Palabra poética y silencio en Heidegger, Lacan y Pizarnik.
Sigifredo Esquivel Marin e Irene Ruvalcaba Ledesma nos presentan un ensayo en torno a la poesía y el silencio a partir de Heidegger y Lacan y a propósito de la poeta argentina Alejandra Pizarnik. Sigifredo Esquivel Marin es ensayista y profesor-investigador de la Universidad Autónoma de Zacatecas. Autor de varios libros sobre filosofía, arte y literatura. Irene Ruvalcaba Ledesma, poeta y terapeuta en el Centro de Servicios Integrales (CISP) de la UAZ. Actualmente prepara un libro de poesía.
Reviewing Iris Murdoch: A Life by Peter J. Conradi, Peter Conrad writes:
Conradi traces the protean facility of her metamorphoses back to Canetti’s theory of Verwandlungen, which celebrated the individual’s fission into a quarrelsome company of personae. At first, this seemed like a deviously magical power: Canetti, as Conradi demonstrates, is the prototype for the devilish enchanters in her novels. Yet it also entailed a Shakespearean self-negation which made it a sacred grace rather than a devious profane talent. Canetti, Iris said, had enough selves to stock a ‘Hindu pantheon’ (and, like those randy polymorphous gods, a goodly supply of willing houris).
Covering the transition between sex and spirit, she called Canetti an ‘angel-demon’. All of Iris herself is in that shaky, splicing hyphen. She is becoming harder to understand, now that the process of sanctification is under way: in a forthcoming film, she is impersonated by Judi Dench, the English epitome of sweet, fubsy domestic cosiness. All her life, people deified her. At Oxford, Denis Healey called the communistic Iris a ‘latter-day Joan of Arc’. But, as she told her lover Frank Thompson when reporting that she had lost her virginity while he was away at the war (in which he was killed), ‘I’m not a Blessed Damozel you know.’
No, indeed: in the reminiscences of others, she often resembles Lilith, Lucifera, Salome and their fatal mythic sisters. Olivier Todd, who knew her at Cambridge after the war, could not decide whether her aura was redolent of roses or sulphur. She cast her Oxford tutor Donald Mackinnon – a famously disincarnated brain, on whom Tom Stoppard partly modelled the philosopher in Jumpers – as Christ, and called herself the penitent harlot Mary Magdalene. Mackinnon, whose marriage frayed as a result of their intense but cerebral liaison, denounced her in 1992, declaring ‘there was real evil there’.
About Iris Murdoch
About Peter J. Conradi
About Peter Conrad