of diverse, fleeting objects, experiences, and impressions is an undeniable fact. As well as our ability to reason, to tidy up and to try to give meaning ‒unit‒ to this mass is the only way to face it and live in it. We know, then, that first there is the world and then our particular idea of the world: ideas, prejudices, misunderstandings… World Map_OrientAt a time when ours, in which it seems that any form of literary and artistic creation necessarily passes through the self and its figurations, it seems appropriate to ask about the figure of the other and what his role is in the construction. of the self.
Because are we sure that there would be a self or us if there was no other? Isn’t identity configured and defined with respect to otherness? And what happens if the otherness changes? Does this change our perception of ourselves? This will be the starting point of “Literature and Diversity”: to understand the dialectical nature of the couple ourselves and try to understand what are the conditions that shape our idea of the world. , first of all, with the help of Edward Said and the reflections he collects in his book Orientalism (1978), which proposes a new vision of reality in which the West would be decentralized, so that the idea of the East that it holds is revealed as an intellectual construct.
We Will Do This
And we will complete it with Tzvetan Todorov’s reading of the phenomenon of the exotic and the primitive, the highest expression of which is embodied in Rousseau’s idea of Hong Kong Phone Number The “good savage.” Once we have seen the epistemological challenge of moving the center, we will look at another form of diversity: that which refers to the notion of gender, both in terms of sexual condition and that which makes a difference between the various ways of expression of the literary phenomenon. In the first case we will see how the problem of sexual gender is not considered critically until the beginning of the twentieth century.
While it is true that over the centuries women have played a remarkable role in shaping the history of universal literature. — Think of Sappho, Murasaki Shikibu, Mary of France, St. Teresa of Jesus, and the. Brontë sisters. , in Iris Murdoch or in Mercè Rodoreda, to name just a few‒. It is no less that they are an exception and that, in fact,, until very recently. It was written by men. And this is the question we are interested in: why? Virginia Woolf devotes one of her key texts to resolving this and other issues. A room of its own (1929).
The History Of Literature
With the help of the British author, we will analyze the reason for this fact and see what lies behind it. (Patriarchal society, lack of economic independence, rigid social structures and uses). The ideas expressed by Woolf will find their theoretical concretion in another decisive essay. The Second Sex (1949), by Simone de Beauvoir, already more direct and without concessions, in which the French author analyzes the image of women. In the literature and concludes that, more Escaping_criticism-by_pere_borrel_del_casethat a natural. Ontological figure, the woman is a stereotype, a social construct: “You are not born a woman, you become a woman.”
The third unit, which we will dedicate to the notion of literary genre. Will bring us closer to the problem of the formal classification and content of literary texts. We will start from Poetics of Aristotle, which is the first text of theory in the literature of history. With a dry and descriptive style, characteristic of the author’s work, the philosopher reviews. The conditions of production of a literary text (tragedy, in this case) and determines. What its distinctive features are: unit of space, unit of time and unit of action. Aside from that, he also makes a fundamental distinction between tragedy (or poetry) and history, and studies a