vai pro puteiro
guerreiro
e vai ver
que quem vence
a luta
é a puta
que te pariu
Copyright © 2009 Marco Alexandre de Oliveira
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Sunday, September 27, 2009
Monday, September 21, 2009
translation as re-creation ...
“Once we admit, in principle, the thesis of the impossibility of translating 'creative' texts, it seems that we may also admit, in principal, the corollary of this thesis, the possibility of re-creating the texts.” (p. 315)
“We may say, then, that every translation of a creative text will always be a 're-creation,' a parallel and autonomous, although reciprocal, translation – 'transcreation.' The more intricate the text is, the more seducing it is to 're-create' it. Of course in a translation of this type, not only the signified but also the sign itself is translated, that is, the sign’s tangible self, its very materiality …. The signified, the semantic parameter, becomes just a kind of boundary marker for the 're-creative' enterprise. We are, then, at the opposite end of the 'spectrum' from the so-called literal (or servile) translation.” (p. 315-316)
Translation of poetry (or of prose with an equal degree of difficulty) is, above all else, an experiment in introspection into the world and technique of the text to be translated. It is as if one took apart and, at the same time, put back together again the machine of creation, that frail and apparently inaccessible beauty that offers us a finished product in a foreign language but which, nevertheless, is able to give itself over to an implacable vivisection, to an operation in which it will literally be disemboweled and then reformed, reconstituted, in a new and different linguistic body.” (p. 323)
(Haroldo de Campos, “Translation as Creation and Criticism.” Novas: Selected Writings. Trans. Antonio Sergio Bessa, Odile Cisneros)
“Admitida a tese da impossibilidade em princípio da tradução de textos criativos, parece-nos que esta engendra o corolário da possibilidade, também em princípio, da recriação desses textos.” (p. 34)
“Então, para nós, tradução de textos criativos será sempre recriação, ou criação paralela, autônoma porém recíproca. Quanto mais inçado de dificuldades esse texto, mais recriável, mais sedutor enquanto possibilidade aberta de recriação. Numa tradução dessa natureza, não se traduz apenas o significado, traduz-se o próprio signo, ou seja, sua fisicalidade, sua materialidade mesma .... O significado, o parâmetro semântico, será apenas e tão somente a baliza demarcatória do lugar da empresa recriadora. Está-se pois no avesso da chamada tradução literal.” (p. 35)
“A tradução de poesia (ou prosa que a ela equivalha em problematicidade) é antes de tudo uma vivência interior do mundo e da têcnica do traduzido. Como que se desmonta e se remonta a máquina da criação, aquela fragílima beleza aparentemente intangível que nos oferece o produto acabado numa língua estranha. E que, no entanto, se revela suscetível de uma vivissecção implacável, que lhe revolve as entranhas, para trazê-la novamente à luz num corpo linguístico diverso.” (p. 43)
(Haroldo de Campos, “Da tradução como criação e como crítica”. Metalinguagem e outras metas.)
“We may say, then, that every translation of a creative text will always be a 're-creation,' a parallel and autonomous, although reciprocal, translation – 'transcreation.' The more intricate the text is, the more seducing it is to 're-create' it. Of course in a translation of this type, not only the signified but also the sign itself is translated, that is, the sign’s tangible self, its very materiality …. The signified, the semantic parameter, becomes just a kind of boundary marker for the 're-creative' enterprise. We are, then, at the opposite end of the 'spectrum' from the so-called literal (or servile) translation.” (p. 315-316)
Translation of poetry (or of prose with an equal degree of difficulty) is, above all else, an experiment in introspection into the world and technique of the text to be translated. It is as if one took apart and, at the same time, put back together again the machine of creation, that frail and apparently inaccessible beauty that offers us a finished product in a foreign language but which, nevertheless, is able to give itself over to an implacable vivisection, to an operation in which it will literally be disemboweled and then reformed, reconstituted, in a new and different linguistic body.” (p. 323)
(Haroldo de Campos, “Translation as Creation and Criticism.” Novas: Selected Writings. Trans. Antonio Sergio Bessa, Odile Cisneros)
“Admitida a tese da impossibilidade em princípio da tradução de textos criativos, parece-nos que esta engendra o corolário da possibilidade, também em princípio, da recriação desses textos.” (p. 34)
“Então, para nós, tradução de textos criativos será sempre recriação, ou criação paralela, autônoma porém recíproca. Quanto mais inçado de dificuldades esse texto, mais recriável, mais sedutor enquanto possibilidade aberta de recriação. Numa tradução dessa natureza, não se traduz apenas o significado, traduz-se o próprio signo, ou seja, sua fisicalidade, sua materialidade mesma .... O significado, o parâmetro semântico, será apenas e tão somente a baliza demarcatória do lugar da empresa recriadora. Está-se pois no avesso da chamada tradução literal.” (p. 35)
“A tradução de poesia (ou prosa que a ela equivalha em problematicidade) é antes de tudo uma vivência interior do mundo e da têcnica do traduzido. Como que se desmonta e se remonta a máquina da criação, aquela fragílima beleza aparentemente intangível que nos oferece o produto acabado numa língua estranha. E que, no entanto, se revela suscetível de uma vivissecção implacável, que lhe revolve as entranhas, para trazê-la novamente à luz num corpo linguístico diverso.” (p. 43)
(Haroldo de Campos, “Da tradução como criação e como crítica”. Metalinguagem e outras metas.)
Wednesday, September 16, 2009
poemargens ...
"Parto de um princípio, não sem antes pedir licença poética: a poesia é, por natureza, discurso marginal. Por quê? Porque só se torna existente e interessante na medida em que cria um espaço FORA ('à margem') DENTRO da linguagem, pertubando a cartografia do território das letras. Alguma desestabilização de fronteiras tem de ocorrer para que a linguagem produza poesia."
(Fernanda Medeiros, "Poesia 70 e Poesia 90," O Carioca, Primavera 1998)
(Fernanda Medeiros, "Poesia 70 e Poesia 90," O Carioca, Primavera 1998)
Sunday, September 13, 2009
a note on distraction ...
“Então escrever é o modo de quem tem a palavra como isca: a palavra pescando o que não é palavra. Quando essa não palavra morde a isca, alguma coisa se escreveu. Uma vez que se pescou a entrelinha, podia-se com alívio jogar a palavra fora. Mas aí cessa a analogia: a não palavra, ao morder a isca, incorporou-a. O que salva então é ler distraidamente.”
(Clarice Lispector, Para não esquecer)
“Thus writing is the method of one who has words as bait: the word fishing for what is not word. When this non-word takes the bait, something has been written. Since what is between the lines has been caught, the word could be thrown away with relief. But there the analogy ceases: a non-word, in taking the bait, has incorporated it. The only salvation is distracted reading.”
(Clarice Lispector, Para não esquecer)
“Thus writing is the method of one who has words as bait: the word fishing for what is not word. When this non-word takes the bait, something has been written. Since what is between the lines has been caught, the word could be thrown away with relief. But there the analogy ceases: a non-word, in taking the bait, has incorporated it. The only salvation is distracted reading.”
Friday, September 11, 2009
gringocarioquismos ...
“Onde quer que você esteja, você está sempre aí.”
“Quando tiver uma chance, consulte o seu destino.”
“Se não fosse redondo, o mundo seria bem chato.”
“Aproveite o agora, antes que vire depois.”
“O que seria do presente se o futuro não passasse?”
“Tomara que tome providências contra a Providência!”
Copyright © 2009 Marco Alexandre de Oliveira
Monday, September 07, 2009
Thursday, September 03, 2009
make it (re)new ...
“Todo presente de criação propõe uma leitura sincrônica do passado da cultura. A apreensão do novo representa a continuidade e a extensão da nossa experiência do que já foi feito ...”
(Haroldo de Campos, “Comunicação na Poesia de Vanguarda.” A Arte no Horizonte do Provável.)
liar, liar ...
“If you want to become a man of letters and perhaps write some Histories one day, you must also lie and invent tales, otherwise your Histories would become monotonous. But you must act with restraint. The world condemns liars who do nothing but lie, even about the most trivial things, and it rewards poets, who lie only about the greatest things.”
(Umberto Eco, Baudolino. Trans. William Weaver)
(Umberto Eco, Baudolino. Trans. William Weaver)
Friday, August 28, 2009
Porque ...
Escrevo sem saber o que falar,
Falo sem saber o que dizer,
Digo que não sei falar do que escrevo
Quando começa a ser.
Acordo de manhã cedo e volto a sonhar.
Sonho que acordo e jamais volto a dormir;
Mas durmo, no escuro, durmo
Sem acordar do meu sonhar.
O sol me levanta ao amanhecer;
Eu não quero mais cair
Mas caio, só caio
Na solidão de ser só.
Sou o quê, afinal?
Não chego a saber.
Mas chega a hora de sair –
Saio sem chegar a lugar nenhum.
Vou, então, para onde vou
Sem saber para onde ir,
Onde vou a lugar nenhum
Para chegar a algum lugar.
E a vida vai assim
Até que me pergunto:
Por que?
E daí tudo pára e me responde
Apenas o meu eco sonoro:
Porque.
Vem a resposta da pergunta
Sem responder o que pergunto,
E respondo sem perguntar
Por que.
Respondo com o meu silêncio
Sem refletir no que se espelha
Diante da reflexão:
Porque!
Por isso escrevo o que não sei falar,
Falo o que não sei dizer,
Digo que nunca falo do que escrevo
Quando acaba de ser.
Copyright © 2005 Marco Alexandre de Oliveira
Falo sem saber o que dizer,
Digo que não sei falar do que escrevo
Quando começa a ser.
Acordo de manhã cedo e volto a sonhar.
Sonho que acordo e jamais volto a dormir;
Mas durmo, no escuro, durmo
Sem acordar do meu sonhar.
O sol me levanta ao amanhecer;
Eu não quero mais cair
Mas caio, só caio
Na solidão de ser só.
Sou o quê, afinal?
Não chego a saber.
Mas chega a hora de sair –
Saio sem chegar a lugar nenhum.
Vou, então, para onde vou
Sem saber para onde ir,
Onde vou a lugar nenhum
Para chegar a algum lugar.
E a vida vai assim
Até que me pergunto:
Por que?
E daí tudo pára e me responde
Apenas o meu eco sonoro:
Porque.
Vem a resposta da pergunta
Sem responder o que pergunto,
E respondo sem perguntar
Por que.
Respondo com o meu silêncio
Sem refletir no que se espelha
Diante da reflexão:
Porque!
Por isso escrevo o que não sei falar,
Falo o que não sei dizer,
Digo que nunca falo do que escrevo
Quando acaba de ser.
Copyright © 2005 Marco Alexandre de Oliveira
Wednesday, August 26, 2009
Tuesday, August 25, 2009
cannibal logic ...
“Só a Antropofagia nos une. Socialmente. Economicamente. Filosoficamente.”
“Só me interessa o que não é meu. Lei do homem. Lei do antropófago.”
“Tínhamos a justiça codificação da vingança. A ciência codificação da Magia. Antropofagia. A transformação permanente do Tabu em totem.”
“Morte e vida das hipóteses. Da equação eu parte do Kosmos ao axioma Kosmos parte do eu. Subsistência. Conhecimento. Antropofagia.”
“A transfiguração do Tabu em totem. Antropofagia.”
“A luta entre o que se chamaria Incriado e a Criatura – ilustrada pela contradição permanente do homem e o seu Tabu. O amor quotidiano e o modus vivendi capitalista. Antropofagia. Absorção do inimigo sacro. Para transformá-lo em totem. A humana aventura. A terrena finalidade. Porém, só as puras elites conseguiram realizar a antropofagia carnal, que traz em si o mais alto sentido da vida e evita todos os males ... catequistas. O que se dá não é uma sublimação .... É a escala termométrica do instinto antropofágico. De carnal, ele se torna eletivo e cria a amizade. Afetivo, o amor. Especulativo, a ciência. Desvia-se e transfere-se. Chegamos ao aviltamento. A baixa antropofagia aglomerada nos pecados do catecismo – a inveja, a usura, a calúnia, o assassinato. Peste dos chamados povos cultos e cristianizados, é contra ela que estamos agindo. Antropófagos.”
(Oswald de Andrade, “Manifesto Antropófago”)
"Only anthropophagy unites us. Socially. Economically. Philosophically."
"I am only interested in what is not mine. Law of man. Law of the anthropophagus."
"We had justice as codification of vengeance. Science as codification of Magic. Anthropophagy. The permanent transformation of Taboo into totem."
"Death and life of hypotheses. From the self-equation part of the Kosmos to the Kosmos-axiom part of the self. Subsistence. Knowledge. Anthropophagy."
"The transfiguration of Taboo into totem. Anthropophagy."
"The struggle between what one might call Uncreated and the Creature – illustrated by the permanent contradiction of man and his Taboo. Daily love and capitalist modus vivendi. Anthropophagy. Absorption of the sacred enemy. To turn him into totem. The human adventure. The earthly finality. However, only the pure elites managed to realize carnal anthropophagy, which carries inside the highest meaning of life and averts all the ills ...of catechism. What happens is not a sublimation .... It is the thermometric scale of anthropophagic instinct. Once carnal, it turns elective and creates friendship. If affective, love. If speculative, science. It deviates, it transfers itself. We reach vilification. The base anthropophagy merged into the sins of catechism – envy, usury, calumny, murder. Plague of the so-called cultured and Christianized nations, that is what we are acting against. Anthropophagi."
(Oswald de Andrade, "Anthropophagic Manifesto." Trans. Maria do Carmo Zanini)
“Só me interessa o que não é meu. Lei do homem. Lei do antropófago.”
“Tínhamos a justiça codificação da vingança. A ciência codificação da Magia. Antropofagia. A transformação permanente do Tabu em totem.”
“Morte e vida das hipóteses. Da equação eu parte do Kosmos ao axioma Kosmos parte do eu. Subsistência. Conhecimento. Antropofagia.”
“A transfiguração do Tabu em totem. Antropofagia.”
“A luta entre o que se chamaria Incriado e a Criatura – ilustrada pela contradição permanente do homem e o seu Tabu. O amor quotidiano e o modus vivendi capitalista. Antropofagia. Absorção do inimigo sacro. Para transformá-lo em totem. A humana aventura. A terrena finalidade. Porém, só as puras elites conseguiram realizar a antropofagia carnal, que traz em si o mais alto sentido da vida e evita todos os males ... catequistas. O que se dá não é uma sublimação .... É a escala termométrica do instinto antropofágico. De carnal, ele se torna eletivo e cria a amizade. Afetivo, o amor. Especulativo, a ciência. Desvia-se e transfere-se. Chegamos ao aviltamento. A baixa antropofagia aglomerada nos pecados do catecismo – a inveja, a usura, a calúnia, o assassinato. Peste dos chamados povos cultos e cristianizados, é contra ela que estamos agindo. Antropófagos.”
(Oswald de Andrade, “Manifesto Antropófago”)
"Only anthropophagy unites us. Socially. Economically. Philosophically."
"I am only interested in what is not mine. Law of man. Law of the anthropophagus."
"We had justice as codification of vengeance. Science as codification of Magic. Anthropophagy. The permanent transformation of Taboo into totem."
"Death and life of hypotheses. From the self-equation part of the Kosmos to the Kosmos-axiom part of the self. Subsistence. Knowledge. Anthropophagy."
"The transfiguration of Taboo into totem. Anthropophagy."
"The struggle between what one might call Uncreated and the Creature – illustrated by the permanent contradiction of man and his Taboo. Daily love and capitalist modus vivendi. Anthropophagy. Absorption of the sacred enemy. To turn him into totem. The human adventure. The earthly finality. However, only the pure elites managed to realize carnal anthropophagy, which carries inside the highest meaning of life and averts all the ills ...of catechism. What happens is not a sublimation .... It is the thermometric scale of anthropophagic instinct. Once carnal, it turns elective and creates friendship. If affective, love. If speculative, science. It deviates, it transfers itself. We reach vilification. The base anthropophagy merged into the sins of catechism – envy, usury, calumny, murder. Plague of the so-called cultured and Christianized nations, that is what we are acting against. Anthropophagi."
(Oswald de Andrade, "Anthropophagic Manifesto." Trans. Maria do Carmo Zanini)
Monday, August 24, 2009
the Book ...
“... all earthly existence must ultimately be contained in a book.”
“What, then, will the work itself be? I answer: a hymn, all harmony and joy; an immaculate grouping of universal relationships come together for some miraculous and glittering occasion.”
“The foldings of a book … have an almost religious significance. But an even greater significance lies in their thickness when they are piled together; for then they form a tomb in miniature for our souls.”
“… of what avail is that extraordinary addition of folding (like wings in repose, ready to fly forth again) which constitute its rhythm and the chief reason for the secret contained in its pages? Of what avail the priceless silence living there, and evocative symbols following in its wake, to delight the mind which literature has totally delivered?”
“Yes, were it not for the folding of the paper and the depths thereby established, that darkness scattered about in the form of black characters could not rise and issue forth in gleams of mystery from the page to which we are about to turn.”
“The book, which is a total expansion of the letter, must find its mobility in the letter; and in its spaciousness must establish some nameless system of relationships which will embrace and strengthen fiction.”
“We, in turn, will misunderstand the true meaning of this book and the miracle inherent in its structure, if we do not knowingly imagine that a given motif has been properly placed at a certain height on the page, according to its own or to the book’s distribution of light. Let us have no more of those successive, incessant, back and forth motions of our eyes, traveling from one line to the next and beginning all over again. Otherwise, we will miss that ecstasy in which we become immortal for a brief hour, free of all reality, and raise our obsessions to the level of creation. If we do not actively create in this way (as we would music on the keyboard, turning the pages of a score), we would do better to shut our eyes and dream.”
“Thus, in reading, a lonely, quiet concert is given for our minds, and they in turn, less noisily, reach its meaning. All our mental faculties will be present in this symphonic exaltation; but, unlike music, they will be rarified, for they partake of thought. Poetry, accompanied by the Idea, is perfect Music, and cannot be anything else.”
(Stéphane Mallarmé, “The Book: A Spiritual Instrument.” Trans. Bradford Cook)
“What, then, will the work itself be? I answer: a hymn, all harmony and joy; an immaculate grouping of universal relationships come together for some miraculous and glittering occasion.”
“The foldings of a book … have an almost religious significance. But an even greater significance lies in their thickness when they are piled together; for then they form a tomb in miniature for our souls.”
“… of what avail is that extraordinary addition of folding (like wings in repose, ready to fly forth again) which constitute its rhythm and the chief reason for the secret contained in its pages? Of what avail the priceless silence living there, and evocative symbols following in its wake, to delight the mind which literature has totally delivered?”
“Yes, were it not for the folding of the paper and the depths thereby established, that darkness scattered about in the form of black characters could not rise and issue forth in gleams of mystery from the page to which we are about to turn.”
“The book, which is a total expansion of the letter, must find its mobility in the letter; and in its spaciousness must establish some nameless system of relationships which will embrace and strengthen fiction.”
“We, in turn, will misunderstand the true meaning of this book and the miracle inherent in its structure, if we do not knowingly imagine that a given motif has been properly placed at a certain height on the page, according to its own or to the book’s distribution of light. Let us have no more of those successive, incessant, back and forth motions of our eyes, traveling from one line to the next and beginning all over again. Otherwise, we will miss that ecstasy in which we become immortal for a brief hour, free of all reality, and raise our obsessions to the level of creation. If we do not actively create in this way (as we would music on the keyboard, turning the pages of a score), we would do better to shut our eyes and dream.”
“Thus, in reading, a lonely, quiet concert is given for our minds, and they in turn, less noisily, reach its meaning. All our mental faculties will be present in this symphonic exaltation; but, unlike music, they will be rarified, for they partake of thought. Poetry, accompanied by the Idea, is perfect Music, and cannot be anything else.”
(Stéphane Mallarmé, “The Book: A Spiritual Instrument.” Trans. Bradford Cook)
Monday, August 17, 2009
On peripheral writers ...
“... to write, especially in peripheral countries, is to occupy a space that is already occupied.”
“It is characteristic of a peripheral writer, trained in the conviction that great literature is in other countries, to be anxious to know – in addition to its own – so many others; only a writer who believes that everything has been written devotes his work to reflecting upon the the quotes of others, upon reading, translation, and plagiarism …”
(Néstor Garcia Canclini, Hybrid Cultures: Strategies for Entering and Leaving Modernity. p. 75)
“It is characteristic of a peripheral writer, trained in the conviction that great literature is in other countries, to be anxious to know – in addition to its own – so many others; only a writer who believes that everything has been written devotes his work to reflecting upon the the quotes of others, upon reading, translation, and plagiarism …”
(Néstor Garcia Canclini, Hybrid Cultures: Strategies for Entering and Leaving Modernity. p. 75)
Sunday, August 16, 2009
task of the writer ...
"All the supports of modern art – novelty, individual celebrity, signatures that seem to confer authenticity, cosmopolitanism, and nationalism – are fragile fictions .... Perhaps the task of the writer at a time when the literary is formed in the interaction of diverse societies and different classes and traditions is to reflect upon this posthumous situation of modernity .... the postmodern scene ... this vertigo generated by the rituals of cultures that are losing their borders ... this perpetual simulacrum of the world."
(Néstor Garcia Canclini, Hybrid Cultures: Strategies for Entering and Leaving Modernity. p. 76)
(Néstor Garcia Canclini, Hybrid Cultures: Strategies for Entering and Leaving Modernity. p. 76)
Saturday, August 15, 2009
Because !?!
Alone in a crowd. Where am I? Another self lost in a sea of desolate faces. Who am I? Emptiness within and throughout. Consummate fire of existential doubt. A blazing pillar of solitude. A foundation for the soul. Wanderer. Awkwardly traversing a path riddled with answers. Arriving exhausted, bewildered, at the question: Why?
Copyright © 2009 Marco Alexandre de Oliveira
Copyright © 2009 Marco Alexandre de Oliveira
Monday, August 10, 2009
(post)vanguard & postmodern experimentation ...
“This narcissistic exacerbation of discontinuity generates a new type of ritual, which is in truth an extreme consequence of what the vanguards came to do …. Given that the maximum aesthetic value is constant renovation, to belong to the art world one cannot repeat what has already been done – the legitimate, the shared. It is necessary to initiate noncodified forms of representation (from impressionism to surrealism), invent unforeseen structures (from fantastic to geometric art), and relate images that in reality belong to diverse semantic chains and that no one had previously associated (from collages to performances). No worse accusation can be made against a modern artist than to show repetitions in his or her work.”
“Such transcultural experimentation engendered renovations in language, design, urban forms, and youth practices. But the main fate of the vanguards and of the disenchanted rituals of the postmodernists has been the ritualization of museums and of the market. Despite the desacralization of art and the artistic world, the experimentalists accentuate their insularity. The primacy of form over function, of the form of saying over what is said, require from the spectator a more and more cultivated disposition in order to understand the meaning. Artists who inscribe in the work itself the questioning about what the work should be … exclude the spectator who is not disposed to make of his or her participation in art an equally innovative experience.”
“It is necessary to rethink the efficacy of artistic innovations and irreverences, the limits of their sacrilegious rituals. Attempts to break the illusion in the superiority and the sublime in art (insolence, destruction of one’s own work, the artist’s shit inside the museum) are, in the final analysis, according to Bourdieu, sacralizing desacralizations ‘that scandalize no one but the believers.’ Nothing demonstrates better the tendency toward the self-absorbed functioning of the artistic field than the fate of these apparently radical attempts at subversion, which ‘the most heterodox guardians of artistic orthodoxy’ finally devour.”
(Néstor Garcia Canclini, Hybrid Cultures: Strategies for Entering and Leaving Modernity. p. 26-27)
“Such transcultural experimentation engendered renovations in language, design, urban forms, and youth practices. But the main fate of the vanguards and of the disenchanted rituals of the postmodernists has been the ritualization of museums and of the market. Despite the desacralization of art and the artistic world, the experimentalists accentuate their insularity. The primacy of form over function, of the form of saying over what is said, require from the spectator a more and more cultivated disposition in order to understand the meaning. Artists who inscribe in the work itself the questioning about what the work should be … exclude the spectator who is not disposed to make of his or her participation in art an equally innovative experience.”
“It is necessary to rethink the efficacy of artistic innovations and irreverences, the limits of their sacrilegious rituals. Attempts to break the illusion in the superiority and the sublime in art (insolence, destruction of one’s own work, the artist’s shit inside the museum) are, in the final analysis, according to Bourdieu, sacralizing desacralizations ‘that scandalize no one but the believers.’ Nothing demonstrates better the tendency toward the self-absorbed functioning of the artistic field than the fate of these apparently radical attempts at subversion, which ‘the most heterodox guardians of artistic orthodoxy’ finally devour.”
(Néstor Garcia Canclini, Hybrid Cultures: Strategies for Entering and Leaving Modernity. p. 26-27)
Thursday, July 30, 2009
conversa complexificada
– E aí?
– Tou aqui.
– E daí?
– Sei lá!
– Como é?
– É assim . . .
– Assim como?
– Isto é . . .
– Essa não!
– Isso sim!
– Pois é?
– Pois não.
– Então tá.
– Até que enfim!
– Já vai?
– Vou indo . . .
Copyright © 2009 Marco Alexandre de Oliveira
– Tou aqui.
– E daí?
– Sei lá!
– Como é?
– É assim . . .
– Assim como?
– Isto é . . .
– Essa não!
– Isso sim!
– Pois é?
– Pois não.
– Então tá.
– Até que enfim!
– Já vai?
– Vou indo . . .
Copyright © 2009 Marco Alexandre de Oliveira
reinscriptions ...
“Between the cause and its intentionality falls the shadow. Can we then unquestionably propose that a story has a unique meaning in the first place? To what end does the series of events tend if the author of the outcome is not unequivocally the author of the cause? Does it not suggest that agency arises in the return of the subject, from the interruption of the series of events as a kind of interrogation and reinscription of before and after?” (p. 272)
“In the process I’ve described as the return of the subject, there is an agency that seeks revision and reinscription: the attempt to renegotiate the third locus, the intersubjective realm.” (p. 274)
“The process of reinscription and negotiation – the insertion or intervention of something that takes on new meaning – happens in the temporal break in-between the sign, deprived of subjectivity, in the realm of the intersubjective. Through this time-lag – the temporal break in representation – emerges the process of agency both as a historical development and as the narrative agency of historical discourse.” (p. 274)
“This ... enables the historian to get away from defining subaltern consciousness as binary, as having positive or negative dimensions. It allows the articulation of subaltern agency to emerge as relocation and reinscription. In the seizure of the sign … there is neither dialectical sublation nor the empty signifier: there is a contestation of the given symbols of authority that shift the terrains of antagonism. The synchronicity in the social ordering of symbols is challenged within its own terms, but the grounds of engagement have been displaced in a supplementary movement that exceeds those terms. This is the historical movement of hybridity as camouflage, as a contesting, antagonistic agency functioning in the time-lag of sign/symbol, which is a space in-between the rules of engagement.” (p. 277)
(Homi Bhabha, “The postcolonial and the postmodern,” The Location of Culture.)
“In the process I’ve described as the return of the subject, there is an agency that seeks revision and reinscription: the attempt to renegotiate the third locus, the intersubjective realm.” (p. 274)
“The process of reinscription and negotiation – the insertion or intervention of something that takes on new meaning – happens in the temporal break in-between the sign, deprived of subjectivity, in the realm of the intersubjective. Through this time-lag – the temporal break in representation – emerges the process of agency both as a historical development and as the narrative agency of historical discourse.” (p. 274)
“This ... enables the historian to get away from defining subaltern consciousness as binary, as having positive or negative dimensions. It allows the articulation of subaltern agency to emerge as relocation and reinscription. In the seizure of the sign … there is neither dialectical sublation nor the empty signifier: there is a contestation of the given symbols of authority that shift the terrains of antagonism. The synchronicity in the social ordering of symbols is challenged within its own terms, but the grounds of engagement have been displaced in a supplementary movement that exceeds those terms. This is the historical movement of hybridity as camouflage, as a contesting, antagonistic agency functioning in the time-lag of sign/symbol, which is a space in-between the rules of engagement.” (p. 277)
(Homi Bhabha, “The postcolonial and the postmodern,” The Location of Culture.)
Tuesday, July 28, 2009
Cultures of Survival
“In this salutary sense, a range of contemporary critical theorists suggest that it is from those who have suffered the sentence of history – subjugation, domination, diaspora, displacement – that we learn our most enduring lessons for living and thinking. There is even the growing conviction that the affective experience of social marginality – as it emerges in non-canonical cultural forms – transforms our critical strategies. It forces us to confront the concept of culture outside objects d’art or beyond the canonization of the ‘idea’ of aesthetics, to engage with culture as an uneven, incomplete production of meaning and value, often composed of incommensurable demands and practices, produced in the act of social survival. Culture reaches out to create a symbolic textuality, to give the alienating everyday an aura of selfhood, a promise of pleasure.” (p. 247)
(Homi Bhabha, “The postcolonial and the postmodern,” The Location of Culture.)
(Homi Bhabha, “The postcolonial and the postmodern,” The Location of Culture.)
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