scholarly journals Blank Verse: a história e as histórias de William Shakespeare traduzidas em websérie

2019 ◽  
Vol 1 (2) ◽  
pp. 395-421
Author(s):  
Manoela Sarubbi Henares Figueiredo
Keyword(s):  
William Shakespeare ◽  
Friedrich Nietzsche ◽  
Roland Barthes ◽  
Hayden White

Blank Verse é uma web série que retrata William Shakespeare e outras figuras históricas do período elisabetano reimaginados como estudantes e professores universitários nos dias atuais. Através de vídeos curtos e postagens em redes sociais, acompanhamos os personagens em suas jornadas como escritores iniciantes num contexto altamente mediado pela tecnologia. A mescla criativa de elementos históricos, biográficos e ficcionais provocaram as reflexões apresentadas neste artigo. A partir do pensamento de teóricos da literatura como Josefina Ludmer e Flora Süssekind; História, como Pierre Nora e Hayden White; e Filosofia, tal qual Roland Barthes e Friedrich Nietzsche, este texto explora o desmantelamento das fronteiras entre verdade e ficção, real e virtual, todos eles produtos da mesma ferramenta: a linguagem.Palavras-chave: William Shakespeare. Literatura. História. Biografia. Ficção.

scholarly journals O jogo da amarelinha: ensaio em forma de romance

2012 ◽  
Vol 31 (1-2) ◽  
pp. 195-210
Author(s):  
Lucas Bandeira de Melo
Keyword(s):  
Friedrich Nietzsche ◽  
Roland Barthes ◽  
Julio Cortazar ◽  
Umberto Eco ◽  
Theodor Adorno ◽  
Julio Cortázar

O presente artigo explora as imbricações entre romance e ensaio em uma das principais obras literárias da segunda metade do século XX: O jogo da amarelinha, de Julio Cortázar. De maneira a determinar as contribuições que, nessa obra, romance e ensaio podem dar um ao outro, recorre-se a Montaigne (o aspecto autobiográfico do ensaio), Friedrich Nietzsche (sobre a diversidade de eus) e Theodor Adorno (ensaio como forma), além de à análise de momentos-chave de O jogo da amarelinha em que esse cruzamento se faz presente. Do hibridismo decorrente dessa mistura resulta um texto aberto, que dá ao leitor o poder de decidir a maneira de lê-lo. Embora haja limites para a interpretação (como teorizado por Umberto Eco), o leitor se vê compelido a tomar partido, e por isso O jogo da amarelinha pode ser considerado exemplo daquilo que Roland Barthes chama de “texto de fruição” ou apenas de “texto”.

Symbolic and philosophical similarities between Jan Kasprowicz’s and Janis Rainis’ poetry

2020 ◽  
Vol 35 (2) ◽  
pp. 213-224
Author(s):  
Paweł Wojciechowski
Keyword(s):  
William Shakespeare ◽  
Friedrich Nietzsche ◽  
Johann Wolfgang Von Goethe ◽  
Blaise Pascal ◽  
Henri Bergson ◽  
Friedrich Schiller ◽  
Arthur Schopenhauer

The text Symbolic and philosophical similarities between Jan Kasprowicz’s and Janis Rainis’ poetry presents the figure of Kasprowicz – a great Polish modernist, and Rainis – a Latvian poet and playwright, a man of the theater, author of numerous works for children and a recognized translator of the works of William Shakespeare, Friedrich Schiller, Johann Wolfgang von Goethe, George Gordon Byron, and Aleksander Pushkin. The analysis is directed toward the lyrical work of the Latvian and the Polish poet, emphasizing its symptomatic symbolism and philosophical influences (Blaise Pascal, Arthur Schopenhauer, Friedrich Nietzsche, Henri Bergson) present in the phenomena of nature and love.

scholarly journals La historia de Aguirre, contada por fray Pedro Simón

2002 ◽  
Vol 10 (1) ◽  
pp. 89-100
Author(s):  
Carlos Rey Pereira
Keyword(s):  
Roland Barthes ◽  
Roman Jakobson ◽  
Hayden White

Las Crónicas de Indias no se comprenden por entero como la mera respuesta a la pregunta básica "(Que pasó?", lo que asombra poco si recordamos con Roman Jakobson que un mensaje puede cumplir más de una función y, con Roland Barthes o Hayden White, que el lenguaje transparente de la historiografía tiene menos de transparente que de interesado. No es preciso insistir aquí en unas ideas que han sido ya expuestas casi a modo de sentencia: "el novelar y el historiar son equivalencias del tramar, es decir, de decisión poética”. La forma, ya que no del todo el pasado al que se refiere, queda a merced del historiador. Un unico suceso puede ser materia de múltiples relatos. El modo de contar reclama de por sí atención por venir colmado de significado, "excedente" de significado que emana de una construcción elegida y que permanece como un valor del texto, aun cuando el valor histórico se cuestione y se juzgue mínimo.

scholarly journals REVIVIENDO A SHAKESPEARE: RETOS Y MONTAJES

2017 ◽  
Author(s):  
Remedios Perni Llorente
Keyword(s):  
William Shakespeare ◽  
Visual Culture ◽  
Western Culture ◽  
Roland Barthes ◽  
Critical Practice ◽  
Death Of The Author ◽  
Over Time

Resumen: Cuando, en 1968, Roland Barthes anunció la muerte del Autor, muchos críticos propusieron liberar la crítica de la tiranía autoral y sus inescrutables intenciones. Sin embargo, Shakespeare -o por lo menos su halo espectral- se mantiene omnipresente en la cultura occidental. La cultura visual -la pintura, el cine, los pósters- mantiene “viva” la imagen de Shakespeare, mientras que la idea de “autenticidad” continúa siendo la causa de acalorados debates. ¿Qué queremos decir hoy día cuando nombramos a Shakespeare? ¿Es posible revivirlo? Cierta creencia nostálgica todavía mantiene que cualquier Shakespeare pasado fue mejor, mientras que otras perspectivas apoyan la posibilidad de que Shakespeare se recicle con el tiempo. Título en inglés: “Reviving Shakespeare: remains and montages”Abstract: When, in 1968, Roland Barthes announced the death of the Author, many critics proposed freeing critical practice from the authorial tyranny and its inscrutable intentions. Nonetheless, Shakespeare -or at least his ghostly halo- maintains an all-pervading presence in Western Culture. Visual culture -paintings, films, posters- keeps Shakespeare’s image “alive,” while the idea of “authenticity” continues being the source of over-heated debates. What do we mean today when we name William Shakespeare? Is it possible to revive Shakespeare? Certain nostalgic belief still stands that any Shakespeare past was better, whereas other perspectives support the ability to recycle the Shakespearean image over time.

Elements of a Semiotic Theory of Religion

2003 ◽  
Vol 15 (1) ◽  
pp. 48-67 ◽  
Author(s):  
Tim Murphy
Keyword(s):  
Friedrich Nietzsche ◽  
Michel Foucault ◽  
Mikhail Bakhtin ◽  
Roland Barthes ◽  
The Other ◽  
Dynamic Relationship ◽  
Theory Of Religion ◽  
Semiotic Approach ◽  
Religious Speech ◽  
Central Argument

AbstractThis work is a synopsis of an argument for a semiotic approach to theorizing religion. The central argument combines Jonathan Z. Smith's notion of "sacred persistence" as the dynamic relationship between a canon and a hermeneute with the work of Roland Barthes, Michel Foucault, Friedrich Nietzsche, and Mikhail Bakhtin. The argument is that religion is a process of on-going semiotic construction and displacement wherein heremeneutes select paradigmatic elements to form syntagmatic combinations. One of the aspects of this process of selection and combination is what Bakhtin refers to as "the speech of the other". Often, though not always, this element of religious semiotica takes the form of an agon, or contest. This work draws upon Foucault and Nietzsche to supplement Smith's and Bakhtin's notion of the production of religious speech/interpretations by further theorizing the concept of the agon. It is argued that this approach is an advance upon both essentialist phenomenological approaches and inductive, explanatory approaches. Religion, it is claimed, is best understood on the model of language, and by means of analogous approaches used in the study of language and language behaviors.

Lesse Greeke? Homer in Jonson and Shakespeare

2016 ◽  
Vol 23 (1) ◽  
pp. 101-126 ◽  
Author(s):  
Robert S. Miola
Keyword(s):  
William Shakespeare ◽  
Free Will ◽  
Ben Jonson ◽  
Dark Side ◽  
Julius Caesar ◽  
Troilus And Cressida ◽  
English Translations ◽  
Love's Labor's Lost ◽  
And Function

Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.

Introduction: Plato’s Nightmare

2018 ◽  
Author(s):  
John Marmysz
Keyword(s):  
Immanuel Kant ◽  
Martin Heidegger ◽  
Friedrich Nietzsche ◽  
Objective Reality

This introductory chapter examines the “problem” of nihilism, beginning with its philosophical origins in the ideas of Plato, Immanuel Kant, Friedrich Nietzsche and Martin Heidegger. It is argued that film is an inherently nihilistic medium involving the evocation of illusory worlds cut loose from objective reality. This nihilism of film is distinguished from nihilism in film; the nihilistic content also present in some (but not all) movies. Criticisms of media nihilism by authors such as Thomas Hibbs and Darren Ambrose are examined. It is then argued, contrary to such critics, that cinematic nihilism is not necessarily degrading or destructive. Because the nihilism of film encourages audiences to linger in the presence of nihilism in film, cinematic nihilism potentially trains audiences to learn the positive lessons of nihilism while remaining safely detached from the sorts of dangers depicted on screen.

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.

Sign in / Sign up

Export Citation Format

Share Document