scholarly journals «Self» y sociedad en la secuencia poética«Transformations» de D. H. Lawrence

2011 ◽  
pp. 217
Author(s):  
José María Moreno Carrascal
Keyword(s):  
Twentieth Century ◽  
Present Article ◽  
English Language ◽  
The Self ◽  
External Reality ◽  
Relevant Concept ◽  
Long Period ◽  
High Modernism ◽  
Time Period ◽  
Siglo Xx

El proceso de constante reelaboración y reagrupación en secuencias que D.H. Lawrence (1885-1930) lleva a cabo en su obra en verso viene motivado no sólo por un afán formalista sino, muy especialmente, por una preocupación autobiográfica y un deseo de plasmar orgánicamente la conciencia individual o self del autor y su particular cosmovisión de la realidad. Este hecho, patente en todos los poemarios del poeta inglés, propició –por parte de un sector mayoritario de la crítica formalista a lo largo del pasado siglo– la aparición de ciertas ideas reduccionistas que llegaron a considerar la obra en prosa en general y la poesía en particular de este controvertido autor del High Modernism en lengua inglesa como una construcción ajena a las realidades y tensiones sociales de la Inglaterra de comienzos del siglo XX. El autor recrea la mutante realidad externa en su poesía mediante un lenguaje simbólico y mito-poético, basándose en el concepto de la polaridad antagónica y desde unos presupuestos y una mentalidad a-racional y anti-industrial (es decir, aparentemente pre-moderna) que entronca por un lado con la subjetividad del yo romántico y por otro con ciertas corrientes de pensamiento de la modernidad. Mediante el análisis de la forma, el contenido y las posibles influencias de la secuencia poética titulada «Transformations», perteneciente al poemario New Poems (1918), se pretende desmontar en este artículo algunas de las construcciones reduccionistas anteriormente citadas. El proceso de secuenciación arriba aludido así como la motivaciones externas más allá de las preocupaciones del yo consciente o self parecen quedar patentes en dicho análisis, con el que se intenta contribuir a la reivindicación de la poética y la poesía de un autor cuya obra en verso ha sido, durante un largo periodo de tiempo, insuficientemente valorada en el canon en lengua inglesa.The use of the poetic sequence and the constant process of elaboration and rearrangement of poems in clusters unsdertaken by D. H. Lawrence (1885-1930) in his books of poetry is the result not only of a formal concern on the part of the author but, more precisely, of the evidence of an autobiographical preocupation that stems from the need of the poet to express his individual conscience or self as well as from his particular vision of external reality. This fact, evident in all the books of poems published by the English poet, was somehow responsible for the existence (mostly among a vast section of the formalist criticism dominant throughout the twentieth century) of certain reductionist ideas and opinions which erroneously considered the works in prose in general and the poetry in particular of this controverted author of the English High Modernism as a literary construct alien to the realities and social tensions of early 1900´s England. in his poetry, D. H. Lawrence recreates the ever-changing outward reality by means of a symbolic and poetic language that generates his own myths. In order to achieve this objective, the author uses key ideas such as the relevant concept of antagonistic polarity and certain (apparently anti-modern) pre-rational and anti- industrial beliefs, which can be traced to the subjectivity of romanticism but that were also part of some modern currents of thought dominant in that time period. The present article intends to deconstruct some of the above mentioned reductionist ideas about the poetry of D. H. Lawrence through an analysis of both form and content and of the possible influences present in the poetic sequence entitled «Transformations » which the poet included in his book of poetry New Poems (1918). Such analysis also purports to evidence the above mentioned process of elaboration and rearrangement as well as the autobiographical intentionality and the motivations beyond the preoccupations of the self in an author whose poetical works were for a long period of time insuficciently valued within the English language canon.

scholarly journals La vinculación entre geopolítica y seguridad: algunas apreciaciones conceptuales y teóricas/ The link between geopolitics and security: a conceptual and theoretical assessment

2017 ◽  
pp. 111
Author(s):  
Lester Martin Cabrera Toledo
Keyword(s):  
Twentieth Century ◽  
Present Article ◽  
Point Of View ◽  
Theoretical Discussion ◽  
Holistic Understanding ◽  
Points Of View ◽  
Siglo Xx ◽  
The Relationship ◽  
Theoretical Assessment ◽  
The Way

El presente artículo establece una discusión teórica sobre la vinculación que existe entre la geopolítica y la seguridad. En este sentido, la discusión se aprecia desde un punto de vista en torno a la evolución que ha tenido la relación entre geopolítica y seguridad, particularmente sobre la forma en que se comprenden tanto los procesos conflictivos y los actores que se ven involucrados. Así, se establece la vinculación desde comienzos del siglo XX hasta la actualidad, donde se percibe la necesidad de comprender tanto a la geopolítica como a la seguridad desde otros puntos de vista en los que incluso sus elementos básicos se ven cuestionados. Se concluye que se requiere una comprensión holística de ambas perspectivas para entender y explicar los nuevos fenómenos conflictivos, sin descartar la totalidad de los postulados clásicos. ABSTRACTThe present article seeks to establish a theoretical discussion about the link between geopolitics and security. In this sense, the discussion is seen from a point of view on the evolution of the relationship between geopolitics and security, particularly on the way in which both conflicting processes and the actors involved are understood. Thus, it is established the linkage from the beginning of the twentieth century to the present, where it is perceived the need to understand both geopolitics and security from other points of view, in which even its basic elements are questioned. It concludes that a holistic understanding of both perspectives is required to understand and explain the new conflicting phenomena, without ruling out the totality of the classical postulates.

‘Eastern Europe’ in the English-language press in the twentieth century

2019 ◽  
Vol 19 (2) ◽  
pp. 226-250
Author(s):  
Piotr Twardzisz
Keyword(s):  
Twentieth Century ◽  
Cold War ◽  
Eastern Europe ◽  
Detailed Analysis ◽  
English Language ◽  
Time Period ◽  
The Cold War ◽  
General Opinion

Abstract The general opinion among scholars is that Eastern Europe is primarily a Cold-War term. Although the connection between Eastern Europe and the Cold War cannot be denied, it must be kept in mind that the term was well known and used much earlier. This article provides a synthetic review and discussion of how the phrase (name, term, concept) Eastern Europe was used in western English-language press in a better part of the twentieth century, from around 1900 to 1988. Drawing on the results of a search of a journalistic database, this study examines how the term Eastern Europe combines with other lexical units in press texts in this time period. The architecture of its use is revealed through a detailed analysis of collocations which the key term prefers in journalistic texts. In its numerous uses, the term triggers the sense of otherness in its different incarnations throughout the twentieth century.

Lydia Ginzburg's Prose

2016 ◽  
Author(s):  
Emily Van Buskirk
Keyword(s):  
Twentieth Century ◽  
English Language ◽  
Full Length ◽  
The Self ◽  
Full Account ◽  
Soviet History ◽  
Critical Studies ◽  
New Information ◽  
Literary Character ◽  
Russian Intelligentsia

The Russian writer Lydia Ginzburg (1902–90) is best known for her Notes from the Leningrad Blockade and for influential critical studies, such as On Psychological Prose, investigating the problem of literary character in French and Russian novels and memoirs. Yet she viewed her most vital work to be the extensive prose fragments, composed for the desk drawer, in which she analyzed herself and other members of the Russian intelligentsia through seven traumatic decades of Soviet history. This book, the first full-length English-language study of the writer, presents Ginzburg as a figure of previously unrecognized innovation and importance in the literary landscape of the twentieth century. Based on a decade's work in Ginzburg's archives, the book discusses previously unknown manuscripts and uncovers a wealth of new information about the author's life, focusing on Ginzburg's quest for a new kind of writing adequate to her times. The book provides examples of universal experiences—frustrated love, professional failures, remorse, aging—and explores the modern fragmentation of identity in the context of war, terror, and an oppressive state. Searching for a new concept of the self, and deeming the psychological novel (a beloved academic specialty) inadequate to express this concept, Ginzburg turned to fragmentary narratives that blur the lines between history, autobiography, and fiction. This full account of Ginzburg's writing career in many genres and emotional registers enables us not only to rethink the experience of Soviet intellectuals, but to arrive at a new understanding of writing and witnessing during a horrific century.

Sociohistorical Self-Choreography: A Second Dance with Castoriadis

2019 ◽  
Vol 7 (1) ◽  
pp. 87-104
Author(s):  
Joshua M. Hall
Keyword(s):  
Twentieth Century ◽  
Social Justice ◽  
Present Article ◽  
The Self ◽  
Fatal Flaw ◽  
Cornelius Castoriadis ◽  
Poetic Text ◽  
The Creation

Abstract Twentieth-century Greco-French philosopher, economist, psychoanalyst and activist Cornelius Castoriadis offers a creative new conception of imagination that is uniquely promising for social justice. Though it has been argued that this conception has one fatal flaw, the latter has recently been resolved through a creative dialogue with dance. The present article fleshes out this philosophical-dancing dialogue further, revealing a deeper layer of creative dialogue therein, namely between Castoriadis’ account of time and choreography. To wit, he reconceives time as the self-choreography of the sociohistorical, in which performance the sociohistorical plays two dancing roles simultaneously, both choreographer and choreographed dancer. More precisely, as interpreted by Castoriadis in a late essay, the creation and emergence of forms in time consists of a poetic “scansion” or “scanning” of time. Thus, the sociohistorical is both choreographer and dancer, poet and reader, reinterpreting the poetic text of time as the music for its evolving dance.

scholarly journals Dis(ex)torsionar al Otro: Variaciones e involuciones sobre la posibilidad y la facticidad

2021 ◽  
pp. 125
Author(s):  
Francisco José Pérez Fernández
Keyword(s):  
Twentieth Century ◽  
The Self ◽  
The Other ◽  
Siglo Xx

La tecnificación y las grandes catástrofes militares y sociales del siglo XX condujeron a un autor como Husserl a reivindicar un concepto como el de Lebenswelt. Tras este acercamiento hay una reflexión sobre el yo y el otro que se ha querido poner de manifiesto en este artículo a fin de destacar dos conceptos como el de posibilidad y facticidad. Las variaciones imaginarias husserlianas y los testimonios de los supervivientes de los campos de exterminio han servido para destacar y definir tales conceptos, así como un acercamiento a la memoria como concepto que podría marcar un punto de contacto entre ambos.The technification and the great military and social disasters of the twentieth century led an author like Husserl to claim a concept like Lebenswelt. Behind this approach there is a reflection on the self and the other that one has wanted to highlight in this article, two concepts such as possibility and factuality. The Husserlian imaginary variations and the testimonies of the survivors of the extermination camps have served to highlight and define such concepts, as well as an approach to memory as a concept that could mark a point of contact between both.

scholarly journals Primera memoria escrita y primeros lectores en Pereira (Risaralda, Colombia) a comienzos del siglo XX: el ingreso a la vida moderna

2014 ◽  
Vol 6 (12) ◽  
pp. 203-236
Author(s):  
Rigoberto Gil Montoya
Keyword(s):  
Twentieth Century ◽  
Present Article ◽  
20Th Century ◽  
Social Dynamics ◽  
Printing Press ◽  
Local Administration ◽  
The Press ◽  
Siglo Xx ◽  
The City

El presente artículo indaga por la producción, contenido y circulación de algunos de los primeros periódicos publicados en Pereira (Risaralda, Colombia) en las dos primeras décadas del siglo XX, con el fin de rastrear en ellos las imágenes iniciales de ciudad y la forma como opera el discurso de la prensa en la composición de unos roles sociales. Así, se destaca el papel del periodista frente a la administración local y la sutil emergencia de unos actores modernos: el suscriptor, como receptor comprometido con la circulación de unos impresos, y el lector, como el usuario que empieza a hacer uso de las primeras bibliotecas locales. Aquí se pregunta por la primera memoria escrita que se teje en la ciudad y por sus implicaciones en la construcción de una dinámica social, donde el registro periodístico contempla un proceso histórico, convirtiéndose en documento esencial para comprender una noción de vida en comunidad, a propósito de los procesos de modernización que tempranamente asumió Pereira en el siglo XX, en una época en que, en términos administrativos, estaba adscrita al llamado Gran Caldas.First Readers Written and First Memory Pereira (Risaralda, Colombia) in the Early Twentieth Century: Entry into Modern LifeAbstractThe present article enquires into the production, content, and circulation of some of the first journals published in Pereira (Risaralda, Colombia) in the first two decades of the 20th Century, with the aim of tracking in them the initial images of the city, and the way the press discourse operates in the composition of some social roles. Thus, we highlight the role of the journalist in front of the local administration, and the subtle emergence of some modern actors: the subscriber, as a receptor committed with the circulation of printed material, and the reader, as the user who begins to make use of the first local libraries. Two questions emerge concerning the first written memories interwoven in the city, and the implications in the construction of a social dynamics, where the journalistic register implies a historic process which then turns into a document of primary importance for the understanding of a notion of life in community, with regard to the processes of modernization early assumed by Pereira in the 2oth century, in a period in which, in administrative terms, the city was ascribed to the Great Caldas. Keywords: local press, subscriber, printing press, reader, journalism, Pereira

scholarly journals La écfrasis en la obra de Luis Javier Moreno

2013 ◽  
Vol 22 ◽  
Author(s):  
Natalia Carbajosa Palmero
Keyword(s):  
Twentieth Century ◽  
Present Article ◽  
Historical Context ◽  
Multiple Perspective ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Siglo Xx

El presente trabajo analiza la poesía ecfrástica de Luis Javier Moreno dentro del contexto teórico e histórico de la écfrasis, entendida ésta como instrumento semiótico y epistemológico de primer orden y, más concretamente, como elemento mediador entre el poema y la realidad. Desde esta perspectiva múltiple, la naturaleza de la relación verbal-visual que es objeto de la écfrasis adquiere connotaciones heredadas de la época de las vanguardias de principios del siglo XX, claramente relacionadas con la invasión visual de la postmodernidad, lo que se estudiará en relación a los poemas elegidos para el análisis.The present article analyzes the ekphrastic poetry of Luis Javier Moreno within the theoretical and historical context of exphrasis as a primordial semiotic and epistemological source; furthermore, as a mediating element between the poem and reality. From this multiple perspective, the nature of the visual-verbal relationship, which is the concern of ekphrasis, shows connotations brought about by the avant-garde period of the early twentieth century, and clearly related with the current visual invasion of postmodernity. All this will be dealt with in relation to the poems chosen for analysis.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

‘Out Past / Self-Dramatization’: Maurice Scully's Several Dances

2016 ◽  
Vol 46 (1) ◽  
pp. 105-118
Author(s):  
Romana Huk
Keyword(s):  
Twentieth Century ◽  
William Carlos Williams ◽  
The Self ◽  
Avant Garde ◽  
George Oppen ◽  
American Poets

What has lyric to do with any radical phenomenology's choreography? Maurice Scully in Several Dances asks that question, as he has for years now, alongside other poets of Ireland's avant-garde whose ‘distinguishing (not inhibiting) feature’, as Sarah Bennett writes (acknowledging the work of Alex Davis and Eric Falci before her) is that in it ‘the lyric subject persists’ – in tandem with, this essay argues, what she names ‘an interest in perception … [which] is perhaps the most compelling commonality in these poets' work’. What distinguishes Scully's from the lyric phenomenology of American poets from William Carlos Williams (invoked throughout the volume) to George Oppen (also invoked) is that he queries existentialism's ‘singular’ approach to phenomena, achieved as Heidegger thought through the phenomenological ‘bracketing’ of individual (and communal) preconceptions from the perception of things. Cosmic – even theological – speculation enters in as Scully's poems move out past both self-centered lyric and twentieth-century cancellations of all preconceptions in the ‘limit-thinking’ and being-toward-death that phenomenology proposed for seeing past the self. Yet Scully works with mortality always in his sights too as he sings ‘the Huuuman / Limit-at-tation Blues’ (p.118) and, more vertiginously, considers both the undelimitability and the fragility of us.

Happiness and the Theology of the Self in Late Seventeenth-Century England

2017 ◽  
Author(s):  
Craig Muldrew
Keyword(s):  
Seventeenth Century ◽  
English Language ◽  
Thomas Aquinas ◽  
The Self ◽  
Appropriate Use

Muldrew traces the integration of Aristotelian into Christian thinking about happiness, by Thomas Aquinas and during the Renaissance but more particularly in the thinking of late seventeenth-century ‘Latitudinarian’ divines. He argues that they were seeking an alternative way to achieve peace and tranquillity to that offered by Hobbes, who had stressed the need for strong authority. Their alternative drew on a variety of classical ideas about self-cultivation and self-discipline, but built upon and further developed relatively hedonistic versions of these. The pursuit of moderate sensual gratification was legitimized as an appropriate use of human faculties implanted by God. Although this was an erudite tradition, it was presented to a less erudite audience in sermons: these writers often transposed ideas from a classical to an English-language setting. In that context, the word ‘happiness’ came to loom large, appearing frequently and functioning as a key motif in latitudinarian thought.

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