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CUANDO LA MEMORIA POéTICA DOCUMENTA LA HISTORIA NO TODO LO SóLIDO SE DESVANECE EN EL AIRE: (En torno a Nada queda atrás de Carlos Trujillo y Milton Rogovin)
Mansilla Torres,Sergio;
Alpha (Osorno) , 2009, DOI: 10.4067/S0718-22012009000100004
Abstract: nada queda atrás is a book of documentary photographs and poetry. the photograghs, shot by milton rogovin in 1967, in quemchi on the island of chiloé, are today documents which record history and denounce the empoverished conditions in which the fishermen and farmers then lived in chiloé. the poems, written by carlos trujillo, 37 years later in the united status are, on the one hand, poetic testimonies of the personal and collective memory that the photographs suggest; memories which, in turn, become an imaginary (re)construction of the cultural identity of chiloé lived by the poet, as a particular experience of foreignity and absence. the poetic texts are, then, derivations of the photographic document, but at the same time they are symbols with which to read/see the photos as metaphors of a profound chiloé of olden times and today. seen as such, the book is literally a document of of culture and barbarism: culture as a recognition of the ethics and aesthetics of the “forgotten,” and barbarism as that same recognition reveals stories of postponement and inequality.
No sólo por las noches navegan los fantasmas: Nada queda atrás y la poesía de Carlos Alberto Trujillo
Faúndez V,Edson;
Acta literaria , 2009, DOI: 10.4067/S0717-68482009000100009
Abstract: the poetic texts of nada queda atrás (2007) reveal fundamental aspects of carlos alberto trujillo’s poetics such as the signification of the gaze, the resistance to limits and literature as the possibility of healing and good health.
No sólo por las noches navegan los fantasmas: Nada queda atrás y la poesía de Carlos Alberto Trujillo Not only at night do ghosts navigate: Nada queda atrás and the poetry of Carlos Alberto Trujillo  [cached]
Edson Faúndez V
Acta Literaria , 2009,
Abstract: Los textos poéticos de Nada queda atrás (2007) revelan aspectos fundamentales de la poética de Carlos Alberto Trujillo, tales como la significación de la mirada, la resistencia a los límites y la literatura como posibilidad de salud. The poetic texts of Nada queda atrás (2007) reveal fundamental aspects of Carlos Alberto Trujillo’s poetics such as the signification of the gaze, the resistance to limits and literature as the possibility of healing and good health.
A Queda  [cached]
Meridiano 47 : Boletim de Análise de Conjuntura em Rela??es Internacionais , 2009,
Abstract: O mundo é outro, desde a queda do Muro de Berlim. Ela representa o fim do século XX, da geografia baseada na divis o entre Primeiro, Segundo e Terceiro Mundos e do modelo monolítico soviético. Após a queda, expandiu-se o processo de forma o de blocos econ micos e o surgimento de um pólo dinamico do capitalismo que muitos consideram como sinal de um novo ciclo hegem nico (asiático, capitaneado pela China). Mas os dilemas e riscos atuais n o s o menores do que os do passado. Que o digam a queda das torres gêmeas e o ataque ao Pentágono, no 11 de setembro de 2001, a prolifera o de redes terroristas, a amea a nuclear latente e as crises econ micas sistêmicas.
Le Milton de Toland  [cached]
James C. BROWN
E-rea : Revue électronique d’études sur le Monde Anglophone , 2003, DOI: 10.4000/erea.245
Abstract: Alors que l’ uvre de John Milton suscite encore de nombreuses critiques et interprétations, je vous propose un retour en arrière afin d’étudier l’un des premiers écrits biographiques dédié à la vie et à l’ uvre du poète anglais signé par le philosophe irlandais John Toland. Paru en 1698, Life of John Milton dresse un portrait plus complet que ceux que l’on trouve dans les précédentes biographies du poète anglais (Darbishire xxix). Ayant été l’un des premiers biographes de Milton, Toland a pub...
Milton Friedman & the Human Good
Tibor R. Machan
Libertarian Papers , 2009,
Abstract: Milton Friedman is among those who have favored a value free, amoral defense of the free society. Here I discuss his basic reason for doing so, namely, that the claim to moral knowledge implies authoritarian politics. I argue that this is wrong because to act morally cannot require coercing people to do so–to quote Immanuel Kant, “ought” implies “can.”
A Conversation with Milton Hatoum
Marília Librandi-Rocha
Ellipsis , 2011,
Abstract: Acclaimed author Milton Hatoum is originally from a part of the world that has become the center of debates concerning our planetary survival: the Amazon. In this interview—the first extensive interview published in English—he describes how he transforms his experiences of living, traveling, and reading into the written word, and presents a beautiful and specific definition of the reader as a “stationary traveler.” Based on questions sent in by e-mail by scholars from all over Brazil and other parts of the world, Hatoum speaks about several of his novels and describes the differences between documentary-based and experimental literary production. He also talks about some of his favorite authors in contemporary fiction, the theme of Latin American patriarchalism as portrayed through some of his characters, and the presence and importance of artists in his books. He recommends some books from the Amazon, and points out the “numbered days” of the Amazon rainforest and the terrible social neglect in the city of Manaus.The interview was organized by Marília Librandi-Rocha (Stanford University) and Lucia Ricotta (Universidade Estadual do Sudoeste da Bahia), and questions were posed by Stefania Chiarelli (Universidade Federal Fluminense), Luiz Costa Lima (PUC-Rio), John Gledson (University of Liverpool), Marília Librandi-Rocha (Stanford University), Mirella Marcia Longo (Universidade Federal da Bahia), and Susana Scramin (Universidade Federal de Santa Catarina).
Milton Friedman on Intolerance: A Critique
Walter E. Block
Libertarian Papers , 2010,
Abstract: Milton Friedman had long declared himself a small “l” libertarian (to distinguish himself from members of the Libertarian Party). But, libertarianism is based on the twin pillars of the non aggression axiom and private property predicated on homesteading and peaceful exchange. Friedman adopts none of this. Instead, he undergirds his philosophy on “tolerance,” which is no part of libertarianism. Thus, his claim to the mantle of libertarianism, big or small “L” it matters not which, is called into question.
Signótica , 2006, DOI: 10.5216/sig.v18i1.3722
Abstract: In John Milton’s Paradise Lost epic and empire are dissociated. Contrary to many misreadings, this all-important work of the English Renaissance intersects postcolonial thinking in a number of ways. By using Gayatri Spivak’s circuit of postcolonial theory and practice, this paper enacts a counterpointal (mis)reading of Milton’s text: Paradise Lost may at last free its (post-)colonial (dis)content. Since every reading is a misreading, my (mis)reading of Milton’s paradise is a mo(ve)ment of resistance against and intervention in a so-called grand narrative of power (Milton’s epic) with a view to proposing a postcolonial conversation with this text.
The Tuscan Artist - Images of Galileo in Milton’s works
Toscano Fabio
JCOM : Journal of Science Communication , 2004,
Abstract: In The Areopagitica, his most important work of prose, John Milton mentions Galileo as the illustrious martyr who fought for the freedom of thought. The name of the great scientist is repeated several times in the English poet’s epic masterpiece: Paradise Lost. In three different passages of the poem, Milton in fact celebrates the “Tuscan Artist” and his crucial achievements in astronomy. Nevertheless, in a subsequent passage, the poet addresses the Copernican issue without openly defending the heliocentric theory confirmed by Galileo’s discoveries. In fact, he neither embraces the Copernican system nor the Ptolemaic one, but instead compares them, following a dialectic method where one cannot fail to notice an echo of Galileo’s Dialogue Concerning the two Chief World Systems. Milton’s literary work presents images of astronomy at that time, thus offering a valuable historical example of scientific communication through art.
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