Granada: Grupo Editorial Universitario, 214 pp. El libro se estructura en cuatro partes principales. Además de esta propuesta que, como decimos, sostiene el libro, se ofrecen también otros recursos ...concretos: cambiar los roles de los personajes, inventar finales alternativos, cambiar la perspectiva del narrador, actualizar los valores que se transmiten, prosificar poemas, dramatizar cuentos, partir de un cuadro, hacer un cómic, etc. Decimos "moderna", pero nos referimos a planteamientos que podemos retrotraer a la Escuela Nueva, de hace un siglo.
This article aims to reveal and examine Oulipo's engagement with China. While individual members like Michèle Métail and Raymond Queneau have seemingly contributed to the group's affinity for China ...on a superficial level, a deeper analysis of the two Oulipism tendencies suggests this interest is fundamentally impersonal and detached. The essence of Oulipism means the group can never be fascinated by any single influence, even while remaining open to Chinese inspiration. Thus, Oulipo harbors what can be characterized as a disinterested interest in China-intrigued by its potential without becoming enthralled by it.
Raymond Queneau's postwar reputation as comic author belies the suspicion the writer brought to a negativistic stripe of humor rooted in fin-de-siècle French cabarets and Jarry's circle. In the ...polemical essay of 1938 "L'humour et ses victimes," Queneau exposes the limitations of "perpetual humor," which he claims must be replaced by a measured form of irony, the creative energies unleashed in Europe by Dada having long since run their course. The matrix of the Aesopic fable allows the essayist to lay bare, through the figure of gonflement, the crass self-importance of contemporary French humorists and to establish the grounds for a re-humanized space of creation wherein humor equates with wisdom, in Hegel's sense of the end of History.
En este artículo pretendo explorar los soportes de publicación del poemario A veces cubierto por las aguas de Carlos Cociña. Esta obra se publica el año 2003 en el sitio web Poesía Cero. Luego, en ...2013 aparece incluido en la antología El margen de la propia vida, impreso en páginas sueltas dentro de un sobre; y, finalmente, en 2015, se presenta en una lectura pública y performática junto a la Orquesta de Poetas. Del recorrido digital al impreso y del impreso a la lectura, me interesa analizar el carácter aleatorio de A veces cubierto por las aguas, considerando los procedimientos escriturales de potencialidad y restricción esbozados por el grupo Oulipo. En definitiva, estos recursos establecen un vínculo con la poética de trabajo de Cociña y la desmaterialización de los soportes de publicación (página web, libro impreso y performance).
In this article I intend to explore the publication media of the poem A veces cubierto por las aguas by Carlos Cociña. This work was published in 2003 on the Poesía Cero website. In 2013, it was included in the anthology El margen de la propia vida, printed on single pages inside an envelope, and, in 2015, it was presented along with Orchestra of Poets, in the context of a public and performative reading. From digital to printed and from print to reading, I am interested in analyzing the random nature of A veces cubierto por las aguas, considering the scriptural procedures of potentiality and restriction outlined by the Oulipo group. In short, these resources establish a link with the poetics of Cociña’s work and the dematerialization of the publication supports (web page, printed book, and performance).
This paper examines a single novel by Raymond Queneau, Les Enfants du Limon Children of the Clay. Its two principal elements are politics and insanity: their ways of inspiring, or exploiting, each ...other. Or more simply, their general resemblance. Its title suggests the other strong current running through it: the wish for a new life, and the muddy start and finish of all lives. The concatenations of politics and madness can twist unhappiness and the desire for change into grotesque shapes. Les Enfants du Limon is a crowded exhibition of such distortions. But its form suggests that its entire déroulement is a process whereby it wears itself out, uses itself up in favor of something else, something new.
Le texte littéraire ouvre toujours une sorte de second degré des langues : que devient « traduire » quand ce second degré est systématiquement pensé, organisé et réalisé selon des contraintes d'une ...complexité plus ou moins grande, qui sont elles-mêmes des décisions rigoureuses particulièrement significatives et inventives ? que peut et que crée le fait de « traduire » dans la double contrainte de cet autre de la langue à traduire et de ces contraintes à adopter, adapter ou « traduire », si possible ?
Acts de fundación de l'Outranspo Bloomfield, Camille; Galvin, Rachel; Ruiz, Pablo Martín
MLN,
09/2016, Letnik:
131, Številka:
4
Journal Article
Recenzirano
The Outranspo was founded on Friday, October 5 th, 2012, at eleven-thirty and twelve seconds, in the fine northamerican city of Rochester, where translators thrive and the raw chest airs, based on an ...idea from Pablo Martín Ruiz, a paw-below-freezing martini who rues no ice, in the presence of Camille Bloomfield, easily camouflaged in a meadow of daisies, and Rachel Galvin, a galivanting ray amidst the chill, and many other folks-who had nothing to do with it. ###&°@°&### Article 2: The Outranspo is an Ou-X-po whose acronym stands for « Ouvroir de Translation Potencial », enacting in its very name the idea that translation is a stammering reservoir of sublime-though totally incestuous-marriages between languages, the creative, unlucrative site of glowballization, the very real crucible of a universal potentiality for human and cultural interaction. Potential translation seeks and invents procedures, methods, rules, and mechanisms that put into play the incessant, creative, and dynamic poetic of the multiplicity of languages. ###&°@°&### Article 5:
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