scholarly journals Da palavra-pedra ao ovo-enigma: imagem poética em João Cabral de Melo Neto

2021 ◽  
Vol 17 (34) ◽  
pp. 94-119
Author(s):  
Saulo Lopes de Sousa ◽  
Deivanira Vasconcelos Soares ◽  
Kátia Carvalho da Silva Rocha
Keyword(s):  
Martin Heidegger ◽  
Octavio Paz

A partir do poema “O ovo de galinha”, publicado na obra Serial (1961), propomo-nos, neste artigo, clarificar as estratégias estilísticas na poesia de João Cabral de Melo Neto que possibilitam a percepção do ovo enquanto objeto estético. Dentre outros contributos, apoiamo-nos na concepção de imagem poética de Octavio Paz e nos aportes teóricos de Martin Heidegger acerca de arte e poesia para debruçarmo-nos sobre os aspectos estéticos do poema escolhido. Nesse particular, mediante abordagem analítica, vislumbramos a lida do autor pernambucano com a linguagem, quando arquiteta o processo de composição do texto poético a partir da observação desautomatizada das imagens do real.

scholarly journals La soledad ontológica dentro del filme El tunco Maclovio de Alberto Mariscal

2017 ◽  
Vol 2017 (7) ◽  
pp. 83-88
Author(s):  
Obed González Moreno
Keyword(s):  
Martin Heidegger ◽  
Octavio Paz

En este ensayo se analiza la cinta cinematográfica El tunco Maclovio como una mínima parte de una investigación en relación con el tiempo interno y con la soledad del mexicano en el libro El laberinto de la soledad de Octavio Paz, a través del cine mexicano. Se retoma la concepción de Martin Heidegger sobre el ser y el tiempo, para discernir sobre el ser y el estar. Asimismo, se deconstruye la cinta referida por medio del discurso escrito, para que dentro de él se observe la poética como la acción que lleva a algo a ser otro, sin dejar de ser el mismo, y a la vez mostrar esta paradoja con el personaje de Maclovio Castro, protagonista del filme.

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.

The Political Theology of Schelling

2016 ◽  
Author(s):  
Saitya Brata Das
Keyword(s):  
Martin Heidegger ◽  
Jacques Derrida ◽  
Political Theology ◽  
The Political ◽  
Franz Rosenzweig ◽  
Political Works ◽  
The Way

This book rigorously examines the theologico-political works of Friedrich Wilhelm Joseph von Schelling, setting his thought against Hegel's and showing how he prepared the way for the post-metaphysical philosophy of Martin Heidegger, Franz Rosenzweig and Jacques Derrida.

Waste and Welter: Derrida's Environment

2010 ◽  
Vol 32 (1) ◽  
pp. 37-49 ◽  
Author(s):  
Roy Sellars
Keyword(s):  
Martin Heidegger ◽  
Jacques Derrida ◽  
Environmental Issues ◽  
Wallace Stevens ◽  
The Earth

At first sight, environmental issues do not seem to feature prominently, if at all, in the work of Jacques Derrida. This essay aims to take a closer look, and thereby to issue a challenge to the burgeoning discipline of eco-criticism. Instead of promoting the Beautiful Soul who is equipped to save the planet by virtue of reading poetry, I argue for the ethical primacy of waste and welter (to recycle a phrase from Wallace Stevens). Jonathan Bate's The Song of the Earth, a powerful but pious work of eco-criticism, ends with a test proposed to the reader; I take the test, which entails reading Stevens's late poem ‘The Planet on the Table’, and fail. Bate's invocation of Martin Heidegger is briefly examined, as are traces of Derrida. What remains of Derrida, I propose, is neither method nor concept but rather remainders that trouble the grounding of environment (Umwelt) as such.

Music and Memory: The Tlatelolco Refrain

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Josh Kun
Keyword(s):  
State Violence ◽  
First Century ◽  
Student Movements ◽  
Octavio Paz ◽  
Mexican History ◽  
The Past ◽  
Rock Bands ◽  
To Come ◽  
Musical Memory ◽  
A Current

Ever since the 1968 student movements and the events surrounding the Tlatelolco massacre, Mexico City rock bands have openly engaged with the intersection of music and memory. Their songs offer audiences a medium through which to come to terms with the events of the past as a means of praising a broken world, to borrow the poet Adam Zagajewski’s phrase. Contemporary songs such as Saúl Hernández’s “Fuerte” are a twenty-first-century voicing of the ceaseless revolutionary spirit that John Gibler has called “Mexico unconquered,” a current of rebellion and social hunger for justice that runs in the veins of Mexican history. They are the latest additions to what we might think about as “the Mexico unconquered songbook”: musical critiques of impunity and state violence that are rooted in the weaponry of memory, refusing to focus solely on the present and instead making connections with the political past. What Octavio Paz described as a “swash of blood” that swept across “the international subculture of the young” during the events in Tlatelolco Plaza on October 2, 1968, now becomes a refrain of musical memory and political consciousness that extends across eras and generations. That famous phrase of Paz’s is a reminder that these most recent Mexican musical interventions, these most recent formations of a Mexican subculture of the young, maintain a historically tested relationship to blood, death, loss, and violence.

Pre-modern Scriptures in Postmodern Times

2008 ◽  
Vol 2 (2-3) ◽  
pp. 293-315
Author(s):  
Diana Walsh Pasulka
Keyword(s):  
Martin Heidegger ◽  
Religious Thought ◽  
Reading And Writing ◽  
Writing Practices ◽  
Localized Analysis ◽  
Crisis Of Modernity ◽  
Paul Griffiths

A contemporary movement in Christian religious thought advocates for the recovery of pre-modern exegetical practices. Wesley Kort, Paul Griffiths, and Catherine Pickstock are among several theorists who support a return to pre-modern reading and writing practices as an answer to the crisis of modernity. In the context of scripture studies, the works of Kort, Griffiths, and Pickstock can be understood as examples of analyses that focus on the performative elements of scripture. Their stress on memorization, recitation, and reading reflect the influence of studies of the performative function of scriptures by Wilfred Cantwell Smith and William Graham. Kort, Griffiths, and Pickstock take this line of argument even further, by arguing that is it the very loss of scripture as performance that has inaugurated a loss of the sacred in modernity. This development thus tackles the philosophical issues at stake between secularism and theology and moves beyond the localized analysis of the meaning of specific scriptures. The following analysis places this development in an historical and philosophical context by revealing the theoretical precedents that each scholar draws upon, specifically the later writings of Martin Heidegger.

Relação entre Espaço e Lugar no Pensamento de Martin Heidegger

Correlatio ◽  
2007 ◽  
Vol 6 (11) ◽  
pp. 124-141
Author(s):  
A.A.R. Silva
Keyword(s):  
Martin Heidegger

The Sun and the Moon: Octavio Paz and Rubino Tamayo

2017 ◽  
Vol 22 (2) ◽  
pp. 155-160
Author(s):  
Anastasia Gladoshchuk ◽  
Keyword(s):  
Octavio Paz ◽  
The Sun ◽  
The Moon

Libertad Bajo Palabra

2006 ◽  
Vol 51 (1) ◽  
pp. 134-152
Author(s):  
Roberto Sanchiño Martínez
Keyword(s):  
Octavio Paz

Subversivität und Inspiration sind in der Poetik von Octavio Paz zentrale Paradigmen. In Anlehnung an die Programmatik des ›creacionismo‹ und des Surrealismus sind sie Bestandteile einer selbstref lexiven und emanzipatorischen poetologischen Positionsbestimmung durch den Autor. Sie dienen ihm dazu, Figuren transpersonaler Rede (wie in seinem Essay El arco y la lira) und die Mehrdeutigkeit des dichterischen Wortes (wie in seinem Gedicht Blanco) zu inszenieren. Subversion and inspiration are fundamental concepts in the poetics of Octavio Paz. Following the programs of creacionismo and surrealism they are part of a self-reflexive and emancipatoric poetological position of the author. They are used by him to produce figures of transpersonal speech (as in his essay ›El arco y la lira‹) and to underline the ambiguity of the poetic word (as in his poem ›Blanco‹).

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