Sunday, October 19, 2008

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dipolomados Recognition in business.

Law 47/2007 of 19 December, which amends Law 24/1988 of 28 July, the Securities Market

http://www.tituladosmercantiles.org/documentos/L472007 . pdf

Thursday, September 18, 2008

Women Wearing Tight Girdles

position No. 11/12

N º 11/12 -
Arts, Culture and political
Delhi, September 2007.
ISSN: 1851-1309 - Cover Price: $ 15 .-

write
Maximiliano Lagarrigue / Diego Bentivegna / Karen Garrote / Osvaldo Costiglia / María Celia Vázquez / Maximiliano Crespi / Virginia Martin / Alvaro Urrutia / Mariano Hail / María Elena Torre / Marcelo Mendez / Gisela Fabbian / Alicia Cappomassi / Guillermo Goicochea / Valentina Solda / María del Carmen Cabrero / Francisco Coleta / Pablo Moreno / Aldana Arroyo / Claudio Dobal / Roy Crespi / Fabian Wirscke

Friday, August 22, 2008

Burning Throat Stomach

Lp No 9 / 10 [November 2006]


Download . Pdf
position No. 9 / 10
Editions Barricada, Bahía Blanca, November 2006,

Saturday, February 16, 2008

Hair Salon At Jcpenney

Guillermo Goicochea (Survey the critical essay) Interview with Osvaldo Costiglia












interview published in Position 9 / 10 - November 2006.

Target Commercial Song In Spanish










interview published in Position No. 9 / 10 - November 2006.

Tuesday, January 22, 2008

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"The touch is not just a touch, a felt, a score, much less a manipulator, but rather it is to restore proximity to the other, to remove the distance that separates us from returning to subjectivity: to place it back in-the-world.
The touch does not drink, do not cling, does not catch or require other passive activity, slides on the edge of another, sets, making it appear as the displacement of runs, giving a small scale, into the world and giving the boundary that marks the figure, separates and unites the world again. The touch does not take possession, on the contrary, free otherness, relaxes, the distended. It puts us in contact with the other but without reducing our corporeality or perception, leaving him to inhabit his own otherness.
The touch reminds us that we can return to blindness. (...) We found that live forever in the absence, in what we're missing pet, as necessary to be cherished. " GG

Grammar of the media (unpublished)

"Here, the truth, to be a writer in earnest must be doing something else completely different." CD
Botero (2006)

"The scene, while accurately describing the air of conspiracy, the Upper Room, where complex plot threads weave a subtle between texts, institutions, thoughts, and elective affinities." Carlos Astrada
GD (2004)

To begin, we will continue making friends. And to do what best for inviting us to start a story.
Not long ago, in a hallway of the university, someone, perhaps without deliberate bad faith, citing the possibility disqualified (to make appointment) to a test published in this journal. The character in question had not read the essay. His opinion was related directly to the magazine, which was challenging for his "little scientific nature" (to appeal to the uncertain adventure of the trial) and because it actually is: "a magazine by friends" (in logic disqualifying: for lack of a refereeing authorized, authorized or unauthorized presence, justifying absences). But what is worse, making the same authority as the ultimate guarantee of the scenarios outlined in the trial.
These two attributes, which were brought to the magazine as birth defects, in the opinion of this jury to remain anonymous (Not because the subject of this statement lacks a proper name, but because the court answers rather a logic through which the subject is spoken) - should be assumed guilty and vivid manner. And before preparing these words (whose fate was to be pronounced at the generous invitation of the authorities, the UNS) had no better idea to admit that aseptic, sterile descriptive trial as a damning verdict has the force of law, provided from it, not to reject the indictment nor to support an apology, but rather to test the hypothesis presented (ie a presentation) the same thing but differently. And we did not to think hard not to give right away, as Walsh would say, with the next key: for us, guilty, these "defects" result in affection, to the extent that they become the experiential core of policy commitment imagined community around the magazine. Hence
may be appropriate to recognize from the outset, and bluntly: guilty, but not culpable. We recognize themselves in the guilt that is the cost to be paid (in foreign currency) at the time to think a magazine like the meeting place of a coordinated community on a policy of friendship, a place that works, if you will, effectively as a practice of self care is, of course is also a caring for others. However, part of a magazine made by friends, "involves taking a double risk: because at the same time that each one rests on the coherence of thinking, the intellectual coherence of the community, it also exposes to severe criticism, coming from the same group, can not be unheard indifferently, which allows not incur the Cenacle hypocrites whispers closed because a magazine is not made by friends and speculation disingenuous secret: you think what is said , we say what we think. Guilty
the blame for the friendship and guilt of the trial. Ie we are also guilty of treating thinking about the framework of an area in which the texts, textiles, relate and affect each other, without being subjected to the impositions and exclusions of the police disciplinary and without the abrupt presence of an arbitration to determine a rule of law as weak as miserable. In any case, we are guilty (even those who have studied in this sacred enclosure) of raising the hard way and chosen the wind piled us. Anyway, here we are guilty and crowded.
But watch the lice, not to believe that these words nests misguided idea that, as in turning Borges, joins us not love but fear. Not so. When pressed in a community we are planning on a love experience. We are thinking (many of you know because they have racked but rewarding arid sands of philological research) that the origin of the community lies the munus, the gift, what occurs unexpectedly, as a miracle, and without waiting for payment or profit. We refer therefore to a community whose logic does not distribute and guilt in relation to their degree of impunity because it is impossible to admit to the scriptures a different way of life if not provided submitting them to the utilitarianism of his "objective" criteria . I speak, on the contrary, a community which she refuses to reduce reality to a kind of nature given (only intelligible as an object y sólo apta para la descripción) porque prefiere asumirlo como un proceso de transformaciones y de pérdidas en el que ella misma es uno de sus avatares (y no un “más allá” desde donde afloran, verticales, los dictámenes).
En este sentido, esta comunidad imaginada aparece hoy, nuevamente, materializada en este cuerpo de textos que son acaso “simple y sencillamente” una instancia más de esa comunidad, de esa dación recíproca constituida por incansables diálogos, encuentros, lecturas, relecturas y también –por qué no decirlo– por lúcidas u opacas pero siempre encendidas discusiones compartidas alrededor de una rueda de mates con palitos o de un generoso grilled with red wine or a classroom dialogue agitated suspended.
there then here (which for many is a nightmare and a small miracle for us) a new coffin. And from him, trying to avoid superstition, only say what Spinoza taught: do not know what a body can do: we only know that his being in line with its power. And we do not see a story that started to impose limits or restrictions on the event of his experience. Guilty
effectively because there is a body. A body whose power (guilty) lies in the desire to be recognized in the terms of that kind of touch donated an elective affinity is not restricted to their content (on the other hand, heterogeneous undeniable) but because of his willingness to take writing as experienced as the place of risk, experimentation and transformation from which subjectivity can no longer return identical to themselves.
In short, blame and crowded, here we are gathered in a body of texts materialize, if only partially, a community that has no interest whatsoever about sacrificing defined by mere opposition to the logic that dictate their fault. Rather prefer to imagine themselves in the hard desire loving production of a difference. Difference that may or may not eventually materialize into a body of texts like this, but undoubtedly occurs, and behold the miraculous of it, "in each of those we are part of the small countries carried out by this sort of imagined community as a policy of friendship.

Moreover, we do not know from this page should induce some secret / forced continuity between the texts gathered here. Maybe post a thread, instead of circumventing the "threat" of discontinuity, will help pinpoint more than actually exists between them.
As the plurality of propositions and concerns that the reading of the textual body does this, we can only recognize it as a healthy invaluable and generous gift. The truth is that during these five years, which determine the course of the review, we found, perhaps a little adrift from the experience, with the possibility (Capacity?) to recognize, in the case of difference, a policy of friendship under power behind damning. We have seen, because we recognized that sometimes involved mechanically dresser, weak and ultimately pointless logic uncritical Manichean discourse that crushes the complexity of the event and ends erased in the common place of prosecution mechanical and dull and useless (from ) rating from ad hominem arguments. Already
: our belief (about the struggle of classes, planned misery that is pushed to much of society equally unpunished processes carried out under successive military dictatorships and economic under the dictatorship imposed by successive democratic masks the assertion of the "lesser evil", or regarding the need for structural transformation of a society that excludes from the unequal distribution of wealth) remains intact. If something has changed is the mindset from them. We have chosen to abandon a position pedantic, not without some messianic tinge, from which more than once utter a speech that they took on the value of the claim when he pointed out just the place common (effects) of this repressive mechanism. And not because we stopped believing in the value of the claim, but because we have stopped believing that we can change something without first being able to transform ourselves through our experiences, our own praxis.
In effect, despite their apparent heterogeneity, which is evident in this body is an insistence: the core of this body-reflexive text is-still-politics. The ways in which she goes through and permeates and relates to the philosophy, aesthetics, literature and history. Only that in every text, and willing to fulfill ideological tasks (which are intended to contribute to at least crack the metal plate of the dominant culture), it is evident the passionate desire to make a difference in the search for new meanings, ie, the desire to examine the relationships between text and politics in a new way, trying put in crisis the ways in which the meaning of the text is subjugated through subtle but effective cultural naturalization processes. But what is equally or more important, is the policy of a constitutively in these tests: it is in the sense that each one of them refuses to recognize it (a policy) as an externality or as a mere content pursuant to understand (include spatial sense of the word), is say, assuming the policy and experience that can evade the no writing precisely because it occurs also in and through them.

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BAY ANECDOTES AND INSTITUTIONS ARGENTINE WHITE ASSES

By Daniel Link

This poem is part of the cycle Psychopathology. During three weekends in Bahia Blanca coordinated a workshop for poets. One of the exercises proposed to the participants was to write a poem called "Bahia Blanca". This is my own answer to that slogan. I won, their versions, some flashbacks.

For Pamela

The last time, before now,
It was in Berlin. Perdoname
Paul, was in Berlin. We were

you and I Dead
cold and despair
the streets of Kreuzberb,
Craving a red wine, an emotion Argentina,
The intimate knife to her throat.
And we hear, behind a thick curtain of dirt
-started the year ninety-three, and was in Berlin-
Presenting Sonia (or Isabel, or Sandra, or maybe Susana)
I was going to sing for a group of drunken self-absorbed

German and Turkish songs across the Atlantic,
Ours
The samba of hope
What we did not have then or now.

Cold dead we will hopefully hear
tricky The plot of the fascia grimaces
And we saw the makeup emphatic
The stupidity of the drunken Germans and Turks
The show starving, barely sustained by a
exotic
A force fed alcohol, despair and cold. Make us

invite your cheap hotel was easy.
looked as doing what I wanted,
What I did was sent
With Sonia (Isabel, Sandra, and Susan).
made me promise to never again

Paul (sorry, sorry!).
was the last time,
Before Bahia Blanca, a small hotel in
Kreuzberg sinister
that intoxicates me only with the smell of tear gas
And the noise of police sirens
coming through the double glass window,
closed as it was.
Isabel, or Sandra, or Sonia, just complained.
do not know if he was happy.
The left bare, open two
on the bed.
And I promised that never again, Paul,
Nevermore.
"The Chain", commanded, "must be cut."

But eight years after Hamburg,
Prague, Berlin, Madrid, Asuncion and Bogota, arrived in Bahia Blanca

With only a secret mission
The Ministry Water
had given me.
"Bahía Blanca is rotting from the inside," he said.
"Look how to solve it," he ordered.
And I came to this city that is rotting inside.
and destiny and cold, and despair
put me in front of another thick curtain of dirt,
Stupidity, make emphatic, alcohol, cheating
Frames, boredom and cold. I went with my box
vice
In the inside pocket of his jacket:
Drugs, latex gloves,
nylon thread, rubber bands
,
The Swiss Army knife you gave me.
Forgive me, forgive me!
"The string
That has cut
. " Pamela

talked, danced, pretended to sing. Excite
buried part of me
After Kreuzberg, Prague, Berlin and Bogota.
was easy to invite me to his apartment

claim that intoxicates me with industrial chlorine smell of cat pee.
erotic responded to my claims. Excite

adventure desire (for her, I was a foreign exotic
come across the Atlantic).
do not know if she was happy.
purred in his ear,
With my best voice,
vice Feeling the box
In the inside pocket of my jacket.
"You're going to be my bitch,"
"I'm going to make everything I want, what I am commanded
make,
what nobody did." His

colored lenses remained on the table.
While drugs began to affect Pamela
undressed for me.
"So, bitch."
Almost all naked, I gave her buttocks
rotten inside,
With the industrial chlorine smell cat pee
Let me
input feverish and I was obliged to resolve.
Its vocabulary was so limited
As Kreuzberg, Hamburg, Bogotá.
I explained what was "perineum."
Search your perineum, caress, I promised
tongue
The enjoyment unheard
All
zamba of hope that he longed for someone to offer. Pamela

lay face down, offering his buttocks
emphatic
His stupidity, its plot tricky.
I said no.
"Turn around bitch, I see your face."
The nylon thread on their wrists,
The Swiss Army knife in my gloved hands
latex.
"I am going to undress" purred in his ear
thick dirt and rotten
inside. His excitement only tolerated

(Forgive me, Paul,
Forgive!)
aspirations to which the subjected.
"Pamela,
I will make what ever
nobody did." I tied his testicles almond

with a rubber band.
Three laps and blood circulation stopped.
"gonna be my bitch"
While lubricated with her saliva and my fingers latex
Its poor vocabulary, his stupidity, his perineum.

testicular ablation is a cinch.
An incision in the scrotum,
A quick cut in the sperm ducts.
Your Swiss Army knife, Pablo, sorry!,
did all the work for me. Pamela
almost enjoyed.
was frightened when I showed him what he had cut,
Those rotten inside
Thumbelina would have preferred not to burden across the world.
"And now I will work on your perineum"
purred in his ear as he put on his mouth
The drug swab.
The Swiss Army knife drew a line of blood.
I kept cutting, cleaving the labia
bloody skin With your perineum. I kept cutting
behind the corpus cavernosum:
Muscles, meat, Pamela, my love,
I did everything I was meant to solve.
did not lose consciousness or limited vocabulary.
Pale, was bleeding.
I could not more of excitement, was at risk.
A drop of semen invisible
would have sufficed for a DNA test.
"Pamela, my bitch" purred in his ear

"You will die like a woman ritually bleeding."
your perineum blood soaked bed. His legs exhausted
opened like a bay. Her makeup ran
emphatic
In Wireless tears of industrial chlorine. The last pit
blew his air
artery and a stream of blood drawn
miserable on the wall of his room
A Jackson Pollock.

I dressed and went silent. Pamela
ritual was going to die, no blood, an hour later.
For the city rotting from the inside, I was a stranger
across the Atlantic.
and had betrayed a promise.
Sorry, Paul, sorry! Longed
country,
The intimate knife to her throat, and an order
made me forget confusing
In Kreuzberg, Bogotá
And the claim that it had accepted in your mouth
The chain had to be cut.
But now follows, and will continue.
I'm leaving this city that is rotting inside.
My report will say:
"Bahía Blanca is rotting inside. I looked into its depths
the reasons
industrial chlorine smell of cat pee.
But in truth,
I could not find the cause. "
Outside report: I felt cold,
and despair, and the box
vice.
Sorry, Paul, sorry.
Ando, \u200b\u200bstealth, and Recife. Walked
the vice
box in the inside pocket of his jacket. Humming
, yes, samba of hope.
The chain would be cut.


Daniel Link
Delhi, August 2001

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[Change]
By Daniel Link


What's new in Argentina society?
do not remember seeing on television, before last Friday, showing pictures of young Argentine police's ass. Since, moreover, do not know anything about football culture, I do not know if it is a normal behavior in soccer as a manifestation of defiance (I think, however, that some player has shown his ass as a sign of triumph for having committed a goal, with the approximate sense of "bésenme ass, I deserve it.")
That yes, he knew the gesture by American films and The Simpsons, where it is common for the girl shows her ass through the car window when you want to annoy a driver side. Invariably it is seen as the greater offense can: born and persecution more ominous and deadly. But I always struggled to find the exact meaning of this gesture (perhaps of Celtic origin, what do I know: it's up in Braveheart). No kinetic (or theory of bodily gestures and behaviors) had been able to help so far. Because it was enough to see these guys showing Argentine police's ass in front of Congress to understand everything.
is much more interesting to analyze the "mostradita" (as an emergency, perhaps, of the new Argentina that continues to creep into the neighborhood assemblies and street demonstrations today), for example, grab the package as a sign of defiance. In the gripping, meaning clearer and more universal, is only saying "Come, take" (in all cultures). The one shown in the ass, for me, remained more ambiguous, more elusive, more labile. Until now.
The gesture means "Come, break me your ass if you're male." If the other does not accept the challenge, recognized to be less macho than the provocateur. If accepted, the challenging task of demonstrating that it is unwilling to surrender without a fight. I suppose in the context of a rather classical psychoanalysis, or rather wild, the gesture could be interpreted in the context of a general theory of hysteria: "Look what I give you, if (and only if) you're so macho as to deserve "(that is, on the other hand, the same as saying Runaway Bride, that delightful American movie whose script is a paragon of wit). In the context of cultural studies, the whole theory about the stigmatization of sexual behavior could shed light on the matter (the "manhood" as courage, manliness associated with the active role, the "honor" associated with the invulnerability of the ass, homophobia). The history of mentalities bring his own (the ecclesiastical condemnation of all non-reproductive sexual behavior-especially in the Middle Ages, when people died to the plague bug and had to ensure the survival of the species, for example). In short, many things could be said about the reasons that made "show ass" a unity of meaning in the general scheme of the gestures of defiance. But so far, the significance of that sign on the system as part, again, I was dark.
is not only lawful but advantageous (because it makes better understanding of the tensions in society) to analyze, within a general body kinetic, the gesture of showing your ass to find its meaning and value difference and, even, dialectal. Compare the Argentine boy shown with similar American (or British). The differences are striking: the U.S., to show your ass, it seems that only "kiss my ass." The Argentine boy, meanwhile, shake your ass best, it offers more and better, enjoy displaying his buttocks. If I could (unlike Jim Carey) to speak to his ass with grace, I would without hesitation. That's the difference between Argentina and shown shown Anglo-Saxon. While the Anglo proposes only a kiss worse than Judas, Argentina is full of lubricity and pride (which was obvious in the indecision of the boys the other day, who doubted whether to offer the spectacle of her buttocks challenging the police youth or TV cameras), the challenge is mixed with the offering.
Argentines, after all, have always been conscious of having the best beef in the world (be it true or a myth.) No need to remember how fond of showing their asses the stars of reality shows vernacular. I remember that was even one of the items awarded Marley in one of his unfortunate interventions television.
The Italians, who are being asses as much or more displayable Argentines boast a southern assault in connection with such bravado. For their part, the Brazilians know, like a lot of ass show, but the context in which they do in general is another, which excludes the challenge or subordinated to the logic (rebellious, but less belligerent) of the carnival.
So, the economy gesture of defiance, only care about two versions of the mostradita: the U.S. and now ours. The Argentine, who has always been pretty paquetero, it seems that now has discovered the value (the meaning) of that shown as an expression of defiance, strongly tied to a trail libidinal (River Plate product of hysteria, perhaps, or Indian influence, or the tango, God knows: for now would be too risky assumptions about risk). It is as if the boy Argentina while challenged, were suggesting the real possibility of such delivery. In fact, the Argentine people was delivered (more than once) to the seduction of "Macho." The boy says: "I challenge you, but if I you can, give."
are historic times in which not enough to go about displaying the ass. Should know how to save, if you will be saved, the ass of Argentine boys. An old man, at the door of the National Bank during the making of the building by greedy plaintiffs dollars, said (that too, in addition to above, was by Crónica TV): "Neither in Afghanistan is this." You're right.

What Does It Mean When Hematocrit Level

Daniel Link (survey the critical essay)

By Daniel Link

1 - What does "critical essay" and what place it in your writing practice?
understand "critical test" as a variant of the argument, of course. A "critical test" is also a way to read something (designed, of course, always as a text, ie a tissue). I write critical essays according to various protocols.

2 - What do you think are the advantages and disadvantages of the practice of critical essay?
The question is confusing because it calls "practical" to "critical essay", but at the same time seems to imply that the "critical test" is a drug product with a therapeutic action and contraindications. What are the advantages and disadvantages of any practice?

3 - What do you think is the ability / possibility of political intervention in the critical essay?
Various levels of response: If the "trial critical "is a mode of argument and emphatic affirmation of reading, reading, gender is a politically involved against the wave of widespread barbarism imposed as a culture. Further (or closer) that we should say that all reading is strategic and as such, is a battlefield in relation to which defines positions are, indeed, political.
In a more limited level, there will be "critical test" which will be strictly political matters (ie, which focus explicitly political issues or at least with respect to a common horizon expectations are immediately seconded to the political languages).

4 - What lines of the national tradition of critical essay considers relevant and why?
talk about "relevance" implies that the "tradition" has no conflicts. Martínez Estrada is perhaps the most ambitious of our essayists (a great reader, plus an enviable prose). Thereafter, naming names would be too naive, but we can not forget Oscar Masotta and, more contemporaneously, Cesar Aira and Alan Pauls.

5 - What keeps the relationship considered critical test critical academic work? Foreign

disconcerting. The institution and the "critical essay" presuppose each other, but not always their goals are the same. In any case, the "critical test" is less positivist than any institution.

6 - What cultural bodies considered priority at the heart of his critical work?
already said, the culture (if you prefer, say the "cultural hegemony", but it seems a tautology, and it never fully understood the tenets of Gramsci) should be denied in their current modes of appearance.

7 - What think are the relationships between critical essay and the book market?
not think there is a specific relationship between "critical test" and publishing market. In short, the words moving because there is a linguistic market and circulation of symbolic goods because no market of symbolic goods. I could not answer in five lines the relationship between any type of linguistic or symbolic action and the market.

8 - What are your guidelines when working to address the critical essay?
Discover things to know before. My work generally falls within the field of comparative literature, studies gender and criticism of this. It seems to insist that much (so they say) in the literary process of institutionalization and the constitution of subjectivity and individuality.

9 - What contemporary essayists considers relevant and why?
Those who strive to push the boundaries of the legible, which discusses the canonical readings, those who are questioning themselves. In general, they are my friends and because they are superfluous to name them.

10 - What are the prospects for continuity is critical essay in the new generation of writers?

new perspective. So I see (I hope). What can be noted, with alarm, is the lack of literary criticism.

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Open letter on

Through this open letter responds Raúl Antelo Rosano and categorically denounces the scenes of the preparation of the Complete Works of Oliver Girondo to files prepared by Antelo. Following is the complete letter published Ñ grossly reduced.

ñ I just read your review of homage to Oliver Girondo Jorge Schwartz. It echoes the assessment by the same Schwartz, in the back of the volume of the Complete Works that went to the UNESCO Archives collection are not such. You may not know you or the editors behind the scenes (Indeed, I doubt even they have had occasion to see the book, with erratic and mysterious movement in Argentina). So I put them on record.
In 1989, Amos Segala, director of the library, convenes in St. Paul to a number of critics to assume the task of editing some works that would comprise the list of files, according to the premises of genetic criticism. Schwartz received the responsibility of editing the narrative works of Oswald de Andrade (still unpublished) and I Girondo poetics. In subsequent trips to Buenos Aires, I find materials, hitherto unknown, which allowed us to advance the two hypotheses most interesting reading of that work. First, that avant-garde poems voyage card are nothing more than the refurbishment of the chronicles mundane, modern and anonymous, which publishes a journal Oliverio Plus Ultra in the decade of 10 and, second, that there is no way to interpret the poet's work without a network of architects of the modernization, which reads both the original poem Scarecrow (which would not be possible, as clearly seen from the manuscript, without the aid of a printer accessory), or in the poems arche, the fruit of the cemetery was excavated archaeological NOA Quilmes, which until then ignored and that proves to be of great importance because it provides a subtle but strong line continuity with the poetic anthropological Arturo Carrera, the best poetic heir of the Gironde. In sum, the issue Archives proposes a postmodern reinterpretation of the vanguard.
I was not alone in this process. I accompanied a team of Delfina Muschietti, Adriana Persian Kamenszain Tamara, Francine Masiello, Mexican Rose Corral, English Trinidad Barrera, Roxana Páez, Patricia Artundo, two colleagues in the area of \u200b\u200bart Rosario, Guillermo Armando Fantoni and Adriana, in addition to two poets, the Brazilian Régis Bonvicino and the same race, which prefaced the work with a beautiful poem, in fact, a meta-poem, "Oliver's foot." Last but not least, Jorge Schwartz. All were, with years of anticipation, my job of putting together variants, manuscript and edited, so that the instructions were clear: to base their analysis on the new text provided by the Archives edition and not in the edition that Losada then circulated. Amos Segala
had the greatest interest that the volume could be presented at the Feria del Libro (Buenos Aires, April 1999). Therefore, the deadline for delivery of the originals had been set for the end of 98. The last week of December that year, I traveled to Paris and handed them over the entire volume Segala, except the support of Schwartz, who came slowing delivery time and time again. I finally proposed to deliver their collaboration in January or February, when a workshop would conclude just in Poitiers, but I remember saying that: "No, George, is in trust (sic). If you're going to send the test in February so I read it, return it to Segala in Paris and he in turn forward it to the workshops in Madrid, this does not come to Buenos Aires released in April, so that it delivered directly to Segala and send me a copy so I know. " This was done. In March, receiving Fernando Colla, assistant Segala in Poitiers, a copy of Schwartz let them work. He put it in the mail 15 days after having passed through Poitiers Schwartz-like years later, it ended up admitting Segala-express request of Schwartz, and perhaps to prevent any reaction from me.
Schwartz's collaboration, "Poetry unpublished poetry in the rear and Country Two night our Girondo Oliver," is based on the manuscript of this last poem, which Schwartz receives a copy of another partner, Patricia Artundo (who then ran a doctorate at the Universidade de São Paulo) and a photocopy of those night, scattered newspapers Montevideo, Uruguay's Pablo Rocca colleague kindly ceded Schwartz. It goes without saying that the most elementary rule of ethics EDOT (To say nothing of mere worldliness) had been forced to Schwartz to inform the editor of the volume, Raul Antelo, that in turn report it to all supporters, who probably would have things to add or modify in their respective trials. Amen, of course, to include the unpublished volume in the body and not as research material, individual side. But there would no longer have an unprecedented, and a win on the sleeve to claim that Schwartz's Complete Works were not such. If it is true that "missing" some text editing files, it is legitimate to ask what responsibility lies with Schwartz on it.
That this question remains in the limits of the racks, go and go. I have had to share a post with Schwartz several professional situations. I've tried to fix but have limited obviously irreversibly, my confidence in him. I note embarrassed, seeing the tribute at the tables of bookstores in Buenos Aires, Schwartz claims the right to be critical of a company in which he participated. And further, that this trial, "the complete works are not complete," which can, in short, to understand "that work is nothing," runs the risk of becoming a summary trial to convict, even if possible, to I forget a lot of time working and people. More serious still, having played in ñ this trial, you Susana, unknowingly, and probably unwittingly helped damage the evaluation of this work and, paradox of paradoxes, has issued the first opinion on this critical Clarín work of 708 pages hardcover Bible paper, Clarin both as a nation, at the time, ignored, though the editing Babelia aroused the interest of the supplement of El Pais in Madrid, which gave him complimentary half page. Not in game, obviously, the peer assessment. I have heard just what Elida Lois, the leading authority on Hispanic genetic criticism, or Beatriz Sarlo have to say about Archives edition. So it is not the ego sum that is in the game but the cum ego, a way of conceiving the social bond, the ethical relationship with the texts and with peers. Sorry
Beatriz Viterbo, editorial that much respect, could not perceive the inadequacy of this formula and free opportunist detract from the work of others and that you, in a healthy ignorance of this background, the repeated. But I am alarmed that, meekly, turning vice and virtue finish annoys me having to passively attend to that act of destruction as typically national.
I would like to know that the supplement or the publisher could heal this manifest injustice.
I believe that someday I can meet personally and talk about more pleasant.
My best greetings. Raul Antelo


Couple Budget Template

Girondo Complete LATIN EPIC

By Raúl Antelo

In that statement, Latin America is an ambivalent position. It is therefore subject to an action-all disciplines and knowledge we call Americanism "as the subject (partial) of the same action, ie, Latin America is involved in defining the purpose that justifies their own practice teórica.Sobre such inclusion, active and active, also lies an acute historical overdetermination which, unless a sudden pretend not less hard suspension of belief, it is impossible to ignore. I mean the fact that the same Latin American cultural history teaches us that the emergence of this concept was not an act timely discovery, but a gradual process of colonization From this evidence, one might define modernity, here embodied in the New World, not the discovery of the new but as the operational integration of what is available. Modernity is always pragmatic inclusions.
Therefore, if we analyze the state of Latin Americanist field, its formation and dynamics in light of the new world order, we can not be stressed that so far this century, the American variant has become increasingly decisive. It is indeed a function of hegemonic interests continental U.S. universities are the first flexible, if not overthrow, the lines of force that fractured language study objects under peninsular origins. So forth, peremptorily, the existence of an object, but at least reunited homogeneous, which now houses the Departments of English and Portuguese. His version is finished, as we know, the historiography of Henriquez Urena. However, as you also know anyone who has gone through one of these university departments, alliances tend to be pragmatic in its interior, including specialists Luso-Brazilian literatures and literatures of other Spaniards who are Hispanic-Americans as real enemies in the distributive policies of each departmental unit.
During the postwar capitalist modernization, the internal dynamics of this block Hispanic Americans (to which the label is merely innocuous Ibero) is fed either a political version, the dependency theory as a technology, the new Latin American criticism less historicist and more self-reflective than its predecessor in the great universities of Este.El most complete example is that of Emir Rodriguez Monegal that, although often disregarded the trench of Tordesillas however failed to develop a comprehensive theory of Latin American literature (which the modernizing model of narrative transculturation implanted with greater success) for the simple reason that the category was regulating these buildings, despite their fantasmagorización - formalist where appropriate, polyphonic in Rama-the concept of copyright.
In late capitalism, however, are more severas.Jameson reconfigurations, as noted, argues that at this stage, peripheral cultures like Latin America can no longer be thought in opposition to the First World as the Other of the Same. Moreover, the collapse of the dichotomy between center and periphery also drawn in Ultimately, the purpose of the concept of periphery so that the former Third World is now a region becomes more integrated as other prevailing globalization, even if this integration is uneven or asymmetric. We also know that from this premise, subalternists conclude that speak from the Third World is to speak from a place inexistente.Uno of the most common arguments against certain claims are released, say, Adorno, Aesthetic density, whose rigor Analytical is usually eclipasado in American cultural readings, is that certain categories (rules or aesthetic, political uses of modern traditions or national) collapsed with the fall of the dichotomy between center and periphery (1). No one speaks in such cases of substitution of the revolutionary dilemma (release or dependence) for a trilemma: disciplinary release, dependence on the international agenda that is (and here the third set) conjugate release and dependence. This release is impotent or holding power is not always involved in the new scenario and gives us a subtle abduction often the subject of enunciation of the same understanding, so transcends, as a subject officer, and no longer, ambivalently, as rather than an immanent break. Effect could then argue that since the dichotomy has disappeared center / periphery, is precisely now that a debate on the uses of the theoretical traditions may casually succeed, once the only argument that can not be applied against these readings is to Eurocentrism, because, remember, the dichotomy has disappeared from the scene. There is therefore the West (not just Europe but, essentially, the United States, hyperbole quintessential neo-European) which has become global but is globalization, as Ulrich Beck argues, presents a scenario increasingly similar to the peripheral. Or to be more precise and pick your metaphor, otherwise it will use years ago that Terry Gillian, this is increasingly globalized face Brazil: excluding development. But in that case, it is precisely the paradox that Latin American nationalism, that the national is that which can not be represented in a wider range in which, despite everything, no longer included? In that sense, we should define more than sabalternistas glocal, that is, marked in our local uniqueness, Latin America, but no less integrated into the global order.
domestic issues, far from being anachronistic recurrence of evils and overcome, we constantly return the issue of subjectivity not integrated to any single entity (the subaltern, for example) and therefore less willing to accept monstrosity of the new rules.
not easy, from my point of view, accepting the arguments of either the subalternists, and Latin American cultural critics. Early postoperative was told but the same concept hegemonic (Gramsci) of hegemony presupposes subordination, which reversed its position to the Marxian tradition of thinking about modernity. Held also a culture imposes precisely Jubilee distance between each point where a regional strength was visible in the past.
In addition, cultural critics tend to find its specific aesthetics, understood as an active engagement with the artificial one, forgetting that the characteristic or euphemized the work of art in the age of mechanical reproducibility is not aesthetic but the anesthetic. I think, without major ambitions, which introduces man culture in the field of transgression but the art, however, indicates its fall in the realm of the impossible, since any work of art, as a notice of nowhere with no rest attenuates the positive ontological and also creates headless rules.
My position is peculiar, not to relapse into a compulsive timing existentialism (which for cultural critics is set to breaks for subalternists modernists and the irreversible globalization) is necessary to put to nothing (not dichotomous but néant rien wear the trilemático) as the very condition of possibility of Peter Sloterdijk argues crítica.Como (2), conventional forms of modernism, pragmatism and populism decidedly closed their eyes to the monstrous is theirs because they do not exceed fanaticism of normal.


Notes (1) See the debate between Beatriz Sarlo, Roberto Schwarz, J. Kraniauskas, J.Beasley-Murray, H. Achugar et al. on "Literature and courage" in ANDRADE, Ana L. et al. Leituras do ciclo.Florianópolis, ABRALIC / Faucets, 1999, p.287-306.La Sarlo position is explicit in "Cultural Studies and Literary Criticism at the Crossroads of Values" in Journal of Latin American Cultural Studies vol.8, n 1, 1999, p.115-124. In the same issue (p.125-145) reads the replica of Alberto Moreiras, "The Order of Order: On the Culturalism Reluctant Critiques of Anti-Subalternism."
(2) SLOTERDIJK, Peter - Nicht gerettet. Versuche nach Heidegger. Frankfurt, Suhrkamp Verlag, 2000.