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By Edward W. Said

ISBN-10: 8499920934

ISBN-13: 9788499920931

¿Cómo influye el ocaso very important en los angeles obra de un artista?

La elegiaca obra póstuma del maestro de los estudios culturales.

La crítica suele dedicar mayor atención a los angeles madurez de los creadores, cuando se da por supuesto que florecen sus obras maestras, pero en este extraordinario ensayo acknowledged se adentra en las últimas obras de sus autores más admirados, huyendo, una vez más, de los caminos trillados y buscando respuestas en los lugares menos comunes.

Partiendo de algunos escritos de Adorno, Sobre el estilo tardío examina las obras de senectud de grandes artistas de los angeles historia. Algunas suponen l. a. continuidad y resolución armónica del trabajo de su autor durante las décadas anteriores -como en Shakespeare, Sófocles o Verdi—, pero otras, cuyo estudio es más apasionante, abundan en contradicciones, ganan en complejidad y desasosiego, y convierten al autor en un exiliado dentro de su propia obra; en vanguardia incomprendida de su tiempo y punto de partida para las siguientes generaciones, como es el caso de Ibsen, Beethoven, Thomas Mann o Rembrandt. l. a. agudeza y profundidad de las observaciones de acknowledged se hacen aún más pertinentes si tenemos presente que este period el libro en que trabajaba cuando falleció en 2003.

Reseñas:
«Elegante, desasosegado, inquisitivo y sabio... l. a. elegiaca obra maestra del estilo tardío de Said.»
Financial Times

«Lo que acknowledged representa -inteligencia crítica, alta cultura y conservación del lenguaje- debería situarse en el centro de nuestras vidas. Este libro es el mejor monumento a su vida y su obra.»
Hanif Kureishi

«El último libro de stated es una serie de brillantes estudios que analizan l. a. notion de estilo tardío en una galería de compositores, escritores y artistas.»
London evaluate of Books

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Extra resources for Sobre el estilo tardío (Música y literatura a contracorriente)

Sample text

The notion of poetry’s knowledge of itself suggests a shorthand for the knowledges of those who have invested in poetry. That consciousness privileged in relation to the process of poetry’s survival is waking, decisive and certainly, for all practical purposes, regards itself as superior to (at least able to stand above) those productions it sees itself as duty-bound to discriminate. It could at this point easily be argued that this position above is the canonic view and that it is imposed on literature, by its mediators, as a kind of wishful thinking; these mediators hoping to glorify themselves by association with that clarity and elevation of view, to which poetic imagination is entitled.

It is this, to hold the candle up to the album. (in Hoover, 1994: 177) Perhaps what is most unsettling in poetry’s potential is its role in keeping questions open, in unresolving, in (to reverse Kant’s aude sapere maxim) daring not to know. Nietzsche exhorts ‘we must not pester a poet with subtle interpretations, but should take pleasure in the uncertainty of his horizon, as if the road to various other thoughts were still open’ (1994: 125). As if the road were still open…poetry, as 50 Poetry, Consciousness, Community witness of and as exercise of consciousness in the practice of betweenness, is in a position to make a critical intervention in reality, which itself becomes of what we share.

But that’s just our simile. The character’s invented, his haste is make-believe, his news inhuman. (in Milosz, 1996: 68) As for Eliot’s idea that the bad poet is personal, David Antin devotes his work ‘a private occasion in a public place’ to a problematics of self-consciousness which draw us from such a conclusion: im doing what poets have done for a long time they’ve talked out of a private sense sometimes from a private need but theyve talked about it in a rather peculiar context for anybody to eavesdrop (in Hoover, 1994: 232) If we discard both the intentionalist fallacy and the view over poetry which canonic criticism cannot but claim; if we sacrifice, that is, the prospect of definitive judgement for its turns with ambivalence, what choice have we got but to commit the ontological sin of regarding poetry as constituting a consciousness in its own right?

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Sobre el estilo tardío (Música y literatura a contracorriente) by Edward W. Said


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