Publication: EXPROPIACIONES. Confidencias literarias entre la vida y la muerte.
Authors
Romero Escrivá, Rebeca ; Alcoriza Vento, Javier
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Publisher
Universidad de Navarra
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DOI
https://doi.org/10.15581/003.32.34362
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info:eu-repo/semantics/article
Description
© 2019 Communication & Society. This manuscript version is made available under the CC-BY-NC-ND 4.0 license http://creativecommons.org/licenses/by-nc-nd/4.0/. This document is the Published version of a Published Work that appeared in final form in Communication & Society. To access the final edited and published work see https://doi.org/10.15581/003.32.34362
Abstract
Este ensayo propone acotar un terreno literario, o ciertos actos de habla como forma de expresión específicamente deslindada de lo religioso y lo filosófico, y su correspondiente adaptación en términos visuales a la pequeña y gran pantalla. La expropiación, o confidencia de personajes a las puertas de la muerte, sería el tropo que puede transmitir esa especificidad. Se trata de un tipo de discurso que ya no soporta el peso de los hechos, pero que no trata de eludir las consecuencias de haber estado en el mundo. Con esta reconceptualización del término, el texto busca identificar una ética de la intensidad humana en tres secuencias específicas: dos relatos para el cine y la televisión –"El Gatopardo", de Visconti, y el capítulo final de "Retorno a Brideshead"–, y el “testamento literario” de André Gide, "Et nunc manet in te".
This paper proposes the delimitation of a literary territory, or of certain speech acts as a form of expression specifically dissociated from religious and philosophical discourses, and the corresponding adaptation of such acts to the small and big screens. Expropriations, or confidences by characters on the verge of death, are used as a trope to convey this specific idea. They refer to a kind of speech that no longer bears the weight of worldly events, but that does not attempt to ignore the consequences of having been in the world. With this reconceptualization of the term, this article seeks to identify an ethics of the human intensity in three specific sequences: two stories for cinema and television –Visconti’s "The Leopard", and the final episode of "Brideshead Revisited"– and André Gide’s “literary testament”, "Et nunc manet in te".
This paper proposes the delimitation of a literary territory, or of certain speech acts as a form of expression specifically dissociated from religious and philosophical discourses, and the corresponding adaptation of such acts to the small and big screens. Expropriations, or confidences by characters on the verge of death, are used as a trope to convey this specific idea. They refer to a kind of speech that no longer bears the weight of worldly events, but that does not attempt to ignore the consequences of having been in the world. With this reconceptualization of the term, this article seeks to identify an ethics of the human intensity in three specific sequences: two stories for cinema and television –Visconti’s "The Leopard", and the final episode of "Brideshead Revisited"– and André Gide’s “literary testament”, "Et nunc manet in te".
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Citation
Communication & Society, 32 (4),143-158
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