Escritura e Imagen

El teatro del pueblo: una historia interminable

Jacques Rancière — Thu, 19 Dec 2024 00:00:00 +0000

Julio de 1848. El ciudadano Eugène Delaporte, antiguo alumno del Conservatorio y músico en la ciudad de Sens, presenta a los miembros de la Asamblea nacional un proyecto que cuenta con el visto bueno del ciudadano ministro del Interior. Delaporte les muestra un arma capital para “propagar la Santa Fraternidad” y “disipar con ayuda de la ciencia las tinieblas del fanatismo y la ignorancia”: el desarrollo de la música coral. Como botón de muestra, la historia de esos obreros del arrabal Saint-Antoine, que llegaron para canalizar el Marne y no fueron bien acogidos por los obreros locales. Las riñas habían comenzado cuando algunos obreros parisinos dieron un paso al frente e interpretaron al aire libre “algunos de esos coros que conmueven a las masas, disipan los odios y exaltan a las poblaciones, recordándoles el origen celeste común a todos”. Desde ese instante, la Fraternidad reina en el Marne y reinará pronto sobre toda la República por medio de una organización unificada de la enseñanza musical y por las agrupaciones corales; organización que se dispone a dirigir el ciudadano Delaporte.

Aesthetic Analysis of the Audiovisual Work of Alberto García-Alix at the Beginning of the 21st Century

Aramis Guerrero Muñoz — Thu, 19 Dec 2024 00:00:00 +0000

The present study aims to demonstrate the existing correlation between the aesthetics of the audiovisual work of renowned photographer Alberto García-Alix, developed during the first decade of the current century, and the Aesthetic theories proposed by Eugenio Trías in his book Lo bello y lo siniestro (1982) and by Jose Luis Pardo in his book Estética de lo peor (2015). Throughout this research, the most significant characteristics of the audiovisual pieces that the author created during his stay in Paris between the years 2003 and 2006, collected in the trilogy "Tres vídeos tristes," which includes "Mi alma de cazador en juego" (2003), "Extranjero de mí mismo" (2004), and "Tres moscas negras" (2006), will be thoroughly examined. Alongside the analysis of this trilogy, the «audiovisual» work that is recognized as his greatest artistic maturity to date, "De donde no se vuelve" (2008), will also be analysed.

Genealogies of Testimony in Post-Dictatorship Argentine Literature: María Negroni's La Anunciación

Ximena Venturini — Thu, 19 Dec 2024 00:00:00 +0000

The article carries out a genealogy of the testimonial genre based on an analysis of the
novel La Anunciación by the Argentine writer María Negroni. Some of Longoni’s (2007) ideas on
the testimonial genre in contemporary Argentina and the suspicion that fell under the survivors will
be applied, as well as the concept of “threshold” coined by Forcinito (2012). On the other hand, the
testimonial genre will be studied in relation to the phenomena of the tension between mourning and
narration that Avelar (1999) identified in post-dictatorship literatures in the Southern Cone. These ideas
will be applied to the novel analyzed in this paper.

Anne Carson and the deconstruction of literary genre.

Alejandro Gómez Masdeu — Thu, 19 Dec 2024 00:00:00 +0000

In this article we intend to show the presence of Jacques Derrida in Anne Carson's poetic work. Derrida is not only mentioned by Carson, which in itself demonstrates her interest in him, but it is also possible to establish notable formal similarities between some of Carson's and Derrida's works, as well as a certain closeness between the thought of the French philosopher and the presuppositions of Carson's poetics, both in the general perspective of Derridean deconstruction and, singularly, in the deconstruction of literary genres, which is characteristic of the Canadian poet's oeuvre and which Derrida theorizes in a certain way in The Law of Genre. Thus, we believe that Jacques Derrida's positions can be a privileged framework for understanding this dimension of Carson's work, which in fact is often considered his most characteristic feature.

John Hejduk and Literature: From Retreat Masque to Architectural Requiem

Carlos Barberá Pastor — Thu, 19 Dec 2024 00:00:00 +0000

The architectural proposal developed by John Hejduk between 1980 and 2000 has ties to
literature, influenced by his wife, Gloria Fiorentino. The quotes and references in his drawings and
sketches to literary works by authors such as Hawthorne, Flaubert, Hardy, Melville, Blanchot, Gide,
Proust, Rilke, and Mann confirm these connections, stemming from the pleasure in reading that the
American architect expresses in his texts. This article aims to clarify these relationships between some
of the New York architect’s works and literature. Although the connections with literary authors can
be defined in various aspects of his work, the relationships are intense from an overall perspective,
encompassing two of his works, Retreat Masque and Architectural Requiem. The research work
develops an analysis of some pieces that unravel these relationships between the two disciplines in
an artistic sense. The relationships between the two disciplines and the link in a process of complex
correlations are demonstrated.

Seeing is not seeing: κένωσις of the image (A. Tarkovsky), blind-seer (C. Monet, J.-L. Godard) and the remains of sacred blue

Antoni Gonzalo Carbó — Thu, 19 Dec 2024 00:00:00 +0000

«It is certainly not enough to see» (Jean-Luc Marion); «to see is to see nothing» (Michel de Certeau); «the blind can be a seer» (Jacques Derrida). The κένωσις (‘emptying’) of the image is very well expressed in the final sequence of the film Andrei Rubliov (1966, Andrei Tarkovsky), which records the passage from the image (the face of Christ the Redeemer), the visible, to the non-image (the empty white tablet) of the icon «disfigured» (Isaiah 52:14) by the rain, the invisible materialised in the remains of blue pigment. The blindness-clairvoyance contraposition is reflected in Marcel Proust’s expression, from Claude Monet, that Jean-Luc Godard introduces in his film Adieu au langage (2014): «to paint what is not seen … the insufficiency of the eye». The icon comes from the κένωσις of the image. The painter (Rubliov, Tarkovski) sees more than the visible, like the blind, painter and seer par excellence (Monet, Godard, Derek Jarman).

Writing as a way towards a possible handcraft of the subject: an approach from the feminine jouissance

Cristina González Fernández — Thu, 19 Dec 2024 00:00:00 +0000

This essay pretends to be a reflection on the subjective implications of writing. To this purpose, it will start from some of the concepts that constitute the last part of Jacques Lacan's psychoanalytic theory, such as "letter" and "feminine jouissance". Once these concepts are deployed, it will be possible to approach the question of writing as a form of organization of the void inscribed in the mode of jouissance non-all, which will open the possibility of thinking of it as a process with repercussions on the subject through the erosion caused by the unveiling of semblants. The reflection will be reinforced by philosophical and literary works that also address this question of writing.

I will be the silence, I will be in the silence: the great murmur as enunciative subjectivity in Beckett’s The unnamable

Felipe Andrés Matti — Thu, 19 Dec 2024 00:00:00 +0000

In this work it will be analyzed the collective enunciation that Gilles Deleuze and Félix Guattari formulate in Capitalism and schizophrenia. To do so, Samuel Beckett’s The unnamable will be taken as an example, given that not only Guattari directly refers to it in the preparative texts for The Anti-Oedipus, but also that the Beckettian essay is itself an enunciative formation that sheds light on the notions of the great murmur and being-language. Thus, as main hypothesis it is held that the language’s desterritorialization, process from which an enunciative formation that prescinds of the subject, would find support in the Beckettian writings. Also, as secondary hypothesis it is upheld that the assemblage of a deterritorialized language would sustain resemblances with the reflexive motion that suffers the grammatical subject that transverses the text and that peaks in its annihilation in favor of the silence, which would be the enunciative formation that refers to the great murmur that possibilities language.

Furio Jesi: Myth and Biography

Mercedes Ruvituso — Thu, 19 Dec 2024 00:00:00 +0000

When, in 1972, Furio Jesi first elaborated his model of the “mythological machine”, he
started from a particular reading of the “myth of Rimbaud” and his legendary participation in the Paris
Commune. However, in the context of May 1968, he also aims to question his own present: why do
mythical epiphanies in the revolts of yesterday and today end in a “religio mortis”? This paper aims to
“dismantle” the first formulation of the “mythological machine” in order to locate conceptually how
it is constructed on the basis of the aporia between myth and “biography”. On the one hand, it will be
shown that, in parallel to Guy Debord’s situationism, Jesi takes up, not always explicitly, certain places
common to Walter Benjamin’s task of demythologisation: childhood, the commodity, revolt. On the
other hand, the conceptual tension between myth and biography that redefines the distinction between
bios and zoé will be interpreted as an equally “biographical” response to Karl Kerényi.

Theoretical approaches to the linguistic functions of emoji in digital communications: as metaphor, gesture, and annotation

Enrique Ferrari — Thu, 19 Dec 2024 00:00:00 +0000

To enhance understanding of the linguistic nature of emojis, their effect on accompanying text has been examined through comparison with other linguistic elements that have been more extensively studied in academic literature. Traditionally emojis have been intuitively understood as visual and conceptual metaphors, however, this overlooks significant differences in their mechanisms that have received little attention in academic discussions. More recent studies have offered an alternative
conceptualisation which equates the function of emojis to that a form of non-verbal language such as gestures. Despite this, there remains a lack of research on emojis’ specific characteristics as a written code, acting as a transcription of those gestures in non-verbal communication. Building on this, the findings of this study illustrate that emojis can be understood as visual representations that signify not the gesture itself but its absence. They serve to alert the reader, who must imagine or infer the gesture within the context of oral communication, thus performing a function similar to stage directions in theatre.

Hospitality and artistic activism in and around 2001

Modesta Di Paola — Thu, 19 Dec 2024 00:00:00 +0000

The relationship that activist art weaves with society is very often nourished by the moods of society itself, transforming public actions in collective complaints and generational quarrels that record the different human reactions to current historical events. An emblematic case that explains this relationship is found in the 9/11 attacks on the Twin Towers in New York, which in 2001 generated the so-called fight against international terrorism, whose aims hid a radical anti-immigration policy, and hid in several countries the suspension of some constitutional rights. In light of this event, we witnessed the intensification of nationalist discourses, the generation of a feeling of fear towards the foreigner and the consequent political measures that until today neither concealed nor qualified the xenophobic component that the beginning of the 21st century suffers. However, from the artistic field it generated an emblematic reaction that if on the one hand it acted as a social seismograph measuring social moods, on the other hand it promoted a political activism that spread internationally. Many activist artists and performers have given a fundamental contribution with extraordinary artistic examples that have recognized the feeling of hospitality as the key against all xenophobic discourse, and have used it as a conceptual basis to explain the dynamics of coexistence between individuals and societies.

From the desert to the deserted city: everyday narratives and precarious images images in the work of Elías León Siminiani

José Luis Panea — Thu, 19 Dec 2024 00:00:00 +0000

The work of filmmaker Elías León Siminiani constantly explores the limits of the audiovisual format. He achieves this through cinematographic montage in a suggestive coexistence between image, both still and moving, and text, both written and narrated, as well as thanks to a minimalist aesthetic marked by a deliberate economy of means, appealing directly and informally to the spectator. In this article I analyse his series “Key Concepts of the Modern world” (1998-2009) as it condenses, embodies and crystallises these strategies, paying special attention precisely to the way in which he develops the aforementioned “concepts” from the documentary essay. In this case, his critical and personal gaze is directed towards the phenomenon of gentrification and the paradoxical loneliness of the individual in an urban and hyper-connected society. The aim is, in short, to highlight this work, which until now has received little attention in the field of criticism and aesthetic reflection, but which takes the pulse of some of the most pressing issues of our time, while at the same time combining the aesthetic concerns of the author who recently won the 37th edition of the Goya Awards.

Words against bourgeois sensibility?: Lexicometric analysis of 20th Century Art Manifestos

Diego Luna — Thu, 19 Dec 2024 00:00:00 +0000

The critical analysis of verbal discourses constitutes a useful strategy for understanding the way art manifestos attempt to challenge certain narratives, inaugurate alternative realities, and construct their own identity. The present study stemmed from the need to further delve into the knowledge of 20th-century artistic manifestos, assuming as its main objective the exploration of the evolution of the political potential of art in modern and postmodern manifestos from a lexicometric approach. The results obtained reveal a progressive depoliticization of the artistic discourses gathered in these writings: while, on the one hand, modern manifestos devote great efforts to attacking bourgeois sensibility and all it represents, on the other hand, postmodern texts completely forget the anti-ourgeois objectives and seem to focus on reflecting upon an already consolidated system, the art system, without threatening
its existence at any point.

Soto Calderón, Andrea. Imágenes que resisten. La genealogía como método crítico, Barcelona: La Virreina Centre de la Imatge, 2023, 128 págs.

Álvaro Márquez Guerrero — Thu, 19 Dec 2024 00:00:00 +0000

DeLanda, Manuel, Teoría de los ensamblajes y complejidad social, Buenos Aires, Tinta Limón, 2021

Imanol Galarraga Castaño — Thu, 19 Dec 2024 00:00:00 +0000

Venzon, Ruben, Revelaciones. Álbum familiar y fototextualidad autobiográfica en la narrativa española del siglo XXI, Ediciones de Iberoamericana, 2024, ISBN: 978-84-9192-421-0.

María Sotelo Rodríguez — Thu, 19 Dec 2024 00:00:00 +0000

Deltell, Luis, y McGowan, Nadia, Latinoamérica filmada, Madrid, Fragua, 2024.

Florencia Claes — Thu, 19 Dec 2024 00:00:00 +0000

La editorial madrileña Fragua ha publicado en verano de 2024 un monográfico titulado Latinoamérica filmada que recoge catorce investigaciones sobre cineastas de dicha área geográfica. Se trata de una iniciativa de ESCINE, grupo complutense de estudios cinematográficos. Los co-editores del trabajo son Nadia McGowan, de la Universidad Internacional de la Rioja, y Luis Deltell, de la Universidad Complutense de Madrid. La propuesta resulta atractiva y sugerente pues aborda el recorrido por una senda zigzagueante y compleja como es el cine en Iberoamérica. Uno de los aciertos de la propuesta, del presente libro, es reconocer desde el inicio del proyecto que se trata de un trabajo tentativo y no explicativo. Es decir, se abren preguntas más que intentar contestar respuestas.

Beckett, Samuel, Watt (edición y traducción de José Francisco Fernández), Madrid, Cátedra, 2023

Lara Estany Freire — Thu, 19 Dec 2024 00:00:00 +0000

Fisher, Mark, Deseo postcapitalista: las últimas clases, Buenos Aires, Caja Negra, 2024

Alejandro Mardones de la Fuente — Thu, 19 Dec 2024 00:00:00 +0000

Jesús Zurita: a la sombra del trazo

Daniel Lesmes — Thu, 19 Dec 2024 00:00:00 +0000

La incertidumbre activa del pensamiento en escena: entrevista a Ernesto Caballero y Karina Garantivá (Teatro Urgente)

Ignacio Pajón Leyra, Gon Ramos — Thu, 19 Dec 2024 00:00:00 +0000

Introducción a los escritos de Edoardo Robino sobre “El Chiste” de Freud

Jean-Claude Léveque — Thu, 19 Dec 2024 00:00:00 +0000

The Dramatic Discourse and Philosophical Discourse as Shared Territories. An Introduction

Ignacio Pajón Leyra — Thu, 19 Dec 2024 00:00:00 +0000

The Theater of José Saramago

Asunción Muñoz — Thu, 19 Dec 2024 00:00:00 +0000

This article analyzes the ideas contained in the theater of José Saramago. This analysis allows for a comparison of the fundamental concepts and the situations subjected to criticism by the author. It also highlights the relevance of this critical perspective, which is more extensively developed in some of his novels.

Present and Scene: A Poetics of Relation. A Brief Log of Connections Between Pablo Messiez’s Scenic Poetics and Gaston Bachelard’s Aesthetic Theory

Gon Ramos Barroso — Thu, 19 Dec 2024 00:00:00 +0000

This text relates the scenic and pedagogical practices of the Argentinean creator Pablo Messiez, nourished in their very basis by a profoundly philosophical thought, with part of the aesthetic theory of the French thinker Gaston Bachelard. In the coexistence of both worlds, seeds of thought are born that, we believe, shed light on the field that unites philosophy and theatre. As a result of our attendance to a formative process dictated by the Argentinean creator, in addition to the knowledge of his professional practice on national stages, we will establish the connections between his theoreticalpractical world and Bachelard’s texts.

A Thinker for a Theater: Buero Vallejo

Javier Huerta Calvo — Thu, 19 Dec 2024 00:00:00 +0000

The Theatre of Antonio Buero Vallejo stands out for its literary and scenic qualities, as well as for its profound thought. The philosophy is very present in his plays: Plato, Schopenhauer, Nietzsche, Unamuno, Ortega y Gasset, Zubiri, Camus...

So That It May Be Lived: The Theatrical Conception in María Zambrano’s Thought

Nieves Rodríguez Roríguez — Thu, 19 Dec 2024 00:00:00 +0000

María Zambrano's relationship with theater, in its political and metaphysical dimension, is a constant in the life and thought of the philosopher. After the experience of exile, Antigone appears to her, the tragic heroine who will accompany her for more than twenty years—in which she investigates time, dreams, delirium, democracy or piety—and who will bear fruit in her play La tumba de Antígona (1967). This paper, therefore, aims to illuminate these relationships and the reception of thought in current contemporary theater.