Seis indicadores en búsqueda de un sentido Gorraiz, Juan; Jiménez-Contreras, Evaristo
El profesional de la informacion,
01/2018, Letnik:
27, Številka:
2
Journal Article
Odprti dostop
Esta contribución es una especie de documento conceptual y a la vez una reflexión, pero también algo más, un acto de provocación en forma de una pieza de teatro que muestra una realidad, algo ...dramática y cómica a la vez, como es el panorama de nuestra investigación. También incluye una buena porción de humor, pero de ese tipo de humor que el gran escritor y pensador Luigi Pirandello definiera como “el que no provoca la inmediata carcajada, sino sólo arranca una sonrisa detrás de la cual se esconde el amargo sabor de lo absurdo o la insoportable levedad de nuestra existencia“. Esta pieza de teatro, corta y concisa para no aburrir a nadie, narra los esfuerzos que se requieren a diario y las tramas que se originan para llevar a cabo esa tarea –que es más bien utopía- de intentar medir algo que es inconmensurable, como lo es la ciencia por parte de quienes nos dedicamos a su evaluación o al estudio de su desarrollo. En ella, todos los actores involucrados, tanto los protagonistas como los propios indicadores, tienen oportunidad de presentar sus esperanzas y sus miedos, sus méritos y sus quejas, sus recomendaciones y advertencias, y narran la búsqueda de un camino en esa jungla en que se ha convertido el mundo de la información que sea practicable, augure un futuro prometedor a la ciencia y nos permita a nosotros una más justa interpretación.
Living masks Mariani, Umberto
Living masks,
c2008, 20081209, 2008, 2008-01-01, 2008-11-25
eBook
Umberto Mariani presents a clear and comprehensive introduction of Pirandello's major plays for general readers, students, and scholars new to Pirandello.
L'éloge de l'inconstance amoureuse par Dom Juan est un des exemples du discours ironique, discours auquel la comédie a recours tout au long de l'action. Patric Dandrey le définit comme pseudo ...encomium, un éloge paradoxal qui traite sérieusement les sujets frivoles ou badine facétieusement sur des sujets sérieux. L'article a pour but d'analyser trois traductions polonaises du texte de Molière pour répondre à la question quelle est la meilleure stratégie pour préserver l'ironie moliéresque dans la traduction.
Giuliana Musso's fearless play about the structures and cultures that hide sexual abuse is a Pirandellian spiral of truths that elude proof, presented through a theatrical framing that confounds ...reality with art. The most recent play of nine that she has written and performs in her preferred "theater of inquiry" style, Dentro (Inside), dramatizes Musso's real-life encounter with an acquaintance who shared an impossible story of incest. In the opening minutes, Roberta discloses the horrifying experience of slowly learning that her ex-husband molested their daughter Chiara for years when they still lived together. Over a series of "chapters," or scenes, it becomes apparent how every system in place to help vulnerable members of society--from the hospitals to private psychologists, the police and law enforcement, eventually the lawyers, the whole legal system, and even language itself--was unable to support Roberta and her daughter. To the contrary, given that the case was dismissed, they have gag orders; they cannot even speak of what happened so as not to slander the reputation of the ex-husband/father.
En la conmemoración del primer centenario de Seis personajes en busca de autor (1921), de Luigi Pirandello, se analizan sus núcleos semánticos más relevantes. Tras breves menciones a su cartelera ...inmediata en el tiempo, incluidas Barcelona y Madrid, se señalan las dos variantes textuales principales de autor (1921, 1925) y el Prefacio de la segunda. Se aborda el personaje aparentemente secundario, pero en realidad clave, de Madama Pace, que está vinculado a una serie de preguntas y cuestiones medulares (teatro / vida / arte, Actores / Personajes, realidad / ficción…) a las que se intenta dar respuesta, buscando el sentido último de esta obra maestra, necesariamente inserto en su contexto histórico y artístico.
O artigo investiga o conceito de violência e desigualdade de gênero em Canción de cuna para un anarquista (2003) de Jorge Díaz. A violência doméstica é percebida como um problema social, cuja ...dimensão se deve ao uso da violência cultural, legitimada pela sociedade repressiva. O estudo das categorias da personagem, da ação, do tempo e do espaço em Canción de cuna para un anarquista revela um alto grau de semantização, o que permite o surgimento dos temas como a dialética entre a vida e a morte, dentro/fora, antes/depois; a imagem da sociedade repressiva, a solidão individual ou compartilhada e o tema da reinvenção do passado. Todos eles guardam uma notável semelhança com a estética dramática de Luigi Pirandello.
The dissertation, which title in translation is “The representation of society from Verism to Pirandello: marriage, property, Spiritism”, is a wide analysis of the depiction of the loss of ...certainties in the early Twentieth Century Italian society as presented through Veristic literary tools in the novels by Luigi Pirandello, one of the most innovative playwrights and novelists of his time. The connections between the output of three Verist authors (Giovanni Verga, Luigi Capuana, and Federico De Roberto) and that of Pirandello have not been extensively studied, and research has often limited its view to those Verist works chronologically nearest Pirandello’s, taking into consideration their dates of publication and thematic similarity. I argue, instead, that links can be drawn between the early Verist works of Giovanni Verga, such as the short story “La roba” (1880) or the novel I Malavoglia (1881), and the final Pirandellian works written in the 1930s. The research argues that Pirandello’s depiction of society, while revealing a major social and cultural shift, is closely connected to the social literary models created by Verist authors. Positioned at the intersection between social criticism and textual analysis, my work moves from the relationship of greatest intimacy (marriage), to socio-economic status (property), to beliefs concerning the afterlife (Spiritism), in order to explore the loss of the solid links through which society was shaped and the consequent tragic difficulty of the Pirandellian individual to find her/his place in the world. More specifically, my research identifies the literary tools through which the effective depiction of society was made possible. Following that line of research, I have found that Verist authors created specific literary tools that Pirandello adopted and modified in order to depict a transformed society. The model of a contractual marriage shaped by mercantile rules and the character of a patrimonial hoarder are both specific Verist tools and a fertile vein to be pursued not only in Pirandello’s earliest novels such as L’esclusa, but throughout the author’s entire body of work. The literary tools identified by my research were proven able to depict society, and its transformation, through a 50-year time span.
This article investigates theatre self-translation as cultural renegotiation and a tool of empowerment, in terms of the relation between language and dialect, and the conceptualization of "national". ...Building on previous research on the figure of self-translator, the issues of power and the monolingual paradigm, the article analyzes Luigi Pirandello's self-translation of Tutto per bene from Italian into Sicilian. The case study begins with an outline of the Italian sociolinguistic context and Pirandello's views on language, dialect and translation, followed by a detailed analysis of significant changes made in self-translation and of the (in)visibility of the Sicilian and Italian plays. While this self-translation occurs between language and dialect, it still involves cultural renegotiation dictated by a shift in the sociolinguistic reality. Pirandello's dialect self-translation demonstrates that self-translators are agents helping challenge the existing power relations and that self-translation is a tool of empowerment, recognition and cultural inclusion.
This article discusses Thai director Ing K.’s Censor Must Die (2014), a documentary that portrays her efforts to overturn the Thai government’s banning of her film adaptation of Shakespeare’s ...Macbeth, titled Shakespeare Must Die (2012). Though the latter work remains banned as of 2023, this article demonstrates that Censor Must Die may be “read” and interpreted as a Shakespeare film as well, specifically as a dystopian Hamlet and sequel to Michael Almereyda’s Hamlet 2000. While Hamlet 2000 depicts the struggles of individual artists against postmodern entities such as “the System” or “the State” through the figure of Prince Hamlet, Censor Must Die dials this concern to its extreme by documenting censorship against artists not in the realm of fiction but in the “real world” of current events that can influence the production and distribution of art in the first place. In this way, Censor Must Die may be said to have a place in the tradition of Shakespearean adaptations, yet it also suggests the potential end or logical terminus of this tradition due to state-sanctioned assaults on artistic freedom. In offering such a reading, this article attempts to restore a semblance of Shakespeare in Ing K.’s work against the grain of Thai government censors and implicitly raises the question of to what extent Shakespeare’s corpus intersects with and may help to frame, reimagine, and bear witness to international current events.
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