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La euritmia de Juan Emar: Teoría del equilibrio y sistema constructivo
Rubio Rubio,Cecilia;
Acta literaria , 2008, DOI: 10.4067/S0717-68482008000200002
Abstract: in this study i examine the concepts shown by juan emar in his reflexive-character writings from the '20s (cavilaciones (1919-1922) and articles on art (1923-1927). these concepts build up a systematic semantics net that allows to propose a global interpretation of emar's work understood as a unit of sense. this conceptualisation is an occultist metaphysics that refers to the individual-world relationship as a cognitive and constructive-creative relationship according to eurythmic poetics, the base of which is a theory of equilibrium governed by numerical-geometrical laws. here, i claim that there is evidence of this constructive system working in emar's writing practice of fiction texts from the '30s (ayer, diez and umbral).
Eurythmy. When spirituality opens a window to emotions Euritmia. Quando la spiritualità apre uno spiraglio all’emozione
Monica Cristini
Danza e Ricerca : Laboratorio di Studi, Scritture, Visioni , 2011,
Abstract: Eurythmy, developed in the early twentieth century by Rudolf Steiner in the anthroposophical context, arising from the principles that underpin the science of the spirit, is considered an art form far from the dance and the performing arts movement which are an expression of feeling and inwardness. Through an analysis of the path taken by Steiner in this art and some of its founding principles (which seems to recall the aesthetics of Fran ois Delsarte), we assume a value expression which can link the eurhythmic movement to feelings and sensations. By dispelling the status of this art as a mere spiritual practice, we assume the possibility of a return to the original intent of its founder and a concrete reintegration of eurythmy in the field of performing arts. L’euritmia, arte del movimento elaborata nei primi del Novecento da Rudolf Steiner in ambito antroposofico, nata da principi sui quali si basa la scienza dello spirito, è considerata una forma artistica lontana dalla danza e da quelle arti performative che del movimento fanno un’espressione del sentimento e dell’interiorità. Attraverso un’analisi di alcuni principi alla base dell’euritmia si ipotizza una valenza espressiva che possa collegare il movimento euritmico a sentimenti e sensazioni. Un avvicinamento alla danza si evidenzia anche grazie a numerosi elementi stilistici che accomunano l’euritmia alle altre ricerche sorte nell’ambito della modern dance e della K?rperkultur primo novecentesche. Attraverso un accostamento dei principi steineriani a quelli dell’Estetica applicata di Fran ois Delsarte si mette in discussione lo statuto esclusivamente spirituale di quest’arte e si ipotizza la possibilità di un ritorno agli originari intenti del suo fondatore e un concreto reinserimento dell’euritmia tra le arti performative.
Lo sublime y lo impensado en la apuesta vanguardista de Miltín 1934 de Juan Emar
Vásquez,Malva Marina;
Aisthesis , 2011, DOI: 10.4067/S0718-71812011000200012
Abstract: in miltín 1934 juan emar unfolds two conceptions of sublime, considering this concept as a stereotyped fact, an art for bourgeoisie consumption, kept within a mimetic and naturalistic aesthetics. emar satirizes this type of art as well as the art-critique that was dominant in the country at the time. his avant-garde proposal endorses an aesthetic of the sublime as a denial of the referential effect, which opens to foucault's unforeseen (yet-not-thought). the aesthetic of miltín 1934 is an attempt of an impossible writing, and an outline for the aesthetics of a fluent unexpected poetic, proposal that emar will fully develop in his posthumous work, umbral.
Lo sublime y lo impensado en la apuesta vanguardista de Miltín 1934 de Juan Emar The Sublime and the Unforeseen in Miltín 1934, an Avant-garde Novel by Juan Emar  [cached]
Malva Marina Vásquez
Aisthesis , 2011,
Abstract: En Miltín 1934 de Juan Emar se despliegan dos concepciones de lo sublime. Un sublime hecho estereotipo, un arte para el buen burgués, inscrito dentro de una estética mimética de corte naturalista. Emar realiza una sátira de este tipo de arte y de la crítica de arte nacional que imperaba en la época. Su apuesta vanguardista promueve una estética de lo sublime como negación del efecto referencial y apertura a lo impensado foucaultiano. Esta estética en Miltín 1934 se configura como la tentativa de una escritura imposible y un esbozo de una poética de lo fluídico-inusitado, propuesta que Emar desarrollará a cabalidad en su obra póstuma Umbral. In Miltín 1934 Juan Emar unfolds two conceptions of sublime, considering this concept as a stereotyped fact, an art for bourgeoisie consumption, kept within a mimetic and naturalistic aesthetics. Emar satirizes this type of art as well as the art-critique that was dominant in the country at the time. His avant-garde proposal endorses an aesthetic of the sublime as a denial of the referential effect, which opens to Foucault's Unforeseen (yet-not-thought). The aesthetic of Miltín 1934 is an attempt of an impossible writing, and an outline for the aesthetics of a fluent unexpected poetic, proposal that Emar will fully develop in his posthumous work, Umbral.
NUEVOS LECTORES Y NUEVAS LECTURAS PARA “MALDITO GATO” DE JUAN EMAR New readers and new readings for “Maldito gato” by Juan Emar  [cached]
Julio Pi?ones
Alpha (Osorno) , 2006,
Abstract: Se aplicarán los conceptos centrales de la “semiótica de la cultura y del texto” de I. Lotman (La semioesfera I, 1996) para plantear e intentar resolver el problema de la instalación de la “semioesferia” y de la “periferia” en un nuevo texto receptivo. Al establecer las múltiples conexiones de los elementos de este, se operará con las derivaciones del concepto de función planteadas por diversos autores. La función indicial dará información básica del relato, la función secuencial permitirá reordenar las series narrativas, la función agencial identificará los roles de los actantes; la función poética revelará la riqueza artística de este cuento y su interpretación, según Barthes (1970), permitirá “apreciar la pluralidad que lo constituye” This article reviews the concepts of the semiotic theory of culture and the semiotic of the text by I. Lotman to state and intend to solve the installation of the “semioesfer” and “periphery” problem in a new receptive text. In order to establish multiple connections in “Maldito Gato”, by Juan Emar, we will use diverse concepts of the textual functions defined by different authors. The index function will provide basic information of a narration, the sequential function will allow us to reorder narrative series, the agential function will identify the actants’ roles, the poetical function will reveal the artistic richness of this short-story and, according to Barthes (1970), the interpretation of this narration will allow the reader “to appreciate the plurality that constitutes it”
NUEVOS LECTORES Y NUEVAS LECTURAS PARA “MALDITO GATO” DE JUAN EMAR
Pi?ones,Julio;
Alpha (Osorno) , 2006, DOI: 10.4067/S0718-22012006000200005
Abstract: this article reviews the concepts of the semiotic theory of culture and the semiotic of the text by i. lotman to state and intend to solve the installation of the “semioesfer” and “periphery” problem in a new receptive text. in order to establish multiple connections in “maldito gato”, by juan emar, we will use diverse concepts of the textual functions defined by different authors. the index function will provide basic information of a narration, the sequential function will allow us to reorder narrative series, the agential function will identify the actants’ roles, the poetical function will reveal the artistic richness of this short-story and, according to barthes (1970), the interpretation of this narration will allow the reader “to appreciate the plurality that constitutes it”
Las im(posibilidades) de lo fantástico y de la "inquietante extra eza" en la narrativa vanguardista de Felisberto Hernández y de Juan Emar The (im)possibilities of the fantastic and "the uncanny" in the vanguardist narrative of Juan Emar and Felisberto Hernández
Cecilia Rubio
Acta Literaria , 2012,
Abstract: En este artículo cuestionaré que las obras de Felisberto Hernández y de Juan Emar se inscriban en lo fantástico, como ha sostenido la crítica. Para ello, revisaré la aplicación a la obra de Hernández del concepto de "lo ominoso" o "la inquietante extra eza" propuesto por Sigmund Freud en su "Das Unheimliche" (1919). A partir de una lectura atenta de este escrito, demostraré, primero, que las razones para cuestionar esta aplicación se encuentran en este mismo escrito y, segundo, que son también las razones que refutarían la aplicación del concepto freudiano a la obra de Juan Emar. Propondré, finalmente, que ambas obras deben leerse en el marco de las poéticas de la vanguardia histórica. In this article I will question the idea that the works by Felisberto Hernández and Juan Emar fall within the context of the fantastic, as the critic has held. For this reason, I will examine the use of the concept of "the ominous" or "the uncanny", developed by Sigmund Freud in Das Unheimliche (1919). After an attentive reading of that essay, I will show, first of all, that the reasons for questioning this use can be understood from the text itself and, secondly, that they are also the reasons that would disprove the use of the Freudian concept in Juan Emar's works. Finally, I will put forward that both works should be read within the framework of the poetics of the historical vanguardism.
Trazos, conexiones, constelaciones: Diez de Juan Emar y Brígida o el olvido de Rosamel del Valle Lines, connections, constellations: Diez by Juan Emar and Brígida o el olvido by Rosamel del Valle  [cached]
Rodrigo González Dinamarca
Acta Literaria , 2012,
Abstract: Este trabajo se propone analizar el motivo de la aparición de constelaciones -conexiones entre elementos que dan lugar a figuras- en la obra Diez de Juan Emar y Brígida o el olvido de Rosamel del Valle, en la medida que cumplen un papel decisivo en la búsqueda de una realidad otra. El primer elemento del análisis es la línea en la representación del destino humano y la conexión con la otra realidad. Posteriormente, se observa de qué forma se construyen figuras o constelaciones en las obras mencionadas, y cómo se relaciona con el sentido de búsqueda de una realidad otra. This paper analizes the topic of the appearance of constellations -connections between elements that generate figures- in the work Diez by Juan Emar and in Brígida o el olvido written by Rosamel del Valle, where these figures represent a decisive role in the search of another reality. The frst element to be analized is the line in the representation of the human destiny and in the connection with another reality. After that, there is observed the form in that the figures or constellations are built in these works, and how it refers to the search of an alternative reality.
LA CUESTIóN DE LA IDENTIDAD NACIONAL EN LAS NOTAS DE ARTE Y MILTíN 1934, DE JUAN EMAR
álvarez,Ignacio;
Alpha (Osorno) , 2009, DOI: 10.4067/S0718-22012009000100002
Abstract: the literary avant-garde represents a cosmopolitan trend in latin america, but in many writers there is also an important concern about national identity. this article shows how juan emar, a cosmopolitan chilean author, takes part in the discussion about national art during the 1920’s and 1930’s. if artistic activity carries a national identity, he proposes, in his notas de arte, it appears in representation as a process, not as an object. the novel miltín 1934 (1935) will put into practice this rule by showing the lapse of 19th century national pact and the author’s reluctance to commit to a new nationality, collective and popular, that will be constructed throughout the 20th century.
LA CUESTIóN DE LA IDENTIDAD NACIONAL EN LAS NOTAS DE ARTE Y MILTíN 1934, DE JUAN EMAR The question of national identity in Notas de Arte and Miltín 1934, by Juan Emar  [cached]
Ignacio álvarez
Alpha (Osorno) , 2009,
Abstract: La vanguardia literaria aporta aires cosmopolitas al campo cultural latinoamericano, pero en muchos escritores existe una aguda preocupación nacional bien coordinada con los horizontes mundiales. Este artículo muestra cómo Juan Emar, autor cosmopolita, interviene en el debate sobre el arte nacional en Chile durante los a os veinte y treinta: si hay una identidad nacional en la actividad artística, propone en sus Notas de Arte, ella aparece en la representación como proceso y no en sus meros objetos. La novela Miltín 1934 (1935) pondrá en juego este precepto mostrando la caducidad del pacto nacional decimonónico y la renuencia de su autor a formar parte de una nueva nacionalidad, colectiva y popular, que se construirá a lo largo del siglo XX. The literary avant-garde represents a cosmopolitan trend in Latin America, but in many writers there is also an important concern about national identity. This article shows how Juan Emar, a cosmopolitan Chilean author, takes part in the discussion about national art during the 1920’s and 1930’s. If artistic activity carries a national identity, he proposes, in his Notas de Arte, it appears in representation as a process, not as an object. The novel Miltín 1934 (1935) will put into practice this rule by showing the lapse of 19th century national pact and the author’s reluctance to commit to a new nationality, collective and popular, that will be constructed throughout the 20th century.
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