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Metamorphoses of the Body
Explores the relationship between power and the body. This investigation of power and the body is a brilliantly original account of the nature of force as it functions in religious rituals, sorcery, political relations, and other social domains. Laying the foundation for an "anthropology of forces", it is crucial reading for anyone interested in how bodies and power circulate in a range of human contexts and cultures. For Jose Gil the body, with its capacity to translate forces into signs, is the source of power. Analyzing the language of mime and gestures, comparing magical cures to psychiatric ones, contrasting the flayed body of Kafka's "In the Penal Colony" with the anatomical body in Vesalius's De Humani Corporis Fabrica, he develops a typology of metamorphoses of the body as they correspond to systems of signs. A major intervention that marks the first appearance of Gil's work in English, Metamorphoses of the Body gives us an entirely new way of looking at relationships between bodies, forces, politics, and people.
Ritmos e visões
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Jose Maria Gil-Robles
Jose Maria Gil-Robles (1898-1980) was one of the major protagonists of twentieth-century Spanish politics. He founded the CEDA, the first modern party of the Spanish right, and did so during the Second Republic of 1931-36. In July 1936, after another election and a tense spring, there was an attempted coup d'etat and the Civil War began. This book is an account of the "republican" period in the life of Gil-Robles. It is the first thoroughly-researched biography that examines in a balanced, well-documented manner the paramount, though still problematic, contribution he made to the democratization of Spanish conservative politics. It responds to certain crucial questions as to why the CEDA was unsuccessful, and it also analyzes the manner in which Gil-Robles led the forces of conservatism, one based on tenets that were clearly distant from fascism but equally opposed both to Marxism and liberal individualism.
A Gil Vicente Bibliography (2005–2015)
This is a compilation of contributions to the study of the Portuguese playwright Gil Vicente (1465–1536) which appeared between 2005 and 2015. Entries are grouped under three main headings: Editions and Adaptations, Translations, and Critical Studies. The scholarly interest in the father of the Portuguese theater continues unabated, as it can be seen in the great numbers of scholarly works, both editorial and critical, which appeared in the decade under question. The modest aim of this work is to alert scholars as to which of Gil Vicente’s works have not received adequate critical attention. New names are constantly added to the list of established vicentistas and new ways of looking at the dramatist’s works are introduced.
My Friend José
My friend José, is not only the friend of the Apprentice, he is a friend of all the people and children who know him and are attracted by his way of being have placed their trust and friendship in José. The Apprentice is jealous of the great number of friends José has, since he is his personal friend and teacher, who is teaching him how to live his life, and integrate himself into his environment by creating friendships, which is not easy for the Apprentice, who finds himself in a tough and complicated adolescence due to having run away from home and having José's friendship as his only redoubt. José makes him understand that he should not be jealous of his other friendships, since he i...
Immediate Struggles
Publisher description
Philip II
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José Gil de Castro
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Fernando Pessoa ou a Metafísica das sensações
...) José Gil toma como matricial de todo esse processo, um alguém atenta para as mínimas sensações intersticiais que lhe sobrevêm, sensações estas tomadas como ondas transportadoras de outras sensações que se lhes associam, sensações transformadas em arte, que são também sensações de um outro, múltiplo gerador de outros. "Escrever poemas", diz José Gil, "é escrever segundo a lógica da heteronímia, é iniciar um processo de deviroutro que deverá necessariamente levar à produção poética dos heterônimos". Sentir-se outro, ser outro desde o primeiro ato poético da sensação, implica fazer-se (poeticamente) outros. E só existirão os heterônimos, esses outros, porque cada um deles já é outro para si mesmo, e participando todos de um vertiginoso jogo caleidoscópico. (...) excerto do prefácio de José Miguel Wisnik
