Summary of the short story The Mirror and the Mask
This comparative article aims to study the plural significance of the play of language in Julio Cortázar’s Historias de Cronopios y de Famas (1962) and the series O Bairro (2001-2010) by the Portuguese Gonçalo M. Tavares. Cortázar questions the routine of prefabricated language, moving towards ironic invention. Tavares constructs a neighborhood project that is a utopian game of deconstruction of the literary canon by transforming Argentine writers such as Juarroz and Cortázar into parodied doubles that reveal a critique of their dilemmas, obsessions and points of view, rejecting unilateral thinking in a ritual of rewriting.
This paper proposes a comparative study of the plus-signification of language games in Cronopios and Famas (1962) by Julio Cortazar and in the series O Bairro (2001) by Portuguese writer Gonçalo M. Tavares. Cortazar questions the routine of prefabricated language, by resorting to ironic invention. Tavares constructs a neighborhood project, i.e., an utopian game of deconstruction of the literary canon, by transforming Argentinian writers, namely Juarroz and Cortázar, into parodied doubles who reveal criticism of their dilemmas, obsessions and viewpoints by rejecting unilateral thinking in a rewriting ritual.
Universal history infamy borges
“Do not try to begin at the beginning” says Gumbrecht in the first sentence of this book, and he is not wrong. It is a good indication of the originality of this essay. If one thinks about it, history books usually offer us just that, a story, a tale with introduction, knot and denouement. For example: the luxury of Versailles and the famine of Paris are described, then
Hans Ulrich Gumbrecht is the Albert Guérard Professor in Literature in the Departments of Comparative Literature and of French & Italian (and by courtesy, he is affiliated with the Department of Iberian and Latin American Cultures/ILAC, the Department of German Studies, and the Program in Modern Thought & Literature). As a scholar, Gumbrecht focuses on the histories of the national literatures in
Mirror and mask analysis
Recently, Urquijo himself told the whole story to Jaime Monsalve, programming director of Radio Nacional de Colombia (listen to the song here) and stressed: “The song is by Joe Arroyo, but he gave it to me because I wasn’t going to do anything with it at that time. So, I recorded it”.
Such is the legacy of Rebelión in ethnic, social and cultural terms that the song has been reviewed by top academia. Mark Q. Sawyer, professor of political science at the University of California (Ucla), wrote an essay entitled Dubois, double consciousness ‘versus’ Latin American exceptionalism: Joe Arroyo, salsa and negritude (2004).
That, as far as the academy is concerned. Regarding the narrative, it is clear that Rebelión is an impeccable chronicle: a journalistic story, if you will, perfectly narrated (sung). However, the great legacy of the song, and what it is famous for worldwide, is the musical imprint.
Without further ado, Rebelión is a stupendously structured and best resolved song: Joe’s spoken introduction that says: “Quiero contarle, mi hermano/ Un pedacito de la historia negra/ De la historia nuestra, caballero/ Y dice así…”, a second piano and harpsichord introduction, followed by a salsa descarga that mixes the main melody with the chorus and two solos -trumpet and piano-, turned it into a universal theme. A round, definitive, unforgettable song.
The ink mirror pdf
Although giants also die, this giant of Aracataca lives. He is in Macondo. There and in the memory of all his followers he will live forever, stomping his feet, as he has been doing since he allowed us to track blue-eyed dogs and even blue-eyed dogs and blue-eyed dogs’ eyes. If he exists in the imagination, he exists in the magical world of Gabriel García Marquezino.
Simple to read and skillfully written to keep the excitement at a fairly high level. Amazons, centaurs, cyclops, harpies, fighting in Arizona and Canada and a horse that doesn’t need to wait for the water to freeze to run over it, are some of the ingredients of the fantastic recipe this time around.
Now it is Percy Jackson who wakes up not knowing who he is or what has happened to him. The she-wolf Luna told him that he is a demigod and trained him to fight monsters (like the gorgons who relentlessly chase him all the way to the Roman camp). In this book Rick Riordan makes sure from the beginning of the first chapter not to bore the reader. Suspense, action, fights with monsters, battles with giants and an interesting plot conquer throughout the narrative. And although this series is designed for young people, the not so young also get into the magical world created by the author and want not to leave it.