Abstract

Este artículo examina la relación entre la lectura crítica y el objeto crítico en la obra de la poeta y ensayista canadiense Anne Carson, principalmente los textos que surgen de su largo acercamiento a los escritos de la filósofa y mística cristiana Simone Weil. Mi lectura de Carson se centra en los deseos conflictuales de la relación crítica que se encuentran confesados y no confesados en su obra, y en las formas de intimidad que sus respuestas logran con la obra de Weil. Agudizadas por su encuentro con el pensamiento y la fe de Weil, las preguntas de Carson para la crítica —sobre sus propios objetos y la resistencia de ellos a la interpretación, sobre la distinción entre crítica y literatura, y sobre la vanidad de la estética de la crítica misma— encuentran su articulación en varios géneros de la escritura: estudiando la complicidad de cada uno de estos con Weil, y la capacidad de cada uno a radicalizar sus cuestiones, llego a unas conclusions propias para la crítica literaria.

Abstract

Without evaluating the extraordinary and consistent impression that Nicholas of Cusa exerted on the works by Sor Juana Inés de la Cruz, it would be hardly possible to achieve a profound comprehension of one of the most prominent women writers of the Latin American Baroque period. The Cusan’s legacy provided Sor Juana with the symbol of the opposing pyramids of light and shadow, and with the metaphor of the circle and the center, already sifted by the Spanish mystics. Both symbols in her poem The Dream inscribe within a Renaissance change of episteme, in which a mathematical and optical version of the ideas was always produced through the elucidation of oneself, of the individual as part of a cyclic, spherical universe in which a central, all-seeing eye is described in various works by Nicholas of Cusa. The idea of divine contemplation with our bodily eyes closed, for the incorporeal is only accessible by getting rid of the corporeal; the mathematical and geometrical speculations about divinity and the conceptions of the world as a combination of signs; how the infinite and the finite encounter and the knowledge of the world is always a probability and a conjecture, all these are philosophical traces which enlighten The Dream, one of the most captivating intellectual poems in Spanish literature.

Abstract

The «Llibre de meravelles» is one of the best known works by Ramon Llull because of its literary dimension. Both this and the structure of the text correlate with contemporary texts of encyclopaedic character. However, a contextualization of the book within Llull’s production, especially in relation to his former novel (Blanquerna), can make important contributions to a new approach to the book, in order to interpret it as a manual of predication adapted to Llull’s particular conception. Which his conception is, which purpose Felix’s examples have in the book, and how the work integrates in Llull’s conception of relationships between faith and reason, is the subject of the present article.