CEAUL/ULICES - CQN - Volume 3 - 2010
URI permanente para esta coleção:
Navegar
Entradas recentes
- Recalling memory in Buñuel's and Darío's autobiographiesPublication . Azevedo, Rui VitorinoAutobiography is intriguingly complex and dependent on the autobiographer’s access to memory. This access, however, becomes increasingly selective and susceptible with the passing of time. It is within the context of this frailty, that I will attempt to look at the construction of memory and detect its use in two autobiographies from the Spanish-speaking world. Although the autobiographies of Luis Buñuel and Rubén Darío were written nearly a century apart, their common use of memory as a constitutive element in autobiography reveals how memory is never &xed or static, thus showing its expected transformative capacity and inherent dynamics. In fact, a reader of both texts is exposed to the act of remembering as a signi&cant theme within the narratives, which functions as both an authenticator and destarui vitorino azevedo "Life without memory is no life at all, just as intelligence without the possibility of expression is not really an intelligence. Our memory is our coherence, our reason, our feeling, even our action. Without it, we are nothing. " Luis Buñuel, My Last Sigh 1 2 bilizer of the past. My main question then is how these two authors construct what they call their lives through the use of memory. Moreover, I presume that it is memory’s ephemeral and fallible nature that allows these two authors to construct their narrative.
- How to write a manifestoPublication . Hanna, JulianThat is to say, an avant-garde manifesto: a sort of rough the Looking-Glass reflection of the more common strangeness of the political manifesto. All manifestos are distorted and extreme; they are wish-lists of the overly ambitious, of little Napoleons. But the avant-garde manifesto is especially bonkers, blending revolutionary zeal, dramatic performance, and an insatiable thirst for novelty to create a singularly attractive, circus-like delirium. Who is not electrified upon first reading The Founding and Manifesto of Futurism (1909), the rant that launched a thousand imitators? F.T. Marinetti, futurist-in-chief, summed up his manifesto formula in two key words: “violence and precision.” The avant-garde manifesto would channel the anarchic energy of the new century into a literary form that was seductively strong and thrillingly direct.
- Como escrever um editorial?: get reading! [Editorial]Publication . Palmeirim, Madalena ManzoniSe a edição da Cine Qua Non se tem ca- racterizado por um espaço plural onde diferentes expressões artísticas se cruzam livremente, cada vez mais, esta diversidade de textos que viajam em diferentes direcções e sentidos, estabelece a natureza dinâmica que procuramos imprimir em cada publicação. Textos que implicam diferentes interrogações para logo acrescentarem novas respostas e novas discussões. Como escrever então um editorial para uma publicação com o carácter omnívoro da Cine Qua Non? Um editorial que reúna programas para todas as cores e texturas? Que centrifugue, com a preocupação de vincar, mas não enrugar? Que combine sem medo de tingir? Escrever tal editorial é deixar provar logo depois de enxugar, antes de bainhas feitas e desfeitas. Cabe-nos alinhavar sem pontear, entrelinhar sem tear. Cabe-nos escolher a corda onde os estender. Ao leitor cabe apanhar os textos prontos-a-vestir. Uns compridos, outros curtos, uns decotados, outros abotoados, uns listados, outros estampados. Uns justos, outros rendilhados. Mas sempre sem gravatas.