Al misterio, que aterra y apela a la vez, van lo fantástico y lo místico, aunque distintamente. Este artículo repasa cómo lo hacen y revisa la terminología común en las investigaciones al respecto ...con tal de proponer una categoría que se encuentra entre ellas y surge en la poesía: “lo misterioso”. Desde la narrativa, lo fantástico manifiesta el sentimiento de “lo ominoso” (Unheimliches) a través de los fenómenos “preternaturales” (excepciones a la naturaleza) y “transnaturales” (de la “transrealidad”, más allá de la nuestra). Lo místico poetiza “lo numinoso” (Unheimliches) tras la unión divina (éxtasis) vinculada a la “sobrerrealidad” (divina), de la que aparecen los fenómenos “sobrenaturales” (divinos). Lo misterioso muestra las conexiones invisibles entre las cosas intuidas por el poeta, quien se siente como en casa en el misterio de la realidad (Heimliches) alcanzando un “ínstasis” y descubriendo un sinfín de conocimiento inefable (“lo minoso”) que trata de cantar sin jamás lograr del todo. Para una mayor comprensión de lo expuesto, se proponen los siguientes ejemplos: el cuento “El perseguidor” (1986) de Cortázar para lo fantástico, algunos fragmentos de poemas de San Juan de la Cruz para lo místico y el poema “Al centro rayeante” (1949) de Juan Ramón Jiménez para lo misterioso.
(n\)-Fold Filters of EQ-Algebras Ganji Saffar, Batoul; Kologani, Mona Aaly; Borzooei, Rajab Ali
Bulletin of the Section of Logic,
10/2022, Letnik:
51, Številka:
4
Journal Article
Recenzirano
Odprti dostop
In this paper, we apply the notion of \(n\)-fold filters to the \(EQ\)-algebras and introduce the concepts of \(n\)-fold pseudo implicative, \(n\)-fold implicative, \(n\)-fold obstinate, \(n\)-fold ...fantastic prefilters and filters on an \(EQ\)-algebra \(\mathcal{E}\). Then we investigate some properties and relations among them. We prove that the quotient algebra \(\mathcal{E}/F\) modulo an 1-fold pseudo implicative filter of an \(EQ\)-algebra \(\mathcal{E}\) is a good \(EQ\)-algebra and the quotient algebra \(\mathcal{E}/F\) modulo an 1-fold fantastic filter of a good \(EQ\)-algebra \(\mathcal{E}\) is an \(IEQ\)-algebra.
The fictions of the Uruguayan-Argentinian writer Horacio Quiroga allow a case study on how media shape the image of artificial life. While “El hombre artificial”, one of his early novellas, follows a ...nineteenth-century scheme of electromagnetic transmission of consciousness, later texts chose “N-rays” (“El vampiro”) or cinematographic projection (“El espectro”) as a ground for spectral life. This is not, however, the only difference between the early and the later fiction. The models of literary invention follow, on the one hand, the history of technology and the author’s own passion for science and cinema; on the other hand, they can be related to forms of publication, such as the serialized novellas of the illustrated magazine, and the form illustrations and commercial advertisements pervade literary creation. The way artificial life is handled throughout Quiroga’s work sheds light on his own constitution as an author: behind the making of the artificial being stands the making of the artist.
This annotated list of books from 1990 through 2005 continues the bibliography in Mythlore 36.2 (SpringSummer 2018) and includes abstracts for each novel or series and some card layout diagrams.
O fundador do teatro moderno do século XX, Konstantin Stanislavsky e o seu aluno Evgeny Vakhtangov, implementaram, em suas práticas e performances, o princípio “como na vida”. Eles acreditavam que um ...ator deveria estar no palco como uma criança estaria. Enquanto criança, ele poderia “largar o boneco”, tratando-o como um “soldado ferido” e enfaixando-o com seriedade. Para tanto, o ator deve relacionar-se com a inverdade, isto é, o espaço do palco, tratando-o “como se fosse verdade, ou seja, transformar mentiras em verdade” (VAKHTANGOV, 1918). Neste artigo, propomos abordar exemplos do assim chamado “teatro da verdade” (escola da experiência, escola da representação) através de categorias semióticas específicas (modalidades veridictórias, envolvimento/não-envolvimento), bem como através do prisma da semiótica da cultura de Youri Lotman, procurando responder à seguinte pergunta: “qual é a verdade no palco do teatro de hoje?”.
The founder of the modern theater of the 20th century, Konstantin Stanislavsky, and his student Evgeny Vakhtangov, in rehearsals and in performances, implemented the principle: “as in life”. They believed that an actor should be on stage like a child. The latter, dropping the doll, may treat it like a wounded soldier and bandage it quite seriously. So, the actor must relate to untruth (the space of the stage). He must treat this “as if it were truth, that is, turn lies into truth” (VAKHTANGOV, 1918). We propose to consider examples of “truth theater” (school of experiencing, school of representation) through semiotic categories (veridictory modalities, engagement/disengagement), as well as through the prism of Lotman's semiotics of culture, and also ask the question what the truth on the theater stage is today.
Criaturas marinas en los relatos de Fernando Quiñones Cordero Sánchez, Luis Pascual
Brumal : Revista de Investigación sobre lo Fantástico = research journal on the fantastic,
2022, Letnik:
10, Številka:
1
Journal Article
Recenzirano
Odprti dostop
El monstruo marino ha aparecido en varias colecciones de relatos de Fernando Quiñones (1930-1998): La guerra, el mar y otros excesos (1966), El viejo país (1978), El coro a dos voces (1997) o Del ...libro de los sueños (2009). Todos ellos se inscriben, pese a su muy distinta naturaleza, en un concepto de monstruo influenciado por lo netamente fantástico y por el simbolismo de la libertad y la crítica al capital. Más allá del uso del monstruo fantástico, muchas veces ominoso, con cierta similitud a una galería animal que bebe de la tradición del bestiario, se busca concluir que Quiñones despliega en su narrativa breve esta galería de animales marinos no solo como una parte más de su literatura fantástica y de sus vínculos biográficos con el mar, sino como una herramienta de crítica social y económica, y sobre todo como una loa ecologista basada en la estrategia de desmitificar al monstruo, desposeerlo de la inmerecida maldad que se le suele atribuir y reubicándolo desde lo insólito hacia el mundo de lo real en un alegato a favor del mar, su misterio y sus criaturas.
Comumente associamos a narrativa fantástica ao medo, ao perigo da morte, à violência, à dor e ao sofrimento, como se eventos sobrenaturais fossem obrigatoriamente de natureza maligna. Por essa mesma ...razão, a mente humana afasta a possibilidade de uma narrativa fantástica conter elementos de humor, dada a pretensa incompatibilidade entre o riso e o medo. Entretanto, preferimos entender medo e riso como forças antagônicas, mas complementares porque ambas se alimentam reciprocamente: rimos do outro porque ele tem algo a temer que nós não tememos; ou rimos de nós mesmos quando descobrimos que a causa de nosso próprio medo é superada. Dessa forma, podemos entender o riso como forma de evitar a vinculação daquele que ri com uma ameaça, seja de forma preventiva (antes ou durante o evento sobrenatural) ou de forma retrospectiva (passada a situação assustadora). No caso dos contos "Lanterne magique" (1891) e "L'egregore" (1891) de Jean Lorrain (1855-1906), o humor apresenta-se como oposição à realidade sobrenatural oculta sob o véu da realidade ordinária em que vivem os personagens, isto é, apresenta-se como vetor de tensão do fantástico, contrapondo-se cética e ironicamente à leitura ocultista feita por um dos personagens acerca das atitudes e hábitos de frequentadores da alta-roda parisiense da belle époque.
Working Juju examines how fantastical and unreal modes are deployed in portrayals of the Caribbean in popular and literary culture as well as in the visual arts. The Caribbean has historically been ...constructed as a region mantled by the fantastic. Andrea Shaw Nevins analyzes such imaginings of the Caribbean and interrogates the freighting of Caribbean-infused spaces with characteristics that register as fantastical. These fantastical traits may be described as magical, supernatural, uncanny, paranormal, mystical, and speculative. The book asks throughout, What are the discursive threads that run through texts featuring the Caribbean fantastic? In Working Juju, Nevins teases out the multilayered and often obscured connections among texts such as the Pirates of the Caribbean film series, planter and historian Edward Long's History of Jamaica, and Grenadian sci-fi writer Tobias Buckell's Xenowealth series set in the future Caribbean. Fantastical representations of the region generally occupy one of two spaces. In the first, the Caribbean fantastic facilitates an imagining of the colonial experience and its aftermath as one in which the region and its representatives exercise agency and in which the humanity of the region's inhabitants is asserted. Alternately, the fantastic is sometimes situated as a signifier of the irrational and uncivilized. The thread that unites portrayals of the fantastic Caribbean in the latter kind of works is that they tend to locate Caribbean belief systems as powerful, even at times inadvertently in contradiction to the text's ideological posture. Nevins shows how the singular "Caribbean" identity that emerges in these text is at odds with the complex historical narratives of actual Caribbean countries and colonies.
This research prospects the fantastic imaginary of Hieronymus Bosch and Francisco Goya from the perspective of two fundamental characteristics common to the two artists: fear, with its influence on ...the production of phantasms, beyond historical and iconographic frameworks specific to their times, and transgression, which determines psychologically the typology of the artistic approach, the special phenomenology of the creative labor from the “forbidden imaginary” (Freud) and the “creative surprise” (Anzieu) to the aesthetic sublimation of various “clandestine delights” (Huyghe). In the case of Hieronymus Bosch, the fantastic imaginary is provoked by the fear of damnation, from the visionary interstices of which the clandestine delights of a guilty duality erupt to the surface of the image. In the case of Francisco Goya, the fantastic imaginary is determined almost obsessively by the fear of human bestiality, whose best avatar is Saturn devouring his sons, the sinister keystone of the famous Casa del Sordo. The research connects several theoretical, historical and psychoanalytic perspectives, based on notable studies on the artistic particularities of the two visionaries, following, especially, the impact over time on romanticism, expressionism or surrealism.
The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely ...unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological heterodoxy, and the advent of 'radical' romanticism.
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