Archivo

Archivos fuente y documentos anexos del proceso de trabajo de "Coverettes"

Sobre los grupos o canciones covereadas por la Orkesta Kaput y sus artistas invitados:


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Tengo Miedo


LOS BRÍOS autores de "Tengo Miedo" o "De tantas cosas tengo miedo" canción propuesta por Laura García al Kabaret Kaput

Nacieron en los comienzos de la década del 70 la cual ya lleva 43 años de trayectoria.

Sus integrantes eran:

Ruben Enrique "BUBY" Fidalgo (voz del grupo)
Ruben "PELUSA" Esperanza (tecladista y fundador del grupo)
Ricardo Alejandro Banjay (guitarrista y fundador del grupo)
Quienes triunfaron en Argentina y toda LATINOAMERICA.

Se incorpora después de la partida de "BUBY" Fidalgo, el Señor Enrique Londaits (voz y guitarra ) quien fue la voz que los consagraría en todo EE.UU y México, grabando todos los éxitos actuales del grupo entre ellos: Chau chau María, Yo se que te acordaras, Silueta de cristal, De muchas cosas tengo miedo.

Este grupo Argentino después de los 40 años de trayectoria y la perdida de uno de sus fundadores (Ruben "Pelusa" Esperanza) hoy sigue sonando con el mismo romanticismo que caracterizo al grupo en todos estos años.

Después de 4 años sin sonar en vivo, el Grupo "Los Bríos" vuelve a Resurgir en el 2013 de la Mano de Guillermo Esperanza (Hijo de Ruben Pelusa Esperanza), Un Grupo con nueva Voz, nuevos Músicos, y actualizando sus clásicos del Romanticismo donde uno de los integrantes es Walter (Wally) como lo llaman los integrantes del Grupo.

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THE END OF THE WORDS (Have you) canción de bienvenida de la orkesta Kaput. letra Cüneyt Ayral (Turquia)
Cüneyt Ayral, popular ex-boss in the Istanbul underwear industry, once sold bras in an open-air market in Marseille, calling out “bonnets for the twins” ! This was after he left for France in order to escape from his creditors. It would be difficult to find another person in the whole world who can tease and juggle with life to such an extent. Just have a look at the exploits of this exceptional being, ever true to form; Cüneyt Ayral, poet, writer, journalist ….

Did he come from space, arriving from a country unknown until now, or from the planet Krypton? Nobody can answer these questions, becuse he is so different from other people. He has mocked life during his whole existence until the present, and, in spite of his setbacks, his failures, his bankruptcies, he has never stopped smiling. Nobody has ever seen him sulking or grumpy even when he was faced with disaster and distress…. His name is Cüneyt Ayral… and he continues to astonish all those who know him with his incredible resilience towards life.

He has never been afraid of anything or anybody, with just one exception… His fear of death led him to become a poet, a IMG_9318kkkwriter and a publisher of books. Having reached his goal, he now says that he will live on in his books and his poems when he is no longer physically present. He believes that he will survive for posterity in his works.

You could have come across Cüneyt Ayral, big businessman, in Istanbul. It was he who invented the Turkish term “içgiyim” (underwear) to describe women’s lingerie, and he was the county’s representative for women’s favourite brands, Warners and Gabriel Veneto. As he himself says, his firm went bankrupt, mainly because Turkish people are not used to the ”concept of association”. Every year he organised fashion shows, presenting ladies’ lingerie in the most prestigious Istanbul venues, and overwhelmed Turkish high society with the lingerie from abroad which the models displayed. …His activities made the headlines of the most important newspapers… He was the tops…


Those who saw Cüneyt in a provincial street-market near Marseille, selling his bras, shouting out in Turkish “Bonnets for the twins”, must have been very surprised. But this was Cüneyt… He knows how to make a living whatever may happen, even if he has to move mountains. He sells bras, pants, suspender belts, but when he arrives home, he lights a cigarette, as he has done for forty-seven years, that is to say since he was ten years old. He is back in his own world.

When he gave me two of his latest books, I began to understand what sort of stories inhabited his creative spirit. I watched him gently sipping mouthfuls from his glass of “raki” (too dilute and rather too light for my taste), which he himself called “raki for girls” gumus“Gümüs Gölge” (“Silver Shadow”) is the story of a travestite. The young Deniz, who was abandoned by his father has run away from his uncle’s guardianship which he felt to be a constraint, and ends up in Paris where he meets up with Cüneyt Ayral. His adventures, which he recounts during the long nights spent with many cigarettes and a little raki, come to life through Cüneyt’s pen.


The other book, entitled “Mimiti” is a science fiction novel with a theme of interplanetary love. This may please those readers who are fans of ”conceptual elements”, but for my part I have never been able to become involved with science fiction. It is a field into which Cüneyt made a rapid incursion after meeting, in Sri Lanka, one of the masters of the genre, Sir Arthur C.Clarke, who introduced him to its subtilities. Clarke wrote the novel from which Stanley Kubrick made the film “2001 Space Odyssey”. In this case, a chance meeting was very profitable for Cüneyt, who enjoys teasing life….


We talked about Sri Lanka… Cüneyt took his entrepreneurial initiative to this mysterious Island, just south of India, in order to set up a big lingerie factory and thus rise to the top place in this, just as he had done in Turkey. The desire to reach the top is in his genes. When he became bankrupt in Turkey, the managing director of the newspaper “Hürriyet”,IMG_9396 Nezih Demirkent, came to his rescue by helping him to emigrate to France while clearing all his various debts. In the last few years, a businessman from Denizli, Ahmet Gökşin, has brought Cüneyt’s problems to an end by negotiating with the banks thus terminating abusive contracts, and allowing him to return to Turkey and continue to make fun of life.






Cüneyt Ayral, the specialist in ladies underwear, could not, however, distance himself from writing. Thus, while working for the ladies and their lingerie, he was, at the same time, publishing a newspaper, under the title of “Kostantıniyye Haberleri” (Constantinople News). I myself was a member of the editorial board. We used to work all through the night in order for the paper to come out the next morning. Cüneyt Ayral had a fabulous collection of personal archives which furnished us with a database of documents, photos and articles about Istanbul. Later, after an anonymous denunciation, the word “Kostantıniyye” was judged to be inappropriate, and the title was banned by law. We were flabbergasted, we could not understand what was happening to the country. We continued to publish the newspaper under the title “Our City”. The court’s decision was even less understandable when one considers that coins from the period of Mehmet the Conqueror bore the inscription “Darb-i Kostantıniyye” (Minted in Constantinople). Somebody obviously wanted to pull a fast one on Cüneyt… But he, with that smile which never leaves his face, continues to make fun of life.. He is on form.
His daughter Roxane and his son Sinan live in France. Roxane, who is twenty-six, is a curator. She organises exhibitions. Artists do not always know how to hang their paintings or photos or place their sculptures to their best advantage, and they find this worrying. So it becomes the job for the curator. All exhibitions in Istanbul are the work of curators. Sinan, who is twenty, is the image of his father. He takes life in Paris as it comes, improvising music and writing scenarios. He was Cüneyt’s assistant when he was selling underwear in the street markets.




Cüneyt Ayral, popular boss of yesterday, and author of seventeen books is at present working on a cookery book, telling of his culinary experiences. Some wonderful photos and recipes from ten famous cordon-bleus will be included in it. When he was last in Izmir, he wanted to eat in a small restaurant. We sat down at a table in the “Aci Biber” , (Hot Pepper) restaurant, in a street by the Hilton hotel. He order stuffed peppers with olive oil. What else could one eat for lunch in Izmir? Food cooked in olive oil of course. He found his peppers delicious. Who knows, maybe he will mention them in his book… After all, that’s Cüneyt….

Discussions, chats with him, friendship… It’s fabulous. An ocean of knowledge, a well grounded culture and heaps of jokes. I’m glad we have been “brothers” for so many years.
Translation Beverly Barbey


Cüneyt Ayral: I have been travelling for years to the four corners of the world, and people’s daily lives everywhere interest me far more than museums. I like to make friends and learn of their lives in their homes. In reply to your question, it does not matter to me who painted a picture, or who was the sculptor of a statue. I am only interested in the existence of a work of art as an integral part of life. My childhood friend, Derya Tutumel who was press attaché in Paris at that time, took me to visit the Château of Rambouillet. He knew all the châteaux around Paris and further afield. He took me there because it was the summer residence of the French Presidents. Just imagine ! I am from Turkey. I have lived here for a number of years, but the fact that I am from Turkey is firmly anchored in me….. Could you imagine our (Turkish) presidents or Prime Ministers welcoming the King of Saudi Arabia or of, say, Malaysia, to a park like this? I certainly cannot. Yet in this château and its park only a short while before, international conferences had been taking place, with the presence of a number of foreign statesmen and women. So, let us say that these two statues in the park, which represent “men and women embracing”, simply evoked for me the pleasure that could be felt just through contemplating the immense forest of Rambouillet which had suffered so terribly in the storms of December 1999 (3), and also the respect which the French have for Humankind and for liberty.


I WOULD NOT CALL PARIS A FEMALE CITY BUT A HERMAPHRODITE CITY

For a number of years you published th newspaper “Constantinople News” (original title “Kostantiniyye Haberleri”), and because of this you became the target of the right-wing groups. Yet Mehmet the Conqueror knew and loved Istanbul under that name. What would you like to say now about these reactions and about the banning of the newspaper?
It was an honour for me to publish that paper for five years. I am now nearly sixty and have done many things in my life,, but among all my diverse activities, that publication is the one which has the highest value for me. “Constantinople IMG-20130314-WA002News”, containing all the rich contributions of my friends, was the mirror of Istanbul, and at times, of the whole of Turkey. They banned the title of the paper because it evoked Byzantium. I was denounced by a well known poet friend, who wrote in the daily paper “Zaman” whose title was printed in red. I won my case against the State at the Council of State, and it is noteworthy that the State did not appeal, thus recognising its mistake, which has some importance. I was present with my lawyer at all the hearings. Nobody from the newspaper accompanied me except my friend Melih Ziya Sezer, owner of the pharmacy “Yeni Moda”, a reader of our publication who was beside me on the day that the verdict was pronounced. I should like to create a digital version of the newspaper which is already present in the archives of several universities in different countries. Hilmi Yavuz and the late Orhan Duru, two collaborators of the paper have published books regrouping their articles. Hulki Aktunç unfortunately died before he was able to do so. In an interview which we did together for the columns of the paper, you made an important statement – “Istanbul is no longer the city to which I return, bu the city to which I go”. It was your first step towards “world citizenship”. Unless I am mistaken there was an article about a year previously in another Turkish daily, entitled “Names of Istanbul”. I had cut it out, meaning to reply but omitted to do so through negligence. Many people referred to my paper as “Konstantiniyye”, whereas in fact its name was “Kostantiniyye”, as Cüneyt Olçer writes in his book on ancient coins. A coin minted during the reign of Sultan Mehmet II bears this name.

You described Paris and Istanbul as “female cities”. You do not try to hide your idea of” feminine” or “masculine” places. How about” hermaphrodite cities”?


If I had written that article today, I would have described Paris as hermaphrodite. In my novel ”Zaman Bitti” (“Time is over”) and then again in “Gümüs Gölge” (“Silver Shadow”) I often come back to these aspects of places. Night life in Paris, the hidden side of Istanbul, the amorous aspects of Milan, the prostitutes of Rome, the very remarkable “hermaphrodite” side of New York not forgetting what Hong Kong reveals behind its façade of conservatism and its modesty, among them. In the novel on which I am working at present, “Son Darbe” (“The Final Blow” or “The Final Coup”) the reader will get to know the unusual places in these cities. In my book “Notes from Paris”, I describe some “hermaphrodite” places. And finally, I am pleased to say that I have also found some “male” cities among those I have known. The world has escaped male domination, at least as far as its cities are concerned.

In your book you also write about politics. What is your opinion, as a journalist and writer, of the present situation in Turkey?


Turkey is trying to come to terms with itself, but is finding it difficult because of the predominance of nomadic traditions. It is very frightened. People are having difficulty in understanding their century. Those who lead the country are far from possessing the necessary” qualities” of statesmen, but this is the case the world over; the penury, not to say the absence, of wise and cultivated statesemen is a world problem. Turkey is no exception. Turkey’s leading politicians are aiming for “dictatorship”. They travel all over the world but lack the knowledge which would allow them to understand it. I see a difference between people who are”clever” and those who are “intelligent”. Turkey has many clever leaders but one cannot see them as intelligent. For example, some of them become friendly with the head of state in Russia, would like to imitate him, but are totally ignorant concerning Russia, its history and the behavious patterns od the Russian people. They see these things but cannot understand them, because that would necessitate wider knowledge of literature, music and art, not to mention sociology and anthropology. In Turkey, people continually confuse the sheep with the goats. We are moving further and further away from a principled State with its head firmly on its shoulders, having a clear vision of its objectives. We are engaged in settling accounts without knowing with whom and for what reason. If this goes on it will be a great pity for Turkey as it will take a long time to set things right. The time has come to understand that everything does not depend on the increase of national revenue. Also it is necessary to understand neo-colonialism in order to avoid any further steps in that direction. You know the Turkish proverb, “Stick the needle into yourself before knifing somebody else” Our leaders have not felt the needle but are attacking left and right with a knife in their hand. It is a dead end because it is difficult to fight against this sort of person. One needs an intelligent enemy.


I NO LONGER HAVE ANY TIES WITH ISTANBUL

Orhan Duru told you the name of the first known mayor of Istanbul He was called Proclus. What do you think of the actions of the last mayor, the urbanisation of the city and principally of the project of a big mosque, dear to the Prime Minister?
A lot of water has flowed under the bridges since the time of Proclus. In my reply to your previous question I spoke of the incompetence of Turkey’s statesman. The present mayor of Istanbul is the owner of the best known cake shop in the city, the “Saray cake shop “, and he cannot even do that job properly. He accepted the removal of his shop to another place in order to build a shopping mall. There is also the example of the famous “Inci” cake shop which has been obliged to close and move away. And what has happened nowadays to the famous “Marquise” cake shop? What is it that makes a place famous? What is it that nourishes its existence? You and I no longer frequent the “Café de Flore” which has become too expensive, but it continues to attract the tourists who only have to look at the menus to see the names of all the famous people who ate there, and this enhances their knowledge of Paris. Cafés and cake shops should not be under-estimated. Obviously, those who did nothing but kick a ball on a muddy field during their youth, who never had the opportunity to appreciate middle-class pleasures in their cities will not be able to understand a colossus such as IstanbuL. For them a few political images will suffice, such as the restructuring of Taksim Square, or the construction of a giant mosque. It’s a question of cultural origins other than ours and which are dominant now in Turkey. What do they say: “If you don’t like it, lump it!” So we lumped it. I feel that I have done all I could for Istanbul. For example, my book “The songs of Istanbul”, the exhibition “40 years of art” with the art photographer Cizgen, the newspaper “Kostantiniyye Haberleri” and finally the exhibition “Istanbul is an Adventure”. All of these things have their place in History, and Istanbul can no longer be angry with me.


You were the curator of the exhibition entitled “Istanbul is an adventure” What impression did it make? Who visited it? What comments were made? Does your attachment to Istanbul not have its roots in the fact that you have been living in France for so long?


First of all, I must say, very frankly that I no longer have any attachment for Istanbul. If one day I decide to go back to live in Turkey, I shall choose to go to Izmir. It is a city which for a very long time was home to different minorities and has a rich culture. My interest for France and my links to this country go back nearly thirty-five years. I have been living here for sixteen years, longer than in Istanbul and as long as I lived in Ankara. What is more, I am very happy to be here. My interest and my links with Turkey have their roots in the fact that I write in Turkish and work for a Turkish newspaper. When one have been a journalist for over forty years, one is obviously a specialist.

When I look at events in Turkey over the last few years, I increasingly feel myself to be part of a minority. I do not think of myself as an intellectual, simply as a poet and a writer. You must have noticed that in my novels I take the characters all over the world. In my latest novel “Son Darbe” (“The Final Blow”), on which I am now working, I am trying to give some insight into Turkish minorities, those who, like me, find themselves relegated into minority situations.


Who visited and understood the meaning of the exhibition? More or less nobody…. This exhibition which took place under the archways in the inner courtyard of Topkapi Palace was the vehicle for a certain number of messages. Unless I am mistaken, the first known exhibition in history, that of Alexandria, was also held under archways. Bronze representations of Istanbul monuments were aligned in a certain order which had a meaning. Thirteen poems of thirteen lines each, written by thirteen poets were offered to History. These poems are included in my book “Notes from Constantinople”, and their translations into English and French were included in the brochure of the exhibition. Beside each bronze picture were lines from my book “The songs of Istanbul”. In this context, I am very grateful for the translations by Tarik Günersel and Beverly Barbey.The bronze work was done by Semra and Birol Ecer and it was a serious and lengthy undertaking. Alas, Birol Ecer, who was responsible for the technical work turned out to be a difficult person. To be perfectly honest, the whole business was beyond his imaginative capacities, and once it was operational he allowed himself to be carried away by its success. I immediately retired from the whole affair. I had arranged for the exhibition to travel to Moscow, Paris and Milan. Later I organised exhibitions for other artists in those places. Erdem Helvacioglu, a very talented young electronic music artist, had composed a thirteen-minute piece on the theme of Istanbul. At the inaugural ceremony it was not possible to ensure thirteen minutes of silence in order to play it – the guests were more interested in the refreshments. Unfortunately…

So, the exhibition “Istanbul is an adventure” really was an adventure. It was seen by a large number of tourists, but not one art critic deigned to write about it or praise it. What more can I say? It was just an adventure.


Notes

(1) After the fall of Byzantium, the name Constantinopolis (Constantinople), meaning the city of Constantine, became Kostantiniyye in the Ottoman era. The present name of Istanbul only became official a few years after the proclamation of the Republic in 1923.(2) The statur representing two men “Charité Fraternelle” was sculpted in 1865 by Julien Edouard Conny. The other –” The death of Procris”, a work by Jean Escoula, from 1898 represents Procris in the arms of her husband, Cephalus.(3) In December 1999 the forest of Rambouillet was severely damaged by the exceptionally violent wind storms. N.G: You lived for a long time in Paris and in Nice. You have published some travelogues. Did these cities make an impression on you? C.A: The city which most impressed me was Hong Kong. For the moment I have written very little about it, but I hope to do so very soon, maybe in a novel.  Another city is Mexico D.F. where I stayed for about ten days. I should very much like to go back there. I dream of living for a time in Mexico.


Bologna, in Italy has a special place in my memories. I have mentioned it several times in my novels. In my cookery book, soon to be published, there will be several references to Bologna.


I was captivated by Hong Kong because of the the smells of cooking everywhere, by the ambition and rapidity of its inhabitants and by their way of looking at life. I never had a home of my own there, I was always staying in hotels, but I learned a lot about “home life” there through visits to the homes of my friends. I have made several long stays in Hong Kong, both during the British rule and after the return to China. I observed their integration during this period of transformation, their differenciation and their way of preserving their identity and their Hong Kong characterisitics. It was impressive. I wrote a lot of notes about this city in my diaries and I know that they will resurface in my writing. I have more than four and a half cubic metres of archives, you know.

Now, for my relationship with Paris and Nice, which you slipped between the lines of your short question !
I lived in Nice for eight years, but if you were to ask me for the name of a street for example, I should probably be incapable of answering. Nice did not particularly mark me, unlike Paris, which I have known for about 35 years. Anyone who has lived in the Rue de Turbigo for four years without interruption must of course have been influenced in some way!
My novel Zaman Bitti (“Time is Over”) begins with a glance out of the window of my flat in the Rue de Turbigo and ends at the same place. In my book Notes from Paris I wrote a great deal about this city and I continue to do so. Notes from Paris 2 has just been published. It contains essays which I wrote in Paris and in Nice. Paris is my freedom ! I feel “at home” there. Nearly all my friends live there. Paris is the place where one can live free from all prejudice, where everyone can be himself and where nobody looks critically at another (or at least I am not conscious of it). Also Paris is where I managed to bring up my children, which is no mean feat. If I have more memories of Paris than of Istanbul it is for another reason. I have many memories of Istanbul but they hurt and tire me, whereas those of Paris do just the opposite.

versión en francés:

La fin des mots

As-tu entendu le silenceDans la froidure ?
Il ressemble à la mort.
As-tu jamais laissé
Tes fleurs
Mourir de soif dans leur prison de solitude ?
As-tu, de loin en loin,
Prêté l’oreille aux bulletins d’information ?
Es-tu tombé amoureux
Dans des langues inconnues de toi ?

Avant de mourir,Rester en vie
Grâce à un poème sans paroles.


http://ayral.files.wordpress.com/2013/04/255074_108779152544787_3234394_n.jpg

En nuestra interpretación de The End of the Words retomamos a la figura de Tiresias, el adivino, el oráculo y dividimos la canción que tiene 4 preguntas en los 4 cantantes de la Orkesta Kaput, que ahora representan a las Tiresitas Four.... ciegas con sus celulares en mano, el nuevo oráculo global.


Ilustraciones de TIRESIAS un libro


http://homodesiribus.blogspot.mx/2011/05/elie-grekoff-1914.html?zx=c61dd5de57cb5ba9
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NOCTURNO MUERTO de Xavier Villaurrutia, música de Victor Martínez, en esta ocasión en versión Bossanova para Coverettes

Xavier Villaurrutia (1903 – 1950) fue miembro de los “contemporáneos”, grupo de poetas mexicanos que publicaron en revistas como Ulises y Contemporáneos entre 1928 y 1931. Se trata de un movimiento influenciado por las vanguardias, pero que pretende renovar la expresión literaria a partir de la tradición nacional mexicana. Una de sus principales características es el intento de escapar del clima de violencia posrrevolucionario con una actitud puramente literaria y artística, alimentada con el simbolismo francés, el modernismo americano y europeo, el Siglo de Oro español y la narrativa innovadora de Joyce y Faulkner. Esta búsqueda de la universalidad, unida a su oposición al nacionalismo fomentado por el gobierno, les procuró la hostilidad de las autoridades y de intelectuales nacionalistas como Diego Rivera, que tildó a los “contemporáneos” de traidores.

En lo formal, Villaurrutia destaca por el uso de metros y estrofas tradicionales, cultivados con complicación y hermetismo en búsqueda de perfección estilística. Por otra parte, cultivó con denuedo el tema de la muerte, aunque su obra también reflexiona sobre el hombre, la vida, el amor, en general teñidos por un persistente tono pesimista.
La idea principal de este soneto es la certeza que siente el poeta ante la muerte implacable. Es un tema caro a los “contemporáneos”, como hemos visto, y de vigorosa raigambre en las letras hispanas. Villaurrutia se inspira, sin duda, en Manrique, Calderón y creo que especialmente en Quevedo, cuyos ecos se pueden apreciar en el último terceto.
En lo que se refiere a la estructura externa, nos hallamos ante un soneto asonantado de versos de trece sílabas, más algún alejandrino. Esta elección es coherente con lo afirmado anteriormente acerca de los “contemporáneos”, puesto que combina un metro tradicional en una variante poco usual.


Analisis del poema http://srhernandez.wordpress.com/2009/10/07/nocturno-muerto-de-xavier-villaurrutia-comentario-de-texto/
by Alberto Hernández



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ASHES TO ASHES David Bowie.


"Ashes to Ashes" es una canción de David Bowie, lanzada en 1980. La canción llegó al número uno en el Reino Unido y fue el primer sencillo del disco Scary Monsters (and Super Creeps). A derecho de su calidad musical, la canción se nota por la originalidad del vídeo musical; e cual fue dirigido por Bowie y David Mallet. El vídeo musical fue uno de los más icónicos de los 80s. Costando £250,000, fue el vídeo más caro de su tiempo. El vídeo incorpora escenas en colores solarizados y en blanco y negro. En el vídeo, Bowie se ve vestido de Pierrot. También apareciendo en el vídeo fueron Steve Strange y otros miembros de la escena Blitz de Londres. Bowie describió el plano de él y los chicos Blitz caminando frente a una excavadora hacia la cámara como un símbolo de "violencia que se aproxima". La mujer que aparece con Bowie al final del vídeo no es su madre.


"Ashes to Ashes" is a song by David Bowie, released in 1980. It made #1 in the UK and was the first cut from the Scary Monsters (and Super Creeps) album, also a #1 hit. As well as its musical qualities, it is noted for its innovative video, directed by Bowie and David Mallet. The lyrics revisit Bowie's Major Tom character from 1969's "Space Oddity", which he referenced once again in 1995 with "Hallo Spaceboy". The song's original title was "People Are Turning to Gold."


Interviewed in 1980, Bowie described the song as "a nursery rhyme. It's very much a 1980s nursery rhyme. I think 1980s nursery rhymes will have a lot to do with the 1880s/1890s nursery rhymes which are all rather horrid and had little boys with their ears being cut off and stuff like that...".[2] Years later, Bowie said that with "Ashes to Ashes" he was "wrapping up the seventies really for myself, and that seemed a good enough epitaph for it". wikipedia


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DE LUZ MISTICA


Puuk Kaput/Mao Tse Tung

Parte de esta canción es un poema de Mao Tse Tung que apareció en el I Ching de Judica Cordiglia en el hexagrama 41


►La merma, la pérdida
Judica Cordiglia
(extraído de su libro: I Ching el libro del oráculo chino)

Mas no canso nunca de esperar en la calle;
cada día voy a las puertas de la ciudad 
con una alcolla de vino…; 
podrías regresar sediento.

¡Oh! Si pudiera contraer la superficie del mundo 
para reencontrarte de pronto, de pie, a mi lado

.(Mao Tse-tung. Liriche cinesi, Turín. 1968)


Perder. Continúa el mensaje de Kieh, aunque con un tono distinto, porque no se trata ya de liberarnos de la ignorancia y de las dudas, sino de saber comprender las cosas y los hechos para evitar perder la serenidad interior y, sobre todo, dañar al prójimo o amenazar las soluciones positivas con un comportamiento inadecuado. Conducido con honestidad e inteligencia, este trabajo silencioso permite obrar serenamente y, aunque no aparezca en toda su importancia, se evidencia en el equilibrio del comportamientomismo.


Tiempo de perder:


tener fe. Gran fortuna, ninguna culpa. Posibilidad de ser decididos. Útil tener algo que hacer. ¿Cómo comportarse? Pueden utilizarse dos escudillas para el sacrificio


.La fórmula sapiencial es la síntesis precisa de toda la meditación del signo. La fuerza no debe disminuir ni siquiera en tiempos inciertos y bastante preocupantes, porque puede sostenernos para hacer frente a los acontecimientos que parecen acumular derrotas y adversidades, quizá pequeñas, pero siempre difíciles de aceptar. Kieh describe un tiempo pleno, activo, importante, un tiempo negativo sólo en apariencia, de hecho, la composición (Kan obstinación, Tui, completar) y la estructura (Khwan, la Tierra, la aceptación, Kan, agitar) indican momentos sumamente válidos, que deben vivirse con firmeza para volver a nuestro favor todo aquello que parece conspirar contra nuestra serenidad


http://es.scribd.com/doc/80963601/Hexagrama-41-Sun-La-Merma

Sobre MAO poeta:


http://dazibaorojo08.blogspot.mx/2008/10/poemas-de-mao-tse-tung.html

http://www.marxists.org/reference/archive/mao/selected-works/poems/
http://portal.uexternado.edu.co/pdf/5_revistaZero/ZERO%2015/9_Posada_Mao.pdf

Tan multifacética es la personalidad de Mao Tse-tung —el filósofo, el estratega militar, el político, el poeta— que, tal vez, la única denominación que podría abarcar su imagen es la de intelectual: el más completo intelectual del siglo XX. Sin embargo, ante el brillo y la trascendencia de sus realizaciones en los demás campos, la estampa del Mao Tse-tung poeta ha quedado de cierto modo orillada y se la ve difusa. Es como si él mismo hubiera querido que fuera así, pues siempre se mostró reacio a la publicación de sus poemas que, según algunos de sus biógrafos, deben sumar al menos el doble de los divulgados hasta el presente. Robert Payne afirma, por ejemplo, que «aquellos que están cerca de él dicen que jamás recuerdan una época en que no haya escrito poemas. Escribió poemas cuando niño y continuó escribiendo poemas durante las guerras revolucionarias. En las reuniones del gobierno chino en Yenán, escribía versos mientras otros trazaban garabatos, y una vez terminadas las sesiones, todos se apresuraban a recoger los poemas que Mao había dejado caer al suelo negligentemente». Se habla de una recopilación de cerca de 70 de ellos con el título de Poemas de viento y arena, de la cual se hicieron, en la época de Yenán, unos pocos ejemplares para sus amigos más íntimos y que incluye una extensa oda llamada «Hierba». El hecho es que la nueva edición pekinesa de los poemas de Mao en español agrega sólo 18 piezas a las 18 publicadas en 1963, para un total de 36 poemas.


La primera edición oficial en chino de la obra lírica de Mao Tse-tung se hizo en 1957, cuando, con motivo de la aparición de la revista Poesía, su director le solicitó algunos de sus poemas. En su carta remisoria de 18 poemas, Mao dice: «Nunca he querido publicar oficialmente estas cosas porque son de forma clásica y temo que esta especie de poesía se difunda, haciendo daño a la juventud. Además, estos poemas carecen de sabor poético y no tienen características singulares. Por supuesto, cuando se trata de poesía hay que darle el primer lugar a la moderna. Se pueden escribir versos clásicos, pero no es conveniente fomentarlo entre los jóvenes porque esta forma ata a la ideología y al pensamiento y además es difícil de aprender...». ¿Acaso Mao Tse-tung advertía una especie de divorcio entre su visión de la vida como poeta y la concepción marxista del mundo a la que adhirió desde cuando era estudiante de la Escuela Normal de Changsha? En absoluto. Aparte de la modestia con la que él miraba todos sus escritos, y no solamente los trabajados en verso, lo que Mao señalaba allí como poco constructivo para las nuevas generaciones no era el contenido de sus poemas, sino las estrictas normas de la preceptiva poética clásica. Desde su mocedad, Mao fue apasionado lector de la obra lírica y narrativa de escritores y poetas antiguos, y gracias a estas lecturas sentó su rebeldía intelectual frente a un padre cruel y ambicioso de riquezas que insistía en que su hijo se embebiera en el estudio de las Analectas de Confucio para que, armado de estos conocimientos, supiera defenderlo de los pleitos por linderos de tierras y particiones de cosechas. Fue sólo a partir de la revolución del 4 de mayo de 1919, y sobre todo de la instauración del socialismo en China, cuando empezaron a abrirse camino el verso libre y la poesía moderna que ya no atan la expresión de las ideas, como Mao quería.}

Podemos suponer que Mao no fue, de todos modos, un iluminado de angustiosa vocación poética, ni un cantor fecundo. Quizá lo habría sido si a su intelecto no lo hubiera habitado, además de las musas y mucho más vitalmente que éstas, su huracanada vocación por transformar «este mundo vil», como dice en uno de sus ensayos, y si no hubiese experimentado de manera casi fisiológica esa dimensión minúscula del tiempo comparada con la sobrehumana inmensidad de las tareas que la revolución le imponía, tal como dice en un poema del 9 de enero de 1963.


Tantas tareas por delante,


todas tan urgentes.


El mundo gira, el tiempo apremia.


Diez mil años es demasiado,


hay que aprehender el día,


aprehender el instante.


Al menos lo que se conoce de su obra en verso nos dice que los poemas que escribió le fueron arrancados a su inspiración por la vida misma, casi después de acontecimientos cuya grandeza exigía la inspiración de un poeta capaz de plasmarla en cantos que superaran estéticamente las nociones de lo sublime y lo heroico de la vida real.


Y en la historia particular pero grandiosa de la transformación revolucionaria de China, el protagonista de la hazaña y la epopeya concidió con el aeda de las mismas. Pero de su obra tampoco está ausente la evocación, para dolerse a veces de hechos que marcaron de manera tan profunda su existencia, como la muerte de su primera esposa a manos de los verdugos del Kuomintang (me refiero al poema «Los inmortales»), o para comprobar, como en su «Retorno a las montañas Chingkang», que «38 años se han deslizado en un simple chasquear de dedos».
Mao no era un poeta de fácil inspiración. Siempre escribió bajo el impacto de acontecimientos que lo estremecieron. En 1957 recibió una carta de su camarada y coterránea, la maestra de la Normal de Changsha Li Shuyi. Le  contaba que su marido Liu Chisun, antiguo compañero de armas de Mao, había muerto en 1933 en el curso de una batalla. El presidente de China le envió el poema «Los inmortales», en el cual, al mismo tiempo que conmemora el sacrificio de ese combatiente, añora a su esposa Yang Kai-hui, ejecutada por órdenes del gobierno del Kuomintang en 1930. Juega entonces Mao en ese poema con dos caracteres: Liu y Yang, que corresponden, el primero, al apellido de su camarada fallecido y que al mismo tiempo significa «sauce», y el segundo, al apellido de su primera esposa, fusilada por el Kuomintang, y que también quiere decir «álamo». Cuando traducíamos el poema, la mayor dificultad radicaba en esa ambivalencia de esos dos jeroglíficos. Trascendió en esos momentos que Jiang Qing, tercera esposa de Mao y quien ejercía en momentos de la revolución cultural la mitad del poder en China, una vez derrotada en su tozuda oposición a que se tradujera a otros idiomas «Los inmortales», se empeñaba en que se hiciera una versión metafórica del poema que evitara sintonizar a Mao expresando en forma directa: «Yo he perdido mi Yang erguida». Venció su punto de vista que yo, como experto extranjero, me di el lujo de apoyar, sin parar mientes en la intención política y obedeciendo más al sentido estético. Decía mucho más la figura del álamo. Lo que no pudo evitar la mujer del presidente fue la decisión, emanada del «nivel superior», de acompañar el poema con notas que sentaban con toda claridad el subyacente sentido de la metáfora. Demoraban infinidad de tiempo las decisiones en torno a una versión final cuando estaban implícitos varios enfoques. Prevalecía la norma de no adoptar
determinaciones por mayoría sino buscar a toda costa el consenso. Por fin, se dio luz verde a la versión definitiva de «Los inmortales»:


He perdido mi álamo erguido


y tú perdiste tu sauce.


Álamo y sauce vuelan


al cielo de los cielos.


Se pregunta Wu Gang1


con qué podrá obsequiarlos


y les ofrece vino


de la flor de la casia2


.


La solitaria diosa de la luna


suelta sus amplias mangas


y danza para estas nobles almas


en el cielo infinito.


De súbito se sabe que en la Tierra


el Tigre está en derrota3


y de alegría rompen


en lágrimas de lluvia torrencial.

notas
1. Ser inmortal que fue condenado por las divinidades a derribar las ramas de la casia de la luna. El árbol, de 500 
metros de altura, empezaba a brotar de nuevo no bien Wu Gang levantaba su hacha.
2. Brebaje de los inmortales.
3. Alude a la derrota de los ejércitos del Kuomintang.

----------------------------------


All of Mao's poems are all in the classical Chinese verse style, rather than the newer Modern Chinese poetry style. Though Mao may not be one of the best Chinese poets, his poems are generally considered well-written and of high literary quality


As did most Chinese intellectuals of his generation, Mao received rigorous education in Chinese classical literature, and thus his skill in poetry is of little surprise. His style was deeply influenced by the "Three Lis" of the Tang Dynasty: poets Li Bai, Li Shangyin, and Li He. He is considered to be a romantic poet, in contrast to the realist poets represented by Du Fu.

Many of Mao's poems are still very popular in China. They are frequently quoted in popular culture, literature and daily conversations. Some of his most well-known poems are "Changsha" (1925), "The Double Ninth" (1929.10), "Loushan Pass" (1935), "The Long March" (1935), "Snow" (1936.02), "The PLA Captures Nanjing" (1949.04), "Reply to Li Shuyi" (1957.05.11), and "Ode to the Plum Blossom" (1961.12). General consensus is that his pre-1949 works are superior.


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DESTINO Rosario Castellanos


Rosario Castellanos Figueroa nació en la ciudad de México en mayo de 1925 y murió en Tel Aviv, Israel, en agosto de 1974. Su infancia y parte de su adolescencia la vivió en Comitán y en San Cristóbal de las Casas, Chiapas. Posteriormente emigró a la ciudad de México donde, en 1950, se graduó como maestra en filosofía por la Universidad Nacional Autónoma de México (UNAM), donde se relacionó con Ernesto Cardenal, Dolores Castro, Jaime Sabines y Augusto Monterroso. Estudió también en la Universidad de Madrid con una beca del Instituto de Cultura Hispánica. Fue profesora de la Facultad de Filosofía y Letras de la UNAT, así como en la Universidad de Wisconsin, en la Universidad Estatal de Colorado y en la Universidad de Indiana. Escribió durante años en el diario Excélsior, fue promotora del Instituto Chiapaneco de la Cultura y del Instituto Nacional Indigenista, así como secretaria del PEN Club. En 1954 fue becada por la Fundación Rockefeller en el Centro Mexicano de Escritores.

Dedicó una extensísima parte de su obra y de sus energías a la defensa de los derechos de las mujeres, labor por la que es recordada como uno de los símbolos del feminismo latinoamericano. A nivel personal, sin embargo, su vida estuvo marcada por un matrimonio desastroso y continuas depresiones que la llevaron en más de una ocasión a ser ingresada. Castellanos murió a la temprana edad de 49 años a causa de un desafortunado accidente doméstico.

En 1958 recibió el Premio Chiapas por Balún Canán y dos años después el Premio Xavier Villaurrutia por Ciudad Real.

Su obra trata temas políticos, ya que concebía al mundo como "lugar de lucha en el que uno está comprometido", como lo expresó en su poemario Lívida Luz. Consideraba la poesía como "un intento de llegar a la raíz de los objetos" mediante la metáfora. Cada tema lo trataba ligado con lo cotidiano y con el interés por el papel de la mujer en la sociedad y por la crítica del enfoque sexista, ejemplificado por su cuento Lección de cocina: cocinar, callarse y obedecer al marido. Su obra de teatro El eterno femenino (1975), tiene carácter feminista.

Su propios sentimientos se reflejan en sus escritos: en el cuento Primera revelación describe su experiencia de niña discriminada frente a su hermano; el poema en prosaLamentación de Dido se inspira en el desamor de su amor de muchos años, Ricardo Guerra; la novela Rito de iniciación, también de connotaciones autobiográficas se enfoca en los conflictos de una mujer estudiada para escapar de los prejuicios conservadores de la provincia y enfrentar la competencia profesional en la ciudad y sólo fue publicada póstumamente.
Rosario Castellanos fue una de las primeras mujeres mexicanas que tuvo acceso a la educación superior institucionalizada. De ahí su convicción de que las culturas en general y la cultura mexicana en particular colocan a las mujeres, dentro del ámbito familiar y social en un plano inferior, así lo mostró desde el inicio con su tesis de Maestría en Filosofía, titulada. Sobre cultura femenina que sustentó en la Universidad Nacional Autónoma de México.[1]


----------------------------------------


SONETO 66 de William Shakespeare



The poet laments the corruption and dishonesty of the world, from which he desires to be released. This is a sonnet which strikes a chord in almost any age, for it tells the same old story, that graft and influence reign supreme, and that no inherent merit is ever a guarantee of success. For that depends on social structures and conditions already set in place long ago. As often as not they aid and promote the unworthy, the malicious, the wealthy, the incompetent and those who are just good at manipulation of the system.


A parallel passage is found in Hamlet, in the famous ‘To be or not to be’ soliloquy, but Hamlet’s world-weariness springs from rather different causes. However the phrase ‘the spurns that patient merit of the unworthy takes’ is an interesting summary of the complaint of this sonnet. The relevant part of Hamlet’s speech is given below.


From Hamlet’s soliloquy:


For who would bear the whips and scorns of time,


The oppressor's wrong, the proud man's contumely,


The pangs of despised love, the law's delay,


The insolence of office and the spurns


That patient merit of the unworthy takes,


When he himself might his quietus make


With a bare bodkin? Ham.III.1.69-76.


KDJ draws attention to the placing of this sonnet in this position, as No. 66. "Multiples of six have adverse connotations, alluding to the biblical ‘beast’ associated with universal corruption: all human beings ‘had the marke, or the number of his name . . . and his number is sixe hundred threescore and sixe’. (Revelation, 13.16-18)."


KDJ 66 Headnote, p.242.

1. Tired with all these, for restful death I cry,
Tired with all these = exhausted, wearied, disgusted with all these - then follows the list of social evils with which he is tired. Possibly with a suggestion of attired with, in the sense that the evils cling to him like clothing, and he cannot divest himself of them.

2. As to behold desert a beggar born,

As = as, for example, all these following.
desert = a deserving person, a worthwhile person. In each succeeding line either praiseworthy or degenerate qualities are personified. Thus needy nothing, purest faith, gilded honour, maiden virtue, right perfection etc. all refer to the person or persons endowed with such characteristics. 

a beggar born = born into poverty.


3. And needy nothing trimm'd in jollity,

needy nothing = a nonentity who is needy because he is lacking in all good qualities. At first glance it appears that the phrase suggests the opposite of that intended, for being in a list of socially desirable types whom society has downtrodden, one automatically accepts it as being of the correct type to fit the general flow of the poem i.e. one of the better and praiseworthy examples. Further consideration shows that this is not so, and needy nothing turns out to be one of the nasties who has managed to get himself kitted out in the latest fashion, no doubt at the expense of desert in the line above .
trimm'd in jollity = (undeservingly) done up in frivolous and expensive clothes and ornaments.

4. And purest faith unhappily forsworn,
purest faith = one who exhibits trust and trustworthiness; one who is pure in heart. 

unhappily = through evil fortune, unluckily; wretchedly.

forsworn = tricked by false promises, betrayed.

5. And gilded honour shamefully misplaced,
As in line 3, gilded honour is not an example of virtue ill-treated, but of unworthiness well rewarded. Gilded honour stands for the pomp and paraphernalia of office and authority, the gold regalia of office, but here it is misplaced, because it has been bestowed on those who are not fit to receive it.

6. And maiden virtue rudely strumpeted,
maiden virtue = unblemished virtue; an innocent maiden. 

rudely strumpeted = forced to become a whore, proclaimed a whore. Figuratively, virtue is forced into evil ways. The resemblance of the word strumpet to trumpet hints at the possibility of public shaming of the innocent.
7. And right perfection wrongfully disgraced,
right perfection = genuine, honest perfection. 

wrongfully = sinfully, evilly, unjustly.

8. And strength by limping sway disabled
strength = the strength of knowing the right course of action. 

limping sway = influence, which is typified by a crippled, shuffling figure working behind the scenes. The irony is that strength, which is hale and hearty, is disabled by influence and corruption, which is limping and crippled, but nevertheless manages to make strength like himself. KDJ sees a possible reference to the authority of the ageing Elizabeth in restricting the activities of young male courtiers, for example the Earl of Essex in 1600/01. But it is unlikely that Shakespeare would have needed to look to the very top of society for examples of young talent and enterprise suppressed by the aged and infirm. Youth in any age can feel itself repressed by precedent, tradition, and the influence and authority of those already in power. In Elizabethan England, being of the right family and having contacts with those who could pull strings was vital for success, and many talented youths must have discovered that their prospects were severly blighted by the conventions of the times and the limited prospects for advancement.


9. And art made tongue-tied by authority,


art = skill, knowledge. A person who possesses these. The word was less often applied to what we would call the creative arts.
authority = a person in authority. SB mentions that this could refer to censorship, which did operate in Elizabethan times, albeit rather erratically.

10. And folly, doctor-like, controlling skill,

folly = stupidity, ignorance.

doctor-like - as an academic doctor; pretending to be learned. Skill is used by Shakespeare of the physician’s art also, so the reference could here be to a doctor of medicine.

………There's something in't,

More than my father's skill, which was the greatest
Of his profession AWW.I.3.233-5

Sir, I will use
My utmost skill in his recovery, Per.V.1.73-4. 

controlling = restraining, exercising authority over, restricting, hampering. skill - used in a general sense to signify those who have knowledge, those who are skilled in a branch of science. But perhaps the reference is more to an academic situation, in which a person flaunting academic dress controls those who are more knowledgeable than him, but who do not have such a high academic standing. In the traditional personification of Folly, such as that depicted in Erasmus’s In Praise of Folly, he was given learned pomposity and academic garb to suit it. See SB.p.249.n.10.
11. And simple truth miscalled simplicity,
simple truth = plain truth, unadorned truth. miscalled = wrongfully named. 
simplicity = stupidity, idiocy.
12. And captive good attending captain ill:

captive = having been captured; enslaved, having no freedom; attending = serving in a menial capacity; taking instruction from.

captain ill = evil (an evil person) in a position of authority. The title referred to a military rank, but was often used in a more general sense to mean a military person in high authority,
Who does i' the wars more than his captain can 

Becomes his captain's captain AC.III.1.21-2.


13. Tired with all these, from these would I be gone,


Wearied with all this graft and corruption, I wish to escape from it all.


14. Save that, to die, I leave my love alone.


Save that = except that.


to die = by dying; if I die.


I leave my love alone = I abandon my love and leave him defenceless; the only thing that I regret leaving is my love.


http://www.shakespeares-sonnets.com/sonnet/66
Sonnet 66 is a world-weary, desperate list of grievances of the state of the poet's society. The speaker criticizes three things: general unfairness of life, societal immorality, and oppressive government. Lines 2 and 3 illustrate the economic unfairness caused by one's station or nobility:


As, to behold desert a beggar born,


And needy nothing trimm'd in jollity,


Lines 4-7 portray disgraced trust and loyalty, unfairly given authority, as by an unworthy king "Gilden honour shamefully misplaced", and female innocence corrupted "Maiden virtue rudely strumpeted". Lines 8, 10, and 12, as in lines 2 and 3, characterize reversals of what one deserves, and what one actually receives in life.


As opposed to most of his sonnets, which have a "turn" in mood or thought at line 9, (the beginning of the third quatrain (See: Sonnets 29, 18) the mood of Sonnet 66 does not change until the last line, when the speaker declares that the only thing keeping him alive is his lover. This stresses the fact that his lover is helping him merely survive, whereas sonnets 29 and 30 are much more positive and have 6 lines in which they affirm that the lover is the fulfillment of the poet's life.
quence is very unique; it is perhaps the best example of his use of "one-line units in the sonnets" (Vendler, 310). Each line contains a single description of either one person, or the relationship between two people, "master and slave," or victim and victimizer (Vendler, 308). This is clear through his use of "and." At first glance, it is tiresome to read; the "and this, and that" tone becomes very monotonous. But as we look closer at the sonnet, and begin to dissect exactly what he is expressing, the meaning becomes more important than the sound, making the poem come alive, and leading the reader to a genuine feeling of pain or sadness for the speaker. 


Tired with all what? The first line of the sonnet cries out that "these" are driving the speaker to dream of restful death. "These" are carefully mapped out in the following eleven lines; "these" are in "the allegorical procession of social crimes" that is about to pass us by (Vendler, 309). Someone of worth files by dressed in "beggar's robes" in line two. And he is followed, in line three, by a worthless person putting on heirs. In the fourth line, we see faith betrayed. Next, in line five, we see a man not worthy of the honor he has been given. A girl who has been "rudely strumpeted" is followed by a moral person in line seven who has been debased. But, there is no further discussion than that. So, we do not know who is responsible for these wrong doings. Beginning in line eight, each person that has been wrongfully degraded is paired with the one responsible for the social crime. We see that strength has been taken from sway, and now sway limps. Line nine describes how authority is stifling art, and in line ten the speaker tells us that "skill would excel except that the docti, or learned fools, control it institutionally" (Vendler, 310). The master in line eleven is borrowed from line ten. The docti has labeled truth naive, thus not allowing simple truth to prevail (Vendler, 310). In the last line of the quatrain, the speaker puts the fear in all of us. With a "this could happen to you" tone, he points out that "any deserving, rightly perfect, good, virtuous, faithful, honorable, strong, skillful, and truthful person will soon find himself caught by one of the victimizers, or how he puts it, "captain ill."


The Couplet Tie is "tired with all these" and "death" (or the verb form "die" in line fourteen). This repetition is almost anticlimatic, but can also be viewed as forceful. The entire sonnet seems to hinge on repetition as its main source of intensity. This may seem dull; however, Shakespeare uses repetition sparingly throughout his sonnets so when he does use it, it becomes more meaningful than it would be considered under usual circumstances.


"The stanza is just long enough to permit a fairly complex lyric development, yet so short and so exigent in its rhymes as to pose a standing challenge to the artistry of the poet" (Abrams, 198). Understanding this helps to accept the riddle we face when trying to unlock one of Shakespeare's sonnets. There are two reasons that the speaker gives for telling us all of these things. As I mentioned before, he is warning us that we could be the victims; we could be "rudely strumpeted," or we could shamefully misplace our honor. But there is still one more reason. In the ending couplet, the last person is spoken of as his love. He would cry out for death, and leave "these" behind. But, he would at the same time be leaving his love in harm's way. Alone in this terrible world is not the place anyone would leave their true love.


Where the first half of the sonnet only reflected the complaints of the speaker, the second half shows us the complaints accompanied by the accusation. The speaker says, "naming the criminals, J'accuse" (Vendler, 308). With great regard to its speech-acts--sorrow followed by resolve--this poem simulates the work we see in sonnet 65.
Sonnet 66 is one of 154 sonnets written by famous English writer William Shakespeare. It is considered to be one of his most famous sonnets, especially in continental Europe where it is widely spread and known.


Concerning the position of this sonnet, it belongs to the Fair Youth consequence. The Fair Youth is an unnamed young man who was loved by Shakespeare. In consequence of loving language in his sonnets was the poet suggested to be a homosexual.


Compared to the Italian sonnet, which is also known as Petrarchan, it is as the English sonnet, except typical 14 lines which are obligatory, different. There is used diversed rhyming scheme and structure. The Italian sonnet consists the octave (8 lines), which describes a problem, and the sestet (6 lines), which offers a solution, whereas the English sonnet is composed of three quatrains and the couplet. The third quatrain includes the volta, unexpected thematic turn, and in Shakespearan sonnets the couplet summarizes the theme or offers a fresh look at it. The usual rhyme scheme is abba, abba, cde, cde in Italian sonnet and abab, cdcd, efe, gg in the English one. As an attentive eye could notice, Sonnet 66 is not written in a typical English form. Shakespeare uses here another structure – the final turn finishes the entire poem in the last verse.


Regarding the content of this sonnet, it is completely pessimistic. The poet complains about the dishonesty, evil and unfairness of the world where the only sense is his lover. The author is disgusted by the situation in the society and finds the only resort in “restful death”. He expresses the injustice of the renaissance Britain in time of Elizabeth I. in the second and third verse by the beautiful methonymy (“as to behold desert a beggar born”) and metaphore (“needy nothing trimmed in jollity”). With these is pronounced that poor people do not have any opportunities whereas the rich have everything they want. The same idea occurs in the fifth and the eight verse. Similar problems are also seen in the tenth ant the twelfth one. Shakespeare criticises stupidity and avarice of the queen and nobility (methonymy – “gilded honour shamefully misplaced”, metaphor – “strength by limping sway disabled”, personification – “folly controlling the skill”, similitude – “folly, doctor-like” and methonymy again – “captive good attending captain ill”). Next problem with the queen appears in the ninth verse – the censorship – expressed by the methonymy (“art made tongue-tied by authority”). The rest of the sonnet discusses things which used to and ought to be pure (faith, maiden virtue, right perfection, simple truth) but are corrupted and therefore wrong. In the thirteenth verse is pronounced the idea of disgust and the only help – death – again by the hyperbole (“tired with all these”) and methonymy (“from these I would be gone”). The last – fourteenth – verse contains the volta and offers one reason why to stay alive. One against eleven for a suicide. The poet does not want to leave his love here, in this corrupted world.


Lastly, the comparison with Sonnet 67. Both treat on the depravity of the world and the only value in it – love. In Sonnet 67 perfection, beauty and goodness of Fair Youth is contrasted with all around him. He is presented as the largest treasure of the Nature in the opposite of the low world. The only surprising aspect is addressing the Fair Youth “he” instead of more romantic and loving words. The difference of these two sonnets is the character of Shakespeare’s lover. In Sonnet 66, he is in relation to the poet and his hope, whereas in the other one is expressed more abstractly and linked to the Nature, not to the writer. He is designed here almost transcendentally, surpassing everything and everyone.


To sum up, Sonnet 66 is extraordinary. We can see that for William Shakespeare love was truly everything and his lover all the fulfilment of his life. And although this world is not the ideal place to live, love is sufficient reason why to stay alive.


Route 66 and No End: Further Fortunes of Shakespeare’s Sonnet 66


Manfred Pfister


Abstract
At the SHINE-conference in Murcia in 1999 I claimed that sonnet 66 has been largely disregarded by Anglo-American critics whereas, in continental Europe, it has been frequently used as a medium of protest in crucial political situations. In the light of more recent findings I will revise this claim and draw attention to English poets and novelists from the Romantic period to Modernism reworking or working with the sonnet with a political thrust

What can theater add to Shakespeare’s sonnet? Can a proof be improved? Can you add anything to poetry, especially to that of Shakespeare who himself never mixed his poetry with his plays (with all the “poetic” qualities of their monologues and dialogues)?


Robert Wilson has done the impossible – he found a way to connect the drama of human bodies to the Shakespearean sonnet 66 by mobilizing his dramaturgic and directorial thinking. He adds the Biblical story of Adam/Eve’s “basic” sin and punishment to the poetic text that has not any Biblical references. The daring juxtaposition of the Bible and Shakespearean sonnet opens a new semantic space between the two works of art that gives the director a chance to create not only a new work of art – an all-encompassing mini-drama and a moral tragedy, but a new genre where classic allegory, poetic generalization and hypnotic action find a magic unity.


Wilson deploys Shakespeare to prove how outdated the Biblical concept of Adam/Eve’s sexual transgression (allegedly matching the punishment of banishment from the Paradise) is, when the excess of patriarchal power over human nature was represented as godly (idolized) wisdom. By making “historically aged” Adam and Eve remember in front of our eyes their life after expulsion; Wilson reformulates the Biblical idea of our “founding parents’” sin as not connected with human sexual desire at all.


Shakespeare’s sonnet is about social corruption and our sinful behavior as members of human society. It is sharply and unambiguously a “social criticism” delivered with existential passion of moral indignation. Shakespeare talks about fight for power and for a higher place in the social hierarchy as a shamefully ultimate goal of human life. What does all of this have to do with Adam and Eve’s punishment? In Wilson’s representation Shakespeare corrects Adam/Eve’s story as ludicrous and gives us the chance to redefine the basic human sin as not sexual desire but as social fight for power over other people. This radical change invites a different interpretation of god’s motivation to banish our progenitors into social life. It looks that to punish sexual curiosity god condemns people not only “to work painfully hard” but to become relentless and cruel fighters for superiority in an extremely hierarchical social order – he obviously prefers us to fight than to make love. That’s how we were forced to start a violent human history instead of staying in the Paradise of amorous and sexual freedom.


This Wilson’s exclusion (with the help of sonnet 66) of inter-gender problem from moral interpretation of human life made it necessary for him to re-define human genders – he shows us an aged Adam and Eve who (finally) understood that the basic human sin is not sexual http://www.actingoutpolitics.com/robert-wilson-frames-sonnet-66-by-william-shakespeare-with-music-pantomime-and-dramatic-recitation-%E2%80%93-a-reformulation-of-adameve%E2%80%99s-%E2%80%9Cprimal%E2%80%9D-sin/


Taedium vitae (tiredness of life) or the condition of world weariness, often accompanied by profound depression, was first described in the classical period. Seneca and Pliny both provide analyses and examples of the malaise, which could lead to the taking of one’s life. (Roman Law allowed taedium vitae as one of the few justifiable motives for suicide.) Seneca in De Tranquillitate describes the symptoms: “tedium and desultoriness of self and turmoil of the mind which is never at rest . . hopes are so constricted and without escape as to choke themselves.” The mind is forced to lament the age in which it lives (“de saeculo querens”) and “those afflicted are driven to death, because they find themselves in a vicious circle, able to seek nothing new. Life and the world itself become so tedious that they experience but dwindling pleasures; they ask, ‘How long can we keeping doing the same thing?’” 1 In his Epistulae Morales ad Lucilium Seneca takes issue with Epicurus who claims, ‘It is nonsense to pursue death because of taedium vitae’ (“ridiculum est currere ad mortem taedio vitae”), replying that the condition is one of contraries and of interminable but negative balance. He exclaims again, “To what end these things?” (“Quousque eadem?”), and continues, “Will I wake or will I sleep? Will I eat or will I go hungry? Will I shiver or will I sweat? There is no end to anything, but everything is connected in a circle . . I do nothing new; I see nothing new; finally one tires of it all. There are many who think that to live isn’t bitter, just superfluous. Farewell.” 2
The classical precedents of the disease were well known in Shakespeare’s England. Robert Burton in The Anatomy of Melancholy quotes Seneca among others and cites Suetonius’ account of Claudius who had “a spice of this disease, for when hee was tormented with the paine of his stomacke, he had a conceipt to make away himselfe.” Burton’s is the most extensive contemporary account of the condition, typified by a vacillating between opposites, the disconsolate being the dominant, and by a weariness that finds its only relief in death.
Taedium vitae. Hence it proceeds many times, that they are weary of their liues, and ferall thoughts to offer violence to their owne persons, come into their mindes, taedium vitae is a common symptome . . they are soone tired with all things; they will now tarry, now be gone; now pleased, then againe displeased, now they like, by and by dislike all, weary of all . . discontent, disquieted, perplexed vpon every light, or no occasion, obiect: often tempted, I say, to make away themselues; Viuere nolunt, mors nesciunt [Seneca]; they cannot dye, they will not liue: they complaine, weepe, lament and thinke they lead a most miserable life, every poore man they see is most fortunate in respect of them, every begger that comes to the doore is happier then they are, they could be contented to change liues with them . . And so they continue, till with some fresh discontent they be molested againe, and then they are weary of their lives, weary of all, they will die. 3
From the classical period onwards there existed also the convention of writing out a balance sheet of the conditions of one’s life – or of the world, especially the political – before taking one’s life. Tabular lines of contrariety would be balanced across each other, often weighted towards the negative, a practice Shakespeare has observed exactly in Sonnet 66 by allowing its equipoised lines to preempt the way he normally divides a sonnet’s argument. Also relevant to the sonnet is the sense found with taedium vitae of being inextricably trapped in a circle: as Seneca notes, “There is no end to anything, but everything is connected in a circle” (“Nullius rei finis est, sed in orbem nexa sunt omnia”). The taediosus’ customary circularity is imitated by the rhetorical circularity and repetition of sonnet’s opening and closing, “Tyr’d with all these.”
Sonnet 66’s rhetorical figures are those of Repetition and Obsecration. Each line opens with “And” and the lines’ insistent repetition causes the customary division between octet and sestet to be elided. The poet’s obsecration (“I cry”) is for “restfull death,” death that brings the fullness of rest and peace. The reason for the prayer is that the poet is “Tyr’d with all these.” A list of “these” elements follows, introduced by “As to behold,” meaning ‘these things such as one can behold.’ The first factor inducing taedium is “desert a begger borne;” in this world turned on itself anything deserving merit is ‘born a beggar,’ either receives no recompense or is shabbily treated or clothed as a beggar. (A beggar on a taediosus’ list was common, see Burton above, “euery beggar.”) The poet complains that “needie Nothing [is] trimd in iollitie.” “Nothing” is utter deprivation, totally in need; but in this age it is dressed up (“trimd”) in finery (“iollitie”) or it is decorated over (“trimd”) by revelry and laughter (“iollitie”). In this world religion or loyalty or even troth-vows (“faith”), that are simple and undefiled (“purest”), are sadly (“vnhappily”) denied or dishonoured or broken (“forsworne”). Rank or decency (“honor”) of the highest quality (“gilded” intends ‘golden’ rather than ‘gilded over’) is put to wrong purpose or placed in wrong hands (“misplast”); “virtue” that is unsullied and intact (“maiden”) is commonly (“rudely”) prostituted abroad or sold cheaply (“strumpeted”); “perfection” that is upright and unfallen (“right” with a hint of ‘correct’) is by contrast “wrongfully” (‘unjustly’ rather than ‘mistakenly’) sullied or made to fall (“disgraced”); power, even political power (“strength”) is made impotent (“disabled”) by hesitant authority and lame rule (“limping sway”). Cleverly the line with only 4½ feet itself limps.

In the poet’s world “arte” of any kind, artistic, scientific or even political, is rendered silent and ineffectual, even censored (“made tong-tide”) by “authoritie,” by misapplied power. “Folly,” traditionally the subject of misrule, is here like a master (“Doctor-like”), who rules over true knowledge (“skill”). Here “simple-Truth,” undivided and unadulterated truth (compare Sonnet 138.8, “simple truth supprest”) is defamed or wrongly titled (“miscalde”) “Simplicitie,” of the realm of the simpleton or fool. The list’s final item is “captiue-good attending Captaine ill:” goodness is held inextricably in the service of or is unable to escape from the clutches of dominant evil (“Captaine” can intend both dominant and Captain), the traditional symptom of taedium vitae.

The concluding couplet returns to the opening imprecation with the poet classically resolving to be quit of such burdens through death, “Tyr’d with all these, from these would I be gone,” but is prevented from so doing by the thought that, if he were to do so, he would leave his beloved forsaken: “Save that to dye, I leaue my loue alone.” On the tabula or balance-sheet the beloved outweighs all the factors that induced world-weariness in the poet.

________________________






66.1. Seneca, De Tranquillitate Animi 2.10, “taedium et displicentia sui et nusquam residentis animi volutatio . . in angusto inclusae cupiditates sine exitu se ipsae strangulant;” 2.15: “Hoc quosdam egit ad mortem: quod proposita saepe mutando in eadem revolvebantur et non reliquerant novitati locum, fastidio esse illis coepit uita et ipse mundus, et subiit illud tabidarum deliciarum: ‘Quousque eadem?’”
66.2. Seneca, Epistulae Morales ad Lucilium 3.26, “ nempe ex pergiscar dormiam,edam esuriam, algebo aestuabo. Nullius rei finis est, sed in orbem nexa sunt omnia . . ‘Nihil novi facio, nihil novi video: fit aliquando et huius rei nausia.’ Multi sunt qui non acerbum iudicent vivere sed supervacuum. Vale.”
66.3. Robert Burton, The Anatomy of Melancholy. What it is, with all the kinds causes, symptomes, prognostickes, & seuerall cures of it. In three partitions, with their severall Sections, members & subsections. Philosophically, Medicinally, Historically, opened & cut vp. By. Democritus Iunior (Oxford: John Lichfield, 1628) 175-6.
Helen Vendler, author of The Art of Shakespeare’s Sonnets (see note 3),

to my mind the best book ever written on Shakespeare’s sonnets, directed me to the first of them.2 Two years before his death, in a letter to his admired poet colleague and confidante Dorothy Wellesley, WILLIAM BUTLER YEATS writes


about his growing sense of isolation. This is not just a matter of personal


frustration or old age but has a crucial political dimension – his disenchantment with the way the Irish Free State, whom he had served as senator from 1922 to 1928, had, to his mind, betrayed the national revolutionary principles. Yeats saw


this betrayal epitomised in the posthumous denigration of Roger Casement. He was one of Yeats’s heroes and martyrs of the Irish Revolution and his diaries,


proving him guilty of the high treason for which he had been executed by the British in 1916, were, according to Yeats and others, mere abrications. Actually they were not, but Yeats firmly believed in them being forgeries and fought for


Casement’s rehabilitation in a number of poems and letters at that time, and the frustrations of this struggle filled him with passionate anger. It was in this context that Shakespeare’s sonnet 66 began to haunt him, as he writes in his


letter dated 21 September 1937:


1 See my postface essay, „Mein Lebenszins, er liegt in dieser Schrift“, in:


William Shakespeare, Die Sonette. Zweisprachige Ausgabe, translated by Christa Schuenke (München: Deutscher Taschenbuch Verlag, 1999), 174-196, here 174-78.


2 Private letter (22 May 2006).


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46 Manfred PFISTER


You say I seem far away – I am far away from everybody & everything.


Something happened to me in the darkness some weeks ago. It began with those damned forgeries – I have the old Fenian conscience – death and execution are in the day’s work but not that. Everything seems exaggerated – I had no symptom of illness yet I had to take to my bed. I kept repeating that


Sonnet of Shakespeare’s about ‘Captive good’ – I felt I was in utter solitude.


[…] I have come out of that darkness a man you have never known – more man of genius, more gay, more miserable.1


His “rage”, as he called it in a number of letters and poems of this


period, chimed in with the anger and nausea of Shakespeare’s sonnet and made the repetition of its litany of indictments into a private ritual for acting out and working through his frustrations. Such repetitive rituals actually play an


increasingly important role in Yeats’s late poetry. It often takes the ritualistic


form of naming and “enumerating” – “What can I but enumerate old themes?” 2–, of summoning one by one and line by line, as in Shakespeare’s sonnet, what


he hates or what he loves, as if calling up the objects of his love or hatred were some magical way of coping with them.3 IV.


Yeats remembered and re-called sonnet 66 in a moment of personal and political crisis – and so did VIRGINIA WOOLF in the last years of her life. On 22 June


1940, little more than half a year before drowning herself in the river Ouse in March 1941, she noted in her diary: “I feel, if this is my last lap, oughtn’t I to read Shakespeare.”4 “My last lap”: the phrase reaches out beyond her deeply disturbed mental state which brought about this sense of an impending end to her individual life and it embraces the sense of Europe as she loved it being on


its last lap with the Nazi persecution of the Jews on the Continent and the


swastika bombers flying over her head towards London. By that time she had already embarked on what was to be her last novel, Between the Acts, published posthumously in July 1941. And the novel she was writing – a country house novel set in mid-June 1939, at the brink of World War II – shows that she did 1 See Letters on Poetry from W.B. Yeats to Dorothy Wellesley (Oxford: Oxford


UP, 1964), 122f. I quote from the database InteLex edition of the Collected Letters, ed.


John Kelly (Oxford: Oxford UP, 2002), Accession Number: 6785., which corrects the mistaken date of the letter in the earlier edition, 28 January 1937.


2 “The Circus Animals’ Desertion“, in: The Collected Poems of W.B.


Yeats (London: Macmillan, 1950), 391f, here 391.


3 Particularly impressive examples of this are “Why should not old men


be mad?“ (388f) and “The Stateman’s Holiday” (389f).


4 The Diaries of Virginia Woolf, ed. Anne Olivier Bell and Andrew


McNeillie (London: Hogarth Press, 1984), vol. 5: 1936-1941, 298.


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ROUTE 66 AND NO END: FURTHER FORTUNES OF SHAKESPEARE’S SONNET 66 47 read and re-read Shakespeare on her last lap indeed.1 It is made up of many voices recording the hist ory of England during a village fête complete with Miss La Trobe’s open-air theatre performance of “Scenes from English history”2, and these voices resonate with quotations from, and allusions to, the canon of English literature from Chaucer’s Canterbury Tales to T.S. Eliot’s Waste Land.


Of course, the great national poet Shakespeare epitomising this tradition stands out in this; references to four of his texts in particular are shot through the


various voices and hold them together the way leitmotifs do in music or patterns in tapestry.
No wonder it has found little favour and stimulated little interest with

Anglo-American critics and scholars so far. Yet in a continental Europe

suffering under Nazism or Stalinism – in Germany, Austria, Czechoslovakia,
Croatia, Romania, Bulgaria, Russia or the Netherlands – this particular sonnet was singled out again and again as a kind of samizdat* text which, protected by Shakespeare’s cultural prestige, permitted critics and artists to ventilate their political anger and dismay at the various totalitarian authorities tongue-tying them and corrupting and exploiting the people. Critics lavished praise upon it for its timely message; translators translated it more often and more acutely than any other of Shakespeare’s sonnets; artists set it to music or transposed it into novels, theatre performances or films.


*Samizdat (en ruso самиздат y en ucraniano самвидав, transliterado samvidav) fue la copia y distribución clandestina de literatura prohibida por el régimen soviético y, por extensión, también por los gobiernos comunistas deEuropa Oriental (Bloque del Este) durante la denominada Guerra Fría. De esa manera, muchas veces los disidenteslograban sortear la fuerte censura política.

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DER MENSH MACHINE - Kraftwerk


Die Mensch·Maschine) is the seventh studio album by German electronicband Kraftwerk, released in May 1978. It contains the song "The Model".The album is referenced as one of the most important albums of all time. Upon its release, NME stated: "The Man Machinestands as one of the pinnacles of 70's rock music."[7] The album peaked at number 9 in the UK albums chart in 1978, the highest position the band has achieved in the UK.[8]


Die Mensch-Maschine, también denominado en inglés como The Man-Machine (traducido al español como El hombre-máquina), es el séptimo álbum de estudio del grupo de música electrónica de origen alemán, Kraftwerk. Se grabó entre los años 1977 y 1978 en el estudio discográfico Kling Klang, situado en la ciudad de Düsseldorf, Alemania, presentándose al público en mayo de 1978.
Introducing The Man Machine before its release to the press at Paris’s Tour Montparnasse, Kraftwerk themselves appeared for a scant five minutes, pissing off the assembled hacks. Promotion was left to a quartet of just-unveiled Kraftwerk dummies – the robots now integral to the band’s iconography. It began a process of sublimation and evasion that has culminated with the current, live model of Kraftwerk.

Kraftwerk Tate Modern Man MachineKraftwerk didn’t tour on the back of The Man Machine’s release, possibly due to being stung by criticism of their new image (too militaristic for the French and too Communist for America, where their label initially rejected the sleeve). Last night was a belated catch-up of sorts, in the appropriate setting of Tate Modern, no doubt deliberately chosen as it used to be a power plant.


The Man Machine took up the first 34 of last night’s 115 minutes. Reprised in order, there was little to distinguish it sonically from the vinyl original. Ralf Hütter’s in-person vocals were drier and more clipped. Heard live, with extraordinary fidelity, “Neon Lights” was more beautiful, more romantic than ever. With the Kraftwerk four largely static in a row – though Hütter did shake a leg to “The Model” – the necessary added dimension came from the gripping 3D graphics. During “Spacelab”, the subject of the song jabbed its antenna into your eyes.


After the album, it was straight into the Greatest Hits home stretch. Largely in chronological order, it strolled through “Autobahn”, "Radioactivity”, “Trans Europe Express”, "Computer World" and beyond. No “Pocket Calculator”. By taking the linear path, later, rhythm-based pieces like “AeroDynamik” came across as less textured, less multi-dimensional than their predecessors.


For a seminal and innovatory unit, the content of the accompanying films were lessons in how Kraftwerk always struck a balance with the past. The logo of German film studio UFA flew around the turbine hall. The cars whizzing along the autobahn were vintage Volkswagens, Mercedes, Fiats and Citroëns. The models seen in black and white wore New Look-era gowns.


http://www.theartsdesk.com/new-music/kraftwerk-man-machine-tate-modern


Revista Ñ edición especial sobre el hombre máquina:


http://edant.revistaenie.clarin.com/notas/2009/08/08/_-01973947.htm

http://es.scribd.com/doc/32196090/El-Hombre-Maquina




Resumen de sus textos: El Hombre-máquina (1748)
En continuidad con la Historia natural del alma, La Mettrie reafirma su teoría materialista. Sólo hay una -y única- substancia, diversamente modificada. En consecuencia, la diferencia entre el hombre y el animal es de grado, y no de esencia. Si el hombre se halla dotado de lenguaje, no debe verse en ello más que un simple accidente de la materia, y no un carácter esencial. Allí donde otros "philosophes" hablaban todavía de esencias y de finalidad (en un paradigma cuasi aristotélico), La Mettrie no admite más que accidentes de la materia. Por lo mismo, en virtud del monismo materialista, se da en el hombre la unidad de lo físico y de lo moral. El único principio que gobierna lo humano es la sensación o, dicho de otra manera, el cuerpo. Se reconoce aquí la influencia de la medicina, en tanto que modelo epistemológico. El alma, la razón, la voluntad... no constituyen valores morales principales. (Onfray)


http://www.alcoberro.info/planes/mettrie.htm

El hombre-máquina de La Mettrie
42427elhombremaquinadelamettrie
Julien Offroy de La Mettrie (o Lamettrie): Filósofo materialista y médico francés. Siendo médico militar, observó sobre sí mismo las consecuencias psíquicas de una enfermedad orgánica y extrajo de ahí la conclusión de una estrecha interdependencia entre alma y cuerpo, e incluso llegó a la conclusión de que todos los procesos psíquicos no son más que modificaciones de sensaciones corporales. La Mettrie (o Lamettrie) expuso estas observaciones de índole lockiana en su libro Histoire naturelle de l'âme (1745), lo cual le suscitó tales persecuciones que tuvo que refugiarse en Holanda, y luego en Berlín, donde se dedicó a estudios filosóficos y médicos hasta su muerte. Otras obras fueron: L'homme machine (1748), L'homme plante (1748), Traité de la vie heureuse de Sénèque avec l'Anti-Sénèque, ou Discours sur le bonheur (1750), Les animeaux plus que machines (1750), Réflexions philosophiques sur l'origine des animeaux (1750), L'art de jouir (1751), y Vénus métaphysique, ou Essai sur l'origine de l'âme humaine (1751).
Aceptando el mecanicismo cartesiano, lo aplica a todo el hombre. La diferencia entre animal y hombre le parece sólo cuantitativa y no cualitativa, y todo aquello que la metafísica cartesiana atribuye al alma puede ser explicado, según él, como modificación de la materia: incluso el pensamiento no es más que una prolongación de la sensación, común a todos los animales y completamente material.
En moral, La Mettrie defiende el hedonismo, rechaza toda trascendencia y considera como fin último la utilidad social y el placer individual, cuyo único límite está en el daño a los demás. Incluso en su libro El arte de gozar, elabora minuciosamente unas reglas que tienen como finalidad el alcance del máximo placer.


http://recursostic.educacion.es/bachillerato/sabios/web/index.php?option=com_content&view=article&id=324&tmpl=component

ANALIZAR LA RELACIÓN hombre-máquina nos remite constantemente a la pregunta sobre nuestra naturaleza. Pero si partimos de que ésta es artificial y de que la máquina, más que separarnos de lo que se llama natural, nos lleva a revisar el modo de conocer, pensar y reconocer una forma de relacionarnos con el mundo, quizás el hombre occidental, tal como lo dibujan las añoranzas de los románticos a finales del siglo XVIII y a lo largo del XIX, ha perdido su capacidad de vincularse con lo orgánico, y a su vez ha construido, de manera paralela, tecnología.
Habrá entonces que llevar a cabo una búsqueda de lo que conlleva el problema de la tecnología y no rechazarla a priori, sino rastrear su origen y descifrar su humanidad. De alguna manera, nuestro presente es el futuro de la Modernidad. Nos ha alcanzado el futuro maquínico en que la máquina domina al hombre y se hace presente el monstruo del cyborg. Hallamos el punto donde el hombre-máquina se manifiesta como uno de los grandes mitos del siglo XX. Aunque la tecnología apunta hacia el porvenir, más bien, como dice William Barret, nos remonta a lo más primitivo del ser humano al haber creado un demonio terrorífico, incontrolable, avasallador, que se manifiesta de manera paradójica como "amenaza y salvación".


AMENAZA


Es imposible mirar la máquina a primera vista. Si el avance técnico rebasa, y en cierta forma, engulle al ser humano, puede afirmarse que la técnica misma y sus posibles aplicaciones constituyen un dominio sobre la naturaleza, y los hombres un dominio metódico, científico, calculado y calculante.


No es que determinados fines e intereses de dominio sólo se advengan desde fuera, sino que entran ya en la misma construcción del aparato técnico. La técnica es, en todos los casos, un proyecto histórico-social en el que se proyecta lo que una comunidad y los intereses en ella prevalecientes se proponen hacer con los hombres y las cosas.
Nos cuesta trabajo percibir, confrontar, enfrentar el problema de la técnica como ideología, o mejor dicho, pensamos que es ajena a ella y a la vez creemos que es muy poco humana. La separación de la técnica y de las humanidades la ubica como una cuestión alejada del ejercicio del pensamiento, toda vez que la tecnología es aparentemente mecánica, y nuestra relación con ella, automatizada.
Otra cosa sucede cuando observamos de manera detenida la tecnología. Cuando nos fascinamos frente a la inteligencia de la máquina se congela un instante de la historia de la humanidad y devela al monstruo; de pronto, descubrimos que se ha impregnado en todo quehacer humano; a partir de que el hombre introduce la ciencia y la mecánica al pensamiento, la filosofía se deshumaniza y la técnica se vuelve tácticas de vida dominadoras, y así "las tendencias del individuo se canalizarían de tal modo para servir a los requerimientos de la sociedad, que se eliminaría la posibilidad de la reaparición del hombre rebelde para siempre"1.
El proceso de "modernización" supone que el individuo queda determinado a seguir ciertas reglas y técnicas para vivir; es evidente que no se trata de una simple modernización, sino de una estrategia que universaliza el poder y que hace válida la superioridad de cierta visión del mundo. El sistema-mundo capitalista instaura así un dominio sobre las relaciones legítimas de producción.
Si la técnica está estructurada conforme al trabajo y está pensada por una estructura lógica del éxito, no será fácil desprendernos de esta visión instrumentalista de lo técnico, como si tuviéramos que crear una nueva técnica y cambiar la organización de la naturaleza. Según Habermas, el problema de la transformación del saber técnico en conciencia práctica no solamente ha variado hoy de orden y de magnitud, es decir que ya no se reduce a las técnicas de los oficios clásicos aprendidas pragmáticamente, sino que ha adoptado la forma de informaciones científicas que pueden transformarse en tecnologías.

Durante el siglo XX se ha puesto de manifiesto la verdadera cara de la tecnología como devastación. El desarrollo tecnológico y los cambios que lo acompañan al parecer no tienen límite: guerras mediáticas, sistemas de control cada vez más sofisticados, la red como instrumento de vigilancia, automatismo desenfrenado, experiencias mediadas, transestéticas de la banalidad y manipulación genética. No se vislumbra en el horizonte un modo de detener este vertiginoso "avance" del que ignoramos, a ciencia cierta, hacia dónde pueda llevarnos y surge la pregunta fundamental de la ciencia y de la técnica contemporáneas: "¿de dónde se obtendrán las cantidades suficientes de carburante y combustible? La pregunta decisiva es ahora: ¿de qué modo podremos dominar y dirigir las inimaginables magnitudes de energía atómica y asegurarle así a la humanidad que estas energías gigantescas no vayan de pronto - aun sin acciones guerreras - a explotar en algún lugar y aniquilarlo todo?" 2.
SALVACIÓN 


La idea de que la máquina es ajena al hombre (Marcuse) procede de un desconocimiento de la máquina y de sus potencialidades, más que de la estructura de la máquina misma. Ciertos autores han distinguido entre la técnica y el trabajo y han considerado que éste es más fundamental que la primera. Simondon dice que "el objeto técnico ha sido aprendido a través del trabajo humano, pensado y juzgado como instrumento, auxilio o producto del trabajo"3. Frente a ello propone el autor la idea de una aprehensión directa de lo que hay de humano en la propia técnica.

Lo que el hombre moderno considera propiamente humano está más cerca de lo maquínico que de lo bucólico. Para Descartes, el hombre es una máquina que piensa; acaso será éste el fenómeno más relevante acerca de la artificialidad humana, creer que la realidad no es algo dado sino algo que hay que ir conquistando a fuerza del pensamiento de la razón. El hombre, para Descartes, de alguna manera tiene voluntad y alma; sin embargo, los animales son autómatas, es decir que reaccionan de forma mecánica a las excitaciones externas. El Automatismo es la característica de las máquinas que consiste en llevar a cabo una serie de operaciones sin más intervención humana que la construcción de la máquina y su puesta en funcionamiento. La automatización es la característica de las máquinas capaces de conducirse a sí mismas según ciertas normas dadas, más variadas y flexibles que las que corresponden al mero automatismo. Así, una máquina automática puede fabricar planchas de metal ejecutando todas las operaciones que llevan a este fin, de modo que no haya intervención humana entre el momento en que recibe el material y la entrega del producto ya terminado. En cambio, una máquina automatizada puede no solamente fabricar automáticamente tales planchas, sino también regular por sí misma el espesor y otras características, modificando sus operaciones de acuerdo con los resultados previstos. La máquina automatizada comprueba por sí misma las condiciones de su trabajo. A partir de la filosofía moderna y de los avances científicos que constituyen una visión mecánica del conocimiento, se emplea este modelo para generar máquinas. El hombre, en su afán de dominio y al descubrir la potencialidad de la nueva ciencia, comprendió que es digno de imitarse mediante las máquinas, para representar todas las funciones de que se compone el proceso circular de la acción instrumental. Primero, las funciones de los órganos ejecutores (mano y pie); luego, las funciones de los órganos de los sentidos (ojo y oído); finalmente, las funciones del órgano de control (cerebro).

Cuando la máquina rebasa los limites de la instrumentalidad, nos preguntamos ya no por su mera funcionalidad, sino por la relación que se genera a partir de que ésta altera nuestra percepción; en este sentido, no estamos hablando de una simple herramienta, sino de una prótesis. En el siglo XX se logró la modificación de lo humano a partir de la máquina; se creó un "nuevo órgano". No sólo surgió la posibilidad de reconstruir el cuerpo del hombre, sino que se modificó la experiencia, dando lugar a vivencias a través del aparato.
Hagamos un análisis de dicha relación usando como punto de partida el texto No escribo sin luz artificial, de J. Derrida, ya que en éste se hace una crítica a la forma como se ha cuestionado a la máquina. Le parece que es normativa y simple la manera de abordar el problema de la relación entre el hombre y la máquina, y lo ilustra con un ejemplo: la máquina de escribir es vista como algo negativo en el sentido de que la forma de escribir sin ella es más próxima a lo humano. Hagamos una analogía con lo afirmado por Walter Ong, en su texto Oralidad y escritura, ya que los griegos de la época de Homero valoraban lugares comunes porque no sólo los poetas, sino el mundo intelectual oral o el mundo del pensamiento, dependía de la constitución formularia del pensamiento. Este conocimiento, una vez adquirido, tenía que repetirse constantemente o se perdía. Para la época de Platón, los griegos por fin habían interiorizado efectivamente la escritura. El almacenamiento del conocimiento escrito liberó la mente hacia el desarrollo de un pensamiento distinto. Pero aun así Platón considera la escritura más artificial, ya que aleja y mediatiza, a diferencia de la oralidad, que le parece más cercana al alma. Quizá algo parecido sucede con la pluma y la máquina de escribir.

Pero Derrida no cuestiona que el fin de la máquina de escribir sea facilitar la escritura, sino que su uso, como el de cualquier otra máquina, crea, entre ésta y el ser humano, nuevas relaciones, mucho más complejas, ya que no sólo hay una intervención del artificio, sino una intencionalidad que le corresponde. Cuestiona si en realidad se sustituye lo manual cuando hay una intervención de la máquina. Más bien, lo que sucede es "otra inducción, otra orden del cuerpo a la mano, y de la mano a la escritura"4.

Toda la historia de la escritura ha sido dominada por la mano; aquí el problema fundamental es la introducción del artefacto, es el desplazamiento paulatino de la mano, pero quizá lo que habría que cuestionarse no es la sustitución, sino la forma como se usa la mano, ya que intervienen las dos manos y se usan todos los dedos. "Todo esto formará parte, durante cierto tiempo todavía, de una historia de la digitalidad"5. 


Pero, ¿qué sucede cuando, aparte de la modificación de la mano, surge un momento donde la máquina responde, donde hay un diálogo con un "interlocutor anónimo".La pregunta que plantea Derrida es que, además del diálogo, hay algo que no sabemos sobre la máquina; no sabemos su función, y ésta se convierte en un dispositivo ficcional. "En ese secreto sin misterio reside frecuentemente nuestra dependencia respecto a muchos instrumentos de la tecnología moderna que sabemos utilizar, sabemos para qué sirven, sin saber qué sucede con ellos, en ellos, en su territorio; y esto debería hacernos pensar sobre nuestra relación con la técnica hoy, sobre la novedad histórica de esta experiencia".6 La representación del hombre ante el aparato resulta alucinatoria; hay una "antropologización" del aparato. El aparato no es predecible, es un "otro vigilante".
Se tendrá, entonces, que replantear el concepto de experiencia, y también la relación con nuestro cuerpo. ¿Acaso el aparto se convierte en una extensión de nuestro cuerpo? De alguna manera, podemos responder afirmativamente, pero en los aparatos hay también intencionalidad y determinada sistematización; en ellos se aplica cierta criterología. Existe un criterio para que la cámara o el aparato seleccione aquello que quiere ver, y no puede ver más que eso; además, tiene su propia forma de ver.
La modificación del exterior a partir de la web es algo muy interesante planteado por Derrida, ya que, a partir de una nueva relación con la máquina, la forma de percibir la experiencia también se altera. La computadora crea otro lugar, otro espacio paradójico, porque es exterior y la vez tiene una parte alucinatoria, pues, más que haber un lugar específico, es un movimiento y un transcurrir continuos. "Ya no existe el exterior. O mejor dicho, en esta nueva experiencia de la reflexión especular, `hay más exterior´ y la vez ya no hay exterior. Uno se ve sin verse envuelto en la espiral de ese fuera / dentro, arrastrado por otra puerta giratoria del inconsciente, expuesto a otra llegada del otro". 7 Otra característica de esta alteración es la ubicuidad: el exterior no sólo se modifica, sino que también nos atraviesa esta forma azarosa de penetrar distintos lugares y poder estar en varios y perdernos en el abismo de lo hallado. ¿Qué es lo que modifica esta forma de relacionarnos con lo técnico? Lo cierto que nos enfrenta a repensar las "relaciones del pensamiento con la imagen, con el lenguaje, con la idea, con el archivamiento, con el simulacro, con la representación."8
La obscuridad del aparato nos deja siempre perplejos al querer desentrañar su misterio, pero lo mejor sería, como hace Baudrillard, ironizar respecto del problema: "Para nosotros, esta presencia sagrada se ha reducido a un pequeño resplandor irónico, a un matiz de juego y de distanciación, pero que no por ello deja de ser una forma espiritual, detrás de la cual se perfila el genio maligno de la técnica, que se preocupa en persona de que el secreto del mundo permanezca bien guardado. El Espíritu Maligno vela bajo los artefactos, y se podría decir de todas nuestras producciones artificiales lo que Canetti dice de los animales, que detrás de cada uno de ellos hay alguien oculto que se ríe de nosotros." 9 

1. Barret, William, La ilusión de la técnica, p xi 


2.Heidegger,Serenidad. http://habitantes.elsitio.com/hpotel/heidegger.htm


3. Ferrater, Mora. Diccionario de filosofía, Tomo 4, p.3451


4. Derrida, No escribo sin luz artificial, p.21


5. Derrida, op.cit. p.22


6. Derrida, op.cit. p.23


7. Derrida, op.cit. p.29


8. Derrida, op.cit. p.32


9. Baudrillard, Jean, El crímen perfecto, p.102


http://www.mty.itesm.mx/dhcs/deptos/ri/ri-802/lecturas/lecvmx328.html

Así aprendimos a ser machines… :


http://www.endvawnow.org/uploads/browser/files/This%20is%20How%20We%20Learned%20to%20be%20Men_Spanish.pdf


El macho y el machismo


http://www.mty.itesm.mx/dhcs/deptos/ri/ri-802/lecturas/lecvmx328.html
Cambio cultural y masculinidades emergentes


http://www.fazendogenero.ufsc.br/9/resources/anais/1277227142_ARQUIVO_MasculinidadesBRASIL.pdf
La homosexualidad en Rusia ha sido durante mucho tiempo tabú y objeto de persecución. La homosexualidad ha sido descriminalizada en 1917 y en 1933 se convirtió de nuevo en delito. En 1993 las leyes volvieron a ser modificadas para legalizar la homosexualidad.


Sin embargo, en el año 2013, el presidente Vladimir Putin auspició una serie de leyes lesivas y discriminatorias contra las personas homosexuales.1
Patriarca ruso dice que matrimonio gay traerá el apocalipsis


http://www.cristianodigital.net/iglesia-ortodoxa-rusa-dice-matrimonio-gay-traera-el-apocalipsis/


Rusia prohibirá adopciones de parejas homosexuales


http://www.lavozdegalicia.es/noticia/sociedad/2013/06/01/rusia-prohibira-adopciones-parejas-homosexuales-extranjeras/00031370106991182264873.htm


Putin y Medvedev se hacen carantoñas en ropa interior (en un cuadro)


http://blogs.revistavanityfair.es/personajes/2013/08/29/putin-y-medvedev-se-hacen-carantonas-en-ropa-interior-en-un-cuadro/

MOSCU, RUSIA (05/SEP/2013).- Un legislador ruso propuso una iniciativa de ley que podría negar a los padres homosexuales la patria potestad sobre sus hijos.

El borrador, publicado el jueves en la página de internet del Parlamento, propone que el "hecho de una orientación sexual no tradicional" sea factor para negar la custodia. Otros argumentos incluyen el alcoholismo, consumo de drogas y maltrato.

La propuesta se conoce en el contexto de una ley que prohíbe la "propaganda" homosexual entre menores. Los autores de la iniciativa la han justificado como una medida encaminada a proteger a los niños y no para reprimir a la comunidad lésbico gay.

Alexei Zhuravlev, autor de la iniciativa, se refirió a la primera ley y dijo que la "propaganda" homosexual debe prohibirse no sólo en el espacio público, sino "también en la familia".
http://www.informador.com.mx/internacional/2013/483478/6/leyes-contra-homosexualidad-en-rusia-se-endurecen.htm

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Guárdame las Vacas (anónimo español XV)





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HUMO by Icetrip


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FROM THE AIR Laurie Anderson






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MAYBE THIS TIME (LIZA)
John Kander and Fred Ebb.






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Shakespeare Sonnet XXIII


This sonnet employs a mixture of theatrical, financial and religious imagery to convey a complex feeling the speaker towards his lover. It stretches between the bashful embarrassment of the first two lines and the implicit threatening of the speaker looking ‘for recompense’. The sonnet’s basic meaning, that love is better communicated in verse than face to face, is just the canvas onto which these nuances of tone and attitude are painted.
The first two images used by the speaker are striking for their difference in mood – the first a simple shyness, the second a more complex blend of ferocity and tameness. The simile of the actor is naturally a favorite of Shakespeare’s, drawing from the much used Elizabethan idea of ‘theatrum mundi’, ‘All the world’s a stage’ etc. The simple likeness between the nervous actor forgetting his lines and the nervous suitor unable to find the right words therefore carries with it all the associations of the ‘life as a play’ idea. This emphasizes the transience of life and humanity’s constant dissembling and is interested in ritual and ceremony. It conveys to the reader the fact that we ought to mistrust the eloquent rival suitor of line 12, just as we would in a play, and also promotes a kind of carpe diem attitude which clearly has a pertinence for the maiden being addressed. The essence of the simile – shyness in the speaker – is, however, simple in comparison with the image that follows. It is startling in its vagueness, ‘some fierce thing’ suggests an animal but clearly the intention is not to give us a clear mental picture. The point of contact between vehicle and tenor is the magnitude of feeling, but how strange that the emotion described here is not love but ‘rage’. As if the speaker was wary of sounding pitiable in the ‘actor’ simile, he here tries to assert a ferocity that rings hollow in its generality and lack of logic – why should ‘strength’s abundance’ weaken ‘his own heart’?

The ‘ceremony of love’ is both undermined and affirmed in the poem – where a contradictory attitude towards courtship itself is analogous to the speaker’s complex love for the maiden. The idea of ritual is closely linked to the theatrical imagery of lines 1 and 2, and therefore carries forward the idea of theatrum mundi which emphasizes the gap between superficial ceremony and genuine humanity. However, there is also a religious significance to the idea of ceremony which acts against the theatrical to affirm the role of ritual. The final couplet of the poem reveals that the speaker’s intention is not to invalidate ceremonial courtship but to reposition it from the physical to the visual: ‘silent love hath writ’ suggests a kind of scripture in poetry with love as the deity, and ‘hear with eyes’ sounds like the Biblical paradoxes beloved of Donne.
The seeming ugliness of the mixed metaphor in lines 7 and 8 implies a darker element within the speaker’s feeling. The incongruous images of ‘decay’,'burden’ and ‘might’ can all be accounted for individually. ‘Decay’ acts as a suppressed carpe diem motif, reminding the addressed lover that time is passing. The paradoxical ‘burden’ of ‘might’, when might would surely assist with a burden, is perhaps a continuation of the hollow assertion of strength in lines 3 and 4. The overall effect of the mixed metaphor, however, is to seem fragmentary and jagged. This signals an equally contradictory, equally ugly side to the speaker’s love, shown in the financial imagery of the poem. The pun on ‘rite’ in line 6 introduces the idea of ‘right’ or inheritance, suggesting the feeling of being owed something by the maiden the speaker is addressing. This is continued in ‘recompense’, implying through the image of commerce a lower, corrupted form of passion that works in opposition to the high, courtly ceremony operating explicitly in the poem. The speaker’s slight on his rival suitor, in whom the three ‘mores’s comically and subtly have us imagine a boorish, dull tone of voice, might suggest a reason for this darker current. Deep in the poem or in the imagined speaker’s mind, there is a subconscious, misogynistic ‘rage’ at the idea of the woman having two suitors, that gives rise to these suggestions of commoditized love with inevitable associations of prostitution.
The far dominant current of meaning in this sonnet presents a bashful, slightly comical speaker, light-heartedly dismissing his failures as a suitor by invoking the immortality of poetry and wittily ridiculing his rival. However, there is a small suggestion that his love isn’t as innocent as laudable as it seems, but rather based in a misogynistic notion of commoditized femininity.


http://impracticalcriticism.wordpress.com/2011/11/09/william-shakespeare-sonnet-23/

*”Shakespeares Sonette” by Robert Wilson and Rufus Wainwright at the Berliner Ensemble, 2009

Are the sonnets autobiographical? Wordsworth said that Shakespeare "with this key ... unlocked his heart." But some orthodox scholars have insisted, insanely, that the poems are literary exercises which do not record the poet's own experiences. The sonnets are cryptic and fitful; they read convincingly like an anguished exploration of intensely private states of mind. The knotty syntax too perhaps even suggests that these are autobiographical utterances, intimate personal confessions. Here Shakespeare seems to speak in his own person rather than in the ventriloquist mode of the plays.
The Fair Young Man

Sonnets 1-126 seem to be addressed to an unnamed male friend considerably younger than the poet. At first (1-17) the poet seems driven or commissioned to urge this fellow to marry and breed. But the interpersonal friendship grows in intensity, and separation causes grief. The Young Man belongs to the upper class, is more than handsome, and is somewhat given to wantonness. We end up with true love poems here, causing commentators to fret about whether this was a homosexual relationship or if Elizabethan men simply expressed close friendship in this sort of language. Ultimately, the gender of addressee becomes irrelevant given the intensity of the poetic meditations, and so the sonnets have become a typical gift book for lovers of all persuasions.

The Rival Poet

In a few instances (76-86, maybe 100-103), the poet obliquely mentions a rival for either the patronage or the affections of the Young Man, a situation which arouses jealousy, as this poet has "a worthier pen" and "a better spirit." Was this Michael Drayton? Samuel Daniel? George Chapman? Edmund Spenser? Christopher Marlowe? Ben Jonson? Dante? Everyone and their more talented dogs have been proposed.
The Dark Lady
The poet has a "black" mistress, which can mean anything from a African woman to simply an English non-blonde (127-152). These sonnets range from the rapture of Romeo and Juliet to the disgust of Troilus and Cressida and Hamlet. Again, there have been numerous proposals as to historical identity, including Lady Penelope Rich (Sidney's inspiration) Mary Fitton (the Earl of Pembroke's mistress, but whose portraits show her as fair), Anne Hathaway (yeah, right), Mrs. Jane Devanant (wife of an Oxford innkeeper whose dramatist son Sir William was rumored to be Shakespeare's), and Lucy (an African prostitute). It has been suggested that she never existed historically but functions as an anti-Petrarchan construct. This affair, fictional or not, brings about conflicting emotions: an obsession but a sexual nausea. Some sonnets (35, 40, 41, 42) refer to affair between the male friend and a woman who seduces him, presumably this dark woman.


Hermann Isaac notes parallels to the central dilemma of the poem ranging from Petrarch, the Renaissance locus for love-conceits, through Wyatt and Edmund Spenser, to Walter Raleigh and Samuel Daniel. The reference to acting has struck some critics as relevant to the author's biography. George Steevens, an advocate of early composition, argued that Shakespeare might have derived the image from watching performances of traveling troupes in Stratford; Malone suggested that the image implies familiarity with acting, not spectating. However, the image is not unique to Shakespeare and need not be taken as personal.


"For fear of trust" has drawn different, though not necessarily contradictory, glosses. Nicolaus Delius has it "from want of self-confidence," with which Edward Dowden substantially agrees; Thomas Tyler adds "for fear that I shall not be trusted," and Beeching agrees that "the trust is active."


"Dumb presagers" is sometimes seen as a continuation of the acting metaphor; a dumb show often preceded each act of Elizabethan plays. Fleay suggests a more specific indebtedness to Daniel's Complaint of Rosamond, 19.



The principal interpretive issue relates to "books" in line 9. George Sewell and Edward Capell, among others, supported emendation to "looks," principally because the syntactical connection with "presagers" seems to require a word in line 9 that can evoke future time. Both words fit into the trope of the lover struck dumb by his love, and hoping to use his books (or looks) to make himself understood. Editors from Malone to Booth and William Kerrigan have defended the quarto reading, and most modern editors generally retain "books."


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TEMPTATION Tom Waits






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