written by Sergio Vodanovic
[II] 239 - 261
Summary:
Este cuento se trata del clasismo de una mujer en la sociedad. En la play están la señora con su hijo Alvarito, y la empleada. La señora se da cuenta de que su hijo, con 4 años tiene mucho control, y es dominante en la playa. Aunque destruye el castillo de arena de una niña pequeña, la madre no hace nada. La empleada lo describe como un peleador. En la playa, la señora lleva un blusón de toalla y el traje de baño. La empleada lleva un delatal blanco como uniforme.
La señora luego explica que está cansada de estar en la playa, porque su marido no ha llegado, y todas sus amigas ya han vuelto a casa. Esto demuestra que la señora no tiene una buena realción con su marido y solo se ha casado con él por el dinero.
Luego la señora se da cuenta de que la criada esta muy blanca, y la criada explica que es de no estar en el sol. También la señora se burla de la revista porque tiene a gente famosa que hacen el ridículo. También quiere que la criada vijile a Alvarito. En un momento son amigas, y en otro a la señora solo le interesan las aparencias.
La señora tampoco entiende mucho de la vida del campo porque piensa que lo tenían todo muy facil. No entiende que para vivir, se ha de trabajar, y por eso se ha marchado la criada. Tiene una vista muy arrogante. Le dice que es mejor que no se case porque ahora ya tiene todo lo que necisita, menor criaturas.
La señora se burla de los de la revista porque no cree que son de aristocracia verdadera por sus aparencias. Van todos vestidos mal. La señora cree que la aristocracia viene natualmente, como su hijo con sus mandatos, y la ropa.
La señora dice que cuando se cambia de ropa, el mundo se ve de una perspectiva totalmente diferente. Le pregunta a la empleada como se siente ella en su ropa, y la criada dice que igual que la arena, o las nubes, porque todos son blancos. Luego la señora le manda que se cambien de ropa. La señora se pone el delantal blanco, y la empleada se pone el bañador con el blusón. La criada empieza a cuidarse se sus uñas y se pone gafas de sol, actuando como una señora de verdad. La señora se enfada un poco, cuando la empleada le manda que ella misma cuide de Alvarito. Luego la señora se enfada con la empleada por tratarla de esa manera, y empieza una pelea. La gente de la playa se llevan a la señora de verdad, pensando que es la empleada, y un viejo se acerca a la empleada y le dice que es la culpa del comunismo que los empleados se portan así. Al final del cuento, la empleada hace er que ahora ella es la madre de Alvarito.
Translation:
Themes:
-el desdoblamiento y la dualidad de ser
-la crítica social y política
-la libertad y la soberanía individual y colectiva
-el teatro satírico y sociopolítico hispanoamericano
Esto demuestra que las aparencias si que cambian a la persona. Cambiando de ropa hace que la empleada se transforme en la señora, y la señora en la empleada. La gente de la playa también miran a la gente por la ropa que tienen.
[sandra]
Showing posts with label desdoblamiento. Show all posts
Showing posts with label desdoblamiento. Show all posts
Sunday, April 5, 2009
Sunday, March 29, 2009
El Sur
written by Jorge Luis Borges
[I] pp. 143 - 154
Summary:
Juan Dahlmann is a man of two heritages, his parents heralding from Argentina and Germany, and that he is a bookkeeper. But this really isn't that important. What is important, though, is that Dahlmann has a farm in the South of Argentina that he wants to settle in.
One day in February 1939, something hit Dahlmann on the head while he was walking with the book One Thousand and One Nights. He walks back to his room, where a fever and some nightmares overtake him. He is taken to the hospital, un sanatorio, where he has surgery and endures great pain, both physically and psychologically. All he wants to do is go to his farm.
After noticing symmetries between his time before and after his hospital stay, Dahlmann takes a trip to the South of Buenos Aires. He sees a cat, and realizes that he doesn't know where he is: aquel contacto era ilusorio (147).
He goes to the train station where he boards the train, happy to be alive after his ordeal. He observes nature, eats, lives, and feels. He takes a nap, and dreams, before again realizing that perhaps he is not going to his farm: la soledad era perfecta y tal vez hostil, y Dahlmann pudo sospechar que viajaba al pasado y o sólo al Sur (149). Dahlmann then gets kicked off the train.
A series of parallels between the two worlds then emerge: the loud cafeteria, the customer who looks like a hopsital employee, a light brush on his face. He then decides to read his book, but others laugh at him. Then a compadrito from the rowdy crowd approaches him with a large dagger, and they are about to fight. Perhaps this is a way for Dahlmann to come to terms with his pain: Era como si el Sur hubiera resuelto que Dahlmann aceptara el duelo (153). He wants to fight, but is unable. Fortunately, the compadrito leaves, and Dahlmann leaves towards his farm, towards El Sur.
The story is somewhat autobiographical, and is a good example of desdoblamiento. The reader is left with a large degree of ambiguity in what is real and what is fake.
Translation:
http://www.akirarabelais.com/borges/elsur.html
Themes:
-el desdoblamiento y la dualidad de ser
-la tenue línea entre lo real y lo ilusorio
-el cuento fantástico del siglo XIX y del siglo XX
[I] pp. 143 - 154
Summary:
Juan Dahlmann is a man of two heritages, his parents heralding from Argentina and Germany, and that he is a bookkeeper. But this really isn't that important. What is important, though, is that Dahlmann has a farm in the South of Argentina that he wants to settle in.
One day in February 1939, something hit Dahlmann on the head while he was walking with the book One Thousand and One Nights. He walks back to his room, where a fever and some nightmares overtake him. He is taken to the hospital, un sanatorio, where he has surgery and endures great pain, both physically and psychologically. All he wants to do is go to his farm.
After noticing symmetries between his time before and after his hospital stay, Dahlmann takes a trip to the South of Buenos Aires. He sees a cat, and realizes that he doesn't know where he is: aquel contacto era ilusorio (147).
He goes to the train station where he boards the train, happy to be alive after his ordeal. He observes nature, eats, lives, and feels. He takes a nap, and dreams, before again realizing that perhaps he is not going to his farm: la soledad era perfecta y tal vez hostil, y Dahlmann pudo sospechar que viajaba al pasado y o sólo al Sur (149). Dahlmann then gets kicked off the train.
A series of parallels between the two worlds then emerge: the loud cafeteria, the customer who looks like a hopsital employee, a light brush on his face. He then decides to read his book, but others laugh at him. Then a compadrito from the rowdy crowd approaches him with a large dagger, and they are about to fight. Perhaps this is a way for Dahlmann to come to terms with his pain: Era como si el Sur hubiera resuelto que Dahlmann aceptara el duelo (153). He wants to fight, but is unable. Fortunately, the compadrito leaves, and Dahlmann leaves towards his farm, towards El Sur.
The story is somewhat autobiographical, and is a good example of desdoblamiento. The reader is left with a large degree of ambiguity in what is real and what is fake.
Translation:
http://www.akirarabelais.com/borges/elsur.html
Themes:
-el desdoblamiento y la dualidad de ser
-la tenue línea entre lo real y lo ilusorio
-el cuento fantástico del siglo XIX y del siglo XX
Wednesday, March 25, 2009
La muerte y la brújula
written by Jorge Luis Borges
[I] pp. 155 – 172
Borges immediately introduces detective Erik Lonnrot, the protagonist, and Red Scharlach, the criminal and antagonist. Lonnrot is un puro razonador with elements of a tahúr (gambler) and an aventurero (156). Scharlach vows to kill Lonnrot.
The first murder occurs in the Hotel du Nord on December 3. Doctor Marcel Yarmolinsky has a deep knife wound. His room is across the hall from Tetrarch of Galilee, known to have the finest sapphires, leading Insepector Treviranus (the voice of reason and practicality) to believe someone tried to steal the sapphires. Lonnrot, however, notices the possible Jewish ties; he believes the crime may belong to the history of Jewish superstition. Says Lonnrot:
Posible, pero no interesante [a la realidad de Treviranus]. Usted replicará que la realidad no tiene la menor obligación de ser interesante. Yo le replicaré que la realidad puede prescindir de (avoid) esa obligación, pero no las hipótesis. En la que usted ha improvisado, el azar (chance) interviene copiosamente […] yo preferiría una explicación puramente rabínica […] (158).
He notices the message: La primera letra del Nombre ha sideo articulada (159). He then pores through Yarmolinksy’s texts, and learns that God has a secret, Absolute name. When the editor of Yidische Zaitung, a Jewish magazine for which Yarmolinksy wrote, comes, Lonnrot is only interested in solving his puzzle.
The second murder occurs in an alley on January 3. Daniel Simon Azevedo is the victim of a deep knife wound to the chest, a man known to be a petty thief. On the wall, Lonnrot sees the message: La segunda letra del Nombre ha sideo articulada (161).
The third murder occurs at Liverpool House on February 3. Gryphius-Ginzberg, a man who spent his days in a room above the Liverpool House, is presumed to have died. The tavern owner, Black Finnegan, relays a story about Ginzberg getting drunk; Lonnrot then notices: La última de las letras del Nombre ha sido articulada (163). Treviranus proposes that everything might just be a sham, immediately dismissed by Lonnrot.
On March 1, Treviranus receives a letter saying no murder will occur on March 3, as the previous three made an equilateral triangle. Lonnrot studies them, and quickly notices that there is indeed to be a fourth murder; he immediately takes a train to Triste-le-Roy. El misterio casi le pareció cristalino (166). He goes through the iron fence to the pointlessly symmetrical house, enters, and explores it. Very soon after, two men seize him.
He sees Red Scharlach. Scharlach says that he is seeking Lonnrot (not the Secret Name of God), the man who sent his brother to jail. Scharlach also tells how he spent nine days and nights with a bullet in his stomach in Triste-le-Roy. Sentía que el mundo es un laberinto (169), a world that is impossible to flee.
He then explains his plans: they were to steal the sapphires, but Azevedo undertook the job a day early and was forced to kill Yarmolinsky. From Yarmolinsky’s Judiasm, Scharlach then plans to create a trap for Lonnrot. Azevedo was the necessary victim; he was impulsive, a traitor. Gryphius-Ginzberg was Scharlach himself, and the necessary “evidence” was planted. Scharlach led Lonnrot to una exacta muerte; todo lo he premeditado para atraerlo a [Lonnrot] a las soledades de Triste-le-Roy (171).
Lonnrot then feels sadness; he then suggests that in the next incarnation, Scharlach plan a proper labyrinth. Scharlach steps back, and shoots Lonnrot.
Translation:
http://prepcycle.com/forum/viewtopic.php?f=16&p=279
Themes:
-el desdoblamiento y la dualidad del ser
-el cuento fantástico del siglo XIX y siglo XX
[I] pp. 155 – 172
Borges immediately introduces detective Erik Lonnrot, the protagonist, and Red Scharlach, the criminal and antagonist. Lonnrot is un puro razonador with elements of a tahúr (gambler) and an aventurero (156). Scharlach vows to kill Lonnrot.
The first murder occurs in the Hotel du Nord on December 3. Doctor Marcel Yarmolinsky has a deep knife wound. His room is across the hall from Tetrarch of Galilee, known to have the finest sapphires, leading Insepector Treviranus (the voice of reason and practicality) to believe someone tried to steal the sapphires. Lonnrot, however, notices the possible Jewish ties; he believes the crime may belong to the history of Jewish superstition. Says Lonnrot:
Posible, pero no interesante [a la realidad de Treviranus]. Usted replicará que la realidad no tiene la menor obligación de ser interesante. Yo le replicaré que la realidad puede prescindir de (avoid) esa obligación, pero no las hipótesis. En la que usted ha improvisado, el azar (chance) interviene copiosamente […] yo preferiría una explicación puramente rabínica […] (158).
He notices the message: La primera letra del Nombre ha sideo articulada (159). He then pores through Yarmolinksy’s texts, and learns that God has a secret, Absolute name. When the editor of Yidische Zaitung, a Jewish magazine for which Yarmolinksy wrote, comes, Lonnrot is only interested in solving his puzzle.
The second murder occurs in an alley on January 3. Daniel Simon Azevedo is the victim of a deep knife wound to the chest, a man known to be a petty thief. On the wall, Lonnrot sees the message: La segunda letra del Nombre ha sideo articulada (161).
The third murder occurs at Liverpool House on February 3. Gryphius-Ginzberg, a man who spent his days in a room above the Liverpool House, is presumed to have died. The tavern owner, Black Finnegan, relays a story about Ginzberg getting drunk; Lonnrot then notices: La última de las letras del Nombre ha sido articulada (163). Treviranus proposes that everything might just be a sham, immediately dismissed by Lonnrot.
On March 1, Treviranus receives a letter saying no murder will occur on March 3, as the previous three made an equilateral triangle. Lonnrot studies them, and quickly notices that there is indeed to be a fourth murder; he immediately takes a train to Triste-le-Roy. El misterio casi le pareció cristalino (166). He goes through the iron fence to the pointlessly symmetrical house, enters, and explores it. Very soon after, two men seize him.
He sees Red Scharlach. Scharlach says that he is seeking Lonnrot (not the Secret Name of God), the man who sent his brother to jail. Scharlach also tells how he spent nine days and nights with a bullet in his stomach in Triste-le-Roy. Sentía que el mundo es un laberinto (169), a world that is impossible to flee.
He then explains his plans: they were to steal the sapphires, but Azevedo undertook the job a day early and was forced to kill Yarmolinsky. From Yarmolinsky’s Judiasm, Scharlach then plans to create a trap for Lonnrot. Azevedo was the necessary victim; he was impulsive, a traitor. Gryphius-Ginzberg was Scharlach himself, and the necessary “evidence” was planted. Scharlach led Lonnrot to una exacta muerte; todo lo he premeditado para atraerlo a [Lonnrot] a las soledades de Triste-le-Roy (171).
Lonnrot then feels sadness; he then suggests that in the next incarnation, Scharlach plan a proper labyrinth. Scharlach steps back, and shoots Lonnrot.
Translation:
http://prepcycle.com/forum/viewtopic.php?f=16&p=279
Themes:
-el desdoblamiento y la dualidad del ser
-el cuento fantástico del siglo XIX y siglo XX
Tuesday, March 24, 2009
La noche boca arriba
written by Julio Cortázar
[I] pp. 177 - 189
Summary:
An unnamed man is in the modern world, riding his motorcycle through town. He swerves out of the path of a woman crossing the street, but as a consequence, goes unconscious. Fue como dormirse de golpe. (178) When he comes to, he realizes he is bloody, his knee is hurt, his right arm is in pain, and his eyebrow has a large gash. He is taken to the hospital, where a hombre de blanco approaches him con algo que le brillaba en la mano (180)...
He is in a strange dream, with fragrances. Y todo era tan natural, tenía que huir de los aztecas que andaban a caza (hunt) de hombre, y su única probabilidad era la de esconderse en lo más denso de la selva […que] los motecas conocían (180). He stands there, nervous from unexpected sounds around him, clutching his stone dagger. When he smells the smell he fears most, he wakes up with a fright.
He just wakes up, and finds himself thirsty and in a cast. He has la fiebre (182), allowing him to fall in and out of consciousness.
He is again in confusion, but soon realizes that la guerra florida había empezado for tres días y tres noches (183). He kills some enemies that attack him, but is eventually caught with a rope.
The patients at the hospital are convinced it is la fiebre, but it is more. The blurred line between reality and dream continues: se oía toser, respirar fuerte, a veces un diálogo en voz baja (184), ¿Quién hubiera pensado que la cosa iba a acabar así? (184). He then feels like he has been transported through time and space: tenía la sensación de que ese hueco, esa nada, había durado una eternidad. No, ni siquiera tiempo, más bien como si en ese hueco él hubiera pasado a través de algo o recorrido distancias inmensas (185).
He awakens on his back, naked and tied in ropes. He hears the rituals of the aztecas and knows he is ascending the steps of the sacrifice. He knows he will be carried to the top where he will be sacrificed. He wishes this recurring dream will end.
He sits in the hospital, glad that he is awake. Yet he cannot manage to keep his eyes open; he sleeps and returns to being tied up, about to have his heart ripped out. At this point, he realizes that his “dream” is actually his reality; when he is about to die, ahora sabía que no iba a despertarse (188). Alguien se le había acercado con un cuchillo en la mano, a él tendido boca arriba, a él boca arriba con los ojos cerrados entre las hogueras (188-9). He dies.
Translation:
http://deeblog.squarespace.com/journal/2008/5/9/la-noche-boca-arriba-part-1.html
Movie:
http://www.youtube.com/watch?v=DX+auFxEskM
Themes:
-desdoblamiento y dualidad de ser
-la tenue línea entre lo real y lo ilusorio
-el cuento fantastic del siglo XIX y siglo XX
[I] pp. 177 - 189
Summary:
An unnamed man is in the modern world, riding his motorcycle through town. He swerves out of the path of a woman crossing the street, but as a consequence, goes unconscious. Fue como dormirse de golpe. (178) When he comes to, he realizes he is bloody, his knee is hurt, his right arm is in pain, and his eyebrow has a large gash. He is taken to the hospital, where a hombre de blanco approaches him con algo que le brillaba en la mano (180)...
He is in a strange dream, with fragrances. Y todo era tan natural, tenía que huir de los aztecas que andaban a caza (hunt) de hombre, y su única probabilidad era la de esconderse en lo más denso de la selva […que] los motecas conocían (180). He stands there, nervous from unexpected sounds around him, clutching his stone dagger. When he smells the smell he fears most, he wakes up with a fright.
He just wakes up, and finds himself thirsty and in a cast. He has la fiebre (182), allowing him to fall in and out of consciousness.
He is again in confusion, but soon realizes that la guerra florida había empezado for tres días y tres noches (183). He kills some enemies that attack him, but is eventually caught with a rope.
The patients at the hospital are convinced it is la fiebre, but it is more. The blurred line between reality and dream continues: se oía toser, respirar fuerte, a veces un diálogo en voz baja (184), ¿Quién hubiera pensado que la cosa iba a acabar así? (184). He then feels like he has been transported through time and space: tenía la sensación de que ese hueco, esa nada, había durado una eternidad. No, ni siquiera tiempo, más bien como si en ese hueco él hubiera pasado a través de algo o recorrido distancias inmensas (185).
He awakens on his back, naked and tied in ropes. He hears the rituals of the aztecas and knows he is ascending the steps of the sacrifice. He knows he will be carried to the top where he will be sacrificed. He wishes this recurring dream will end.
He sits in the hospital, glad that he is awake. Yet he cannot manage to keep his eyes open; he sleeps and returns to being tied up, about to have his heart ripped out. At this point, he realizes that his “dream” is actually his reality; when he is about to die, ahora sabía que no iba a despertarse (188). Alguien se le había acercado con un cuchillo en la mano, a él tendido boca arriba, a él boca arriba con los ojos cerrados entre las hogueras (188-9). He dies.
Translation:
http://deeblog.squarespace.com/journal/2008/5/9/la-noche-boca-arriba-part-1.html
Movie:
http://www.youtube.com/watch?v=DX+auFxEskM
Themes:
-desdoblamiento y dualidad de ser
-la tenue línea entre lo real y lo ilusorio
-el cuento fantastic del siglo XIX y siglo XX
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