que aqui demoram e imperam generosamente. São elas mui
alentadas no porte e mais numerosas que as areias do mar oceano. Como vós, senhoras
Amazonas, tais damas formam um gineceu; estando os homens que em suas casas delas
habitam, reduzidos escravos e condenados ao vil ofício de servirem. E por isso não
se lhes chamam homens, sinão que á voz espúria de garçons respondem; e são assaz
polidos e silentes, e sempre do mesmo indumento gravebundo trajam.
==========
Macunaíma (Mário de Andrade)
- Note on Page 75 | Loc. 1150 | Added on Friday, March 25, 2016, 05:57 PM
polacas
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 76 | Loc. 1158-63 | Added on Friday, March 25, 2016, 06:00 PM
Falam numerosas e mui rápidas línguas; são viajadas e educadíssimas; sempre todas
obedientes por igual, embora ricamente díspares entre si, quais loiras, quais
morenas, quais fossem maigres, quais rotundas; e de tal sorte abundantes no número
e diversidade, que muito nos preocupa a razão, o serem todas e tantas, originais
dum país somente. Acresce ainda que a todas se lhes dão o excitante, embora
injusto, epiteto de “francesas”. A nossa desconfiança é que essas damas não se
originaram todas da Polónia, porém que faltam á verdade, e são iberas, itálicas,
germánicas, turcas, argentinas, peruanas, e de todas as outras partes férteis de um
e outro hemisfério.
==========
Macunaíma (Mário de Andrade)
- Note on Page 76 | Loc. 1163 | Added on Friday, March 25, 2016, 06:00 PM
polacas no polaca
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 77 | Loc. 1178 | Added on Friday, March 25, 2016, 06:02 PM
E por isso agora vos diremos algo sobre esta nobre cidade, pois que pretendemos
construir uma igual nos vossos domínios e Império nosso. É São Paulo construída
sobre sete colinas, á feição tradicional de Roma, a cidade cesárea, “capita” da
Latinidade de que provimos; e beija-lhe os pés a grácil e inquieta linfa do Tiêtê.
As águas são magníficas, os ares tão amenos quanto os de Aquisgrana ou de Anverres,
e a área tão a eles igual em salubridade e abundáncia, que bem se poderá afirmar,
ao modo fino dos cronistas, que de três AAA se gera espontaneamente a fauna urbana.
==========
Macunaíma (Mário de Andrade)
- Note on Page 78 | Loc. 1183 | Added on Friday, March 25, 2016, 06:03 PM
problema circulcion
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 78 | Loc. 1191-94 | Added on Friday, March 25, 2016, 06:06 PM
E não contentes com essa poeira ser erguida pelo andar dos pedestrianistas e por
urrantes máquinas a que chamam “automóveis” e “eléctricos” (empregam alguns a
palavra Bond, voz espúria, vinda certamente do inglês), contractaram os diligentes
edis, uns antropóides, monstros hipocentáureos azulejos e monótonos, a que congloba
o título de Limpeza Pública;
==========
Macunaíma (Mário de Andrade)
- Note on Page 78 | Loc. 1194 | Added on Friday, March 25, 2016, 06:06 PM
A cópia destes se nos afigura realmente excessiva; e temos que são a única usança
que não se coaduna com nosso temperamento, ordeiro e pacífico de seu natural.
Porém, longe de nós qualquer reproche aos administradores de São Paulo, pois
sabemos muito bem que aos valerosos paulistas, são aprazíveis tais malfeitores e
suas artes. São os paulistas gente ardida e avalentoada, e muito afeita ás agruras
da guerra. Vivem em combates singulares e colectivos, todos armados da cabeça aos
pés; assim assaz numerosos são os distúrbios por cá, em que, não raro, tombam na
arena da luta, centenas de milhares de heróis, chamados bandeirantes.
==========
Macunaíma (Mário de Andrade)
- Note on Page 79 | Loc. 1203 | Added on Friday, March 25, 2016, 06:07 PM
Assim tão bem organizados vivem e prosperam os paulistas na mais perfeita ordem e
progresso; e lhes não é escasso o tempo para construírem generosos hospitais,
atraindo para cá todos os leprosos sulamericanos, mineiros, paraibanos, peruanos,
bolivianos, chilenos, paraguaios, que, antes de ir morarem nesses lindíssimos
leprosários, e serem servidos por donas de duvidosa e decadente beldade – sempre
donas! – animam as estradas do Estado e as ruas da capital, em garridas comitivas
eqüestres ou em maratonas soberbas que são o orgulho de nossa raça desportiva, em
cujo conspeito pulsa o sangue das heróicas bigas e quadrigas latinas!
==========
Macunaíma (Mário de Andrade)
- Note on Page 80 | Loc. 1218 | Added on Friday, March 25, 2016, 06:10 PM
Tudo vai num descalabro sem comedimento, estamos corroídos pelo morbo e pelos
miriápodes! Em breve seremos novamente uma colónia da Inglaterra ou da América do
Norte!...
==========
Macunaíma (Mário de Andrade)
- Note on Page 80 | Loc. 1220 | Added on Monday, March 28, 2016, 09:37 AM
“POUCA SAÚDE E MUITA SAÚVA, OS MALES DO BRASIL SÃO.” Este dístico é que houvemos
por bem escrevermos no livro de Visitantes Ilustres do Instituto Butantã, quando
foi da nossa visita a esse estabelecimento famoso na Europa.
==========
Macunaíma (Mário de Andrade)
- Note on Page 80 | Loc. 1225 | Added on Monday, March 28, 2016, 09:38 AM
malesdo brasil
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 80 | Loc. 1225-30 | Added on Monday, March 28, 2016, 09:39 AM
multimillonarios
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 81 | Loc. 1233-34 | Added on Monday, March 28, 2016, 09:40 AM
esta é, por sem dúvida, a mais bela cidade terráquea, muito hemos feito em favor
destes homens de prol.
==========
Macunaíma (Mário de Andrade)
- Note on Page 81 | Loc. 1237 | Added on Monday, March 28, 2016, 09:41 AM
Enfim, senhoras Amazonas, heis de saber ainda que a estes progressos e luzida
civilização, hão elevado esta grande cidade os seus maiores, também chamados de
políticos. Com este apelativo se designa uma raça refinadíssima de doutores, tão
desconhecidos de vós, que os diríeis monstros. Monstros são na verdade mas na
grandiosidade incomparável da audácia, da sapiéncia, da honestidade e da moral; e
embora algo com os homens se pareçam, originam-se eles dos reais uirauaçus e muito
pouco têm de humanos. Obedecem todos a um imperador, chamado Papai Grande na gíria
familiar, e que demora na oceánica cidade do Rio de Janeiro – a mais bela do mundo
na opinião de todos os estrangeiros poetas, e que por meus olhos verifiquei.
==========
Macunaíma (Mário de Andrade)
- Note on Page 82 | Loc. 1254 | Added on Monday, March 28, 2016, 09:44 AM
Macunaíma ficou muito contrariado porque não sabia como era o nome daquele buraco
na máquina roupa onde a cunhatã enfiara a flor. E o buraco chamava botoeira.
Imaginou esgarafunchando na memória bem, mas nunca não ouvira mesmo o nome daquele
buraco. Quis chamar aquilo de buraco porém viu logo que confundia com os outros
buracos deste mundo e ficou com vergonha da cunhatã. “Orifício” era palavra que a
gente escrevia mas porém nunca ninguém não falava “orifício” não. Depois de
pensamentear pensamentear não havia meios mesmo de descobrir o nome daquilo e pôs
reparo que da rua Direita onde topara com a cunhatã já tinha ido parar adiante de
São Bernardo, passada a moradia de mestre Cosme. Então voltou, pagou pra moça e
falou de venta-inchada: – A senhora me arrumou com um dia-de-judeu! Nunca mais me
bote flor neste... neste puíto, dona!
==========
Macunaíma (Mário de Andrade)
- Note on Page 84 | Loc. 1287 | Added on Monday, March 28, 2016, 09:50 AM
puíto era palavra-feia não e enquanto o herói voltava aluado com o caso pra pensão,
ficou se rindo, achando graça na palavra. “Puíto...” que ela dizia. E repetia
gozado: “Puíto... Puíto”... Imaginou que era moda. Então se pôs falando pra toda a
gente si queriam que ela botasse uma rosa no puíto deles. Uns quiseram outros não
quiseram, as outras cunhatãs escutaram a palavra, a empregaram e “puíto” pegou.
Ninguém mais não falava em boutonnière por exemplo; só puíto, puíto se escutava.
==========
Macunaíma (Mário de Andrade)
- Note on Page 85 | Loc. 1292 | Added on Monday, March 28, 2016, 09:51 AM
– Não é não! Meus senhores e minhas senhoras! Aquelas quatro estrelas lá é o Pai do
Mutum! juro que é o Pai do Mutum, minha gente, que pára no campo vasto do céu!...
Isso foi no tempo em que os animais já não eram mais homens e sucedeu no grande
mato Fulano.
==========
Macunaíma (Mário de Andrade)
- Note on Page 87 | Loc. 1332 | Added on Friday, April 01, 2016, 11:12 AM
pouca saude
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 89 | Loc. 1356-60 | Added on Friday, April 01, 2016, 11:18 AM
– Mas pra que você mentiu, herói! – Não foi por querer não... quis contar o que
tinha sucedido pra gente e quando reparei estava mentindo...
==========
Macunaíma (Mário de Andrade)
- Note on Page 92 | Loc. 1403 | Added on Friday, April 01, 2016, 11:24 AM
saudade do mato
==========
Macunaíma (Mário de Andrade)
- Highlight on Page 94 | Loc. 1429-36 | Added on Friday, April 01, 2016, 11:28 AM
– Tetápe dzónanei pemonéite hêhê zeténe netaíte. E todo aquele mundão de gente
procurando. Era já perto da noite quando pararam desacorçoados. Então Macunaíma se
desculpou: – Tetápe dzónanei pemo... Não deixaram nem que ele acabasse, todos
perguntando o que significava aquela frase. Macunaíma respondeu: – Sei não. Aprendi
essas palavras quando era pequeno lá em casa. E todos se queimaram muito. Macunaíma
fastou disfarçado falando: – Calma, gente! Tetápe hêhê! Não falei que tem rasto de
tapir não, falei que tinha! Agora não tem mais não.
==========
Macunaíma (Mário de Andrade)
- Note on Page 94 | Loc. 1436 | Added on Friday, April 01, 2016, 11:28 AM
Então o povo que já estava todo zangado virou contra Maanape e contra Jiguê. Já
todos, e eram muitos! estavam com vontade de armar uma briga. Então um estudante
subiu na capota dum auto e fez discurso contra Maanape e contra Jiguê. O povo
estava ficando zangadíssimo. – Meus senhores, a vida dum grande centro urbano como
São Paulo já obriga a uma intensidade tal de trabalho que não permite-se mais
dentro da magnífica entrosagem do seu progresso siquer a passagem momentânea de
seres inócuos. Ergamo-nos todos una voce contra os miasmas deletérios que
conspurcam o nosso organismo social e já que o Governo cerra os olhos e delapida os
cofres da Nação, sejamos nós mesmos os justiçadores... – Lincha! lincha! que o povo
principiou gritando. – Que lincha nada! exclamou Macunaíma tomando as dores pelos
manos. E todos se viraram contra ele outra vez. E agora já estavam zangadíssimos. O
estudante continuava pra si: – ...e quando o trabalho honesto do povo é perturbado
por um desconhecido... – O quê! quem que é desconhecido! berrou Macunaíma
desesperado com a ofensa. – Você!
==========
Macunaíma (Mário de Andrade)
- Note on Page 95 | Loc. 1453 | Added on Tuesday, April 05, 2016, 09:36 AM
E avançou pra multidão. O advogado quis fugir porém Macunaíma atirou um pontapé nas
costas dele e entrou pelo povo distribuindo rasteiras e cabeçadas. De repente viu
na frente um homem alto loiro mui lindo. E o homem era um grilo. Macunaíma teve
ódio de tanta boniteza e chimpou uma bruta duma bolacha nas fuças do grilo. O grilo
berrou, e enquanto falava uma frase em língua estrangeira agarrou o herói pelo
congote. – Prrreso!
==========
Macunaíma (Mário de Andrade)
- Note on Page 96 | Loc. 1465 | Added on Tuesday, April 05, 2016, 09:38 AM
– Que que havemos de fazer! Carecemos de tomar anzol de inglês. Vou virar aimará de
mentira pra enganar o bife. Quando ele me pescar e der a batida na minha cabeça
então faço “juque!” enganando que morri. Ele me atira no samburá, você pede o peixe
mais grande pra comer e sou eu.
==========
Macunaíma (Mário de Andrade)
- Note on Page 100 | Loc. 1520 | Added on Tuesday, April 05, 2016, 09:44 AM
Nem bem lançou a linha de cima dum mutá que veio vindo a velha Ceiuci pescando de
tarrafa. A caapora viu a sombra de Macunaíma refletida n’água e jogou depressa a
tarrafa e só pescou sombra. O herói nem não achou graça porque estava tremendo de
medo, vai, pra agradecer falou assim: – Bom-dia, minha vó. A velha virou a cara pro
alto e descobriu Macunaíma em riba do mutá. – Vem cá, meu neto. – Não vou lá não. –
Pois então mando marimbondos.
==========
Macunaíma (Mário de Andrade)
- Note on Page 101 | Loc. 1546 | Added on Tuesday, April 05, 2016, 09:47 AM
e foi chamar a filha mais velha que era bem habilidosa, pras duas comerem o pato
que ela caçara. E o pato era Macunaíma o herói. Porém a filhona estava muito
ocupada porque era mesmo habilidosa e a velha pra adiantar serviço foi fazer fogo.
A caapora possuía duas filhas e a mais nova que não era nada habilidosa e só sabia
suspirar, enxergando a velha fazer fogo, imaginou: “Mãe quando vem da pescaria
conta logo o que pescou, hoje não. Vou ver.” Desenrolou a tarrafa e saiu dela um
moço bem do gosto. O herói falou: – Me esconde! Então a moça que estava mui bondosa
porque vivia desocupada desde tempo, levou Macunaíma pro quarto e brincaram. Agora
estão se rindo um pro outro.
==========
Macunaíma (Mário de Andrade)
- Note on Page 102 | Loc. 1555 | Added on Tuesday, April 05, 2016, 09:49 AM
A moça ficou com medo e mandou Macunaíma atirar vinte milréis por debaixo da porta
pra ver si contentava a gulosa. Macunaíma de medo já atirou cem que viraram em
muitas perdizes lagostas robalos vidros-de-perfume e caviar. A velha gulosa engoliu
tudo e pediu mais. Então Macunaíma atirou um conto de réis por debaixo da porta. O
conto virou em mais lagostas coelhos pacas champanha rendas cogumelos rãs e a velha
sempre comendo e pedindo mais. Então a moça bondosa abriu a janela dando pro
Pacaembu deserto e falou:
==========
Macunaíma (Mário de Andrade)
- Note on Page 102 | Loc. 1564 | Added on Tuesday, April 05, 2016, 09:50 AM
Todavía peor que los crímenes y atropellos que el régimen cometía con impunidad era
la profunda corrupción que, desde el centro del poder, irradiaba hacia todos los
sectores e instituciones, envileciendo la vida entera.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 2 | Loc. 17 | Added on Monday, May 09, 2016, 01:30 PM
Il faut avoir fouillé toute la vie sociale pour être un vrai romancier, vu que le
roman est l’histoire privée des nations. BALZAC, Petites misères de la vie
conjugale
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 2 | Loc. 29 | Added on Monday, May 09, 2016, 01:31 PM
Norwin se ríe y Santiago cierra los ojos: las casas de Chorrillos son cubos con
rejas, cuevas agrietadas por temblores, en el interior hormiguean cachivaches y
polvorientas viejecillas pútridas, en zapatillas, con varices. Una figurilla corre
entre los cubos, sus alaridos estremecen la aceitosa madrugada y enfurecen a las
hormigas, alacranes y escorpiones que la persiguen. La consolación por el alcohol;
piensa, contra la muerte lenta los diablos azules. Estaba bien, Carlitos, uno se
defendía del Perú como podía.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 4 | Loc. 51 | Added on Monday, May 09, 2016, 01:55 PM
las casas de chorrillos y las viejecitas q las habitan. defenderse el peru. arlitos
el alcohol
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 4 | Loc. 57-61 | Added on Monday, May 09, 2016, 01:56 PM
Caras masculinas, ojos opacos y derrotados sobre las mesas del Bar Zela, manos que
se alargan hacia ceniceros y vasos de cerveza. Qué fea era la gente aquí,
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 5 | Loc. 62 | Added on Monday, May 09, 2016, 01:57 PM
hombres feos
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 5 | Loc. 66-70 | Added on Monday, May 09, 2016, 02:03 PM
—Ana ha hecho chupe de camarones y eso no me lo pierdo —dice Santiago —. Otro día,
hermano. —Le tienes miedo a tu mujer —dice Norwin —. Uy; qué jodido estás,
Zavalita.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 5 | Loc. 72 | Added on Monday, May 09, 2016, 02:03 PM
Pero Ana tendría su dramón marcado en el periódico, qué me pasa hoy día. Piensa: si
la censura prohibiera las mexicanadas pelearía menos con Ana. ¿Y después de la
vermouth? Darían una vuelta por el Malecón, fumarían bajo las sombrillas de cemento
del Parque Necochea sintiendo rugir el mar en la oscuridad, volverían a la Quinta
de los duendes de la mano, peleamos mucho amor, discutimos mucho amor, y entre
bostezos Huxley. Los dos cuartos se llenarían de humo y olor a aceite, ¿estaba con
mucha hambre, amor?
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 6 | Loc. 89 | Added on Monday, May 09, 2016, 02:15 PM
—Te llamé a La Crónica y no estabas —Ana hace pucheros —. Unos bandidos, unos
negros con caras de forajidos. Yo lo llevaba con su cadena y todo. Me lo
arrancharon, lo metieron al camión, se lo robaron. —Almuerzo y voy a la perrera a
sacarlo —la besa de nuevo Santiago —. No le va a pasar nada, no seas sonsa.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 7 | Loc. 100 | Added on Monday, May 09, 2016, 02:22 PM
—¿Se llevaron a su perro? —el boticario adelanta una cabeza solícita —. La perrera
queda en el Puente del Ejército. Vaya rápido, a mi cuñado le mataron su chihuahua,
un animalito carísimo. Trota hasta Larco, toma un colectivo, ¿cuánto costaría la
carrera desde el Paseo Colón hasta el Puente del Ejército?, cuenta en su cartera
ciento ochenta soles.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 8 | Loc. 117 | Added on Monday, May 09, 2016, 02:24 PM
dentro de la perrera
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 10 | Loc. 150-53 | Added on Monday, May 09, 2016, 02:27 PM
Batuque comienza a gruñir, tira de la cadena gimiendo, qué te pasa, mira espantado;
ladra ronco. Los hombres tienen ya los garrotes en las manos, ya comienzan uno —dos
a golpear y a rugir, y el costal danza; bota, aúlla enloquecido, uno —dos rugen los
hombres y golpean. Santiago cierra los ojos, aturdido. —En el Perú estamos en la
edad de piedra, mi amigo —una sonrisa agridulce despierta la cara del calvo
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 10 | Loc. 153 | Added on Monday, May 09, 2016, 02:27 PM
reconocimiento de ambrosio
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 13 | Loc. 195-97 | Added on Monday, May 09, 2016, 08:13 PM
—Este trajín me ha dado sed —dice Santiago —. Ven, vamos a tomar algo. ¿Conoces
algún sitio por aquí? —Conozco el sitio donde como —dice Ambrosio —. "La Catedral",
uno de pobres, no sé si le gustará.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 13 | Loc. 197 | Added on Monday, May 09, 2016, 08:13 PM
Parecía mentira que el niño Santiago tomara ya cerveza, y Ambrosio ríe, los recios
dientes amarillo verdosos al aire: el tiempo volaba, caracho. Suben la escalera,
entre los corralones de la primera cuadra de Alfonso Ugarte hay un garaje blanco de
la Ford, y en la bocacalle de la izquierda asoman, despintados por la grisura
inexorable, los depósitos del Ferrocarril Central. Un camión cargado de cajones
oculta la puerta de "La Catedral". Adentro, bajo el techo de calamina, se apiña en
bancas y mesas toscas una rumorosa muchedumbre voraz. Dos chinos en mangas de
camisa vigilan desde el mostrador las caras cobrizas, las angulosas facciones que
mastican y beben, y un serranito extraviado en un rotoso mandil distribuye sopas
humeantes, botellas, fuentes de arroz. Mucho cariño, muchos besos, mucho amor,
truena una radiola multicolor, y al fondo, detrás del humo, el ruido, el sólido
olor a viandas y licor y los danzantes enjambres de moscas, hay una pared
agujereada —piedras, chozas, un hilo de río, el cielo plomizo, y una mujer ancha,
bañada en sudor, manipula ollas y sartenes cercada por el chisporroteo de un fogón.
Hay una mesa vacía junto a la radiola, entre la constelación de cicatrices del
tablero se distingue un corazón flechado, un nombre de mujer: Saturnina.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 14 | Loc. 207 | Added on Monday, May 09, 2016, 08:15 PM
No debiste venir, no debiste hablarle, Zavalita, no estás jodido sino loco. Piensa:
la pesadilla va a volver. Será tu culpa, Zavalita, pobre papá, pobre viejo.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 14 | Loc. 210 | Added on Monday, May 09, 2016, 08:16 PM
Ambrosio habla, las bolsas de sus párpados son azuladas, las ventanillas de su
nariz laten como si hubiera corrido, como si se ahogara, y después de cada trago
escupe, mira nostálgico las moscas, escucha, sonríe o se entristece o confunde y
sus ojos, a ratos, parecen enfurecerse o asustarse o irse; a ratos tiene accesos de
tos. Hay canas entre sus pelos crespos, lleva sobre el overol un saco que debió ser
también azul y tener botones, y una camisa de cuello alto que se enrosca en su
garganta como una cuerda. Santiago ve sus zapatones enormes: enfangados,
retorcidos, jodidos por el tiempo. Su voz le llega titubeante, temerosa, se pierde,
cautelosa, implorante, vuelve, respetuosa o ansiosa o compungida, siempre vencida:
no treinta, cuarenta, cien más. No sólo se había desmoronado, envejecido,
embrutecido; a lo mejor andaba tísico también.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 15 | Loc. 230 | Added on Monday, May 09, 2016, 08:19 PM
—Que dejes de hacerte el cojudo —cierra los ojos y toma aire —. Que hablemos con
franqueza de la Musa, de mi papá. ¿él te mandó? Ya no importa, quiero saber. ¿Fue
mi papá?
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 19 | Loc. 277 | Added on Monday, May 09, 2016, 08:24 PM
la musa
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 19 | Loc. 279-82 | Added on Monday, May 09, 2016, 08:24 PM
—Me voy para que no se arrepienta de lo que está diciendo —ronca, la voz lastimada
—. No necesito trabajo, sépase que no le acepto ningún favor, ni menos su plata.
Sépase que no se merecía el padre que tuvo, sépasela. Váyase a la mierda, niño. —Ya
está, ya está, no me importa —dice Santiago —. Ven, no te vayas, ven.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 19 | Loc. 282 | Added on Monday, May 09, 2016, 08:24 PM
Hay un rugido breve a sus pies, el Batuque mira también: la figurilla oscura se
aleja pegada a las paredes de los corralones, destaca contra los ventanales
lucientes del garaje de la Ford, se hunde en la escalerilla del Puente.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 19 | Loc. 284 | Added on Monday, May 09, 2016, 08:25 PM
El era mejor que tú, Zavalita. Había pagado más, se había jodido más. Piensa: pobre
papá. El taxi disminuye la velocidad y él abre los ojos: la Diagonal está ahí,
atrapada en los cristales delanteros del taxi, oblicua, plateada, hirviendo de
autos, sus avisos luminosos titilando ya. La neblina blanquea los árboles del
Parque, las torres de la iglesia se desvanecen en la grisura, las copas de los
ficus oscilan: pare aquí. Paga la carrera y el Batuque comienza a ladrar. Lo
suelta, lo ve cruzar la entrada de la Quinta como un bólido. Oye adentro los
ladridos, se acomoda el saco, la corbata, oye el grito de Ana, imagina su cara.
Entra al patio, las casitas de duende tienen iluminadas las ventanas, la silueta de
Ana que abraza al Batuque y viene hacia él, por qué te demoraste tanto amor, qué
nerviosa había estado, qué asustada amor. —Entremos, este animal va a enloquecer a
toda la Quinta —y la besa apenas —. Calla, Batuque.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 20 | Loc. 303 | Added on Tuesday, May 10, 2016, 10:31 AM
—Lo peor es que me gasté toda la plata, amor. No sé cómo vamos a llegar hasta el
lunes. —Bah, qué importa. Menos mal que el chino de San Martín me fía siempre,
menos mal que es el chino más bueno que hay. —Lo peor es que nos quedamos sin cine.
¿Daban algo bueno, hoy? —Una con Marlon Brando, en el Colina —y la voz de Ana,
lejanísima, llega como a través del agua —. Una policial de ésas que te gustan,
amor. Si quieres, me prestó plata de la alemana. Está contenta, Zavalita, te
perdona todo porque le trajiste al Batuque. Piensa: en este momento es feliz.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 21 | Loc. 319 | Added on Tuesday, May 10, 2016, 10:32 AM
Piensa: te prometo.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 21 | Loc. 321 | Added on Tuesday, May 10, 2016, 10:33 AM
piensa te prometo.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 22 | Loc. 335-37 | Added on Tuesday, May 10, 2016, 10:36 AM
dejate de cholear
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 24 | Loc. 362-65 | Added on Tuesday, May 10, 2016, 10:41 AM
—Se le ha metido entrar a San Marcos porque no le gustan los curas, y porque quiere
ir donde va el pueblo —dijo Popeye —. En realidad, se le ha metido porque es un
contreras. Si sus viejos le dijeran entra a San Marcos, diría no, a la Católica. —
Zoila tiene razón, en San Marcos perderá las relaciones —dijo la vieja de Popeye —.
Los muchachos bien van a la Católica.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 24 | Loc. 365 | Added on Tuesday, May 10, 2016, 10:41 AM
—A mis viejos eso les importa un pito —dijo Santiago —. San Marcos no les gusta
porque hay cholos y porque se hace política, sólo por eso.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 26 | Loc. 385 | Added on Tuesday, May 10, 2016, 10:43 AM
En los ojos de Popeye había brotado una lucecita, ¿te acuerdas cuando fuimos a
espiarla a la Amalia en Ancón, flaco? Desde la azotea se veía el baño de la
servidumbre, en la claraboya dos caras juntas e inmóviles y abajo una silueta
esfumada, una ropa de baño negra, qué riquita la cholita, flaco.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 31 | Loc. 465 | Added on Tuesday, May 10, 2016, 10:53 AM
cholita
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 32 | Loc. 485-89 | Added on Tuesday, May 10, 2016, 10:13 PM
Amalia puso la charola con los vasos y las Coca-colas frente al retrato del Chispas
y quedó de pie junto a la cómoda, la cara intrigada. Llevaba el vestido blanco y
los zapatos sin taco de su uniforme, pero no el mandil ni la toca. ¿Por qué se
quedaba ahí parada?, ven siéntate, había sitio. Cómo se iba a sentar, y lanzó una
risita, a la señora no le gustaba que entrara al cuarto de los niños, ¿no sabía
acaso? Sonsa, mi mamá no está, la voz de Santiago se puso tensa de repente, ni él
ni Popeye la iban a acusar, siéntate sonsa. Amalia se volvió a reír, decía eso
ahora pero a la primera que se enojara la acusaría y la señora la resongaría.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 33 | Loc. 498 | Added on Tuesday, May 10, 2016, 10:15 PM
—Mírala cómo se ríe, pecoso —Santiago la cogió del brazo —. Claro que tienes, ya te
descubrimos tu secreto, Amalia. —Tienes, tienes —Popeye se dejó caer junto a ella,
la cogió del otro brazo —. Cómo te ríes, bandida. Amalia se retorcía de risa y
sacudía los brazos pero ellos no la soltaban, qué iba a tener, niño, no tenía, les
daba codazos para apartarlos, Santiago la abrazaba por la cintura, Popeye le puso
una mano en la rodilla y Amalia un manazo: eso sí que no, niño, nada de tocarla.
Pero Popeye volvió a la carga: bandida, bandida. A lo mejor hasta sabía bailar y
les había mentido que no, a ver confiesa: bueno, niño, se los aceptaba. Cogió los
billetes que se arrugaron entre sus dedos, para que viera que no se hacía de rogar
nomás, y los guardó en el bolsillo de la chompa.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 34 | Loc. 521 | Added on Tuesday, May 10, 2016, 10:17 PM
—Como amigos que son, pues —y Amalia abrió los ojos, como recordando —. Pero pasen,
aunque sea un momentito. Disculparán la pobreza. No les dio tiempo a negarse, entró
a la casa corriendo y ellos la siguieron. Lamparones y tiznes, unas sillas,
estampas, dos camas deshechas. No podían quedarse mucho, Amalia, tenían un
compromiso. Ella asintió, frotaba con su falda la mesa del centro de la habitación,
un momento nada más. Una chispa maliciosa brotó en sus ojos, ¿la esperarían un
ratito conversando?, iba a comprar algo para ofrecerles, ya volvía. Santiago y
Popeye se miraron asustados, encantados, era otra persona, flaco, se había puesto
loquita. Sus carcajadas resonaban en todo el cuarto, tenía la cara sudada y
lágrimas en los ojos, sus disfuerzos contagiaban a la cama un escalofrío
chirriante. Ahora ella también acompañaba la música dando palmadas: sí, sí sabía.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 35 | Loc. 529 | Added on Tuesday, May 10, 2016, 10:19 PM
—Les traje estas cañitas, también —dijo Amalia —. Así toman ustedes?no? —Para qué
te has molestado —dijo Santiago —. Si ya nos íbamos. Les alcanzó las Coca-colas y
las cañitas, arrastró una silla y se sentó frente a ellos; se había peinado, se
había puesto una cinta y abotonado la blusa y la chompa y los miraba beber. Ella no
tomaba nada. —No has debido gastar así tu plata, sonsa —dijo Popeye. —No es mía, es
la que me regaló el niño Santiago —se rió Amalia —. Para hacerles una atención
siquiera, pues.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 36 | Loc. 551 | Added on Tuesday, May 10, 2016, 10:23 PM
—Ya están saliendo de las fábricas —dijo Amalia —. Lástima que el laboratorio de su
papá no esté por aquí, niño. Hasta la avenida Argentina voy a tener que tomar el
tranvía y después ómnibus. —¿Vas a trabajar en el laboratorio? —dijo Santiago. —¿Su
papá no le contó? —dijo Amalia —. Sí, pues, desde el lunes. Ella estaba saliendo de
la casa con su maleta y encontró a don Fermín, ¿quieres que te coloque en el
laboratorio?, y ella claro que sí, don Fermín, donde sea, y entonces él llamó al
niño Chispas y le dijo telefonea a Carrillo y que le dé trabajo: qué papelón, pensó
Popeye. —Ah, qué bien —dijo Santiago —. En el laboratorio seguro estarás mejor.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 37 | Loc. 559 | Added on Tuesday, May 10, 2016, 10:24 PM
Alzó la cara, los miró con timidez, con envidia, con admiración: ¿a ellos las Coca-
colas nunca les hacían nada?
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 37 | Loc. 567 | Added on Wednesday, May 11, 2016, 01:58 PM
oyó a Amalia: ya se había acabado pues la música, niño. Una voz difícil, por qué
había apagado la luz el otro niño, aleteando apenas, que la prendieran o se iba,
quejándose sin fuerzas, como si un invencible sueño o aburrimiento la apagara, no
quería a oscuras, así no le gustaba. Eran una silueta sin forma, una sombra más
entre las otras sombras del cuarto y parecía que estuvieran forcejeando de a
mentiras entre el velador y la cómoda.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 38 | Loc. 574 | Added on Wednesday, May 11, 2016, 02:01 PM
silueta informe
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 38 | Loc. 575-78 | Added on Wednesday, May 11, 2016, 02:02 PM
tráela a la cama, suélteme niño. La voz de Amalia ascendía, qué le pasa niño, se
enfurecía, y ahora Popeye había encontrado sus hombros, suélteme, que la soltara, y
la arrastraba, qué atrevido, qué abusivo, los ojos cerrados, la respiración briosa
y rodó con ellos sobre la cama: ya estaba, flaco. Ella se rió, no me haga
cosquillas, pero sus brazos y sus piernas seguían luchando y Popeye angustiosamente
se rió: sal de aquí pecoso, déjame a mí.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 38 | Loc. 578 | Added on Wednesday, May 11, 2016, 02:02 PM
hola, mamá.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 39 | Loc. 591 | Added on Wednesday, May 11, 2016, 02:03 PM
hola mama
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Highlight on Page 42 | Loc. 637-39 | Added on Wednesday, May 11, 2016, 02:09 PM
Era la Rosa, don, la hija de la lechera Túmula. Una flaquita sin nada de
particular, entonces parecía blanquita y no india. Hay criaturas que nacen feas y
después mejoran, la Rosa comenzó pasable y terminó cuco. Pasable, ni bien ni mal,
una de ésas a las que un blanco les hace un favor una vez y si te vi me olvidé. Las
tetitas a medio salir, un cuerpo jovencito y nada más, pero tan sucia que ni para
misa se arreglaba. Se la veía por Chincha arreando el burro con las tinajas, don,
vendiendo poronguitos de casa en casa. La hija de la Túmula, el hijo del Buitre,
imagínese el escandalazo, don.
==========
Conversación en La Catedral (Mario Vargas Llosa)
- Note on Page 44 | Loc. 670 | Added on Thursday, May 12, 2016, 10:34 PM
─ ¿Quiere usted la salvación de México? ¿Quiere que Cristo sea nuestro rey? ─No.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 2 | Loc. 17 | Added on Sunday, June 05, 2016, 01:26 PM
Tengo diecisiete años, me llamo Juan García Madero, estoy en el primer semestre de
la carrera de Derecho. Yo no quería estudiar Derecho sino Letras, pero mi tío
insistió y al final acabé transigiendo. Soy huérfano. Seré abogado.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 2 | Loc. 22 | Added on Sunday, June 05, 2016, 01:28 PM
Hasta entonces yo había asistido cuatro veces al taller y nunca había ocurrido
nada, lo cual es un decir, porque bien mirado siempre ocurrían cosas: leíamos
poemas y Álamo, según estuviera de humor, los alababa o los pulverizaba; uno leía,
Álamo criticaba, otro leía, Álamo criticaba, otro más volvía a leer, Álamo
criticaba. A veces Álamo se aburría y nos pedía a nosotros (los que en ese momento
no leíamos) que criticáramos también, y entonces nosotros criticábamos y Álamo se
ponía a leer el periódico. El método era el idóneo para que nadie fuera amigo de
nadie o para que las amistades se cimentaran en la enfermedad y el rencor.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 2 | Loc. 30 | Added on Sunday, June 05, 2016, 01:31 PM
Por otra parte no puedo decir que Álamo fuera un buen crítico, aunque 5 siempre
hablaba de la crítica. Ahora creo que hablaba por hablar. Sabía lo que era una
perífrasis, no muy bien, pero lo sabia. No sabía, sin embargo, lo que era una
pentapodia (que, como todo el mundo sabe, en la métrica clásica es un sistema de
cinco pies), tampoco sabía lo que era un nicárqueo (que es un verso parecido al
falecio), ni lo que era un tetrástico (que es una estrofa de cuatro versos). ¿Que
cómo sé que no lo sabía? Porque cometí el error, el primer día de taller, de
preguntárselo. No sé en qué estaría pensando. El único poeta mexicano que sabe de
memoria estas cosas es Octavio Paz (nuestro gran enemigo), el resto no tiene ni
idea, al menos eso fue lo que me dijo Ulises Lima minutos después de que yo me
sumara y fuera amistosamente aceptado en las filas del realismo visceral.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 3 | Loc. 36 | Added on Sunday, June 05, 2016, 01:32 PM
rispetto respeto
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 4 | Loc. 48-52 | Added on Sunday, June 05, 2016, 01:34 PM
Otro, en mi lugar, no hubiera vuelto a poner los pies en el taller, pero pese a mis
infaustos recuerdos (o a la ausencia de recuerdos, para el caso tan infausta o más
que la retención mnemotécnica de éstos) a la semana siguiente estaba allí, puntual
como siempre. Creo que fue el destino el que me hizo volver. Era mi quinta sesión
en el taller de Álamo (pero bien pudo ser la octava o la novena, últimamente he
notado que el tiempo se pliega o se estira a su arbitrio) y la tensión, la
corriente alterna de la tragedia se mascaba en el aire sin que nadie acertara a
explicar a qué era debido.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 4 | Loc. 52 | Added on Sunday, June 05, 2016, 01:34 PM
Por un momento pensé que tal vez había ocurrido algo en la universidad, una
balacera en el campus de la que yo no me hubiera enterado, una huelga sorpresa, el
asesinato del decano de la facultad, el secuestro de algún profesor de Filosofía o
algo por el estilo. Pero nada de esto había sucedido y la verdad era que nadie
tenía motivos para estar nervioso. Al menos, objetivamente nadie tenía motivos.
Pero la poesía (la verdadera poesía) es así: se deja presentir, se anuncia en el
aire, como los terremotos que según dicen presienten algunos animales especialmente
aptos para tal propósito. (Estos animales son las serpientes, los gusanos, las
ratas y algunos pájaros.) Lo que sucedió a continuación fue atropellado pero dotado
de algo que a riesgo de ser cursi me atrevería a llamar maravilloso. Llegaron dos
poetas real visceralistas y Álamo, a regañadientes, nos los presentó aunque sólo a
uno de ellos conocía personalmente, al otro lo conocía de oídas o le sonaba su
nombre o alguien le había hablado de él, pero igual nos lo presentó.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 4 | Loc. 61 | Added on Sunday, June 05, 2016, 01:36 PM
batalla critica
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 5 | Loc. 73 | Added on Sunday, June 05, 2016, 01:37 PM
academicista
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 5 | Loc. 74-78 | Added on Sunday, June 05, 2016, 01:38 PM
La discusión no acabó, contra lo que yo esperaba, en una madriza general. Tengo que
reconocer que me hubiera encantado. Y aunque uno de los miembros del taller le
prometió a Ulises Lima que algún día le iba a romper la cara, al final no pasó
nada, quiero decir nada violento, aunque yo reaccioné a la amenaza (que, repito, no
iba dirigida contra mí) asegurándole al amenazador que me tenía a su entera
disposición en cualquier rincón del campus, en el día y a la hora que quisiera.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 6 | Loc. 78 | Added on Sunday, June 05, 2016, 01:38 PM
En claro no saqué muchas cosas. El nombre del grupo de alguna manera es una broma y
de alguna manera es algo completamente en serio. Creo que hace muchos años hubo un
grupo vanguardista mexicano llamado los real visceralistas, pero no sé si fueron
escritores o pintores o periodistas o revolucionarios.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 6 | Loc. 89 | Added on Sunday, June 05, 2016, 01:41 PM
La letra de la canción hablaba de los pueblos perdidos del norte y de los ojos de
una mujer. Antes de ponerme a vomitar en la calle les pregunté si ésos eran los
ojos de Cesárea Tinajero. Belano y Lima me miraron y dijeron que sin duda yo ya era
un real visceralista y que juntos íbamos a cambiar la poesía latinoamericana. A las
seis de la mañana tomé otro pesero, esta vez solo, que me trajo hasta la colonia
Lindavista, donde vivo.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 7 | Loc. 104 | Added on Sunday, June 05, 2016, 01:46 PM
lectura completa del último libro de poemas de Álamo (que llevé expresamente para
burlarme de él con mis nuevos amigos), siete textos escritos a la manera de Ulises
Lima (el primero sobre los sopes que olían a ataúd, el segundo sobre la
universidad: la veía destruida, el tercero sobre la universidad: yo corría desnudo
en medio de una multitud de zombis, el cuarto sobre la luna del DF, el quinto sobre
un cantante muerto, el sexto sobre una sociedad secreta que vivía bajo las cloacas
de Chapultepec, y el séptimo sobre un libro perdido y sobre la amistad) o más
exactamente a la manera del único poema que conozco de Ulises Lima y que no leí
sino que escuché, y una sensación física y espiritual de soledad.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 8 | Loc. 113 | Added on Sunday, June 05, 2016, 01:48 PM
adero escribe imitando a lima. hay obsesiones como la universida mrcadas en sus
topicos
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 8 | Loc. 114 | Added on Sunday, June 05, 2016, 01:49 PM
brigida la mesera
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 9 | Loc. 131 | Added on Sunday, June 05, 2016, 01:50 PM
camaerra rosario
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 9 | Loc. 136-38 | Added on Sunday, June 05, 2016, 06:39 PM
La explicación que me dio fue un tanto vaga; según parece se trataba de una promesa
hecha a la Virgen de Guadalupe, algo relacionado con la salud de alguien, un
familiar muy querido y muy añorado que había desaparecido y vuelto a aparecer.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 9 | Loc. 138 | Added on Sunday, June 05, 2016, 06:39 PM
desaparecido y aprecido
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 10 | Loc. 142-47 | Added on Sunday, June 05, 2016, 06:40 PM
compré un libro de Pierre Louys, después crucé Juárez, compré una torta de jamón y
me fui a leer y a comer sentado en un banco de la Alameda. La historia de Louys,
pero sobre todo las ilustraciones, me provocaron una erección de caballo.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 10 | Loc. 152 | Added on Tuesday, June 07, 2016, 12:16 AM
—Tienes la mano helada —dijo Brígida—. Qué dedos más bonitos, cómo se nota que no
has tenido que trabajar nunca.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 15 | Loc. 217 | Added on Tuesday, June 07, 2016, 12:24 AM
Necesitas una piel que esté contigo en las buenas y en las malas. ¿Me equivoco?
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 15 | Loc. 223 | Added on Tuesday, June 07, 2016, 12:25 AM
un guaguis
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 17 | Loc. 250-53 | Added on Tuesday, June 07, 2016, 12:28 AM
Yo entonces cerraba los míos y recitaba mentalmente versos sueltos de! poema «El
vampiro» que más tarde, repasando el incidente, resultaron no ser en absoluto
versos sueltos del poema «El vampiro» sino una mezcla diabólica de poesías de
origen vario, frases proféticas de mi tío, recuerdos infantiles, rostros de
actrices adoradas en mi pubertad (la cara de Angélica María, por ejemplo, en blanco
y negro), paisajes que giraban como arrastrados por un torbellino.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 17 | Loc. 253 | Added on Tuesday, June 07, 2016, 12:28 AM
Imaginé que el dueño del bar le estaría pegando y quise acudir en su defensa,
aunque la verdad es que Brígida no me importaba mucho (en realidad, no me importaba
nada).
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 19 | Loc. 284 | Added on Tuesday, June 07, 2016, 12:44 AM
brigida no le importaba
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 20 | Loc. 297 | Added on Tuesday, June 07, 2016, 12:45 AM
libros de belano
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 21 | Loc. 310 | Added on Tuesday, June 07, 2016, 12:47 AM
Hablamos de poesía. Nadie ha leído ningún poema mío y sin embargo todos me tratan
como a un real visceralista más. ¡La camaradería es espontánea y magnífica!
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 21 | Loc. 316 | Added on Tuesday, June 07, 2016, 12:48 AM
libros robados
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 21 | Loc. 322 | Added on Tuesday, June 07, 2016, 12:50 AM
(lo que lee un real visceralista es leído acto seguido por los demás)
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 21 | Loc. 322 | Added on Tuesday, June 07, 2016, 12:50 AM
poetisas
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 24 | Loc. 356-58 | Added on Tuesday, June 07, 2016, 12:53 AM
—Vendiendo mota —dijo Pancho. Los otros dos se quedaron callados, pero no lo
desmintieron. —No me lo puedo creer —dije. —Pues es así. La luz viene de la
marihuana.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 24 | Loc. 358 | Added on Tuesday, June 07, 2016, 12:53 AM
—Loco y arruinado. Hasta hace poco tenían dos coches, tres sirvientas y daban
fiestas por todo lo alto. Pero no sé qué cables se le cruzaron al pobre diablo y un
día perdió la chaveta. Ahora está en la ruina. —Pero mantener esta casa debe costar
dinero. —Es de propiedad y es lo único que les queda. —¿Qué hacía el señor Font
antes de enloquecer? —pregunté. —Era arquitecto, pero muy malo. Él fue el que
diagramó los dos números de Lee Harvey Oswald. —Carajo.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 25 | Loc. 384 | Added on Tuesday, June 07, 2016, 12:56 AM
—María ya perdió la virginidad —dijo Pancho—, pero Angélica todavía no, aunque está
a punto, y el viejo lo sabe y eso lo enloquece.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 26 | Loc. 393 | Added on Tuesday, June 07, 2016, 12:57 AM
la vignida de angelica
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 27 | Loc. 400 | Added on Tuesday, June 07, 2016, 12:59 AM
Allí sólo estaba María. María es alta, morena, de pelo negro y muy lacio, nariz
recta (absolutamente recta) y labios finos. Parece de buen carácter aunque no es
difícil adivinar que sus enfados pueden ser prolongados y terribles. La encontramos
de pie en medio de la habitación, ensayando pasos de danza, leyendo a Sor Juana
Inés de la Cruz, escuchando un disco de Billie Holiday
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 27 | Loc. 406 | Added on Tuesday, June 07, 2016, 12:59 AM
y pintando con aire 29 distraído una acuarela en donde aparecen dos mujeres con las
manos entrelazadas, a los pies de un volcán, rodeadas de riachuelos de lava.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 27 | Loc. 408 | Added on Tuesday, June 07, 2016, 01:00 AM
¿Pero eso es hacer el amor con una mujer? ¿No tendría simultáneamente que haberle
lamido el sexo para considerar que en efecto hicimos el amor? ¿Para que un hombre
deje de ser virgen debe introducir su verga en la vagina de una mujer y no en su
boca o en su culo o en su axila? ¿Para considerar que de verdad he hecho el amor
debo previamente eyacular? Todo esto es complicado).
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 28 | Loc. 422 | Added on Tuesday, June 07, 2016, 01:02 AM
qe s follar
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 28 | Loc. 429 | Added on Tuesday, June 07, 2016, 01:04 AM
—Ay, no sé. Sección Surrealista Mexicana, tal vez. —Creo que ya existe una Sección
Surrealista Mexicana en Cuernavaca. Además lo que nosotros pretendemos es crear un
movimiento a escala latinoamericana. —¿A escala latinoamericana? No me hagas reír.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 29 | Loc. 435 | Added on Tuesday, June 07, 2016, 01:05 AM
Oímos entonces un gemido. No era de placer, eso lo supe en el acto, sino de dolor.
Caí entonces en la cuenta de que desde hacía un rato no se oía nada al otro lado
del biombo.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 29 | Loc. 444 | Added on Tuesday, June 07, 2016, 01:06 AM
gemido de angelica
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 31 | Loc. 466-68 | Added on Tuesday, June 07, 2016, 01:08 AM
Una vez más el señor Font acudió al llamado del timbre y su estado en nada se
diferenciaba del de ayer, antes al contrario progresaba a grandes pasos en el
camino de la locura. Los ojos se le salían de las órbitas cuando aceptó la mano
jovial que Pancho, impertérrito, le ofreció; a mí no dio señales de reconocerme.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 31 | Loc. 468 | Added on Tuesday, June 07, 2016, 01:08 AM
al recibirlos en las puerta el senior font e siente loo pero no en asa cn la madre
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 31 | Loc. 473-78 | Added on Tuesday, June 07, 2016, 01:09 AM
Ésta había experimentado cambios sustanciales. Las dos mujeres en la falda del
volcán, que recordaba en una actitud hierática, al menos seria, ahora se daban
pellizcos en los brazos; una de ellas reía o simulaba reír; la otra lloraba o
simulaba llorar; en los riachuelos de lava (pues seguían siendo de color rojo o
bermejo) flotaban envases de jabón para lavadoras, muñecas calvas y cestas de
mimbre repletas de ratas; los vestidos de las mujeres estaban rotos o mostraban
parcheaduras; en el cielo (o al menos en la parte superior de la acuarela) se
gestaba una tormenta; en la parte inferior María había transcrito el parte
meteorológico del día para el DF. El cuadro era horroroso.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 32 | Loc. 478 | Added on Tuesday, June 07, 2016, 01:09 AM
—¿Sabes a quién tendrías que preguntarle cosas de Laura Damián? —No, ¿a quién? 36 —
A Ulises Lima. Él era amigo de ella. —¿Ulises Lima? —Sí, no se separaban casi
nunca, estudiaban juntos, iban al cine juntos, se prestaban libros, vaya, eran muy
buenos amigos. —No tenía idea —dije.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 34 | Loc. 522 | Added on Tuesday, June 07, 2016, 01:14 AM
—Ulises Lima no se llama Ulises Lima —dijo con la voz enronquecida. —¿Quieres decir
que ése es su nombre literario? María hizo una señal afirmativa con la cabeza, la
vista perdida en los intrincados dibujos de la enredadera. —¿Cómo se llama,
entonces? —Alfredo Martínez o algo así. Ya lo he olvidado. Pero cuando lo conocí no
se llamaba Ulises Lima. Fue Laura Damián la que le puso el nombre. —Carajo, qué
noticia. —Todos decían que estaba enamorado de Laura. Pero yo creo que nunca se
acostaron. Me parece a mí que Laura murió virgen.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 35 | Loc. 529 | Added on Tuesday, June 07, 2016, 01:15 AM
uliss lima. nombreq le puso laura. depues buscan a cesarea. mujeres perdidas en la
muerte. poetas.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 36 | Loc. 540-47 | Added on Tuesday, June 07, 2016, 01:17 AM
—¿Sabes que fue mi papá el que compuso toda la revista? —Algo así me dijo Pancho. —
Es lo mejor de la revista, el diseño. Ahora todos odian a mi papá. —¿Todos? ¿Todos
los real visceralistas? ¿Y por qué lo iban a odiar? Al contrario. —No, no los real
visceralistas, los otros arquitectos de su estudio. Supongo que le envidian el
carisma que tiene con los jóvenes. El caso es que no lo tragan y ahora se lo están
haciendo pagar. Por lo de la revista. —¿Por Lee Harvey Oswald? —Claro, como mi papá
la compuso en el estudio, ahora lo hacen responsable de lo que pueda pasar. —¿Pero
qué puede pasar? —Mil cosas, se ve que tú no conoces a Ulises Lima. —No, no lo
conozco —dije—, pero me estoy haciendo una idea. —Es una bomba de tiempo —dijo
María.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 36 | Loc. 547 | Added on Tuesday, June 07, 2016, 01:17 AM
—Éste es el barrio de las putas —dijo María. —No tenía idea —dije yo. —Cógeme del
brazo, no sea que me confundan.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 38 | Loc. 578 | Added on Tuesday, June 07, 2016, 01:20 AM
maria bailrina
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 43 | Loc. 655 | Added on Tuesday, June 07, 2016, 01:26 AM
zodiac
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 46 | Loc. 698-714 | Added on Tuesday, June 07, 2016, 01:31 AM
asunto, hicieron un reventón de mamadas y había una ruca de por ahí que las ganaba
todas. No 47 había ninguna pulga que pudiera tragarse enteras las vergas que la
ruca aquella se tragaba. Entonces Alberto se levantó de la mesa en donde estábamos
y dijo espérenme un momentito, que voy a solucionar un negocio. Los que estaban en
nuestra mesa le dijeron ya rugiste, Alberto, se ve que lo conocían. Yo mentalmente
supe que la pobre ruca ya estaba derrotada. Alberto se plantó en medio de la pista,
se sacó el vergajo, lo puso en acción con un par de golpecitos y se lo metió en la
boca a la campeona. Ésta era dura de verdad y le hizo el esfuerzo. Poquito a poco
empezó a tragarse la verga entre las exclamaciones de asombro. Entonces Alberto la
cogió de las orejas y se la metió entera. Para luego es tarde, dijo y todos se
rieron. Hasta yo me reí aunque la verdad es que también sentía algo de vergüenza y
algo de celos. En los primeros segundos la ruca pareció que aguantaba, pero luego
se atragantó y empezó a ahogarse... —Carajo, qué bestia es tu Alberto —dije. —Pero
sigue contando, ¿qué pasó? —dijo María. —Pues nada. La ruca empezó a golpear a
Alberto, a intentar separarse de él, y Alberto empezó a reírse y a decirle so,
yegua, so, yegua, como si estuviera montando una yegua brava, ¿me entiendes, no? —
Claro, como si estuviera en un rodeo —dije. —A mí eso no me gustó nada y le grité
déjala, Alberto, que la vas a desgraciar. Pero yo creo que él ni me oyó. Mientras
tanto la cara de la ruca cada vez estaba más congestionada, roja, con los ojos muy
abiertos (cuando hacía los guagüis los cerraba) y empujaba a Alberto por las
ingles, lo tironeaba desde los bolsillos hasta el cinturón, digamos. Inútilmente,
claro, porque a cada tirón que ella daba para separarse Alberto le daba otro de las
orejas para impedírselo. Y él llevaba todas las de ganar, eso se veía enseguida. —
¿Y por qué no le mordió el aparato? —dijo María. —Porque era un reventón de amigos.
Si lo llega a hacer, Alberto la hubiera matado.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 47 | Loc. 714 | Added on Tuesday, June 07, 2016, 01:31 AM
—Es verdad, no te pongas así, ella es dueña de hacer con su vida lo que quiera —
dije yo. —Tú no te metas, García Madero, tú ves estas cosas desde fuera, no
entiendes una mierda de lo que estamos hablando. —Tú también las ves desde fuera.
Carajo, tú vives con tus padres, tú no eres una puta, perdona, Lupe, lo digo sin
ánimo de ofender. —No, si tú a mí no me ofendes, chavito —dijo Lupe. —Cállate,
García Madero —dijo María. La obedecí. Durante un rato los tres nos mantuvimos en
silencio.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 48 | Loc. 729 | Added on Tuesday, June 07, 2016, 01:32 AM
feminismo
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 49 | Loc. 738-45 | Added on Tuesday, June 07, 2016, 04:48 PM
casa de las Font y toqué el timbre. El señor Font se asomó a la puerta y desde allí
me hizo una seña como diciéndome no te vayas, espera un poco, ahora te abro. Luego
desapareció, pero la puerta sólo quedó entornada. Al cabo de un rato volvió a
aparecer y cruzó el jardín arremangándose la camisa y con una gran sonrisa en la
cara. La verdad es que lo encontré mejor. Me franqueó la entrada, me dijo tú eres
García Madero, ¿verdad?, y me dio la mano. Yo le dije cómo está usted, señor, y él
me dijo llámame Quim, nada de señor, en esta casa esos formalismos no se estilan.
Al principio no entendí cómo quería que lo llamara y dije ¿Kim? (he leído a Rudyard
Kipling), pero él dijo no, Quim, diminutivo de Joaquín en catalán. —Pues órale,
Quim —dije con una sonrisa de alivio, incluso de alegría—. Yo me llamo Juan. —No,
mejor a ti te sigo diciendo García Madero. Todos te llaman así —dijo él.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 49 | Loc. 745 | Added on Tuesday, June 07, 2016, 04:48 PM
—dijo—. En parte, no me molesta. Uno tiene que conocer gente de todas las clases, a
veces es necesario empaparse de realidad, ¿no? Creo que eso lo dijo Alfonso Reyes,
puede ser, no importa. Pero a veces María se excede, ¿no? Y yo no la critico por
eso, que se empape de realidad, pero que se empape, no que se exponga, ¿verdad?
Porque si uno se empapa demasiado se expone a convertirse en víctima, no sé si me
sigues. —Te sigo —dije. —En víctima de la realidad, sobre todo si se tienen amigos
o amigas, cómo te diría, magnéticos, ¿no? Gente que inocentemente atrae las
desgracias o que atrae a los verdugos, ¿me sigues, verdad, García Madero?
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 50 | Loc. 758 | Added on Tuesday, June 07, 2016, 04:50 PM
Al contrario que María, el rostro de Angélica es muy blanco, pero con una tonalidad
que no sabría decir si olivácea o rosada, creo que olivácea, con los pómulos
salientes, la frente amplia y los labios más abultados que los de su hermana. Al
verla o mejor dicho al ver que ella me miraba (las otras veces que estuve allí de
hecho no me miró), sentí que una mano de dedos largos y finos, pero al mismo tiempo
muy fuerte, se cerraba sobre mi corazón, imagen que seguramente no gustará a Lima y
a Belano, pero que se ajusta como un guante a lo que sentí entonces.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 52 | Loc. 795 | Added on Friday, June 17, 2016, 05:27 PM
—No me hagas reír. Pero si en ese grupo sólo leen Ulises y su amiguito chileno. Los
demás son una pandilla de analfabetos funcionales. Me parece que lo único que hacen
en las librerías es robar libros. —Pero después los leerán, ¿no? —concluí un poco
amoscado. —No, te equivocas, después se los regalan a Ulises y a Belano. Éstos los
leen, se los cuentan y ellos van por ahí presumiendo que han leído a Queneau, por
ejemplo, cuando la verdad es que se han limitado a robar un libro de Queneau, no a
leerlo. —¿Belano es chileno? —dije tratando de desviar la conversación hacia otro
tema y porque además, sinceramente, no lo sabía.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 54 | Loc. 815 | Added on Friday, June 17, 2016, 05:31 PM
roban no leen.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 54 | Loc. 815 | Added on Friday, June 17, 2016, 05:33 PM
belano es chileno
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 55 | Loc. 829 | Added on Friday, June 17, 2016, 05:37 PM
Así que traté de no exteriorizar mis sentimientos (que, por lo 56 menos, eran
confusos) y seguí mirando. Tal como temía las siguientes fotos mostraban al lector
de Brian Patten enculando al adolescente rubio.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 56 | Loc. 850 | Added on Friday, June 17, 2016, 05:39 PM
presumí de placer y de dolor mezclados. (O de teatro, pero eso lo pensé mucho más
tarde.)
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 56 | Loc. 852 | Added on Friday, June 17, 2016, 05:40 PM
había tomado Ulises Lima. Y acto seguido pensé en la para mí novedosa nacionalidad
de Belano. Y luego me puse a mirar a Angélica, pero sin que se me notara mucho,
mayormente cuando ella no me miraba a mí, la cabeza metida dentro de un libro de
poesía (Les Lieux de la douleur, de Eugéne Savitzkaya), del que sólo se asomaba
para terciar en la conversación que ahora sostenían María y San Epifanio sobre el
arte erótico. Y luego volví a pensar en la posibilidad de que las fotos las hubiera
tomado Ulises 58 Lima y recordé también lo que oí en el café Quito, que Lima
traficaba con drogas, y si traficaba con drogas, y eso casi era un hecho, pensé,
también podía traficar con otras cosas.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 58 | Loc. 885 | Added on Friday, June 17, 2016, 05:44 PM
llega maria
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 63 | Loc. 955-56 | Added on Friday, June 17, 2016, 05:54 PM
Al empezar a comer se nos unió un tal Piel Divina, de veintitrés años, vecino de
azotea, que fue presentado como poeta real visceralista. Poco antes de que me
marchara (muchas horas después, el tiempo pasó volando), le pregunté otra vez cómo
se llamaba y él dijo Piel Divina con tanta naturalidad y seguridad 69 (mucha más de
la que yo hubiera empleado para decir Juan García Madero) que por un momento llegué
a creer que en los meandros y pantanos de nuestra República Mexicana existía de
veras una tal familia Divina.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 70 | Loc. 1070 | Added on Friday, June 17, 2016, 07:27 PM
piel divina aparece. nombre
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 70 | Loc. 1070-74 | Added on Friday, June 17, 2016, 07:28 PM
casa de pancho en el corazon del df. moles edificios. pruqe americas. comparacion
cn donde viven las font
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 71 | Loc. 1076-80 | Added on Friday, June 17, 2016, 07:29 PM
El cuarto de Piel Divina era, al contrario que los dos cuartos que ocupaban los
Rodríguez, un ejemplo de desnudez y austeridad. No vi ropa tirada, no vi enseres
domésticos, no vi libros (Pancho y Moctezuma eran pobres, pero en los lugares más
insospechados de su vivienda pude ver ejemplares de Efraín Huerta, Augusto
Monterroso, Julio Torri, Alfonso Reyes, el ya mencionado Catulo traducido por
Ernesto Cardenal, Jaime Sabines, Max Aub, Andrés Henestrosa), sólo una colchoneta y
una silla —no tenía mesa— y una maleta de piel, de buena calidad, en donde guardaba
su ropa.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 71 | Loc. 1080 | Added on Friday, June 17, 2016, 07:29 PM
simondarrieux. feminista
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 73 | Loc. 1114-18 | Added on Friday, June 17, 2016, 07:33 PM
—Eso es algo muy de María —dijo Pancho—, es muy consecuente con sus lecturas. —¿Y
siguieron cogiendo? —dije yo. O susurré, o aullé, no lo recuerdo, sí que recuerdo
que di varias chupadas ininterrumpidas a la bacha de mota y que me tuvieron que
repetir varias veces que la pasara, que no era para mí solo. —Pues sí, seguimos
cogiendo, es decir ella siguió mamándomela y yo seguí dándole golpes con la mano
abierta en el culo, pero cada vez con menos fuerza o cada vez con menos ganas, yo
creo que la aparición de su mamá pues 72
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 73 | Loc. 1118 | Added on Friday, June 17, 2016, 07:33 PM
el sonido, el sonido de las palmadas, como que no sabe muy bien, te desconcentra,
es algo como demasiado crudo en un plato en donde las cosas son más bien cocidas,
pero luego como que se acopla a lo que estás haciendo, y los gemidos de ella, los
de María, también se acoplan, cada golpe produce un gemido, y eso va in crescendo,
y llega un momento en que sientes sus nalgas ardiendo, y las palmas de tus manos
también arden, y la verga te empieza a latir como si fuera un corazón, plonc plonc
plonc...
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 75 | Loc. 1141 | Added on Friday, June 17, 2016, 07:35 PM
—Claro que me vio. Me miró a los ojos, pero a su manera, ya saben cómo es ella, a
veces te mira y es como si no te viera o como si te atravesara con la mirada. Y
luego desapareció. Así que yo me dije hoy has perdido, ñero, no la hagas de tos,
vete tranquilo.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 77 | Loc. 1178 | Added on Friday, June 17, 2016, 07:39 PM
María me estaba esperando bajo un árbol. Antes de que yo dijera nada me dio un beso
en la boca. Su lengua entró hasta la garganta. Olía a cigarrillos y a comida cara.
Yo olía a cigarrillos y a comida pobre. Pero las dos comidas eran buenas. Todo el
miedo y toda la tristeza que sentía se evaporaron en el acto.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 79 | Loc. 1202 | Added on Friday, June 17, 2016, 07:41 PM
beso. las comidas y l clase. las dos comidas eran buenas. placer no nutritivo
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 80 | Loc. 1212 | Added on Friday, June 17, 2016, 07:42 PM
militancias pliticas
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 83 | Loc. 1268-71 | Added on Saturday, June 18, 2016, 02:08 AM
Una serpiente (que tal vez sonreía, pero que más probablemente se retorcía en un
espasmo de dolor) se mordía la cola con expresión golosa y sufriente, los ojos
clavados como alfileres en el hipotético lector. —Pero si aún nadie sabe cómo se va
a llamar la revista —dije. —Es igual. La serpiente es mexicana y además simboliza
la circularidad. ¿Tú has leído a Nietzsche, García Madero? —dijo de pronto
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 83 | Loc. 1271 | Added on Saturday, June 18, 2016, 02:08 AM
—Claro, no por nada soy arquitecto —dijo él. Y después de un rato—: Nosotros
también somos artistas, lo que pasa es que lo disimulamos retebién, 83 ¿no? —Claro
que sí —dije.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 85 | Loc. 1299 | Added on Saturday, June 18, 2016, 02:13 AM
—¿Qué pasó el otro día? —dije intentando mostrarme frío, amable, eso también, pero
frío. —La pobre Brígida ha llorado por ti —dijo Rosario. —¿Y cómo es eso? ¿Tú la
has visto? —Todas la hemos visto. Va como loca por tus huesos, señor poeta. Tú
debes de tener algo especial con las mujeres.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 93 | Loc. 1415 | Added on Saturday, June 18, 2016, 02:35 AM
—Quiero ser como tu mamá —dijo—, pero no me malinterpretes, yo no soy una puta como
la Brígida esa, yo quiero ayudarte, tratarte bien, quiero estar contigo cuando seas
famoso, mi vida.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 94 | Loc. 1435 | Added on Saturday, June 18, 2016, 02:44 AM
La primera vez que lo hicimos fue en su casa, una vecindad perdida en la colonia
Merced Balbuena, a pocos pasos de la Calzada de la Viga. El cuarto estaba lleno de
postales de Veracruz y de fotografías de artistas de cine pegadas con chinchetas de
las paredes.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 95 | Loc. 1450 | Added on Saturday, June 18, 2016, 02:46 AM
cesarea tinajero
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 97 | Loc. 1476-78 | Added on Saturday, June 18, 2016, 02:52 AM
¡Sinceramente, me dio pena! ¡Todo el mundo sufría! Le pedí un tequila y escuché sin
inmutarme lo que tenía que decirme. Luego vino Rosario y dijo que no le gustaba
verme de pie en la barra, escribiendo como un huérfano. No hay ninguna mesa
desocupada, le dije y seguí escribiendo. Mi poema se llama «Todos sufren». No me
importa que me miren.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 97 | Loc. 1478 | Added on Saturday, June 18, 2016, 02:52 AM
todos sufren
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 97 | Loc. 1484-89 | Added on Saturday, June 18, 2016, 02:54 AM
paseo calles
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 103 | Loc. 1573-74 | Added on Saturday, June 18, 2016, 11:34
AM
Debo reconocer que en la cama me lo paso mejor con Rosario que con María. 4
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 104 | Loc. 1584 | Added on Saturday, June 18, 2016, 11:35 AM
Hice el amor llevando la cuenta. Rosario estuvo fantástica, pero por mor al éxito
del experimento preferí no advertírselo. Se vino quince veces. Las primeras le
tenía que tapar la boca para que no despertara a los vecinos. Las últimas temí que
le fuera a dar un ataque al corazón. A veces parecía desmayarse entre mis brazos y
otras veces se arqueaba como si un fantasma estuviera jugando con su columna
vertebral. Yo me vine tres veces.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 104 | Loc. 1588 | Added on Saturday, June 18, 2016, 11:36 AM
unreliable
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 104 | Loc. 1589-92 | Added on Saturday, June 18, 2016, 11:36
AM
Luego salimos los dos al pasillo y nos bañamos con la lluvia que caía del pasillo
de arriba. Es extraño: mi sudor es caliente y el sudor de Rosario es frío,
reptiliano, y tiene un sabor agridulce (el mío es claramente salado). En total
estuvimos cuatro horas cogiendo. Después Rosario me secó, se secó, arregló el
cuarto en un santiamén (es increíble lo hacendosa y práctica que es esta mujer) y
se puso a dormir pues al día siguiente tenía que trabajar.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 104 | Loc. 1592 | Added on Saturday, June 18, 2016, 11:36 AM
rosario sirvienta
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 104 | Loc. 1592 | Added on Saturday, June 18, 2016, 11:37 AM
postrero, como dice el poeta, imaginé finalmente a Alberto avanzando sobre una
alfombra de cuerpos manchados de semen (un semen cuya densidad y color engañaban a
la vista pues parecía sangre y mierda)
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 106 | Loc. 1616 | Added on Saturday, June 18, 2016, 11:40 AM
no conozco y a Angélica Font, Laura Jáuregui y Sofía Gálvez. —¡Ha expulsado a tres
mujeres! —exclamé sin poder evitarlo. En la cuerda floja están Moctezuma Rodríguez,
Catalina O'Hara y él mismo. ¿Tú, Jacinto? Muy movidoso está ese Belano, pues, dice
Requena resignado. ¿Y yo? No, de ti nadie ha hablado por ahora, dice Requena con
voz vacilante. Le pregunto el motivo de estas expulsiones. No lo sabe.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 107 | Loc. 1638 | Added on Saturday, June 18, 2016, 11:42 AM
poc democratico
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 110 | Loc. 1684-86 | Added on Saturday, June 18, 2016, 11:47
AM
Alfonso Reyes. Por la tarde, mientras ordenaba mis libros en el cuarto, he pensado
en Reyes. Reyes podría ser mi casita. Leyéndolo sólo a él o a quienes él quería uno
podría ser inmensamente 108 feliz. Pero eso es demasiado fácil.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 110 | Loc. 1686 | Added on Saturday, June 18, 2016, 11:47 AM
pq reyes
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 111 | Loc. 1689-99 | Added on Saturday, June 18, 2016, 11:48
AM
Creo que hemos simpatizado. La librería, por supuesto, está la mayor parte del
tiempo desierta y a don Crispín le gusta leer pero no desdeña pasarse horas enteras
hablando de lo que sea. También yo necesito a veces hablar. Le confesé que visitaba
sistemáticamente las librerías del DF buscando a dos amigos desaparecidos, que
robaba libros porque no tenía dinero (don Crispín de inmediato me regaló un
ejemplar de Eurípides editado por Porrúa y traducido por el padre Garibay), que
admiraba a Alfonso Reyes porque no sólo sabía griego y latín sino también francés,
inglés y alemán, que ya no iba a la universidad. Todo lo que le cuento le hace
gracia, menos que no estudie, pues tener una carrera es necesario. La poesía le
produce desconfianza. Al aclararle que yo era poeta, dijo que desconfianza no era
en realidad la palabra exacta y que él había conocido a algunos. Quiso leer mis
poemas. Cuando se los traje noté que se quedaba un poco perplejo, pero acabada la
lectura no dijo nada. Sólo me preguntó por qué utilizaba tantas palabras
malsonantes. ¿Qué quiere decir, don Crispín?, pregunté. Blasfemias, groserías,
tacos, insultos. Ah, eso, le dije, bueno, debe ser por mi carácter. Al irme esa
tarde don Crispín me regaló Ocnos, de Cernuda, y me rogó que estudiara a aquel
poeta, que también, por cierto, tenía un carácter de los mil demonios.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 111 | Loc. 1699 | Added on Saturday, June 18, 2016, 11:48 AM
Por decir algo me puse a hablar de la purga que estaba haciendo Arturo Belano en
las filas del realismo visceral. —Ya era hora —dijo Quim—, hay que echar a los
aprovechados y a los ineptos. En el movimiento sólo deben quedar las almas puras
como tú, García Madero. —Eso es verdad —admití—, pero también creo que mientras más
seamos, mejor. —No, el número es una ilusión. García Madero. Para el caso que nos
ocupa, cinco o cincuenta son lo mismo. Yo ya se lo había dicho a Arturo. Cortar
cabezas. Reducir el círculo interno hasta convertirlo en un punto microscópico.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 114 | Loc. 1736 | Added on Saturday, June 18, 2016, 11:53 AM
Más tarde recordé la historia del sordomudo que me contó Quim y pensé en los
maltratadores de niños que en su infancia han sido niños maltratados. Aunque ahora
que lo escribo no consigo ver con la misma claridad que entonces la relación causa-
efecto entre el sordomudo y el cambio de personalidad de Quim.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 121 | Loc. 1843 | Added on Saturday, June 18, 2016, 12:01 PM
el sordomudo y quim
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 122 | Loc. 1857-70 | Added on Saturday, June 18, 2016, 12:03
PM
Esta tarde estaba temblando de fiebre cuando la puerta se abrió y apareció mi tía y
luego mi tío seguidos por Rosario. Creí que alucinaba. Mi tía se arrojó a la cama,
en donde me cubrió de besos. Mi tío se mantuvo firme, esperó a que mi tía se
desahogara y luego me palmoteo en un hombro. No tardaron en empezar las amenazas,
las recriminaciones y los consejos. En una palabra, querían que me marchara a casa
de inmediato o en su defecto a un hospital en donde pretendían someterme a una
revisión exhaustiva. Me negué. Al final hubo amenazas y cuando se marcharon yo me
reía a gritos y Rosario lloraba como una Magdalena.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 124 | Loc. 1890 | Added on Saturday, June 18, 2016, 12:05 PM
Ulises Lima y Arturo Belano examinaban sobre una mesa un viejo catálogo y al
irrumpir yo en la habitación levantaron las cabezas y por primera vez los vi
sorprendidos de verdad. Junto a ellos, doña Rebeca miraba el cielorraso en una
actitud pensativa o evocadora. No le había pasado nada. Fue ella la que gritó, pero
su grito no fue de miedo sino de sorpresa.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 126 | Loc. 1925 | Added on Saturday, June 18, 2016, 12:08 PM
callar lo q no entiende
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 126 | Loc. 1926 | Added on Saturday, June 18, 2016, 12:09 PM
navidad
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 127 | Loc. 1936-40 | Added on Saturday, June 18, 2016, 12:10
PM
25 de diciembre He decidido no volver a acostarme con María nunca más, sin embargo
las fiestas navideñas, la agitación que se percibe en la gente que camina por las
calles del centro, los planes de la pobre Rosario (dispuesta a pasar el año nuevo
en una sala de fiestas, conmigo, por supuesto, y bailando), no hacen sino renovar
mis ganas de ver a María, de desnudarla, de sentir sus piernas otra vez sobre mi
125 espalda, de golpear (si así ella me lo demandara) sus nalgas respingonas y
perfectas.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 127 | Loc. 1940 | Added on Saturday, June 18, 2016, 12:10 PM
bipolaridad de gmadero
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 127 | Loc. 1941-43 | Added on Saturday, June 18, 2016, 12:12
PM
—Hoy te tengo una sorpresa, papuchi —anunció Rosario nada más llegar a casa. Se
puso a besarme, dijo repetidas veces que me quería, prometió que dentro de poco se
iba a poner a leer un libro cada quincena para estar «a mi altura», lo que acabó
por abochornarme, y terminó confesándome que
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 127 | Loc. 1943 | Added on Saturday, June 18, 2016, 12:12 PM
vuelven al banio
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 129 | Loc. 1967-70 | Added on Saturday, June 18, 2016, 12:13
PM
—Digo —dijo Brígida mirando hacia atrás como para asegurarse de que Rosario aún no
venía— que a mí también, cómo no, me hubiera gustado enamorarme de ti, a mí también
me hubiera gustado vivir contigo, darte para tus 128 gastos, hacerte la comida,
cuidarte cuando te enfermaras, pero si no pudo ser, ni modo, hay que aceptar las
cosas como son, ¿verdad? Pero hubiera sido lindo. —Yo soy insoportable —le dije. —
Tú eres como eres y tienes un vergón que vale su peso en oro —dijo Brígida. —
Gracias —le dije. —Sé lo que me digo —dijo Brígida. —¿Y qué más sabes? —¿Sobre ti?
—ahora Brígida sonreía y ésa, supuse, era su victoria. —Sobre mí, claro —le dije
mientras vaciaba el vaso de tequila. —Que vas a morir joven, Juan, que vas a
desgraciar a Rosario.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 130 | Loc. 1985 | Added on Saturday, June 18, 2016, 12:14 PM
melancolia y adivinacion de brigida
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 132 | Loc. 2017-21 | Added on Saturday, June 18, 2016, 12:17
PM
Eso era lo que quería decir, le dije, que puesto que Angélica y él eran poetas, qué
importaba que uno perteneciera a una clase social y el otro a otra. —Pues mucho —
dijo Pancho. —No seas mecanicista, hombre —dije yo, cada vez más irreflexivamente
feliz. El taxista, de forma inesperada, apoyó mi discurso: —Si usted ya se la
benefició las barreras valen madre. Cuando el amor es bueno, lo demás no importa.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 132 | Loc. 2021 | Added on Saturday, June 18, 2016, 12:17 PM
estaban María y Lupe. Olía a marihuana. María iba con un camisón de dormir de color
rojo, que al principio tomé por un vestido, con bordados blancos en el pecho que
representaban un volcán, un río de lava y una aldea a punto de ser destruida.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 140 | Loc. 2137 | Added on Saturday, June 18, 2016, 12:31 PM
Ignoro qué hora era entonces ni cuánto rato permanecí así, sólo sé que estaba bien
y que cuando me desperté aún estaba oscuro y una mujer me acariciaba. Tardé en
darme cuenta de que no era María. Durante unos segundos creí que estaba soñando o
que me hallaba irremediablemente perdido en la vecindad, junto a Rosario. La abracé
y busqué su rostro en la oscuridad. Era Lupe y sonreía como una araña.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 141 | Loc. 2154 | Added on Saturday, June 18, 2016, 12:33 PM
lupemaria. lupe sonrie cmo arania. cmo el documental q ven jorgito y angelica
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[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 141 | Loc. 2155 | Added on Saturday, June 18, 2016, 12:34 PM
Después creo que estuve un rato en el patio ayudándole a la señora Font a preparar
los arreglos de la cena que pensaba dar aquella última noche de 1975.
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[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 142 | Loc. 2172 | Added on Saturday, June 18, 2016, 12:35 PM
angelica y ls hombres
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 144 | Loc. 2200-2203 | Added on Saturday, June 18, 2016, 01:23
PM
cocina, algunos sentados y otros de pie. María le había pedido a Lupe que contara
la historia de la puta a la que Alberto casi había ahogado con su verga. Parecían
como hipnotizados. De vez en cuando interrumpían el relato de Lupe y decían qué
bárbaro o qué bárbaros e incluso una voz femenina (la de la señora Font o la de
Angélica) dijo qué inmensidad, mientras Quim le decía al padre de Laura Damián: ya
ves con qué elemento nos enfrentamos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 144 | Loc. 2203 | Added on Saturday, June 18, 2016, 01:23 PM
El jardín estaba oscuro y tras la verja distinguí dos siluetas. Pensé que eran
Alberto y su policía. Irracionalmente me sentí con ganas de pelear y hacia ellos
encaminé resueltamente mis pasos. Al acercarme un poco más, sin embargo, descubrí
que quienes estaban allí eran Ulises Lima y Arturo Belano. No dijeron a qué venían.
No se sorprendieron de verme. Recuerdo que pensé: ¡salvados!
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 146 | Loc. 2237 | Added on Saturday, June 18, 2016, 01:28 PM
Mientras un coche salía de la casa, el otro se acercó, como atraídos por un imán o
por la fatalidad, que viene a ser lo mismo según los griegos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 148 | Loc. 2267 | Added on Saturday, June 18, 2016, 01:32 PM
un iman o la fatalidad
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 149 | Loc. 2273-77 | Added on Saturday, June 18, 2016, 01:33
PM
el opus dei
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 155 | Loc. 2363-67 | Added on Saturday, June 18, 2016, 03:38
PM
Sí, dijo él, el subsuelo debe estar lleno de pirámides. Mi padre no hizo ningún
comentario. Yo, desde la oscuridad del asiento trasero, le pregunté por qué creía
eso. Él no me contestó. Después nos pusimos a hablar de otras cosas pero yo me
quedé pensando por qué diría lo de las pirámides. Me quedé pensando en las
pirámides. Me quedé pensando en el pedregal de mi padre y mucho tiempo 152 después,
cuando yo ya no lo veía, cada vez que volvía a esas tierras yermas pensaba en las
pirámides enterradas, pensaba en la única vez que lo vi montando a caballo por
encima de las pirámides y también lo imaginaba en el chamizo, cuando se quedó solo
y se puso a fumar.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 155 | Loc. 2367 | Added on Saturday, June 18, 2016, 03:38 PM
María Font y a Rafael Barrios, allí también conocí a Ulises Lima que por entonces
no se llamaba Ulises Lima, no sé, tal vez ya se llamaba Ulises Lima pero nosotros
le llamábamos por su nombre verdadero, Alfredo no sé qué, y
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 155 | Loc. 2371 | Added on Saturday, June 18, 2016, 03:39 PM
me preguntó a quién buscaba. Era Arturo Belano. Tenía entonces veintiún años, era
delgado, llevaba el pelo muy largo y usaba gafas, unas gafas horribles, aunque su
miopía no era exagerada, apenas unas pocas dioptrías en cada ojo, pero las gafas
igual eran horribles. Sólo cruzamos unas palabras, él estaba con María y con un
poeta llamado Aníbal que por entonces iba loco por María, pero cuando yo llegué
ellos ya se iban.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 157 | Loc. 2394 | Added on Saturday, June 18, 2016, 03:49 PM
arturo belano. pelo lrgo como el hombre de perla. gafas horribles cmo bolanio
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 157 | Loc. 2401-5 | Added on Saturday, June 18, 2016, 03:50 PM
realidad periodistas y funcionarios, esa clase de gente triste que nunca sale del
centro, de ciertas zonas del centro, titulares de la tristeza en la zona
comprendida por la avenida Chapultepec, al sur, y Reforma, por el norte,
asalariados de El Nacional, correctores del Excelsior, tinterillos de la Secretaría
de Gobernación que cuando dejaban sus chambas se desplazaban a Bucareli y allí
extendían sus tentáculos o sus hojitas verdes. Y aunque eran tristes, como ya he
dicho, esa noche nos reímos mucho, de hecho no paramos de reírnos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 157 | Loc. 2405 | Added on Saturday, June 18, 2016, 03:50 PM
María nombraba), aunque mucho después Arturo me dijo que él no había mirado las
estrellas sino las luces encendidas de algunos departamentos, departamentos
pequeñitos como buhardillas en la calle Versalles, o en Lucerna, o en la calle
Londres, y que en ese momento supo que su máxima felicidad hubiera sido estar
conmigo en uno de esos departamentos y cenar un par de tortas con crema que hacía
un vendedor ambulante de Bucareli.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 158 | Loc. 2412 | Added on Saturday, June 18, 2016, 03:52 PM
lurajure. belano no las estrellas cmo maria sino las luces artificiales de los
deptos
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 159 | Loc. 2432-33 | Added on Saturday, June 18, 2016, 03:54
PM
Todo el realismo visceral era una carta de amor, el pavoneo demencial de un pájaro
idiota 156 a la luz de la luna, algo bastante vulgar y sin importancia.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 159 | Loc. 2433 | Added on Saturday, June 18, 2016, 03:54 PM
laura jaure. el realism visc era una carta de amor para lura jaure
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 160 | Loc. 2443-44 | Added on Saturday, June 18, 2016, 03:56
PM
Yo era un experto en poetas jóvenes y allí ocurría algo raro, faltaba algo, la
simpatía, la viril comunión en unos ideales, la franqueza que preside todo
acercamiento entre poetas latinoamericanos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 161 | Loc. 2463 | Added on Saturday, June 18, 2016, 03:58 PM
estos dos (el chileno y el mexicano) escribían poemas larguísimos, eso decían, yo
no los había leído todavía, y tenían creo que hasta una teoría acerca de los poemas
largos, los llamaban poemas-novela, creo que la idea era de unos franceses, no lo
recuerdo con claridad, y me largo yo y les cuento, francamente no sé a santo de
qué, lo del poema a Cohn-Bendit y uno de ellos me pregunta cómo es que no está en
tu libro y voy yo y digo es que los de Casa de las Américas decidieron quitarlo y
va el mexicano y me dice pero te pedirían permiso, supongo, y yo le digo no, no me
pidieron permiso, y va el mexicano y me dice ¿te lo sacaron del libro sin decirte
nada?, y yo le digo sí, la verdad es que yo estaba ilocalizable, y el chileno me
pregunta ¿y por qué te lo sacaron?, y yo le cuento lo que los de Casa de las
Américas me habían contado, que poco antes Cohn—Bendit había efectuado unas
declaraciones en
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 162 | Loc. 2472 | Added on Saturday, June 18, 2016, 03:59 PM
poemas novela
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 163 | Loc. 2488-91 | Added on Saturday, June 18, 2016, 04:04
PM
Alberto Moore
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 163 | Loc. 2497 | Added on Saturday, June 18, 2016, 04:06 PM
alberto moore
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 164 | Loc. 2511-12 | Added on Saturday, June 18, 2016, 04:08
PM
yo, dijo: Baudelaire. Por supuesto, no era Baudelaire. Éstos eran los versos, a ver
si ustedes lo adivinan: Mon triste coeur bave á la poupe, Mon coeur couvert de
caporal: ils y lancent des jets de soupe, Mon triste coeur bave a la poupe: Sous
les quolibets de la trouppe Qui pousse un rire general, Mon triste coeur bave a la
poupe, Mon coeur couvert de caporal! Ithyphalliques et pioupiesques Leurs quolibets
I′on deprave! Au gouvernail on voit des fresques Ithyphalliques et pioupiesques. Ó
flots abracadabrantesques, Preñez mon coeur, qu'ilsoit lavé! Ithyphalliques et
pioupiesques Leurs quolibets Ion depravé Quand ils auront tari leurs chiques,
Comment agir, ó coeur volé? Ce seront des hoquets bachiques Quand ils auront tari
leurs chiques: 163 J'aurai des sursauts stomachiques, Moi, si mon coeur est ravalé:
Quand ils auront tari leurs chiques Comment agir, ó coeur volé? El poema es de
Rimbaud. Una sorpresa. Quiero decir, una sorpresa relativa. La sorpresa era que lo
recitara en francés. Bueno.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 167 | Loc. 2551 | Added on Saturday, June 18, 2016, 04:10 PM
Ulises, después me recuerdo a mí mismo bailando un bolero con Piel Divina, como si
fuera un sueño, pero bien, tal vez sintiéndome bien por primera vez esa noche,
seguro que sintiéndome bien por primera vez esa noche. Acto seguido, como quien
despierta, recuerdo haberle susurrado al oído a mi pareja (de baile) que nuestra
actitud seguramente iba a enardecer a los demás bailarines y espectadores.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 168 | Loc. 2562 | Added on Saturday, June 18, 2016, 04:12 PM
habla monsivais
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 173 | Loc. 2652-53 | Added on Saturday, June 18, 2016, 06:54
PM
Un día me contó que se había peleado con el director. Yo le pregunté por qué y él
no me lo quiso decir. Es decir, dijo que fue por una diferencia de criterios
literarios y poco más. En claro saqué que el director había dicho que Neruda era
una mierda y que Nicanor Parra era el gran poeta de la lengua española. Algo así.
Por supuesto, me pareció inverosímil que dos personas se peleasen por un motivo tan
banal. En el país de donde yo provengo, me dijo él, la gente se pelea por
cuestiones parecidas. Bueno, le dije yo, en México son capaces de matarse por
nimiedades, pero no las personas cultas, desde luego. Ay, qué ideas tenía yo
entonces de la cultura.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 176 | Loc. 2693 | Added on Saturday, June 18, 2016, 06:59 PM
Una tarde, sin embargo, el director, tras haberme preguntado otra vez por mi amigo,
me contó cómo había sido la pelea que tuvieron. El relato del director no variaba
mucho del que me hiciera mi amigo, la pelea fue por Neruda y Parra, por la validez
de ambas poéticas, sin embargo, en lo que me contó el director (y yo sabía que me
decía la verdad) había un elemento nuevo: cuando él se peleó con mi amigo, éste, al
quedarse sin argumentos en su defensa nerudiana a ultranza, se había puesto a
llorar. Allí mismo, en la sala del director compatriota suyo, sin el más mínimo
recato, como un niño de diez años, aunque por esos días ya tenía bien cumplidos los
diecisiete. Según el director, eran las lágrimas las que los separaban, las que
mantenían alejado de su casa a mi amigo, seguramente avergonzado (según el
director) de su reacción en una discusión que por lo demás tenía todas las
características y atenuantes de lo trivial y de lo circunstancial. Dile que venga a
visitarme, me dijo el director aquella tarde cuando me marché de su casa.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 177 | Loc. 2705 | Added on Saturday, June 18, 2016, 07:00 PM
Arturo Belano nunca me quiso. Ulises Lima sí. Uno se da cuenta de esas cosas. María
Font me quiso. Angélica Font nunca me quiso. Pero esto no importa. Los hermanos
Rodríguez me quisieron. Pancho, Moctezuma y el pequeño Norberto. A
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 179 | Loc. 2744 | Added on Sunday, June 19, 2016, 02:07 PM
¿Ha visto usted alguna vez un documental de esos pájaros que construyen jardines,
torres, zonas limpias de arbustos en donde ejecutan su danza de seducción? ¿Sabía
que sólo se aparean los que construyen el mejor jardín, la mejor torre, la mejor
pista, los que ejecutan la más elaborada de las danzas? ¿No ha visto usted nunca a
esos pájaros ridículos que bailan hasta la extenuación para conquistar a la hembra?
Así era Arturo Belano, un pavorreal presumido y tonto. Y el realismo visceral, su
agotadora danza de amor hacia mí. Pero el problema era que yo ya no lo amaba. Se
puede conquistar a una muchacha con un poema, pero no se la puede retener con un
poema. Vaya, ni siquiera con un movimiento poético.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 181 | Loc. 2772 | Added on Monday, June 20, 2016, 12:52 AM
El gran poeta Alí Chumacero (que supongo no tiene ninguna culpa de llamarse así)
era real, ¿me entiende?, sus huellas eran reales. Las de ellos, en cambio, no eran
reales. Pobres ratoncitos hipnotizados por Ulises y llevados al matadero por
Arturo. Trataré de resumir y ser concisa: el mayor problema era que casi todos
tenían más de veinte años y se comportaban como si no hubieran cumplido los quince.
¿Se da cuenta? 177
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 182 | Loc. 2778 | Added on Monday, June 20, 2016, 12:53 AM
¿De qué hablamos? De muchas cosas. De su familia, del pueblo de donde era
originario, de sus primeros días en el DF, de lo mucho que le había costado
acostumbrarse a la ciudad, de sus sueños. Quería ser poeta, bailarín, cantante,
quería tener cinco hijos (como los dedos de una mano, dijo, y extendió la palma de
la mano hacia arriba, casi rozándome la cara), quería probar suerte en Churubusco,
decía que Oceransky lo había probado para una obra de teatro, quería pintar (me
contó con todo lujo de detalles las ideas que tenía para unos cuadros), en fin, en
un momento de nuestra charla estuve tentado de decirle que en realidad no tenía ni
idea de lo que verdaderamente quería, pero preferí 178 callarme.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 183 | Loc. 2796 | Added on Monday, June 20, 2016, 01:14 AM
rosado. arcimboldi
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 184 | Loc. 2813-15 | Added on Monday, June 20, 2016, 01:17 AM
En mi cabeza sólo había una preocupación, un único deseo, que aquella noche Emilio
no estuviera en el estudio (Emilito Laguna, ahora está en Boston estudiando
arquitectura, sus padres se cansaron de la bohemia mexicana y lo mandaron para
allá: o Boston y título de arquitecto o te pones a trabajar), que no estuviera
ninguno de sus amigos, que nadie se acercara por el estudio, Dios mío, en todo lo
que restaba de noche.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 185 | Loc. 2827 | Added on Monday, June 20, 2016, 01:18 AM
para que me diera una ducha. La necesitas, dijo. Y yo le dije, supongo que con un
hilo de voz, sí, hay una ducha, aunque no creo que haya agua caliente. Y él dijo
mejor, el agua fría es mejor, yo siempre me ducho con agua fría, en la azotea no
hay agua caliente. Y yo me dejé arrastrar hasta el baño y me desnudé y abrí la
ducha y el chorro de agua fría casi me dejó inconsciente, la carne se me contrajo
hasta sentir cada uno de mis huesos, cerré los ojos, tal vez grité, y entonces él
entró en la ducha y me abrazó.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 186 | Loc. 2840 | Added on Monday, June 20, 2016, 01:20 AM
¿te has acostado con María? Su respuesta (pero qué perfil más hermoso y más triste
tenía Piel Divina) 181 fue demoledora. Dijo: me he acostado con todos los poetas de
México.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 186 | Loc. 2848 | Added on Monday, June 20, 2016, 01:21 AM
Lo hicimos un par de veces más. Ya no sentía dolor pero tampoco sentí placer.
Pancho se dio cuenta que nuestra relación se iba apagando con la velocidad ¿de
qué?, de algo que se apaga muy rápido, las luces de una fábrica al acabar la
jornada o mejor las luces de un edificio de oficinas, por ejemplo, presurosas de
integrarse en el anonimato de la noche. La imagen es un poco cursi, pero es la que
Pancho hubiera escogido. Una imagen cursi aderezada con dos o tres groserías. Y yo
me di cuenta que Pancho se daba cuenta una noche, después de un recital de poesía,
y esa misma noche le dije que lo nuestro estaba acabado.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 188 | Loc. 2873 | Added on Monday, June 20, 2016, 01:24 AM
Le dije que abominaba del magnetófono por la misma razón que mi amigo Borges
abominaba de los espejos. ¿Usted fue amigo de Borges?, me preguntó Arturo Belano
con un tono asombrado un poco ofensivo para mí. Fuimos bastante amigos, le
respondí, íntimos, podría decirse, en los días lejanos de nuestra juventud. La
norteamericana quiso saber por qué Borges abominaba de los magnetófonos. Supongo
que porque es ciego, le dije en inglés. ¿Qué tiene que ver la ceguera con los
magnetófonos?, dijo ella. Le recuerda los peligros del oído, le respondí. Escuchar
su propia voz, los pasos de uno mismo, los pasos del enemigo. La norteamericana me
miró a los ojos y asintió. No creo que conociera a Borges demasiado bien. No creo
que conociera mi obra en absoluto, aunque a mí me tradujo John Dos Passos. Tampoco
creo que conociera mucho a John Dos 184 Passos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 189 | Loc. 2894 | Added on Monday, June 20, 2016, 01:26 AM
Silencio. Debió de mirar por encima el cuestionario. Después oí que daba las
gracias a la criada y se marchaba. Si vuelve a visitarme, pensé, estaré
justificado, si un día aparece por mi casa, sin anunciarse, para conversar conmigo,
para oírme contar mis viejas historias, para poner sus poemas a mi consideración,
estaré justificado. Todos los poetas, incluso los más vanguardistas, necesitan un
padre. Pero éstos eran huérfanos de vocación. Nunca volvió.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 190 | Loc. 2909 | Added on Monday, June 20, 2016, 01:28 AM
Hasta Belano y Ulises Lima que eran claramente asexuales o que se lo montaban
discretamente entre ellos, ya sabes, yo te lamo, tú me lames, sólo un poquito y
paramos, parecían estar locos por la jodida vaquera. Rafael también. Pero yo cogí a
Rafael y le dije: si me entero que te acuestas con esa puta te corto los huevos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 192 | Loc. 2942 | Added on Monday, June 20, 2016, 01:33 AM
¿Y cómo han llegado hasta mí? Por List, dijeron, él nos dijo que usted, que tú,
Amadeo, debías saber algo más de ella. ¿Y qué les dijo Germán de mí? Que tú sí la
habías conocido, que antes de pasarte al estridentismo tú formaste parte del grupo
de Cesárea, el realismo visceral. También nos habló de una revista, una revista que
publicó Cesárea por aquellos tiempos, Caborca nos dijo que se llamaba.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 194 | Loc. 2960 | Added on Monday, June 20, 2016, 01:36 AM
verdaderamente inquietante! Aunque a mí, por razones que no viene al caso recordar,
me irritaba. Su olor, digo. Caracterológicamente, Belano era extravertido y Ulises
introvertido. Es decir, yo me parecía más a éste. Belano se sabía mover entre los
tiburones mucho mejor que Lima, qué duda cabe, mucho mejor que yo. Quedaba mejor,
sabía maniobrar, era más disciplinado, fingía con mayor naturalidad. El bueno de
Ulises era una bomba de relojería y lo que, socialmente hablando, es peor: todo el
mundo sabía o intuía que era una bomba de relojería y nadie, como es obvio y
disculpable, lo quería tener demasiado cerca. Ay, Ulises Lima... Escribía todo el
tiempo, es lo que más recuerdo de él, en los márgenes de los libros que sustraía y
en papeles sueltos que solía perder. Y nunca escribía poemas, escribía versos que
luego, con suerte, ensamblaba en largos poemas extraños... Belano, por el
contrario, escribía en cuadernos... Todavía me deben dinero...
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 195 | Loc. 2977 | Added on Monday, June 20, 2016, 01:38 AM
¿Qué fue lo que pasó aquella noche, en el camión que nos transportaba únicamente a
nosotros por las calles vacías, por las calles ululantes del DF? No lo sé.
Probablemente una joven cuyo embarazo aún no se notaba se enamoró por unas horas de
un sonámbulo. Y eso fue todo.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 200 | Loc. 3059 | Added on Monday, June 20, 2016, 01:49 AM
mesa del café Quito hasta el fin del mundo (cuando yo iba a la preparatoria
teníamos un maestro que decía saber exactamente lo que haría si estallaba la
Tercera Guerra Mundial: volver a su pueblo, porque allí nunca pasaba nada,
probablemente un chiste, no lo sé, pero de alguna manera tenía razón, cuando todo
el mundo civilizado desaparezca México seguirá existiendo, cuando el planeta se
desvanezca o se desintegre, México seguirá siendo México)
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 203 | Loc. 3112 | Added on Monday, June 20, 2016, 02:00 AM
Quién sabe, María, dijeron. Nunca los había visto tan hermosos. Sé que es cursi
decirlo, pero nunca me parecieron tan hermosos, tan seductores. Aunque no hacían
nada para seducir. Al contrario: estaban sucios, quién sabe cuánto hacía que no se
daban una ducha, cuánto que no dormían, estaban ojerosos y necesitaban un afeitado
(Ulises no porque es lampiño), pero yo igual los hubiera besado a los dos, y no sé
por qué no lo hice, me hubiera ido a la cama con los dos, a coger hasta perder el
sentido, y después a mirarlos dormir y después a seguir cogiendo, lo pensé, si
buscamos un hotel, si nos metemos en una habitación oscura, sin límite de tiempo,
si los desnudo y ellos me desnudan, todo se arreglará, la locura de mi padre, el
coche perdido, la tristeza y la energía que sentía y que por momentos parecía que
me asfixiaban. Pero no les dije nada.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 205 | Loc. 3129 | Added on Monday, June 20, 2016, 02:02 AM
Porque vivir en el DF es fácil, como todo el mundo sabe o cree o se imagina, pero
es fácil sólo si tienes algo de dinero o una beca o un trabajo y yo no tenía nada,
el largo viaje hasta llegar a la región más transparente me había vaciado de muchas
cosas, entre ellas la energía necesaria para trabajar en según qué cosas. Así que
lo que hacía era dar vueltas por la universidad, más concretamente por la Facultad
de Filosofía y Letras, haciendo trabajos voluntarios, podríamos decir, un día
ayudaba a pasar a máquina los cursos del profesor García Liscano, otro día traducía
textos del francés en el Departamento de francés, otro día me pegaba como una lapa
a un grupo que hacia teatro y me pasaba ocho horas sin exagerar mirando los
ensayos, yendo a buscar tortas, manejando experimentalmente los focos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 206 | Loc. 3154 | Added on Monday, June 20, 2016, 02:05 AM
veces no tenía ni para la pensión. Pero por regla general sí tenía. Yo no quiero
exagerar. Yo tenía dinero para vivir. Yo era feliz. Yo por el día vivía en la
facultad, como una hormiguita o más propiamente como una cigarra, de un lado para
otro, de un cubículo a otro cubículo, al tanto de todos los chismes, de todas las
infidelidades y divorcios, de todos los planes y proyectos, y por las 200 noches me
expandía, me convertía en un murciélago, dejaba la facultad y vagaba por el DF como
un duende (me gustaría decir como un hada, pero faltaría a la verdad), y bebía y
discutía y participaba en tertulias (yo las conocí todas) y aconsejaba a los poetas
jóvenes que ya desde entonces acudían a mí, aunque no tanto como después, y vivía,
en una palabra, con mi tiempo, con el tiempo que yo había escogido y con el tiempo
que me circundaba, tembloroso, cambiante, pletórico, feliz. Y entonces yo llegué al
año 1968. O el año 1968 llegó a mí.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 207 | Loc. 3165 | Added on Monday, June 20, 2016, 02:07 AM
un water vecino, sentí un portazo, pasos por el pasillo, y el clamor que subía de
los jardines, de ese césped tan bien cuidado que enmarca la facultad como un mar
201 verde a una isla siempre dispuesta a las confidencias y al amor.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 208 | Loc. 3179 | Added on Tuesday, June 21, 2016, 04:05 PM
figura alta, flaca, rubia, con algunas, demasiadas ya, arruguitas en la cara, la
versión femenina de don Quijote, como me dijo en una ocasión Pedro Garfias, y
después salí al pasillo, y ahí sí que me di cuenta enseguida de que pasaba algo, el
pasillo estaba vacío y la gritería que subía por las escaleras era de las que
atontan y hacen historia.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 208 | Loc. 3184 | Added on Tuesday, June 21, 2016, 04:52 PM
¿Qué hice entonces? Lo que cualquier persona, me asomé a una ventana y miré hacia
abajo y vi soldados y luego me asomé a otra ventana y vi tanquetas y luego a otra,
al fondo del pasillo, y vi furgonetas en donde estaban metiendo a los estudiantes y
profesores presos, como en una escena de una película de la Segunda Guerra Mundial
mezclada con una de María Félix y Pedro Armendáriz de la Revolución Mexicana, una
tela oscura pero con figuritas fosforescentes, como dicen que ven algunos locos o
algunas personas en un ataque de miedo. Y entonces yo me dije: quédate aquí,
Auxilio. No permitas, nena, que te lleven presa. Quédate aquí, Auxilio, no entres
voluntariamente en esa película, nena, si te quieren meter que se tomen el trabajo
de encontrarte. Y entonces volví al baño y mira qué curioso, no sólo volví al baño
sino que volví al water, justo el mismo en donde estaba antes, y volví a sentarme
en la taza del baño, quiero decir: otra vez con la pollera arremangada y los
calzones bajados, aunque sin ningún apremio fisiológico (dicen que precisamente en
casos así se suelta el estómago, pero no fue ciertamente mi caso), y con el libro
de Pedro Garfias abierto, y aunque no quería leer me puse a leer, lentamente,
palabra por palabra y verso por verso, y de repente sentí ruidos en el pasillo,
¿ruidos de botas?, ¿ruidos de botas claveteadas?, pero che, me dije, ya es mucha
coincidencia,
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 209 | Loc. 3194 | Added on Tuesday, June 21, 2016, 04:53 PM
Y supe lo que tenía que hacer. Yo supe. Supe que tenía que resistir. Así que me
senté sobre las baldosas del baño de mujeres y aproveché los últimos rayos de luz
para leer tres poemas más de Pedro Garfias y luego cerré el libro y cerré los ojos
y me dije: Auxilio Lacouture, ciudadana del Uruguay, latinoamericana, poeta y
viajera, resiste. Sólo eso.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 210 | Loc. 3209 | Added on Tuesday, June 21, 2016, 04:56 PM
Y cuando Arturo regresó, en 1974, ya era otro. Allende había caído y él había
cumplido, eso me lo contó su hermana. Arturito había cumplido su conciencia, su
terrible conciencia de machito latinoamericano, en teoría no tenía nada que
reprocharse. Se había presentado como voluntario el 11 de septiembre. Había hecho
una guardia absurda en una calle vacía. Había salido de noche, había visto cosas,
luego, días después, en un control policial había caído detenido. No lo torturaron,
pero estuvo preso unos días y durante esos días se comportó como un hombre. Su
conciencia debía estar tranquila.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 212 | Loc. 3238 | Added on Tuesday, June 21, 2016, 06:14 PM
México lo esperaban sus amigos, la noche del DF, la vida de los poetas. Pero cuando
volvió ya no era el mismo. Comenzó a salir con otros, gente más joven que él,
mocosos de dieciséis años, de diecisiete, de dieciocho, conoció a Ulises Lima (mala
compañía, pensé cuando lo vi), comenzó a reírse de sus antiguos amigos, a
perdonarles la vida, a mirarlo todo como si él fuera el Dante y acabara de volver
del Inferno, qué digo el Dante, como si él fuera el mismísimo Virgilio, un chico
tan sensible, comenzó a fumar marihuana, vulgo mota y a trasegar con sustancias que
prefiero ni imaginármelas.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 212 | Loc. 3242 | Added on Tuesday, June 21, 2016, 06:16 PM
Yo no puedo olvidar nada, dicen que ése es mi problema. Yo soy la madre de los
poetas de México. Yo soy la única que aguantó en la universidad en 1968, cuando los
granaderos y el ejército entraron. Yo me quedé sola en la facultad, encerrada en un
baño, sin comer durante más de diez días, durante más de quince días, ya no lo
recuerdo. Yo me quedé con un libro de Pedro Garfias y mi bolso, vestida con una
blusita blanca y una falda plisada celeste y tuve tiempo de sobras para pensar y
pensar. Pero no pude pensar entonces en Arturo Belano porque todavía no lo conocía.
Yo me dije: Auxilio Lacouture, resiste, si sales te meten presa
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 213 | Loc. 3260 | Added on Tuesday, June 21, 2016, 06:31 PM
Luego sentí pasos y me oculté en mi water (ese water es el cubículo que nunca tuve,
ese water fue mi trinchera y mi palacio del Duino, mi epifanía de México). Luego
leí
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 214 | Loc. 3270 | Added on Tuesday, June 21, 2016, 06:33 PM
Luego me quedé dormida y soñé, ay qué risa, con Juana de Ibarbourou, soñé con su
libro La rosa de los vientos, de 1930, y también con su primer libro, Las lenguas
de diamante, qué título más bonito, bellísimo, casi como si fuera un libro de
vanguardia, un libro francés escrito el año pasado, pero Juana de América lo
publicó en 1919, es decir a la edad de veintisiete años, qué mujer más interesante
debió de ser entonces, con todo el mundo a su disposición, con todos esos
caballeros dispuestos a cumplir elegantemente sus órdenes (caballeros que ya no
existen, aunque Juana aún exista), con todos esos poetas modernistas dispuestos a
morirse por la poesía, con tantas miradas, con tantos requiebros, con tanto amor.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 214 | Loc. 3278 | Added on Tuesday, June 21, 2016, 06:35 PM
Luego descubrí que ya no tenía hambre. Luego cogí el papel higiénico en donde había
escrito y lo tiré al water y tiré la cadena. El ruido del agua me hizo dar un salto
y entonces pensé que estaba perdida. Pensé: pese a toda mi astucia y a todos mis
sacrificios estoy perdida. Pensé: qué acto poético destruir mis escritos. Pensé:
mejor hubiera sido tragármelos, ahora estoy perdida. Pensé: la vanidad de la
escritura, la vanidad de la destrucción. Pensé: porque escribí, resistí. Pensé:
porque destruí lo escrito me van a descubrir, me van a pegar, me van a violar, me
van a matar. Pensé: ambos hechos están relacionados, escribir y destruir, ocultarse
y ser descubierta. Luego me senté en el trono y cerré los ojos. Luego me dormí.
Luego me desperté. Tenía todo el cuerpo acalambrado. Me moví lentamente por el
baño, me miré al espejo, me peiné, me lavé la
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 215 | Loc. 3290 | Added on Tuesday, June 21, 2016, 06:37 PM
Hay una literatura para cuando estás aburrido. Abunda. Hay una literatura para
cuando estás calmado. Ésta es la mejor literatura, creo yo. También hay una
literatura para cuando estás triste. Y hay una literatura para cuando estás alegre.
Hay una literatura para cuando estás ávido de conocimiento. Y hay una literatura
para cuando estás desesperado. Esta última es la que quisieron hacer Ulises Lima y
Belano. Grave error, como se verá a continuación.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 218 | Loc. 3334 | Added on Wednesday, June 22, 2016, 12:27 AM
Llegué a pensar que era maricón, podía serlo, estaba casado (con una mexicana, por
cierto), pero podía serlo, sin embargo: ¿qué clase de maricón?, ¿un maricón
platónico y lírico, que se contentaba, digamos, en el plano puramente literario, o
tenía su media naranja o su medio limón entre los poetas que publicaba en la
revista? No lo sé. Cada uno con su vida. No tengo nada contra los maricones. Cada
día, eso sí, hay más. En los años cuarenta la literatura mexicana había alcanzado
su cénit en lo que se refiere a maricones y yo pensé que ese techo era 216
infranqueable. Pero hoy abundan más que nunca. Supongo que la culpa de todo la
tiene la instrucción pública, la inclinación cada vez más común en los mexicanos a
dar la nota, el cine, la música, vaya uno a saber. El mismísimo Salvador Novo me
dijo una vez lo sorprendido que se quedaba con los modales y el lenguaje de algunos
jóvenes que iban a visitarlo. Y Salvador Novo sabía de lo que hablaba.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 224 | Loc. 3429 | Added on Wednesday, June 22, 2016, 12:37 AM
Dos días después apareció Arturo Belano por la editorial. Iba vestido con una
chaqueta de mezclilla y con bluejeans. La chaqueta tenía algunas roturas sin
parchear en los brazos y en el costado izquierdo, como si alguien hubiera estado
jugando a ensartarle flechas o lanzazos. Los pantalones, bueno, si se los hubiera
sacado se habrían mantenido de pie solos. Iba calzado con unas zapatillas de
gimnasia que daba miedo sólo verlas. Tenía el pelo largo hasta los hombros y
seguramente siempre había sido flaco pero ahora lo parecía más. Parecía que llevaba
varios días sin dormir. Vaya, hombre, pensé, qué desastre. Por lo menos daba la
impresión de que se había duchado esa mañana. Así que le dije: veamos, señor
Belano, esa antología que usted ha hecho. Y él dijo: ya se la he dado a Vargas
Pardo. Mal empezamos, pensé. Cogí el teléfono y le dije a mi secretaria que viniera
Vargas Pardo a mi despacho. Durante unos segundos ninguno de los dos hablamos.
Carajo, si Vargas Pardo tardaba un poco más en aparecer el joven poeta se me iba a
quedar dormido. Eso sí, no parecía maricón. Para matar el tiempo le expliqué que
los 217 libros de poesía, ya se sabe, se publican muchos pero se venden pocos. Sí,
dijo él, se publican muchos. Por Dios, parecía un zombi. Por un momento me pregunté
si no estaría drogado, ¿pero cómo saberlo? Bueno, le dije, ¿y le costó mucho hacer
su antología de poesía latinoamericana? No, dijo él, son todos amigos. Qué cara.
Así pues, dije yo, no habrá problemas de derechos de autor, usted tiene los
permisos. Él se rió. Es decir, permítanme que lo explique, torció la boca o curvó
los labios o mostró unos dientes amarillentos y emitió un sonido. Juro que su risa
me erizó los pelos. ¿Cómo explicarla? ¿Como una risa que sale de ultratumba?
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 225 | Loc. 3447 | Added on Wednesday, June 22, 2016, 12:38 AM
esos países. Y él entonces dijo: no pienso verlos, pienso vivir en ellos, tal como
he vivido en México. Y yo le dije: pues allá tú, que seas feliz, vive en ellos y
muérete en ellos si quieres, yo ya viajaré cuando tenga dinero. Entonces te faltará
tiempo, dijo él. No me faltará tiempo, dije yo, al contrario, seré dueña de mi
tiempo, haré con mi tiempo lo que me dé la gana. Y él dijo: ya no serás joven. Lo
dijo casi a punto de llorar, y verlo así, tan amargado, me dio coraje y le grité: a
ti 221 qué te importa lo que haga con mi vida, con mis viajes o con mi juventud.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 230 | Loc. 3512 | Added on Wednesday, June 22, 2016, 12:17 PM
Murmuró que me amaba, que nunca me podría olvidar. Después se levantó (veinte
segundos después de hablar, a lo sumo) y me dio una bofetada en la mejilla. El
sonido resonó en toda la casa, estábamos en la primera planta pero yo oí cómo el
sonido de su mano (cuando la palma de su mano ya no estaba en mi mejilla) subía por
las escaleras y entraba en cada una de las habitaciones de la segunda planta, se
descolgaba por las enredaderas, rodaba como muchas canicas de cristal por el
jardín. Cuando reaccioné cerré el puño derecho y se lo estampé en la cara. Él
apenas se movió. Pero su brazo fue lo suficientemente rápido como para propinarme
otra bofetada.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 230 | Loc. 3518 | Added on Wednesday, June 22, 2016, 12:18 PM
Con el papel que tenía en la mano cubrí el papel ensangrentado de Arturo y luego lo
cogí todo con dos dedos, lo llevé al water y tiré de la cadena.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 231 | Loc. 3542 | Added on Wednesday, June 22, 2016, 12:22 PM
lura jaure. tira el papel al water cmo auxilio los poemas de memoria. el recuerdo y
la mierda
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 232 | Loc. 3543 | Added on Wednesday, June 22, 2016, 12:24 PM
los ojos de Laura abiertos en el cielo del DF, no, en el cielo de la colonia Roma,
de la colonia Hipódromo-La Condesa, de la colonia Juárez, de la colonia Cuauhtémoc,
los ojos de Laura iluminando los verdes y los sepias y todas las tonalidades del
ladrillo y de la piedra de Coyoacán, y luego me detengo y respiro varias veces,
como si estuviera atacado, y murmuro vete, Laura Damián, vete, Laura Damián,
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 234 | Loc. 3586 | Added on Wednesday, June 22, 2016, 12:31 PM
O puede que sea un latinajo o un neologismo, vaya uno a saber. O un término caído
en desuso. Y eso fue lo que les dije a los muchachos. Les dije: muchachos, así era
la prosa de Manuel Maples Arce, incendiaria y atrabancada, llena de palabras que
nos ponían cachondos, una prosa que puede que ahora no les diga nada pero que en su
época cautivó a generales de la Revolución, a hombres bragados que habían visto 227
morir y que habían matado y que cuando leyeron o escucharon las palabras de Manuel
se quedaron como estatuas de sal o estatuas de piedra, como diciendo qué chingados
es esto, una prosa que prometía una poesía que iba a ser como el mar, como el mar
en el cielo de México.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 236 | Loc. 3609 | Added on Wednesday, June 22, 2016, 01:38 PM
En México la gente se conoce en los lugares más inverosímiles. Lo cierto es que nos
conocimos y nos caímos bien, aunque tardamos casi un año en acostarnos juntos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 244 | Loc. 3735 | Added on Wednesday, June 22, 2016, 07:17 PM
simone darrieux. belano ice q es incapaz de pegarle pro ya le pego a otra mujer.
laura
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 246 | Loc. 3771 | Added on Thursday, June 23, 2016, 10:44 AM
Fuimos amantes durante un tiempo. Tres meses, exactamente, lo que me faltaba para
volver a París. No todas las noches hicimos el amor. No todas las noches nos
veíamos. Pero lo hicimos de todas las formas posibles. Me ató, me azotó, me
sodomizó. Nunca me dejó una marca, salvo el culo enrojecido, lo que dice bastante
de su delicadeza. Con un poco más de tiempo yo hubiera terminado acostumbrándome a
él, es decir necesitándolo, y él hubiera terminado por 237 acostumbrarse a mí. Pero
no nos dimos ningún tiempo, sólo éramos amigos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 247 | Loc. 3779 | Added on Thursday, June 23, 2016, 10:44 AM
Cuando yo lo conocí él era un mexicano como cualquier otro, pero en los últimos
días se sentía, cada vez más, un extranjero. Una vez le dije: vosotros, los
mexicanos, sois así o asá y él me dijo yo no soy mexicano, Simone, yo soy chileno,
con algo de tristeza, es cierto, pero con bastante determinación.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 247 | Loc. 3782 | Added on Thursday, June 23, 2016, 10:45 AM
Cuando me lo dijo sonreí con una mezcla de incredulidad y asombro. ¿Por qué Israel?
Porque allí vivía una amiga. Ésa fue su respuesta. ¿Sólo por eso?, dije incrédula.
Sólo por eso.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 248 | Loc. 3800 | Added on Thursday, June 23, 2016, 10:47 AM
hipolito. la comida
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 252 | Loc. 3857-60 | Added on Thursday, June 23, 2016, 10:55
AM
entre las frazadas de Ulises que vaya uno a saber de dónde las había sacado, pero
que olían mal, no el típico olor a mugre de las chambres de bonne, no el olor a
Ulises, otro olor, un olor como a muerte, un olor ominoso que de repente se instaló
en mi cerebro y que me hizo dar un salto, por la rechucha, Ulises, ¿de dónde has
sacado estas mantas, causita, de la morgue? Y Ulises seguía allí, de pie, sin
moverse del mismo sitio,
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 252 | Loc. 3860 | Added on Thursday, June 23, 2016, 10:55 AM
Sólo entonces me di cuenta que había una persona a su lado. Un tipo moreno,
aindiado, fuerte. Un tipo con ojos como licuados y como borrados al mismo tiempo, y
con sonrisa de médico, una sonrisa rara en la Comuna de Passy, en donde todos
teníamos sonrisas de músicos folklóricos o abogados.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 254 | Loc. 3880 | Added on Thursday, June 23, 2016, 12:41 PM
No recuerdo cuánto tiempo vivió en París. Sé que nos veíamos a menudo, aunque
nuestras personalidades eran bien diferentes. Un día, sin embargo, me dijo que se
iba. ¿Y cómo es eso, compadre?, le dije, porque hasta donde yo sabía a él le
encantaba esta ciudad. Creo que no estoy muy bien de salud, sonrió. ¿Pero es algo
grave? No, no es nada grave, dijo, pero es molesto. Bueno, le dije, entonces no hay
problema, tomémonos un trago para celebrarlo. ¡Por México!, brindé. No voy a volver
a México, dijo él, me voy a Barcelona.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 254 | Loc. 3886 | Added on Thursday, June 23, 2016, 12:42 PM
Tenía unos amigos peruanos que a veces le daban trabajo, un grupo de poetas
peruanos que de poetas seguramente sólo tenían el nombre, vivir en París, es
sabido, desgasta, diluye todas las vocaciones que no sean de hierro, encanalla,
empuja al olvido. Al menos esto le suele suceder a muchos latinoamericanos que yo
conozco. No quiero decir que fuera el caso de Ulises Lima, pero sí que era el caso
de sus amigos peruanos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 256 | Loc. 3923 | Added on Thursday, June 23, 2016, 12:47 PM
llorando encerrada en mi chambre, los demás habían ido al cine-club o a una de las
tantas reuniones políticas, todos eran militantes revolucionarios, y Ulises Lima
recorrió el pasillo y no llamó a ninguna puerta, como si de antemano supiera que no
iba a encontrar a nadie, y se dirigió directamente a mi chambre, en donde yo estaba
sola, sentada en la cama, mirando la pared, y él entró (estaba limpio, olía bien) y
se quedó junto a mí, sin decir nada, sólo dijo hola, Sofía, y se quedó allí de pie
hasta que yo dejé de llorar. Y por eso tengo un buen recuerdo de él.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 258 | Loc. 3945 | Added on Thursday, June 23, 2016, 12:50 PM
Una vez, en el bar de la rué de la Lune, me dijo que le gustaban los baños
públicos, esos lugares adonde iban a bañarse los extranjeros, negros del África
francófona o magrebíes, aunque también iban estudiantes pobres, como le hice notar,
sí, también, dijo él, pero sobre todo extranjeros. Y una vez, lo recuerdo, me
preguntó si yo había ido alguna vez a un baño público mexicano. No, nunca, por
supuesto. Ésos sí que son baños públicos, me dijo, tienen sauna, baños turcos,
baños de vapor. Aquí también, le contesté, lo que pasa es que son más caros. En
México no, dijo él, allí son baratos. La verdad, nunca había pensado antes en los
baños públicos de México. Pero seguro que allá no te bañabas en un baño público, le
dije. No, dijo, alguna vez, pero en realidad no.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 259 | Loc. 3962 | Added on Monday, June 27, 2016, 05:53 PM
libros. Por suerte yo nunca le presté uno. ¿Por qué? Porque no me gusta que
escriban sobre mis 248 libros. Y hacía algo todavía más chocante que escribir en
los márgenes. Probablemente no me lo crean, pero se duchaba con un libro. Lo juro.
Leía en la ducha. ¿Que cómo lo sé? Es muy fácil. Casi todos sus libros estaban
mojados. Al principio yo pensaba que era por la lluvia, Ulises era un andariego,
raras veces tomaba el metro, recorría París de una punta a la otra caminando y
cuando llovía se mojaba entero porque no se detenía nunca a esperar a que
escampara. Así que sus libros, al menos los que él más leía, estaban siempre un
poco doblados, como acartonados y yo pensaba que era por la lluvia. Pero un día me
fijé que entraba al baño con un libro seco y que al salir el libro estaba mojado.
Ese día mi curiosidad fue más tuerte que mi discreción. Me acerqué a él y le
arrebaté el libro.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 259 | Loc. 3970 | Added on Monday, June 27, 2016, 05:54 PM
simone arrieux. lima leia cn un libro n la ducha
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 260 | Loc. 3976 | Added on Monday, June 27, 2016, 05:55 PM
Pero yo no le vi la cara, sólo su sombra que atravesaba el local. Una sombra sin
metáforas, vacía de imágenes, una sombra que sólo era una sombra y que con eso
tenía más que suficiente.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 261 | Loc. 3995 | Added on Monday, June 27, 2016, 05:57 PM
mexicano iba desgranando en un inglés por momentos incomprensible una historia que
me costaba entender, una historia de poetas perdidos y de revistas perdidas y de
obras sobre cuya existencia nadie conocía una palabra, en medio de un paisaje que
acaso fuera el de California o el de Arizona o el de alguna región mexicana
limítrofe con esos estados, una región imaginaria o real, pero desleída por el sol
y en un tiempo pasado, olvidado o que al menos aquí, en París, en la década de los
setenta, ya no tenía la menor importancia. Una historia en los extramuros de la
civilización, le dije. Y él dijo sí, sí, aparentemente sí, sí, sí.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 263 | Loc. 4026 | Added on Monday, June 27, 2016, 06:01 PM
Tenía la cabeza agachada y los ojos un poco nublados y el muchacho chileno se movía
por mi biblioteca en silencio y yo sólo escuchaba el ruido de su índice o de su
meñique, ah qué muchacho más mañoso, recorriendo los lomos de mis mamotretos como
un bólido, el dedo, un zumbido de carne y cuero, de carne y cartón, un sonido
agradable al oído y
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 264 | Loc. 4042 | Added on Monday, June 27, 2016, 06:03 PM
No sólo tenía ducha sino además una bañera enorme, con patas, en donde cabían
cómodamente tres personas. El problema era que Arturo no vivía solo sino con siete
u ocho más, una especie de comuna urbana, y a algunos no les pareció bien que mi
compañera y yo nos bañáramos en su casa. Bueno, no nos bañamos muchas veces después
de todo. 1977 fue el año en que Arturo Belano consiguió trabajo de vigilante
nocturno en un camping. Una vez lo fui a visitar. Le decían el sheriff y eso a él
lo hacía reír. Creo que fue en aquel verano cuando ambos, de 255 común acuerdo, nos
separamos del realismo visceral. Publicamos una revista en Barcelona, una revista
con muy pocos medios y de casi nula distribución y escribimos una carta en donde
nos dábamos de baja del realismo visceral. No abjurábamos de nada, no echábamos
pestes sobre nuestros compañeros en México, simplemente decíamos que nosotros ya no
formábamos parte del grupo. En realidad, estábamos muy ocupados trabajando e
intentando sobrevivir.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 267 | Loc. 4081 | Added on Monday, June 27, 2016, 06:12 PM
felipe muller. el y belano se salen del realismo visceral. por sobrevivir. economia
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 268 | Loc. 4099-4103 | Added on Monday, June 27, 2016, 06:15
PM
algo que siempre termina por aburrirme. Cuando cruzamos la frontera Steve tomó mi
lugar y yo me fui a uno de los últimos asientos de la furgoneta, en donde estaba
dormido el pequeño Udo, y desde allí seguí escuchando la cháchara de Hans, sus
planes para cambiar el mundo. Creo que nunca un desconocido se había portado de
forma tan generosa conmigo y me había caído tan mal. Hans era insoportable y además
un pésimo conductor. En un par de ocasiones nos perdimos. Durante horas estuvimos
vagando por una montaña, sin saber cómo retornar a la carretera que nos conduciría
a Barcelona. Cuando por fín 258 pudimos llegar a esta ciudad Hans se empeñó en que
fuéramos a ver la Sagrada Familia. A esa hora todos teníamos hambre y pocas ganas
de contemplar catedrales, por hermosas que éstas fueran, pero Hans era el que
mandaba y tras dar innumerables vueltas por la ciudad llegamos por fin a la Sagrada
Familia. A todos nos pareció bonita (menos a John, insensible a casi cualquier
manifestación artística), aunque sin duda hubiéramos preferido meternos en un buen
restaurante y comer algo. Sin embargo Hans dijo que en España lo más seguro era
comer fruta y allí nos dejó, sentados en un banco de la plaza, mirando la Sagrada
Familia, y él se marchó con Monique y con su pequeño en busca de una frutería.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 270 | Loc. 4132 | Added on Monday, June 27, 2016, 06:19 PM
¿De qué crees que hablan?, me preguntó Hugh. De tonterías, seguramente, dije yo.
Esos dos se odian, dijo Hugh.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 274 | Loc. 4187 | Added on Saturday, July 16, 2016, 06:15 PM
Hans no puso ninguna objeción pero antes de partir me dijo que tuviera un cuidado
especial. Ese tipo es un mal bicho, dijo. ¿El vigilante? ¿En qué sentido? En todos
los sentidos, dijo. A la mañana siguiente me marché a Barcelona. El vigilante vivía
en un piso
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 277 | Loc. 4235 | Added on Saturday, July 16, 2016, 06:19 PM
lo que concernía al propio Hugh, declaró que se pasaba la mayor parte del tiempo
borracho, ya que el vino era abundante y gratis. Aquella noche, durante la cena, no
noté ningún síntoma alarmante de tensión en mis compañeros y al día siguiente, como
si sólo me hubieran estado esperando a mí, comenzó la vendimia. La mayoría
trabajábamos cortando los racimos. Hans y Hugh trabajaban de porteadores.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 278 | Loc. 4263 | Added on Saturday, July 16, 2016, 06:24 PM
verlo aparecer, caminando por la calle principal del pueblo, tuve la sensación de
que un peligro cierto nos acechaba a todos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 280 | Loc. 4282 | Added on Saturday, July 16, 2016, 06:27 PM
muchachos jóvenes como yo, de ciudad, la fauna que el verano había arrojado sobre
Port Vendres y que allí, hasta nueva orden, se había quedado varada. Una noche una
chica que se llamaba Margueritte y con la cual todos queríamos acostarnos se puso a
leer un poema de Robert Desnos. Yo no sabía quién diablos era, pero otros de mi
mesa lo sabían, y además el poema era bueno, te llegaba al corazón.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 288 | Loc. 4407 | Added on Saturday, July 16, 2016, 06:40 PM
No nos dijimos nada, ni siquiera nos movimos, y esperamos. Desde muy lejos nos
llegó el murmullo de un coche y de una risa apagada, como si el conductor se
hubiera vuelto loco. Sin embargo el ruido que yo había oído y que era un ruido de
pisadas no lo volvimos a escuchar. Debió ser un fantasma, oí que decía el Pirata, y
ambos reemprendimos la marcha. Por aquellos días en las cuevas sólo vivíamos él y
yo, pues a Mahmud lo había venido a buscar su primo o su tío para que lo ayudara
con los preparativos de la vendimia en un pueblo de Montpellier.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 289 | Loc. 4427 | Added on Sunday, July 17, 2016, 01:47 PM
A la mañana siguiente me lo encontré. Estaba sentado en una piedra plana como una
silla, mirando el mar y fumándose un cigarrillo. Era el desconocido de la terraza
de Chez Raoul y cuando me vio salir de mi cueva se levantó y me estrechó la mano.
No me gusta que me toquen desconocidos cuando aún no me he lavado la cara. Así que
me lo quedé mirando y traté de comprender lo que decía, pero sólo entendí palabras
sueltas como «comodidad», «pesadilla», «muchacha».
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 290 | Loc. 4439 | Added on Sunday, July 17, 2016, 01:48 PM
después se marchó. Según el Pirata el tipo se había enamorado de mí. Estás loco, le
dije. ¿Por qué, si no,
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 292 | Loc. 4468 | Added on Sunday, July 17, 2016, 01:52 PM
Vamos a desayunar, me dijo. De acuerdo, vamos a desayunar, dije yo. Pero ninguno de
los dos se movió. Del fondo de la escollera vimos que venía una persona. Belano se
sonrió. Joder, dijo, es Ulises Lima. Nos quedamos quietos, esperándolo, hasta que
llegó a donde estábamos. Ulises Lima era un lipo más bajo que Belano, pero más
fornido. Como Belano, llevaba una mochila pequeña colgando del hombro. Nada más
verse se pusieron a hablar en español, aunque su saludo, la forma en que se
saludaron, fue más bien casual, sin énfasis. Les dije que me iba al bar de Raoul.
Belano dijo de acuerdo, luego iremos nosotros para allá y yo los dejé allí,
conversando.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 292 | Loc. 4476 | Added on Sunday, July 17, 2016, 01:53 PM
Después todo volvió a ser como antes, pero nosotros sabíamos que éramos ricos, pues
nuestro salario consistía en un porcentaje de lo pescado. Entonces el mexicano dijo
que ya estaba bien, que él ya tenía el dinero suficiente para hacer lo que tenía
que hacer y que nos dejaba. El Pirata y yo le preguntamos qué era lo que tenía que
hacer. Viajar, nos dijo, con lo que he ganado puedo comprarme un billete de avión
para Israel. Seguro que allí te espera una hembrita, le dijo el Pirata. Más o
menos, dijo el mexicano. Después lo acompañé a hablar con el patrón.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 296 | Loc. 4533 | Added on Sunday, July 17, 2016, 02:02 PM
Bueno, dijo Belano, se me hace que ésta es la última vez que nos vemos. Llevábamos
mucho rato callados y su voz me sobresaltó. Pensé que se dirigía a mí, pero cuando
Lima le contestó en español supe que no hablaba conmigo. Ellos siguieron con su
cháchara durante un rato. Luego llegó el tren, el tren que venía de Cerbére, y Lima
se levantó y me dijo adiós. Gracias por enseñarme a ir en un barco, Lebert, eso fue
lo que me dijo. No quiso que despertara al Pirata. Belano lo acompañó hasta 283 las
puertas del tren. Los vi cómo se daban la mano y luego el tren se marchó. Esa noche
Belano durmió en El Borrado y el Pirata y yo nos fuimos al Isobel. Al día siguiente
Belano ya no estaba en Port Vendres.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 298 | Loc. 4556 | Added on Sunday, July 17, 2016, 02:05 PM
Ah, qué muchachos, los dos hicieron ademán de cogerla, pero no pudieron. Éste es el
primer y último número de Caborca, les dije, la revista que sacó Cesárea, el órgano
oficial, como quien dice, del realismo visceral. Por descontado, la mayoría de los
publicados no son del grupo.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 298 | Loc. 4569 | Added on Sunday, July 17, 2016, 02:08 PM
la revista de Cesárea, aunque los muy cosmopolitas a lo primero que se fueron fue a
las traducciones, a los poemas de Tzara, Bretón y Souppault, traducidos
respectivamente por Pablito Lezcano, Cesárea Tinajero y Cesárea y un servidor.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 299 | Loc. 4574 | Added on Sunday, July 17, 2016, 02:08 PM
no paso, por mucho que mi cariño por Cesárea fuera grande en aquellos tiempos, no
lo suficientemente grande, eso es cierto, pero grande a pesar de todo. Por
supuesto, el francés de todos nosotros, salvo, tal vez, el de Pablito, dejaba mucho
que desear, de hecho y aunque les cueste creerlo yo ya lo he olvidado por completo,
pero igual traducíamos, Cesárea a lo bestia, si me permiten la licencia,
reinventando el poema tal como lo sentía ella entonces, y yo más bien siguiendo a
pies juntillas tanto el espíritu inatrapable como la letra del original.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 299 | Loc. 4580 | Added on Sunday, July 17, 2016, 02:10 PM
Un día vino a visitarme un desconocido. Eso es lo que recuerdo del año 1978. Las
visitas no abundaban, sólo venía mi hija y una señora y otra muchacha que decía ser
mi hija también y que era bonita como pocas. El desconocido nunca había venido
antes.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 302 | Loc. 4630 | Added on Monday, July 18, 2016, 01:15 AM
Y entonces el desconocido dijo soy Damián, Álvaro Damián, tu amigo. Y luego dijo:
nos conocemos desde hace muchos años, hombre, cómo es posible. Y yo para calmarlo o
para que no se entristeciera dije sí, ahora me acuerdo. Y él sonrió (aunque no
percibí que sus ojos se alegraran) y dijo eso está mejor, Quim, como si mis médicos
y enfermeros le hubieran prestado sus voces y sus preocupaciones.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 303 | Loc. 4637 | Added on Monday, July 18, 2016, 01:16 AM
¿te has dado cuenta que ahora que Ulises y Arturo ya no viven en México como que
hay más poetas? ¿Cómo que hay más poetas?, dijo Rafael. Poetas de nuestra edad,
dije yo, poetas nacidos en 1954, 1955, 1956. ¿Y tú
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 303 | Loc. 4645 | Added on Monday, July 18, 2016, 01:18 AM
La iniciativa de Ismael Humberto Zarco, sin embargo, me parece perfecta. ¡Ya era
hora de hacer una antología de la joven poesía mexicana con el rigor de aquella de
Monsiváis, memorable en tantos aspectos, La poesía mexicana del siglo xx! ¡O como
la ejemplar y paradigmática obra que acometieron Octavio Paz, Alí Chumacero, José
Emilio Pacheco y Hornero Aridjis, Poesía en movimiento!
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 305 | Loc. 4677 | Added on Monday, July 18, 2016, 01:22 AM
A eso de las tres me levanté para ir al baño y al pasar de puntillas por la sala
escuché que Ulises estaba llorando. No creo que se diera cuenta que yo estaba allí.
Estaba tirado bocabajo, supongo, desde donde yo estaba sólo era un bulto sobre el
sofá, un bulto cubierto con una manta y con un viejo abrigo, un volumen, una masa
de carne, una sombra que se estremecía lastimeramente.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 318 | Loc. 4867 | Added on Monday, July 18, 2016, 04:45 PM
norman balzor. antes del banio ve aulises llorar. confusion cn los gestos del sexo
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 319 | Loc. 4880 | Added on Monday, July 18, 2016, 04:48 PM
¿Qué les estaba contando? ¿Que mis hijos pensaban que iba a las salas de baile para
hallar una voz amiga? En el fondo puede que tuvieran razón. Pero lo que me
impulsaba a salir cada sábado por la noche, creo yo, no era eso. Iba por el baile y
de alguna manera iba por Cesárea, por el fantasma, mejor dicho, de Cesárea que aún
bailaba en aquellos establecimientos aparentemente moribundos.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 329 | Loc. 5042 | Added on Monday, July 18, 2016, 05:30 PM
determinado libro a la librería de don Julio Nodier, libro que necesitaba consultar
para sacar una o dos ideas o una o dos citas para los discursos del general que
según Manuel ella misma preparaba. Unos discursos estupendos, muchachos, les dije,
unos discursos que dieron la vuelta a México y que fueron reproducidos en
periódicos de muchas partes, de Monterrey y de Guadalajara, de Veracruz y de
Tampico, y que a veces nosotros leíamos en voz alta en nuestras reuniones de café.
Y Cesárea los preparaba allí y de esa manera peculiar: mientras fumaba y hablaba
con los guardaespaldas del general o mientras hablaba con Manuel o conmigo,
hablando y al mismo tiempo escribiendo a máquina los discursos, todo a la vez, qué
capacidad tenía esa mujer, muchachos, ¿ustedes han probado a hacer algo semejante?,
yo sí y es imposible, sólo algunos escritores de raza lo consiguen, también algunos
periodistas, estar hablando de política, por ejemplo, y al mismo tiempo ir
escribiendo una notita sobre jardinería o sobre los hexámetros espondaicos (que
aquí entre nos, muchachos, son una rareza).
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 331 | Loc. 5069 | Added on Monday, July 18, 2016, 05:33 PM
¿De mi general Diego Carvajal no les he hablado, muchachos? Fue el protector de las
artes de mi tiempo.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 331 | Loc. 5075 | Added on Tuesday, July 19, 2016, 12:53 AM
Hace dos meses Álvaro Damián vino a verme y me dijo que tenía algo que decirme.
Dime qué es, le dije, toma asiento y dime qué es. Se acabó el premio, dijo él. ¿Qué
premio?, dije yo. El premio para poetas jóvenes Laura Damián, dijo él. No tenía
idea de qué me hablaba, pero le seguí la corriente. ¿Y eso a qué se debe, Álvaro,
le dije, a qué se debe? A que se me acabó el dinero, dijo él, lo he perdido todo.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 335 | Loc. 5128 | Added on Tuesday, July 19, 2016, 01:00 AM
Dormimos. Cuando desperté el buen Ulises leía. Le pregunté qué libro leía. Los
Selected Poems, de Ezra Pound. Léeme algo, le dije.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 340 | Loc. 5206 | Added on Tuesday, July 19, 2016, 01:08 AM
Después Ulises dijo que tenía que ir a ver a los hermanos Rodríguez y que si
queríamos acompañarlo. Xóchitl y yo nos miramos. Si tú quieres ir yo te cuido al
niño, le dije. Antes de marcharse Ulises me preguntó por Angélica. Está en casa, le
dije, llámala por teléfono. En general, no sé por qué, mi actitud con él fue más
bien hostil.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 355 | Loc. 5433 | Added on Wednesday, July 20, 2016, 07:01 PM
pertenecer al niño, me puse a pensar en los pies de Xóchitl, mucho más pequeños que
los míos. ¿Has notado algo nuevo en Ulises?, dijo Requena. Bebí agua fría. No he
notado nada, dije. Requena se levantó y abrió la ventana para ventilar la
habitación del humo de los cigarrillos. Está como loco, dijo Requena, está
alucinado. Oí un ruido proveniente de la cama del pequeño Franz. ¿Habla en sueños?,
pregunté. No, es de la calle, dijo Requena. Me asomé a la ventana y miré hacia mi
habitación, la luz estaba apagada. Después sentí las manos de Requena en mi cintura
y no me moví. Él tampoco se movió. Al cabo de un rato me bajó el pantalón y sentí
su pene entre mis nalgas. No nos dijimos nada. Cuando terminamos nos volvimos a
sentar a la mesa y encendimos un cigarrillo. ¿Se lo dirás a Xóchitl?, dijo Requena.
¿Quieres que se lo diga?, dije yo. Preferiría que no, dijo él. Me fui a las dos de
la mañana y Xóchitl aún no había regresado. Al día siguiente, al volver de mis
clases de pintura, Xóchitl vino a buscarme a mi cuarto. La acompañé al
supermercado.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 357 | Loc. 5460 | Added on Wednesday, July 20, 2016, 07:05 PM
¿Ustedes han visto Easy Ryder? Sí, la película de Dennis Hooper, Peter Fonda y Jack
Nicholson. Más o menos así éramos nosotros entonces. Pero sobre todo más o menos
así eran Ulises Lima y Arturo Belano antes de que se marcharan a Europa. Como
Dennis Hooper y su reflejo: dos sombras llenas de energía y velocidad. Y no es que
tenga nada contra Peter Fonda pero ninguno de ellos se le parecía. Müller sí que se
parecía a Peter Fonda.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 358 | Loc. 5485 | Added on Wednesday, July 20, 2016, 07:09 PM
Y yo a veces los miraba y pese al cariño que sentía por ellos pensaba ¿qué clase de
teatro es éste?, ¿qué clase de fraude o de suicidio colectivo es éste? Y una noche,
poco antes del año nuevo de 1976, poco antes de que se marcharan a Sonora,
comprendí que era su manera de hacer política. Una manera que yo ya no comparto y
que entonces no 339 entendía, que no sé si era buena o mala, correcta o equivocada,
pero que era su manera de hacer política, de incidir políticamente en la realidad,
disculpen si mis palabras no son claras, últimamente ando un poco confundido.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 359 | Loc. 5495 | Added on Wednesday, July 20, 2016, 07:14 PM
Y debe de ser porque en el fondo lo sigo queriendo que el poema (sólo si era bueno)
me hacía llorar, casi sin darme cuenta, y cuando Rafael terminaba de leer yo tenía
la cara mojada y brillante y él se me acercaba y yo podía olerlo, olía a mexicano,
el cabrón, y nos abrazábamos, muy suavecito, y luego, pero como media hora después,
empezábamos a hacernos el amor, y después Rafael me decía: ¿qué vamos a comer,
gordita?,
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 360 | Loc. 5510 | Added on Wednesday, July 20, 2016, 07:18 PM
amiga arquitecta que quiso coger con uno de ellos. Belano, supongo. Y a la hora de
la verdad no pasó nada. Vergas muertas.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 368 | Loc. 5642 | Added on Saturday, July 30, 2011, 08:40 PM
papeles sin consultarle nada a nadie y metí a Ulises en el avión que iba a Managua.
Por supuesto, yo no sabía que con esa decisión me estaba poniendo la soga al
cuello, si lo hubiera sabido Ulises Lima no se mueve del DF, pero uno es así,
impulsivo, y al final lo que tenga que suceder siempre sucede, somos juguetes en
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 369 | Loc. 5648 | Added on Saturday, July 30, 2011, 08:43 PM
tuve que ser yo el que rellenara las ausencias, como dice Neruda.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 369 | Loc. 5657 | Added on Saturday, July 30, 2011, 08:44 PM
¿Sabe qué es lo peor de la literatura?, dijo don Pancracio. Lo sabía, pero hice
como que no. ¿Qué?, dije. Que uno acaba haciéndose amigo de los literatos. Y la
amistad, aunque es un tesoro, acaba con el sentido crítico.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 380 | Loc. 5818 | Added on Saturday, July 30, 2011, 08:03 PM
Ángel Asturias, el enigma del poeta que se pierde y que sobrevive. Ah, ése, dijo
don Pancracio como si despertara, la verdad es que ya no me acuerdo, pero pierda
cuidado, el poeta no muere, se hunde, pero no muere.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 381 | Loc. 5829 | Added on Saturday, July 30, 2011, 08:04 PM
Eso decía Jacinto, pero igual no llamaba a la mamá de Ulises, y yo le decía: vamos
a ver, examinemos la situación, a esa señora lo que menos le importa es que su hijo
sea Pushkin o sea Ambrose Bierce, yo me pongo en su lugar, yo soy madre y si algún
día un hijo de la chingada me mata a Franz (Dios no lo quiera), pues no voy a
pensar que se murió el gran poeta mexicano (o latinoamericano) sino que voy a
retorcerme de dolor y de desesperación y no voy a pensar ni 362 remotamente en la
literatura.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 384 | Loc. 5874 | Added on Saturday, July 30, 2011, 08:09 PM
ella tal como está ya está bien, ojos que no ven corazón que no siente, decía
Jacinto preparándole la comida a Franz y paseándose por nuestra casa, ojos que no
ven corazón que no piensa, vivir en la ignorancia casi casi es como vivir en la
felicidad. Y entonces yo le decía: cómo puedes decir que eres marxista, Jacinto,
cómo puedes decir que eres poeta si luego haces semejantes declaraciones, ¿piensas
hacer la revolución con refranes? Y Jacinto me contestaba que francamente él ya no
pensaba hacer la revolución de ninguna manera, pero que si una noche le diera por
allí, pues no sería mala idea, con refranes y con boleros,
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 384 | Loc. 5884 | Added on Saturday, July 30, 2011, 08:11 PM
Mándame poemas suyos, le dije, pero Jacinto sólo manda cartas, así que no sé si
escribe bien o mal, si hace una poesía real visceralista o no, claro que también,
si he de ser sincero, tampoco sé qué es una poesía real visceralista. La de Ulises
Lima, por ejemplo. Puede ser. No lo sé. Sólo sé que en México ya no nos conoce
nadie y que los que nos conocen se ríen de nosotros (somos el ejemplo de lo que no
se debe hacer) y tal vez no les falte razón. Por lo que siempre es grato (o por lo
menos de agradecer) que haya un poeta joven que escribe o que quiere escribir a la
manera de los real visceralistas.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 385 | Loc. 5903 | Added on Saturday, July 30, 2011, 08:13 PM
¿Tú no viajaste con él, verdad? Piel Divina asintió. ¿Entonces cómo sabes toda esta
historia? ¿Quién te la contó? ¿Lima? Piel Divina dijo que no, que a él se lo había
contado María Font (me explicó quién era María Font) y que a ésta se lo había
contado su padre. Después me dijo que el padre de María Font estaba en un
manicomio. En una situación normal me hubiera puesto a reír ahí mismo, pero cuando
Piel Divina me dijo que quien había echado a correr el rumor era un loco sentí un
escalofrío. Y también sentí pena y pensé que estaba enamorado.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 391 | Loc. 5982 | Added on Saturday, July 30, 2011, 08:26 PM
Nuestra vida en común fue breve pero feliz. Durante treintaicinco días vivimos
juntos y cada noche hicimos el amor y hablamos hasta tarde y comimos en casa
comidas que preparaba él y que generalmente eran complicadas o a veces muy
sencillas pero siempre apetitosas. Una noche me contó que la primera vez que hizo
el amor tenía diez años.
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 392 | Loc. 5997 | Added on Saturday, July 30, 2011, 08:28 PM
luis rosado. vida cn piel. piel hace el amor a los diez anios
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 392 | Loc. 6002-5 | Added on Saturday, July 30, 2011, 08:30 PM
panorama tenía más matices, en cualquier caso los real visceralistas no estaban en
ninguno de los dos bandos, ni con los neopriístas ni con la otredad, ni con los
neoestalinistas ni con los exquisitos, ni con los que vivían del erario público ni
con los que vivían de la Universidad, ni con los que se vendían ni con los que
compraban, ni con los que estaban en la tradición ni con los que convertían la
ignorancia en arrogancia, ni con los blancos ni con los negros, ni con los
latinoamericanistas ni con los cosmopolitas. Pero lo que importa fue que hicieron
esas entrevistas
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 394 | Loc. 6028 | Added on Saturday, July 30, 2011, 08:33 PM
luis rosado. que paso con cesarea. despues el amor como una despedida
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 395 | Loc. 6052-53 | Added on Saturday, July 30, 2011, 08:36
PM
Pensé en los muertos y en los heridos y me dije que ése era mi general, un muerto y
un herido al mismo tiempo, así como Cesárea era una ausencia y yo un viejo briago y
entusiasmado. Después les dije a los muchachos que lo de jefe era un decir,
==========
[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 395 | Loc. 6053 | Added on Saturday, July 30, 2011, 08:36 PM
amadeo salvatierra. retorica militar
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[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 396 | Loc. 6058-61 | Added on Saturday, July 30, 2011, 08:37
PM
Pero entonces salió Rosario Contreras de su cuarto alertada por el ruido y una bala
la mató. El resto es confuso: probablemente mi general corrió a auxiliarla, a
ponerla a salvo, tal vez se dio cuenta de que estaba muerta y el coraje que sintió
pudo más que su prudencia: se irguió, apuntó a donde estaban los asesinos y avanzó
hacia ellos disparando. Así morían los antiguos generales de México, muchachos, les
dije, ¿qué les parece? Y ellos dijeron: ni nos parece ni nos deja de parecer,
Amadeo, es como si nos estuvieras contando una película.
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[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 400 | Loc. 6127 | Added on Saturday, July 30, 2011, 08:46 PM
amdeo salvatierra. asi morian los generales de mexico. real visc no parecen
sorprenderse
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[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Highlight on Page 400 | Loc. 6127-32 | Added on Saturday, July 30, 2011, 08:48
PM
Los patios de esta cárcel son los más idóneos para el silencio. Rectangulares y
hexagonales, como si los hubiera diseñado el maestro Garabito, todos confluyen en
el patio grande, una extensión como de tres canchas de fútbol, que linda con una
avenida sin nombre por la que suele pasar el camión de Tlalnepantla, lleno de
obreros y de ociosos que miran con avidez a los locos que vagan por el patio
vestidos con el uniforme de La Fortaleza
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[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 401 | Loc. 6144 | Added on Saturday, July 30, 2011, 08:49 PM
Lástima que cuando mi hija viene a visitarme él casi nunca está, porque las visitas
son los sábados o domingos, y esos días mi médico psiquiatra descansa, a excepción
de un sábado y de un 378 domingo al mes en que tiene guardia. Si vieras a mi hija,
le digo, te enamorarías de ella. Ah qué don Joaquín, dice
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[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 401 | Loc. 6138 | Added on Saturday, July 30, 2011, 08:50 PM
Cuando mi hija viene a 379 visitarme yo le digo que nos quedemos en la sala de
visitas o que salgamos a uno de los patios hexagonados, aunque sé que a ella la
sala de visitas y los patios pequeños le parecen desasosegantes y siniestros. En el
gran patio, sin embargo, ocurren cosas que yo no quiero que mi hija vea (señal,
según mi médico psiquiatra, de que mi salud va en franca mejoría) y otras cosas que
prefiero ser yo el único que, por el momento, tiene acceso a ellas.
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[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 402 | Loc. 6158 | Added on Saturday, July 30, 2011, 08:51 PM
Sólo había sido el amante ocasional de mi hermana, nada más, y luego García Fuentes
le dio una mordida a un funcionario de la comisaría y se aseguró de que no
volvieran a molestar a Julita. Más tarde, mientras desayunábamos, le pregunté a
Julita desde cuándo veía al tipo ese y me dijo que después de vivir una temporada
contigo estuvo viéndola a ella.
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[Roberto Bolaño] Los detectives salvajes(BookFi) (USER)
- Note on Page 408 | Loc. 6249 | Added on Saturday, July 30, 2011, 08:12 PM