BLANCHOT LA RISA DE LOS DIOSES PDF

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The dividing line between some disciplines such as Cultural Studies, Diaspora Studies, Anthropology has become much more permeable and the relationship between translation and other fields of study is more and more evident. Both authors have defined the culture as a dynamic process that involves differences and collisions and therefore it requires constant negotiation processes. In this sense, translation is the paradigm of mediation, not only from one language to another but also from one culture to another.

The text representing the relationship between translation and culture is Constructing Culturea collection of essays about translation edited by both authors. Hence, Translation Studies move their interests to the difference of cultures. The attention to otherness and diversity is what most directly links translation to Ethnography, Post Colonialism and Gender Studies.

From feminist theory, for example, is analyzed the inbetweeness status of translation, rejecting the bipolarity between the source text and target text, as well as the original and the copy. This last one is a focal point recognizable in many social, cultural, philosophical and psychoanalytic theories.

Translation in Visual Arts | MODESTA DI PAOLA | Interartive | Contemporary Art + Thought

Thanks to contributions arising from the History of Art, Visual Studies, Studies of the media, translation is now used as a strategy to interrogate epistemologically and ontologically the expressive possibilities opened up by art. Although a more direct relationship between art and translation due to socio-cultural theories, we can find some of the most important speculations about this relation in the field of Philosophy.

This conforms to his idea that what inspires the task of translator is the great chance to integrate different languages in one true, perfect and universal. The universal language reveals the intimate relationship between languages as well as the possibility of translation in the form of an interlinear version that matches language and revelation: Nevertheless, translation is possible and impossible at the same time.

Paul de Man explains it very well when he discussed the essay by Benjamin: The challenge posed by Benjamin has been a fundamental reference for any subsequent text that has faced the problem of translation.

Translation in Visual Arts | MODESTA DI PAOLA

Some of the most important examples are: The question of possibility or impossibility of translation has ruled many approaches to the linguistic and cultural diversity that has received a multitude of names: The trial comes from a desire to learn the foreign, but at the same time it shares its semantic space with the pain. According to Berman, the translator has to take pain as an inevitable thing, as a loss given by the adoption and acceptance of differences between self and diose foreign.

In any case, for Berman, trials always share both pain and desire to have an experience of the foreign, in a word to translate. In this theoretical context the act of translating manifests the desire which comes from two different cultures, but also the necessary challenge to remove the complications and difficulties that exist in the approach to the Other and its language.

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The necessity of the challenge led Jacques Derrida to formulate his ideas on translation: From this thought Jacques Derrida deconstructs the metaphysics of the translation of Benjamin and the utopia of a messianic dream of a pure language. In this way Derrida offers us the vision of translation as possible and also necessary, because the absolute translation is impossible.

Hence the impossibility is a chance more than a divine punishment, as Christian mythology blamchot. The impossibility of the translation, final and universal, is the real possibility of translation given for the desire, the need and urgency.

Totally untranslatable, even within what is believed to be one language, ee dies immediately. Diose the loss of absolute language the translator finds his reward, that is, the happiness which is open to difference. From those theoretical premises artistic production turns out to be particularly suitable for setting the parameters of a possible or impossible linguistic ethics of hospitality.

The following three artistic works dkoses been developed from discourses of membership and distance, the rewriting and manipulation of cultural codes, the difficulty of communication and the impossibility of a definitive and universal translation between cultures, possibility of linguistic ethics of hospitality and acceptance of difference.

The title of the work concerns the use of English as a lingua franca of modernity, which, however, instead of increasing mutual understanding often leads to a loss of meaning in communication.

The work consists of a double projection showing two young Turks reading some lod by Edward Lear, the English artist, illustrator and writer known for his poetry and non- sense nonsense. In Victorian times, Edward Lear created a personal alphabet rhyme that allowed no logical sense in terms of content.

In reading the two young Turks are facing a double task, on the one hand they are trying to understand a foreign language, English which is in fact considered a tool bblanchot communication and survival in the globalised standard world, on the other side they have to face the non sense content in the text. Riwa two videos are opposite to each other, not only confusing mostly words and therefore understanding, it recreates the double movement of misunderstanding, incomprehension and misunderstanding to read the other.

Kutlug Ataman uses the alphabet nonsense of Edward Lear to describe blandhot the impossibility of the translation process as described by Jacques Derrida: Miss Work is a work of Catalan artist Tere Recarens.

It consists of a photograph of the same artist playing an office worker ka is honoured as Miss work. The formal elements that make up the atmosphere are typical of any office, but the shelves are full of dictionaries and the same artist stands above the others. With this work Tere Recarens shows us directly about his personal vision of an ethics of hospitality language, a need that has to accept the word of others.

Art is a means to experience itself, tested se complex, living in different geographical contexts and confronting the limits of linguistic communication. Miss Work is the result of a process of learning many languages and the problems it entails in terms of travel and communication.

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This creates an ethereal state. So ethereal that I’m swinging to and from geographically from Tibet to the Amazon, from Mali to Kurdistan. Inside, there are six large windows with shades of beige palette. Home stories is a film based on a performance that made the Iranian artist Ghazel on the occasion of the 37th Theatre Festival at the Venice Biennale The performance took place in between Mestre and Venice, as a result of a workshop held in collaboration with risq group of illegal immigrants: All the blanchit were expressed using different artistic media, especially the drawings, photography and narration.

The stories were focusing on the immigrant condition, their personal experiences, memories, histories, worries about the future and the feeling of instability given by living temporarily in transit zones. Two years later, Ghazel reunited with some of these illegal immigrants doing the film called Home stories. The film retains some of the previous performance and aims to document the changes that have occurred on the situation of immigrants, especially in terms of legal residence and social status.

Two of the migrants have returned home and the other six are still living in Italy trying to stay there and build a house. You must ask for hospitality in a language that is not yours, that it is imposed by house owner, the guest, the king, power, nation, state, father, and so on. Bllanchot impose a translation in their language, and that is the first violence. The question of hospitality begins from here: Leaving the sense of security provided by the idea of having a house, put the alien in the condition of transition or dioess from one place to another without a fixed goal.

So the translation rather than a metaphor becomes an obligation required not only for understanding the others, but also for self-acceptance. The translation and all other words of its semantic area give us a sense of progress in the intention to understand cultures, but reveal little of the process, often llos, which makes the subject emotionally and socially dislocated.

La risa de los dioses – Maurice Blanchot – Google Books

The three within the confines of Europe, and beyond them, shared reflections on translation, understood not only as the act of interpreting languages and cultures, but as a way of grasping moral and ethical standards, values and feelings in a process summarized in the idea that life is translation. Nomadic art and language is no longer the expression of a unique story, but the expression ce thoughts wandering beyond the boundaries that are moving and need to be translated.

Thus, the cultural translation in artistic production reveals the possibility and also the impossibility of an ethics of a language of hospitality. However, between desire and grief, task and rusa, happiness is definitely open to difference.

Universidad de Barcelona, April 11 — 12, Journal of Visual Culture6; 5, Derrida, Sopra-viveretrad. Skip to main content.