scholarly journals El legado oculto de Antonio Machado a la generación de poetas del medio siglo

Prosemas ◽  
2020 ◽  
Vol 4 ◽  
pp. 203
Author(s):  
Xon De Ros
Keyword(s):  
Michel Foucault ◽  
Charles Baudelaire ◽  
Georges Bataille ◽  
Roland Barthes ◽  
Octavio Paz ◽  
Poetic Tradition ◽  
Antonio Machado ◽  
Anne Carson ◽  
Textual Strategies ◽  
The Erotic

Resumen: Los estudios dedicados a investigar la ascendencia de Antonio Machado en la generación poética del 50 han resaltado la crítica social y la reflexión metafísica como rasgos comunes en ambos. Este artículo se propone explorar el componente erótico, un aspecto poco estudiado en la poesía de Machado a pesar de la relevancia que tiene en la obra de sus apócrifos, examinando uno de los poemas tempranos de «Galerías» a la luz de su lectura por parte de Jaime Gil de Biedma. El análisis de las estrategias que generan el potencial erótico del poema machadiano, a través de enfoques proporcionados por teorías y poéticas del erotismo elaboradas por autores como George Bataille, Roland Barthes, Octavio Paz y Anne Carson, entre otros, revela una estructura de ecos y resonancias poéticas que evocan una figura mediadora del deseo. La reacción de Gil de Biedma sugiere una sensibilidad receptiva a esta veta del legado de Machado. Palabras clave: Erotismo; Antonio Machado; Charles Baudelaire; Jaime Gil de Biedma; poetas del 50; tradición poética; Michel Foucault; Georges Bataille; Anne Carson; Octavio Paz; triángulo erótico; mediador del deseo; eco poético.Abstract: Researchers working on the influence of Antonio Machado on the Spanish mid-1950s generation of poets have highlighted social critique and metaphysical reflexivity as common features in both. Prompted by Jaime Gil de Biedma’s reading of one of Machado’s earlier poems from the series ‘Galerías’, this essay explores the erotic component in the poem, an element under-researched in Machado’s poetry despite its relevance to the writings of his apocryphals. Drawing on theories of eroticism proposed, among others, by Georges Bataille, Octavio Paz, Roland Barthes and Anne Carson, an analysis of the textual strategies that generate the erotic potential in Machado’s poem reveals a network of echoes and poetic resonances which conjure up the figure of a mediator of desire. Gil de Biedma’s reading suggests a sensibility receptive to this strand of Machado’s legacy. Key words: Eroticism; Antonio Machado; Charles Baudelaire; Jaime Gil de Biedma; poets of 1950; poetic tradition; Michel Foucault; Georges Bataille; Anne Carson; Octavio Paz; erotic triangle; mediator of desire; poetic echo.

scholarly journals Uma lembrança a Black Narcissus – construindo alteridade e desconstruindo erotismo

Cadernos Pagu ◽  
2018 ◽  
Author(s):  
Mariane Venchi
Keyword(s):  
Michel Foucault ◽  
Georges Bataille ◽  
Octavio Paz ◽  
Production Code

Resumo Esta é uma reflexão sobre as estratégias discursivas que o filme britânico Black Narcissus(1946) utiliza quando lida com signos eróticos e raciais ao confrontar as culturas cristã e indiana no espaço colonialista na Era do Hollywood Production Code [“Código de Produção de Hollywood”]. Propomos um diálogo entre as premissas de Georges Bataille, Octavio Paz e Michel Foucault ao dissecarem o tema da sexualidade humana e seus mecanismos de repressão por diferentes perspectivas, enfatizando também a necessidade de expandirmos a temática do erotismo para além do par binário proibição/transgressão em sociedades não ocidentais e suas sutis gradações entre o sagrado e o profano.

Introduction

2020 ◽  
pp. 1-34
Author(s):  
Christopher B. Patterson
Keyword(s):  
Video Games ◽  
Michel Foucault ◽  
Asian American ◽  
Roland Barthes ◽  
Open World ◽  
History Of ◽  
Eve Sedgwick ◽  
The Erotic

The book’s introduction teases out notions of openness, play, and erotics through discussions of video games. Video games train players to perceive a transnational, capitalist, and industrial form of empire, an “Open World Empire” wherein truth, openness, and digital transparency become elastic terms deployed within networks of forgetting and red herring scandals. When not seen as progressive, militaristic, or educational, gameplay emerges as a frivolous and queer practice that resists easy incorporation into state and neoliberal attitudes, as it appears as a self-indulgent waste of time. To account for the inescapability of Asian associations in games and to trace their transpacific imperial contexts, this introduction uses Asian American critique to see games as “Asiatic”: a style or form recognized as Asian-ish but that remains adaptable, fluid, and outside the authentic/inauthentic binary. The introduction discusses openness, erotic play, and the Asiatic through the history of video games and sexuality, as well as through the erotic methods developed by the critical theorists Roland Barthes, Michel Foucault, and Eve Sedgwick, whose erotic practices emerged by comparing Western modes of thinking with those perceived to be common across Asia.

scholarly journals Delírio a Bico de Pena

2018 ◽  
Vol 24 (1) ◽  
pp. 283-290
Author(s):  
Fernando Scheibe
Keyword(s):  
Michel Foucault ◽  
Gilles Deleuze ◽  
Jorge Luis Borges ◽  
Georges Bataille ◽  
Roland Barthes ◽  
Machado De Assis ◽  
Clarice Lispector ◽  
Michel Leiris

Com base em um enunciado de Michel Foucault (“A possibilidade de falar e a possibilidade de ser louco são contemporâneas”), este artigo investiga as relações entre linguagem, loucura e literatura, dialogando com autores como Clarice Lispector, Machado de Assis, Gilles Deleuze, D. H. Lawrence, Peter Stoterdjik, Michel Leiris, Jorge Luis Borges, Roland Barthes e Georges Bataille. Se a língua “é simplesmente fascista”, se somos falados por ela, o delírio é inevitável e somente nos resta modulá-lo. O delírio a bico de pena é um delírio menor e, ao mesmo tempo, “histórico mundial”, desenha a criança (o ser) em seu impuro devir, não busca fixá-la(o) nem impor limites. Esgarça a linguagem, constitui aquilo que Foucault, numa conversa com Duccio Trombadori, nomeava uma experiência.

Barthes liest Baudelaire und Mallarmé: Der Jahrmarkt als Mythos des Alltags

2018 ◽  
Vol 53 (2) ◽  
pp. 343-359
Author(s):  
Anna Isabell Wörsdörfer
Keyword(s):  
Michel Foucault ◽  
Charles Baudelaire ◽  
Roland Barthes ◽  
Stephane Mallarme ◽  
Prose Poems ◽  
Everyday Lives ◽  
Modern Myth

AbstractWith its numerous offers of entertainment on the festival ground, the fair – site and event at the same time – represents an ‘extra-ordinary’ diversion with regard to the uniform working rhythm. However, because of its persistent (annual) return, it is nevertheless solidly anchored in people’s everyday lives. This article analyzes the phenomenon’s topographic and functional dimensions through the example of three prose poems by Charles Baudelaire and Stéphane Mallarmé. It first focuses on the fairground and the fair’s heterotopic character according to Michel Foucault is carved out. Secondly, from the perspective of leisure event, the fair, according to Roland Barthes, becomes the modern myth, in which the naïve crowd of visitors functions as the reader of myths and the poems’ sophisticated speaker as mythologist. In this interpretation, the latter takes another role besides that of the poet: the speaker is the producer of myths who turns the fair into an aesthetic piece of art.

Friedrich Nietzsche

2018 ◽  
Author(s):  
Vanessa Lemm
Keyword(s):  
Friedrich Nietzsche ◽  
Michel Foucault ◽  
Gilles Deleuze ◽  
Georges Bataille ◽  
Giorgio Agamben ◽  
Eternal Recurrence ◽  
German Philosopher ◽  
Point Of Reference

Readers of Giorgio Agamben would agree that the German philosopher Friedrich Nietzsche (1844–1900) is not one of his primary interlocutors. As such, Agamben’s engagement with Nietzsche is different from the French reception of Nietzsche’s philosophy in Michel Foucault, Gilles Deleuze and Georges Bataille, as well as in his contemporary Italian colleague Roberto Esposito, for whom Nietzsche’s philosophy is a key point of reference in their thinking of politics beyond sovereignty. Agamben’s stance towards the thought of Nietzsche may seem ambiguous to some readers, in particular with regard to his shifting position on Nietzsche’s much-debated vision of the eternal recurrence of the same.

Formative Influences

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Film Analysis ◽  
The 1960S ◽  
Christian Metz ◽  
The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

Transparência e Opacidade: uma porta para a autoria na fotografia

Ícone ◽  
2013 ◽  
Vol 15 (1) ◽  
Author(s):  
Eduardo Queiroga
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Walker Evans

Este artigo reflete sobre a relação entre fotografia e autoria. Parte de algumas passagens da história da fotografia, observando o distanciamento entre a fotografia documento – aquela em que se busca uma abordagem mais neutra e objetiva do tema – e o “estilo documental”, termo cunhado por Walker Evans e estudado por Olivier Lugon, que dá conta de uma apropriação da estética do documento mas com objetivos que estão além do registro do assunto fotografado. Articula a pesquisa de Lugon com conceitos de Laura González Flores, Michel Foucault, Roland Barthes e Giorgio Abamben. Aqui trabalhamos com a premissa de que a autoria ganha espaço na medida em que há um distanciamento do tema.

scholarly journals A Paródia e o Estatuto do leitor em O Único Animal Que?, de Augusto Abelaira

Letras ◽  
2016 ◽  
pp. 107
Author(s):  
Jose Luis Giovanoni Fornos
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Umberto Eco ◽  
Wayne Booth

O presente ensaio aponta para importância do leitor na configuração da chamada paródia pós-moderna a partir dos estudos de Linda Hutcheon. Em contraposição às teses de Wayne Booth, o leitor na paródia simula e dissimula suas ações, instaurando desconfiança permanente na decodificação do texto romanesco. Teoricamente, retoma textos de Roland Barthes, Umberto Eco e Michel Foucault, entre outros. Igualmente aborda a categoria do leitor, considerando-a como exemplar na composição do romance do escritor português Augusto Abelaira. Discute o papel do leitor na narrativa abelairiana, relacionando-o aos episódios do livro O único animal que?.

scholarly journals Problematizações sobre pesquisa e ensino de teoria literária no Brasil

2017 ◽  
Vol 18 (2) ◽  
pp. 168-183
Author(s):  
Sherry Morgana Justino De Almeida
Keyword(s):  
Roland Barthes ◽  
Octavio Paz

O objetivo deste texto é refletir sobre sobre problemas do estudode teoria literáriado estudo do fenômeno literário por parte dosdiscentes do curso de Letras no Brasil, apotando a leitura de literaturacomo caminho mais eficiente para a compreensão teórica. Para tanto,inicialmente,apresentaremos um questionamento acercados caminhos daTeoria Literária na contemporaneidade, bem como sobre a necessidadede teóricos e de leitores na construção do discurso sobre literatura. Apartir do pensamento dos escritores-críticos Michael Foucault, T. S.Eliot, Roland Barthes, Octavio Paz e Leyla Perrone-Moíses, este artigoaponta para a necessidade de que o estudante de Letras, assim como ocrítico literário, seja um grande leitor de literaturae e, não somente umdivulgador de teorias. Por fim, o artigo propõe que a própria literatura,enquanto lugar de fronteiras entre as várias áreas do saber, seja norteadorada criação e do estudo dos discursos teóricos profícuos ao entendimentodo fenômeno literário.

Authorship and Autography

PMLA ◽  
2001 ◽  
Vol 116 (5) ◽  
pp. 1377-1385
Author(s):  
Michael North
Keyword(s):  
Michel Foucault ◽  
Human Subject ◽  
Roland Barthes ◽  
The Status ◽  
Technological Developments ◽  
Historical Phenomenon ◽  
The Dead ◽  
Written Word ◽  
Death Of The Author ◽  
The Way

The Single Most Influential Contemporary Statement on Authorship is Still the Obituary that Roland Barthes pronounced over thirty years ago (Burke, Death 19). Partly by the stark extremity of its title, Barthes's essay “The Death of the Author” transformed New Critical distaste for the biographical into an ontological conviction about the status of language (Burke, Death 16) and in so doing made the dead author far more influential than living authors had been for some time. If authorship is now a subject of contention in the academy rather than a vulgar embarrassment, it is largely because of the way that Barthes inflated the issue in the very act of dismissing it. Though the idea that “it is language which speaks, not the author,” seems to demote the human subject (“Death” 143), it may also promote the written word, and it has been objected from the beginning, by Michel Foucault first of all, that the notion of écriture “has merely transposed the empirical characteristics of an author to a transcendental anonymity” (Foucault 120). Many later critics have agreed, and thus there have been a series of arguments, from the theoretical (Burke, Death) to the empirical (Stillinger), to the effect that the whole post-Saussurean turn exemplified by Barthes has not so much killed off the concept of the author as raised it to a higher plane of abstraction. But it may be that, approached from another angle, Barthes's essay will turn out to have its own relation to certain social and technological developments, and that these, in their turn, will help to situate the death of the author as a historical phenomenon.

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