Futuro pasado. la evolución del concepto Poesía en Octavio Paz

2021 ◽  
Vol 66 (4) ◽  
pp. 173-186
Author(s):  
Alí Calderón Farfán ◽  
Keyword(s):  
Twentieth Century ◽  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Octavio Paz ◽  
Marcel Duchamp ◽  
Spanish Speaking ◽  
Time Semantics ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Horizon Of Expectations

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

Brueghel’s Two Monkeys – a Tiny Painting by Bruegel, a Very Short Poem by Szymborska and the Biggest Problems of Mankind

2016 ◽  
Vol 3 (1) ◽  
pp. 83-99
Author(s):  
Piotr Kołodziej
Keyword(s):  
Twentieth Century ◽  
Sixteenth Century ◽  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Great Power ◽  
History Of ◽  
History Of Culture ◽  
Pieter Bruegel ◽  
Pieter Bruegel The Elder ◽  
Poetic Response

Abstract There is a great power in works of art. Art provides knowledge about human experience, which is not available in another way. Art gives answers to the most important and eternal questions about humanity, even though these answers are never final. Sometimes it happens that works of some artists encourage or provoke a reaction of other artists. Thanks to this in history of culture - across borders of time and space - there lasts a continuous dialogue, a continuous reflection on the essence of human existence.This text shows a fragment of such a dialogue, in which the interlocutors are a sixteenth-century painter Pieter Bruegel the Elder and a twentieth-century poet and Nobel Prize winner Wislawa Szymborska. Szymborska, proposing a masterful interpretation of a tiny painting by Bruegel, poses dramatic questions about human freedom, formulates a poetic response and forces a recipient to reflect on the most important topics.This text also brings up a question of a word - picture relationship, a problem of translation of visual signs to verbal signs, as well as a problem of translation of poetry from one language to another.

Gao Xingjian

2016 ◽  
Author(s):  
Jianmei Liu
Keyword(s):  
Twentieth Century ◽  
Nobel Prize ◽  
Individual Freedom ◽  
Literary Works ◽  
Garden Of Eden ◽  
Gao Xingjian ◽  
The Aesthetic ◽  
Nobel Prize Laureate

This chapter looks at how Gao Xingjian, the 2000 Nobel Prize laureate in literature, has brought Zhuangzi’s spirit of absolute liberation and freedom to the highest level. A discussion of his novelSoul Mountainand the poems “As Free as a Bird” and “Roaming Spirit and Metaphysical Thinking” shows how Gao’s self-exile and his persistent pursuit of the aesthetic spirit of literature embody Zhuangzi’s spirit of individual freedom and liberation. By successfully turning the meaning of “exile” from negative to positive, Gao has recreated a nature, or a Garden of Eden, in which he can transcend all kinds of restrictions and wander freely in the literary world. Gao Xingjian’s tropes of fleeing and self-exile, closely associated with his literary works, represent one of the most compelling cases of the interplay between literature and individual freedom at the end of the twentieth century.

The Legacy of the Outstanding Economist (The Centenary of Maurice Allais)

2011 ◽  
pp. 4-15
Author(s):  
A. Belyanin ◽  
I. Egorov
Keyword(s):  
Present Article ◽  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Contemporary Science

The paper is devoted to Maurice Allais, the Nobel prize winner and one of the most original and deep-thinking economist whose centenary is celebrated this year. The authors describe his contributions to economics, and his place in contemporary science - economics and physics, as well as his personality and philosophy. Scientific works by Allais, albeit translated into Russian, still remain little known. The present article aims to fill this gap and to pay tribute to this outstanding intellectual and academic, who deceased last year, aged 99.

Galilean Reflections on Milton Friedman’s "Methodology of Positive Economics", with Thoughts on Vernon Smith’s "Economics in the Laboratory"

2007 ◽  
pp. 55-70 ◽  
Author(s):  
E. Schliesser
Keyword(s):  
Experimental Evidence ◽  
Experimental Economics ◽  
Nobel Prize ◽  
Free Fall ◽  
Nobel Prize Winner ◽  
Theoretical Physics ◽  
History Of ◽  
Positive Economics

The article examines in detail the argument of M. Friedman as expressed in his famous article "Methodology of Positive Economics". In considering the problem of interconnection of theoretical hypotheses with experimental evidence the author illustrates his thesis using the history of the Galilean law of free fall and its role in the development of theoretical physics. He also draws upon methodological ideas of the founder of experimental economics and Nobel prize winner V. Smith.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

Inherent tensions in chemistry

2018 ◽  
Vol 9 (3) ◽  
pp. 177
Author(s):  
Joachim Schummer
Keyword(s):  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Philosophy Of Chemistry

<span>If you expect a Nobel prize winner being a crank who can think of nothing but his subject, then read Roald Hoffmann's The Sume and Not the Sameand test your hypothesis. This book is about chemistry, to be sure-but in the broadest scope including sociology, psychology, ethics and philosophy of chemistry.</span>

Roger Sperry—1981 Nobel Prize Winner

1995 ◽  
Vol 70 (4) ◽  
pp. 349
Author(s):  
Marc A. Shampo ◽  
Robert A. Kyle
Keyword(s):  
Nobel Prize ◽  
Nobel Prize Winner

Gabriela Mistral

1946 ◽  
Vol 3 (02) ◽  
pp. 168-189
Author(s):  
Margaret J. Bates
Keyword(s):  
Nobel Prize ◽  
Gabriela Mistral ◽  
The Real ◽  
Spanish Speaking ◽  
Fundamental Reason ◽  
Selection Of

When, on November sixteenth last, the newspapers announced the awarding of the Nobel Prize for literature to a Chilean poetess, Gabriela Mistral, the news came as a surprise to many Americans, who, although they considered themselves well read, had never heard her name. The fundamental reason we know so little of this remarkable woman who enjoys such a great popularity in the Spanish-speaking world, not only for her words but for her deeds, is because the limited number of her poems which have been translated into English, by heavy hands, for the most part, allow hardly a glimmer of the real Mistral to shine through them. Of course, all translation of poetry is difficult but that of Gabriela extremely so because of her unique selection of words. She has created a plant that does not grow on English soil.

scholarly journals To Re-present a Nobel Prize Winner. Interpreting a Public Literary Conversation

2020 ◽  
Vol 9 (1) ◽  
Author(s):  
Elisabeth Geiger Poignant ◽  
Cecilia Wadensjö
Keyword(s):  
Nobel Prize ◽  
Nobel Laureate ◽  
Nobel Prize Winner ◽  
Information Loss ◽  
Cultural Practice ◽  
Common Language ◽  
Necessary Evil

AbstractThis article examines the unfolding of interaction in a growing and, so far, scarcely examined social and cultural practice – interpreter-mediated public literary conversations. In this context, the activity of interpreters, although indispensable when authors and audiences do not share a common language, is sometimes regarded as a “necessary evil” that allegedly causes delays and information loss. Exploring an interpreter-mediated public literary conversation with Nobel Laureate Svetlana Alexievich as a case in point, the focus of this article is rather on what the presence of an interpreter might add to the shared performance on stage. Attention is drawn to the temporal evolvement of the interlocutor’s communicative resources, evident within narrative sequences, drawing on prosody research and research on gestures. The study suggests that, apart from keeping the non-Russian speaking audience updated on content, the interpreter’s rhythmically calibrated performance adds an energizing asset to the event as a whole. The notion of the “coupled turn”, internally hosting gestural and prosodic coherence across topical boundaries and language frame shifts, emerges as a usable unit for the analysis.

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