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Статті в журналах з теми "Tales of Blanchot"
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Cisternas Cruz, Cristian Enrique. "Refutar el tiempo." Cuadernos del CILHA, no. 34 (June 24, 2021): 1–18. http://dx.doi.org/10.48162/rev.34.002.
Повний текст джерелаАнотація:
En este artículo proponemos que en la obra literaria de Jorge Luis Borges existe una preocupación por los fines y los límites del tiempo, que ha sido abordada, desde diversos enfoques teórico-metodológicos, por sus comentadores. Este preocupación incide notablemente en el desarrollo estilístico y en el interés temático posibles de advertir en la escritura de Borges. El propósito de este artículo es iluminar las vías de orientación que genera su escritura literaria en pensadores tales como Maurice Blanchot, Michel Foucault, Gilles Deleuze y Félix Guattari. El diálogo entre literatura y filosofía es, consecuentemente, clave en este artículo, que pretende además, a partir de una serie de ejemplos de la escritura narrativa y ensayística del escritor argentino, re-instalar la preocupación por el tiempo dentro del marco de la reflexión sobre la escritura borgeana
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Soncini, Gabriela Regina. "As fadas de lá: magias feéricas nos contos “A menina de lá” e “A caça à Lua”, de Guimarães Rosa / The Fairies There: Fairy Magic in Tales “The Girl There” and “The Hunting to the Moon” by Guimarães Rosa." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 1 (March 30, 2021): 233. http://dx.doi.org/10.17851/2358-9787.30.1.233-251.
Повний текст джерелаАнотація:
Resumo: Este artigo pretende fazer uma leitura da personagem “Nhinhinha”, do conto “A Menina de lá”, de Guimarães Rosa (1972), sob o viés da figura da personagem fada. Tal narrativa faz parte do livro Primeiras Estórias do escritor mineiro. Para complementar o estudo em relação à imagem da fada, este trabalho pretende analisar outra narrativa de Rosa (1970), o conto “A Caça à Lua”, que faz parte do livro Ave, Palavra e que apresenta também, como personagem, uma menina que remete tanto à própria “Nhinhinha”, como à figura da fada, criatura maravilhosa do imaginário popular, presente em várias narrativas tradicionais. Esta leitura recorrerá a escritos teóricos de J.R.R.Tolkien (2015), Italo Calvino (2010), Kátia Canton (1994), além de trazer postulações teóricas de Maurice Blanchot (2011) acerca do espaço literário de magia, do imaginário e do lugar da infância. Pontuações de Giorgio Agamben (2007) também serão evocadas para analisar afigura da fada como uma ajudante, ou seja, uma personagem de auxílio,que proporciona outra visão em relação ao olhar cotidiano. Outras postulações teóricas serão levantadas em relação à personagem fada,oriundas da mitologia célticae dos contos de fadas tradicionais, para entender a forma fluida entre vida, morte, magia, encanto e estranhamento, que as personagens dessas meninas apresentam nas narrativas de Rosa.Palavras-chave: Guimarães Rosa; fada; fantasia; contos de fadas; personagem.Abstract: This article intends to read the character “Nhinhinha” from the tale “The Girl There” by Guimarães Rosa (1972), under the image of the fairy character figure. Such narrative is part of the book First Stories by the writer from Minas Gerais, Brazil. To complement the study regarding the image of the fairy, this work intends to analyze another narrative by Rosa (1970), the short story “The hunting to the moon”, which is part of the book Bird, Word, and who also presents as a character a girl who refers so much to her own “Nhinhinha”, to the fairy figure, this wonderful creature from the popular imagination present in traditional narratives. This reading will use theoretical writings by J.R.R.Tolkien (2015), Italo Calvino (2010), Kátia Canton (1994), in addition to bringing theoretical postulations by Maurice Blanchot (2011) about the literary space of magic, the imaginary and the place of childhood. Scores by Giorgio Agamben (2007) will also be brought with regard to the fairy figure as a helper, that is, an aid character, that provides another view in relation to what has already been seen daily. Other theoretical postulations will be raised in relation to the fairy character brought from Celtic mythology, and traditional fairy tales, to understand the fluid form between life, death, magic, charm and strangeness, that the characters of these girls present in Rosa’s narratives.Keywords: Guimarães Rosa; fairy; fantasy; fairy tales; character.
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Luks, Leo. "FILOSOFIJA IR LITERATŪRA: DVI SUSILIEJIMO KRYPTYS." Problemos 78 (January 1, 2010): 125–42. http://dx.doi.org/10.15388/problemos.2010.0.1346.
Повний текст джерелаАнотація:
Straipsnyje „Filosofijos ir literatūros susiliejimas nihilistiniame mąstyme“ (Problemos 2010, 77) rašiau, kad postmetafizinė filosofija turėtų suintensyvinti dialogą su literatūra ir galų gale su ja susilieti. Šiame straipsnyje siūlomos dvi galimos šio susiliejimo kryptys: 1) ribų tarp realybės ir išmonės išnykimas. Kartu su G. Vattimo atsisakę korespondentinės tiesos teorijos, prieisime prie išvados apie principinę galimybę bet kuriam naratyvui būti teisingam (angl. truthful). Nihilistiniam mąstymui būdingas silpnesnis realybės jausmas, skeptiškas požiūris į sveiko proto ar natūralistinę poziciją. Tokia situacija,aprašyta Nietzsche’s, skirtį tarp realaus pasaulio ir net neįtikėtinų pasakų daro iš principo neįmanomą. Iš to plaukia keletas toli siekiančių epistemologinių ir etinių konsekvencijų. 2) Susiliedama su literatūra, nihilistinė filosofija ieško kalbos, galinčios artikuliuoti niekį, reprezentuoti tai, kas nereprezentuojama. Straipsnyje šis siekis analizuojamas pasitelkiant postmodernaus diskurso sąvokas – literatūros erdvė, nerimas. Remiamasi Maurice Blanchot, Rolando Barthe’o ir Jeano-François Lyotard’o kūriniais. Susiliedama su literatūra nihilistinė filosofija gali gyvuoti ir neturėdama ką pasakyti.Pagrindiniai žodžiai: nihilizmas, hermeneutika, pramanytumas, niekis, postmodernus.Philosophy and Literature: Two Lines of FusionLeo Luks SummaryIn the article “The Fusion of Philosophy and Literature in Nihilist Thought” (Problemos 2010, 77) I argued that post-metaphysical philosophy should intensify its dialogue with literature to the point of their eventual fusion. In this paper I will start from the conclusions of my previous article and will highlight two possible lines of this fusion:1) The disappearance of the boundary between reality and fiction. Once we let go of the correspondencetheory of truth, as Vattimo recommends, we will arrive at the principled possibility of the truthfulness of any and all narratives. Nihilist thought is characterised by a weakened sense of reality, a renouncement of common sense and naturalism. This condition, described by Nietzsche,where making a distinction between the real world and tall tales is impossible in principle, has several far-reaching epistemological and ethical consequences.2) In its fusion with literature, nihilist thought seeks for a language to articulate the nothing, to represent the unrepresentable. In the paper I will analyse this pursuit by way of the concepts of postmodernity, the space of literature, and anxiety. I will draw on the views of Maurice Blanchot, Roland Barthes and Jean-François Lyotard.By fusing with literature, nihilist philosophy can continue in a situation where it has nothing to say.Keywords: nihilism, hermeneutics, fictionality, nothingness, postmodern.
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Holland, Michael. "The Time of his Life." Paragraph 30, no. 3 (November 2007): 46–66. http://dx.doi.org/10.3366/para.2007.30.3.46.
Повний текст джерелаАнотація:
Throughout his life, contemporaries of Blanchot either sought to relegate his writing to the past, or else espoused it uncritically in a gesture akin to what Jean-Luc Nancy once called syncope. Blanchot thus divided his epoch in a way that was less a polarization than a struggle for the present in which thought takes place. Consequently, readers today in search of what makes Blanchot continue to be a contemporary find that the time of his writing is shrouded in a curiously unstable quantity of oblivion. This article argues that Blanchot's refusal of biography brings about an inaugural disruption of the temporality of rational thought. From the outset, the ‘I am’ of reflection is accompanied in his writing by an ‘I am dead’ which is narrative in nature. Jacques Derrida's work is taken to exemplify the espousal of Blanchot by his contemporaries. Despite the acuity of Derrida's analyses of the fractured present of rational discourse, however, the article seeks to demonstrate that the priority of narrative in Blanchot's thought gives rise to a temporality for which philosophy can never find the measure.
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Grier, D. A. "Gertrude Blanch of the Mathematical Tables Project." IEEE Annals of the History of Computing 19, no. 4 (October 1997): 18–27. http://dx.doi.org/10.1109/85.627896.
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Alonso Crespo, Agustín. "No todos los cisnes son blancos." Diálogos Pedagógicos 16, no. 32 (October 23, 2018): 62–71. http://dx.doi.org/10.22529/dp.2018.16(32)04.
Повний текст джерелаАнотація:
En el presente artículo se examinarán algunos postulados de Sánchez (2009) acerca de la lectura en las personas sordas, para, desde ese lugar, proponer otra forma de analizar esta problemática. Las consideraciones de dicho autor se pondrán en perspectiva en función de lo que, desde las neurociencias, la psicolingüística y las ciencias cognitivas se considera como proceso lector. Se revisarán conceptos tales como alfabetización, conciencia fonológica, comprensión lingüística de oraciones, comprensión lectora, y su consecuente relación con los procesos de comprensión y producción de textos por parte de personas con discapacidad auditiva. Como consecuencia de ello, se tratará la incidencia de estas reflexiones en el ámbito pedagógico.
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Medina Calzada, Sara. "Blanco White’s Translations from El conde Lucanor: Two Medieval Spanish Tales in Romantic Britain." Atlantis. Journal of the Spanish Association for Anglo-American Studies 44, no. 2 (December 23, 2022): 108–25. http://dx.doi.org/10.28914/atlantis-2022-44.2.06.
Повний текст джерелаАнотація:
This paper analyses Joseph Blanco White’s English translations of tales XI and XLIV of Don Juan Manuel’s El conde Lucanor (c. 1331-1335), which were published in the New Monthly Magazine in 1824. In these fairly free translations, Blanco rewrites and recontextualises the tales by updating and adapting them to the knowledge and expectations of the target readership. His translation decisions, paratexts and the articles on El conde Lucanor that he also published in Variedades; o Mensajero de Londres in 1824 shed light on his ideas on Spanish literature and national identity as well as on his role as commentator and disseminator of Spanish culture in Britain. His translations construct a particular representation of Spain where he underlines those aspects that he believes to be genuinely Spanish, while also including some stereotypical elements of the Romantic image of Spain in Britain.
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Calderaro, Monica, and Marta Senesi. "Disney: crime in fairy tales*." Rivista di Psicopatologia Forense, Medicina Legale, Criminologia 22, no. 1-2-3 (December 27, 2017): 27–30. http://dx.doi.org/10.4081/psyco.2017.10.
Повний текст джерелаАнотація:
The screen is colored by a celestial sky and begins to outline a castle under whose white gold stands the "Walt Disney Pictures", a semi-crown crown all and the doors of the fantasy are ready to open to the spectators. This is the classic presentation of a Disney Movie that at least once in a lifetime will happen to each of us to attend and accompany the childhood of millions of children. But what is waiting behind that castle? Charming spells and sparks of magic? Absolutely. Princesses to save and charming princes to dream? Absolutely yes. Speaking animals and an Never Land? All this and much more. But if we looked at that castle from a different perspective, and if we shifted our attention from the precious robe of the protagonist, to what deeply motivates her choices and the dynamics surrounding her, we could notice dark shadows, concealed by glittering jewels and unnatural sunsets, so brilliant to blind. The work will focus on those heaviest nuances, analyzing and deepening scenes and themes of Disney Movies where it will be possible to find criminological and psychopathological aspects, thus trying to connect two worlds so distant that for a moment they will intersect as well as in a palette of a painter you can mix white and black. ---------- Lo schermo si colora di un celeste cielo, e comincia a delinearsi un castello sotto la cui bianca aurea si staglia la sigla “Walt Disney Pictures”, un semiarco corona il tutto e le porte della fantasia sono pronte a schiudersi per gli spettatori. Questa è la classica presentazione di un Film Disney a cui almeno una volta nella vita sarà capitato a ciascuno di noi di assistere, e che accompagna l’infanzia di milioni di bambini. Ma cosa ci aspetta dietro quel castello? Affascinanti incantesimi e scintille di magia? Senz’altro. Principesse da salvare e principi azzurri da sognare? Assolutamente sì. Animali parlanti e un’isola che non c’è? Tutto questo e molto di più. Se guardassimo, però, quel castello da una prospettiva diversa, e se spostassimo l’attenzione dal vestito prezioso della protagonista, a ciò che motiva in profondità le sue scelte e alle dinamiche che la circondano, potremmo notare delle sfumature oscure, celate da sfavillanti gioielli ed innaturali tramonti, tanto brillanti da accecarci. È proprio su quelle sfumature più tetre che si concentrerà il lavoro, analizzando e approfondendo scene e temi dei Film Disney in cui sarà possibile riscontrare aspetti criminologici e psicopatologici, cercando così di connettere due mondi tanto distanti che per un attimo si intersecheranno, cosi come in una tavolozza di un pittore è possibile mescolare il bianco e il nero. ---------- La pantalla es de color azul claro del cielo, y comienza a tomar forma un castillo bajo cuyo blanco de oro se coloca la abreviatura "de Walt Disney Pictures", un semi-arco rodea el todo y las puertas de la imaginación están listos para salir del cascarón para los espectadores. Esta es la presentación clásica de una Película de Disney que al menos una vez en la vida nos ha sucedido a cada uno de nosotros para asistir, y que acompaña a millones de niños. Pero, ¿qué está esperando detrás de ese castillo? Encantadores hechizos y chispas de magia? Absolutamente. ¿Princesas para salvar y príncipes azules para soñar? Absolutamente sí ¿Animales que hablan y una isla que no está allí? Todo esto y mucho más. Si observamos, sin embargo, que el castillo desde una perspectiva diferente, y si a mitad de camino a través de la atención por parte del precioso vestido el personaje principal, lo que motiva profundamente en sus elecciones y la dinámica que lo rodean, se puede notar las sombras oscuras, ocultas por las joyas espumoso y puestas de sol antinaturales, tan brillantes para cegar. Es precisamente en los tonos más sombríos que se centrarán los trabajos, analizando y profundizando escenas y películas temas de Disney, donde se pueden encontrar aspectos criminológicos y psicopatológicas, tratando así de conectar dos mundos tan lejos que un momento se cruzará, así como en una paleta de un pintor puede mezclar blanco y negro.
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Manuel Ríos, Juan. "El papel del color en la ingesta de fragmentos de microplástico por el pez cebra (Danio rerio)." Revista Internacional de Contaminación Ambiental 38 (November 9, 2022): 371–80. http://dx.doi.org/10.20937/rica.54523.
Повний текст джерелаАнотація:
Se ha reportado la presencia de microplásticos (MP) en el contenido estomacal de peces de agua dulce a nivel global. Sin embargo, los mecanismos subyacentes al consumo de MP por parte de los animales acuáticos aún no están claros. En este estudio se investigó la pregunta fundamental de por qué los peces silvestres de agua dulce ingieren plástico. La ingesta de MP debida a la confusión por parte de los peces con sus presas naturales, tales como el plancton, es una hipótesis que ha cobrado importancia últimamente. Por lo tanto, el color del MP podría influenciar su consumo, especialmente en depredadores visuales. Con el objetivo de evaluar la ingesta de fragmentos de MP según el color (rojo, verde, amarillo, blanco, negro y azul), se llevó a cabo un experimento de opción múltiple en el laboratorio utilizando al pez cebra (Danio rerio) como modelo de estudio. Los resultados indicaron que frente a una oferta de igual proporción de MP de distintos colores, el pez cebra prefirió consumir los fragmentos de color azul, mientras que evitó consumir los verdes y los blancos. Aunque todavía no está claro en qué forma se relaciona la coloración del plástico con la selectividad y consumo en peces de agua dulce, las habilidades visuales de los peces podrían explicar por qué ciertos colores son atractivos para una especie de pez en particular.
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Crivella, Giuseppe. "Je devenais une goutte d’eau, une tache d’encre. Sulla narrativa di Maurice Blanchot." e-Scripta Romanica 10 (October 13, 2022): 79–95. http://dx.doi.org/10.18778/2392-0718.10.07.
Повний текст джерелаАнотація:
Partendo da una serie di analisi contenute nell’opera di Philippe Hamon Rencontres sur tables et choses qui traînent. De la nature morte en littérature, questo saggio punta a sviluppare alcune considerazioni aventi per oggetto la produzione narrativa di Maurice Blanchot. In particolare le nostre osservazioni si concentreranno su alcuni passaggi desunti da tre romanzi del pensatore francese: Aminadab, La folie du jour e Le Très-Haut. In tal modo potremo mettere a punto una prospettiva interpretativa dei récits blanchotiani in cui la nozione di natura morta gioca un ruolo di assoluta centralità. In particolare le nostre analisi si concentreranno sul modo in cui la nozione di natura morta riesce a tramutarsi in un terminale ermeneutico trasversale in seno al quale numerosi elementi specifici e ricorrenti degli universi narrativi di Blanchot trovano una precisa collocazione funzionale e una chiara delineazione concettuale. In seconda battuta, le corrispondenze enucleabili tra il narratore francese e il teorico del descrittivo ci permetteranno di portare in evidenza in sede di conclusioni un ricco plesso di temi e questioni che non solo solcano in profondità la narrativa blanchotiana, ma di fatto possono essere reperiti con una certa facilità presso numerosi autori della letteratura francese del secondo Novecento.
Дисертації з теми "Tales of Blanchot"
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Khakshour, Faroudji Morteza. "Poétique du silence dans l’œuvre de Maurice Blanchot." Thesis, Sorbonne université, 2022. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2022SORUL016.pdf.
Повний текст джерелаАнотація:
L’œuvre de Maurice Blanchot est mystérieuse et inquiétante. Son lecteur devrait être d’ores et déjà prêt à se perdre dans un labyrinthe et à accepter le risque d’être à jamais enfermé dans cet espace où chercher à trouver la sortie est comme une faute grave. L’essentiel de la critique blanchotienne s’attache à la quête désespérée de l’infini et de l’impossible dans la littérature ; dans ses récits, Maurice Blanchot tente de pratiquer les principes et les éléments de cette conception spécifique de la littérature à travers une poétique du silence. Cette thèse porte, dans un premier temps, sur la pensée littéraire de Blanchot qui, selon nous, s’intéresse avant tout à indiquer les failles et l’échec de l’écriture pour tracer l’indicible ; nous tentons ensuite de mesurer les conséquences d’une telle approche dans l’œuvre narrative de BlanchotMaurice Blanchot's work is mysterious and disturbing. Its reader should already be prepared to get lost in a labyrinth and accept the risk of being locked in this space. Much of the Blanchot criticism is concerned with the desperate quest for the infinite and the impossible in literature; in his stories, Maurice Blanchot tries to practice the principles and elements of this specific conception of literature through a poetics of silence. This thesis focuses, first, on the literary thought of Blanchot who, in our opinion, is primarily interested in indicating the flaws and failure of writing to trace the unspeakable; we then attempt to measure the consequences of such an approach in Blanchot's narrative work
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Sibuet, Vallette Viallard Sandrine. "Du conte à la scène, l'exemple de Blanche-Neige." Thèse, 2019. http://hdl.handle.net/1866/23745.
Повний текст джерелаАнотація:
Le présent mémoire de recherche-création a pour objet les réécritures théâtrales des contes. Si le conte merveilleux et le théâtre sont a priori deux genres littéraires distincts de par leur origine, leur nature et leur mode d’expression, ils présentent néanmoins des points communs qui facilitent la transgression des frontières génériques. Aussi les dramaturges se sont-ils parfois risqués à proposer des adaptations de contes merveilleux pour le théâtre. C’est par exemple le cas de Joël Pommerat, qui a récemment proposé des transpositions scéniques de trois contes traditionnels, revisitant et actualisant thèmes et personnages.
Dans cet essai, je m’intéresse tout d’abord aux éléments qui favorisent la réécriture théâtrale des contes. Je m’interroge ensuite sur la manière dont Pommerat, qui fonde sa réflexion sur les apports de la philosophie, de la sociologie et de la psychanalyse, prépare ses spectacles ; ce que j’illustre en mettant en lumière la méditation menée par l’auteur sur le travail du deuil dans son spectacle Cendrillon. À l’instar de Pommerat, je présente enfin une étude psychanalytique des personnages du conte Blanche-Neige des frères Grimm.
La création que je propose consiste en une transposition théâtrale du conte Blanche-Neige des frères Grimm, qui déplace situations et personnages dans le monde contemporain de l’entreprise.The purpose of this research-creation master thesis is to rewrite the theatrical aspects of the fairy tales. While storytelling and theatre are a priori two literary genres distinct in origin, nature and mode of expression, they nevertheless share common qualities that facilitate the transgression of generic boundaries. So playwrights have sometimes ventured to offer adaptations of fairy tales for the theatre. This is the case, for example, of Joël Pommerat, who recently proposed scenic transpositions of three traditional fairy tales, revisiting and updating themes and characters. In this essay, I am first interested in the elements that promote the theatrical rewriting of fairy tales. I then ask myself how Pommerat, who bases his reflection on the contributions of philosophy, sociology and psychoanalysis, prepares his shows ; what I illustrate by highlighting the author's reflections on the work of mourning in his play Cinderella. Like Pommerat, I finally present a psychoanalytical study of the characters in the Grimm brothers' Snow White tale. The creation I propose consists of a theatrical transposition of the Grimm brothers' Snow White tale, which moves situations and characters into the contemporary world of business.
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"Tres espacios en blanco para una situación." Tesis, Universidad de las Américas Puebla, 2004. http://catarina.udlap.mx/u_dl_a/tales/documentos/lda/ornelas_m_c/.
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"Plan de Negocios para la empresa Nubia Blanco." Tesis, Universidad de las Américas Puebla, 2006. http://catarina.udlap.mx/u_dl_a/tales/documentos/lni/gonzalez_t_ps/.
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"“Un arroz negro entre los blancos”. Etnicidad, tierra y poder en Chipilo, Puebla." Tesis, Universidad de las Américas Puebla, 2005. http://catarina.udlap.mx/u_dl_a/tales/documentos/lac/reyes_k_ac/.
Повний текст джерелаКниги з теми "Tales of Blanchot"
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Grimm Brothers. Blanche-Neige. Paris: Magnard Jeunesse, 2005.
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Grimm Brothers. Blanche-Neige. Paris: Nathan, 1998.
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Cuentos negros para niños blancos. 3rd ed. Madrid: Espasa-Calpe, 1988.
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Company, Walt Disney. Blanche Neige et les sept nains. [Anjou]: Presses d'Or, 1993.
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1785-1863, Grimm Jacob, and Grimm Wilhelm 1786-1859, eds. Blanche-Neige et les sept nains. Barcelona, Spain: Peralt Montagut Éditions, 1998.
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Zapp and Vallière Nathalie, eds. Cendrillon & Blanche-Neige. Montréal: Tormont, 2005.
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Quiroga, Horacio. El síncope blanco y otros cuentos de horror. Madrid: Valdemar Ediciones, 1987.
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Quiroga, Horacio. El síncope blanco y otros cuentos de locura y terror. Madrid: Valdemar, 1999.
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Królewna Śnieżka. Ożarów Mazowiecki, Poland: Wydawnictwo Olesiejuk, 2013.
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Nan, Brooks, and Duchesne Lucie, eds. Blanche-Neiges [sic] et les sept nains. [Saint-Lambert, Québec]: Éditions ABC, 2001.
Знайти повний текст джерелаЧастини книг з теми "Tales of Blanchot"
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Bident, Christophe. "“Mahatma Gandhi”." In Maurice Blanchot, 41–43. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0008.
Повний текст джерелаАнотація:
Looks in detail at one of Blanchot’s very first journalistic pieces, on Gandhi. Details its critical reading of this figure, which takes place in the light of Western intellectual and spiritual tradition.
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Bident, Christophe. "Even a Few Steps Take Time." In Maurice Blanchot, 445–64. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0063.
Повний текст джерелаАнотація:
This final chapter by Christophe Bident takes in the final years of Blanchot’s life up until 1997; it touches on the deaths of friends and major intellectuals of the era, on his letter-writing (notably on the Holocaust), on the re-publications of his texts, and ends with a brief, fictionalized memoir of 1994, The Instant of My Death.
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Bryant, Jan. "Encounter Two: Lefebvre and Blanchot." In Artmaking in the Age of Global Capitalism, 46–54. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474456944.003.0007.
Повний текст джерелаАнотація:
Henri Lefebvre spent many decades developing a theory of the everyday as a locus of revolutionary potential. Maurice Blanchot takes a sideways route from praising to pulling down Lefebvre’s ‘everyday’, arguing that revolutionary desire cannot dwell in this enigmatic sphere. Rather, the everyday is the unthought, private, absorbing, and self-contained. The failure of Lefebvre to move from abstraction to action, from metaphysics to an effective Marxist critical theory is revealed at a crucial moment in history, as the Left is appearing to fracture in response to the disappointments of 1968. The chapter includes a close analysis of Béla Tarr’s The Turin Horse (2011) in relation to the everyday and tedium. [110]
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Kamuf, Peggy. "Beginning with Literature." In Deconstructing the Death Penalty, 13–31. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823280100.003.0002.
Повний текст джерелаАнотація:
This chapter takes up Derrida’s proposition in The Death Penalty, Volume I, that by definition the death penalty must be visible to an eye witness and the state “must see die the condemned one.” The essay further contends that when such witness is borne it is, paradoxically, struck by the seal of a secrecy that it shares with literature or the poetic. The consequences of this contradiction between visibility and secrecy are worked out through readings of Victor Hugo, Albert Camus, Jean Genet, and Maurice Blanchot, which serve as test sites for literature’s witness for—against?—the death penalty.
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"Barons hostile to Queen Blanche conspire to seize the throne." In Tales of a Minstrel of Reims in the Thirteenth Century, 144–48. Catholic University of America Press, 2021. http://dx.doi.org/10.2307/j.ctv25m88hg.38.
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Novoa Castro, Carlos Fernando. "Arequipe o dulce de leche." In Leches concentradas azucaradas: de la tradición a la ciencia, 65–92. Editorial Universidad Santiago de Cali, 2018. http://dx.doi.org/10.35985/9789585522466.2.
Повний текст джерелаАнотація:
En Colombia el dulce de leche se conoce con el nombre de are-quipe y se define como el producto higienizado obtenido por la concentración térmica de una mezcla de leche y azúcares. Debe estar exento de sustancias tales como grasa vegetal o animal diferente a la láctea. Debe tener un contenido mínimo de 7% de grasa y 17% de sólidos lácteos no grasos (SLNG) y un contenido máximo de 30% de humedad y 2% de cenizas. No debe contener almidones a diferencia del manjar blanco, al cual se le permite un contenido de hasta 4% de almidón en producto final
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Rasula, Jed. "Ruminant Curiosity." In Genre and Extravagance in the Novel, 160–80. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192897763.003.0007.
Повний текст джерелаАнотація:
The two subjects of this chapter are writers of German who did not live in Germany: Franz Kafka and W. G. Sebald (a self-proclaimed devotee of Kafka). Kafka’s fiction has achieved the distinction of having generated a category that far exceeds its literary basis: the “Kafkaesque.” Maurice Blanchot’s theoretical investigations of literature in its ontological foundation is consistently worked out with reference to Kafka, under the telling phrase “literature and the right to death.” Perspectives by other theorists (Adorno, Benjamin, Deleuze and Guattari, Calasso) help refine Blanchot’s case, revealing that the “seasickness on dry land” of Kafka’s work takes on a life of its own apart from any particular work—precisely enabling the Kafkaesque to escape or exceed the thematic parameters articulated by the writer Kafka. Sebald then become the carrier of this viral affliction, portraying himself in peregrinations that hover indeterminately amidst various genres, from the premodern anatomy to the postmodern essayism evident in his Rings of Saturn. Sebald, like so many before him, finds that the engagement with history (World War Two and the Holocaust in his case) can only be truly undertaken by fictive means.
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May, Adrian. "Excluded from Thought?" In From Bataille to Badiou, 218–55. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940438.003.0008.
Повний текст джерелаАнотація:
This chapter takes a more critical stance towards the review to examine its cultural conservatism and reticence towards identity politics. The review’s literary tastes, largely shaped by the legacies of Georges Bataille and Maurice Blanchot, are shown to harbour a sense of artistic exceptionalism which often precludes representations of the everyday, and therefore also limits political solidarity with those usually defended by Lignes. Despite the racial or gendered exclusions it can produce, literary elitism or conservatism is in itself not necessarily criticised, but the hostility to mass culture inculcated by some aesthetic Marxist approaches is seen to be politically unhelpful in the present moment and other approaches to cultural politics in Lignes are sought. After Alain Badiou’s Circonstances 3 caused a row over anti-Semitism and the critique of Israel, it is suggested that the strategic essentialism of Judith Butler provides a more appropriate stance compared to Badiou’s strategic universalism. Lastly, Lignes’ virtual silence on gender and sexuality issues (a stance softening in recent issues) is contrasted to the Parti Socialiste’s progressive measures on parity, PACs and gay marriage.
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Suárez, Carlos Fonseca. "Laboratories of Universality." In Geopolitics, Culture, and the Scientific Imaginary in Latin America, 275–90. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401483.003.0014.
Повний текст джерелаАнотація:
Carlos Fonseca Suárez read Jorge Luis Borges’s short story “El Aleph” as a reflection upon the limits of technological universalism as well as a reconfiguration of modern cosmopolitanism. Carlos Fonseca Suárez then explores the figure of José Arcadio Buendía—founder of Macondo in Cien años de soledad (1967)—who in his obsession with scientific innovation takes Borges’s exploration of technological modernity and the impasses of modern progressivism even further, proposing instead a new dialectical model of universalism. Finally, Carlos Fonseca Suárez concludes by adding a final star to this constellation by exploring how the character of Luca Belladona in Ricardo Piglia’s 2010 novel Blanco nocturno allows for a rereading of this Humboldt’s plainsman scene in the contemporary socioeconomic context, where the relation between the global and the local, center and periphery, becomes intertwined in the elusive informational networks of global capital.
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Lamb, Charles, and Mary Anne Lamb. "Sonnet to Miss Burney, on her Character of Blanch in "Country Neighbours", a Tale." In The Letters of Sarah Harriet Burney, edited by Lorna J. Clark. University of Georgia Press, 1997. http://dx.doi.org/10.1093/oseo/instance.00249913.
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