SERVICES  | EDITIONS | | ACTIVITIES FROM HERE AND THERE PROMOTION NEOS  MONITORING | ISSUE | CORRECTIONS COSTS | | FREE WORKSHOPS USEFUL INFORMATION CONSULTATIONS AND REGISTRATION | | CONTACT | | | | | | | | | | | | | | | | | .: Test Liliana Diaz Mindurry literary | | | | | | Blow- | | Julio Cortazar | | We are facing the entrance of foreignness: the language produces a fever: the word is broken and there is no Logos can unify. The Logos, that dream schematic and ordained as a unifying objective reason that would allow from the purest innocence produce communication, account for a reference objectified and production, at least, of a possible communication would remain static in its Platonic heaven and abstract. The mean is a curse full of advantages for art. A well-that would be the end of creation, and a Platonic heaven that resembles hell. A say "dirty" ambiguity, (as this "dirty" There but where, how filled with "echoes of past and future obligations") provided that no ambiguity is dear: do not say what I want, I say what I should not say | . | Almost all writers, especially poets and devotees of fantasy literature are of the same race, and not include them all because there are those who dream of a literature at the service of an ideology, a body of doctrine, or some naive dreamer of mimesis of the classics, and to suspect that these so-called naive know about this illness-ie, play get over it and use it. One of them, Julio Cortázar, delved into the idea with boundless enthusiasm in all his work, playing himself, but far from the irony of Borges, and closer to the romance, though the fun was a way of gnosis . I particularly remember a story, a small masterpiece Blow- , Michelangelo Antonioni which made a free version for cinema | Felisberto Following Bachelard and Hernandez to Cortázar being has an open structure substantial non-porous (sponge) where there is a flaw (not full) and a dislocation (dislocation) that cause alienation from their own categories of understanding, time-space (in Kantian terminology) and before that | other. Otherness produces desire, the feeling of being "thirsty for being." The only possible knowledge is in the interstitial, the "crack." The reality is done dynamically in these spaces or gaps. For Merleau-Ponty man ceases to be a servant of the meaning to become very act of meaning. This constant desire to be another chameleon or being "the other" leads him to the invention. Knowing, then, no doubt, fables. In this fable is dissolved substance and of scientific knowledge is equally bent on world fables, with the same sense of discomfort and to that unknown flaw, the reality is in the interstices and the disclosure (Blow-up) is an epiphany | (I would say that evil "in art becomes quasi-mystical blessing.) This erases boundaries between the rational and the irrational, the physical and metaphysical, the tragic and the comic. | The malaise lies in the incompleteness and need to be the other thing that can not be named (curse), finally revealed at the edge, as Borges would say "the imminence of revelation does not occur, is the aesthetic fact." course, after this edge of revelation, played between reader and writer to this ontology based on the fable, we can think of a door of postmodern thought, already present by the "everything is literature" by Borges. Or to evoke non-Euclidean geometries, quantum physics. We said that Cortázar was far from the irony Borges. It is thought that the key Cortazarian, romancing his philosophy is number two, number of paradox and combat. "Roberto Michel, Franco-Chilean, translator and amateur photographer, left the number 11 ...".  Both the translation and the picture twice. In Borges instead, the focus is on the increase, not the "two" of the war. Borges's interest is always an interest to show the unreality, say solipsism. Ironically all forms of knowledge to assert a wistful agnosticism. Mirrors and copulation are abominable because they multiply, mocks Borges, and in this multiplication to infinity is no longer reality. The pleasure of Cortazar, is a war against the provisions of the reader, to make it part of the only valid knowledge from the imagination that recreates the world. Blow- | is written against the conviction of a unification grammar ( never know how you have to have this), with all the possibilities ambiguous word "Count" with the verbal play of a "Contax" trying to petrify a reality that is constantly moving, in the manner of a disconsolate Parmenides, with a narrator that dissolves and mutates constantly, to a fabled reality by a narrator that constantly contradicts itself, projects, and assumes imagine game situations crossed projections, with a revelation about psychotherapy in which the reader is forced to invent possibilities of interpretation and fables together and against the author. If the Blow-thread can become the Virgin, or be both in war, here it is transmuted, alchemical operation to produce well of suffering blessing that bad, "he says. If all look exudes  | falsehood is that the mere act of looking, tell stories or clouds or shoot with a Contax aims to unify, set to nothing, find the bad-say. It is epiphanic, in a sense of fabled event, as glorious as imagined. No order invented stories, photographs that move the static objects, reveal new and new things to taste the reader become an author or metamorphosed. Ie a set of "challenges and resources" that continually leads to chaos, after each new order. Beginning and ending touched again tirelessly. This ingredient is nothing tragic lyric The irony is like Borges, for here is asserting a new gnosis mode where the game is an initiation ritual. This affirms the unreality or mockingly, or tries to escape from reality as a primitive fantasy literature. It tries to show a universe of black holes where space-time perception is continually invented and lost (like a thread of the Virgin-slime devil) every time someone tries to grab it. Everything, especially the weather becomes uncountable  experience comes from the countless narrative itself and the ontological substance is what accounting is imaginary, evil-that turned into poetry. Then the persecutors will be devoted all possibilities of evil-ie, as irresistible movement towards | other words, as deseoy the flaw or incompleteness, as well as the strangeness form possible worlds in constant war, constant laterality. The form will be a possible way to structure the perception of those cracks. The reader mirror and brother as Baudelaire, disrupted, dislocated, bothered but in joy, will become a traveling companion, unaware, become the Other, finally come out of the trouble to be the same one, the viewer. Ultimately this displacement is not born but made a bad "To say that multiplies, boring, annoying. A Bad "To say that creates holes where you install new black and new worlds. A Bad "To say that says the new (fable, invented).  | accounting Nothing in this evil-say, nor is there any grammar that works. That reality is none other than porous linguistics. Given that language buscadamente ambiguous, open buscadamente clearly not full, dislocated and shortcomings arising true realities within the meaning of de-veiling ( aletheia) and not any truth (veritas ). | This otherness is the language that, as the Spirit blows where it wishes. LILIANA DIAZ Diaz Mindurry  Mindurry, Liliana
, 20x14 cm. - (Octahedron / Liliana Diaz Mindurry) ISBN 978-987-1610-09-9 | 1. Literary Essay. I. Bence Castilla, Patricia, ed. lit. II. Title | CDD A864 |
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Cortázar's world is a world of black holes where ordinary perception (Euclidean location, identity fixed time space) collapse. In the black hole time and space become interchangeable and stay is as impossible as stopping time. The imagination does not differ from the presumed reality. Whatever interview. The man fables (to say, Mal-say) the world segregated worlds. 
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