{"id":22504,"date":"2012-06-14T06:43:05","date_gmt":"2012-06-14T06:43:05","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=22504"},"modified":"2021-07-22T09:23:28","modified_gmt":"2021-07-22T07:23:28","slug":"el-gatopardo-lee-a-stevenson-jorge-meijide","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-gatopardo-lee-a-stevenson-jorge-meijide\/","title":{"rendered":"El Gatopardo lee a Stevenson | Jorge MeijideO Gatopardo lee a Stevenson | Jorge MeijideThe Gatopardo reads Stevenson | Jorge Meijide"},"content":{"rendered":"

<\/p>\n

\"\"<\/a><\/p>\n

El Gatopardo lee a Stevenson<\/strong><\/p>\n

Le\u00eda el otro d\u00eda una entrevista que le hac\u00edan a Francisco Jarauta en la desaparecida revista Ajoblanco all\u00e1 por el a\u00f1o 1999[1]<\/sup><\/sup>. En ella el fil\u00f3sofo era preguntado por el papel que \u00e9l cre\u00eda deb\u00edan tener las bibliotecas en la transmisi\u00f3n de la cultura literaria. Jarauta, certero como siempre, defend\u00eda el papel de las mismas como depositarias de un fondo bibliogr\u00e1fico s\u00f3lido, en oposici\u00f3n al gran muestrario de novedades con las que la industria editorial nos regala sin soluci\u00f3n de continuidad, y que parece son los grandes y \u00fanicos habitantes de muchas de las actuales bibliotecas, colonizando sus mesas y estanter\u00edas.<\/p>\n

Hablaba pues de la necesidad de recuperar, de redescubrir, las s\u00f3lidas bases de la literatura frente a la uniformidad, y cierta ligereza a\u00f1ado yo, de la novedad editorial constante. Una novedad \u00abque domina sobre la tradici\u00f3n\u00bb, generando algo parecido al aburrimiento de una vanguardia permanente que avanza, si no corre, sin descanso y sin mirar atr\u00e1s; y por tanto con escaso tiempo para ser pensada o reflexionada. La revoluci\u00f3n como perpetuum mobile<\/em>.<\/p>\n

Ambas, vanguardia y revoluci\u00f3n, me recuerdan aquella frase de Il Gattopardo de Lampedusa que Visconti pon\u00eda en boca de Burt Lancaster interpretando al Pr\u00edncipe de Salina: \u00abSe vogliamo che tutto rimanga come \u00e8, bisogna che tutto cambi<\/em>\u00ab; si queremos que todo siga como est\u00e1, es necesario que todo cambie. Vamos, que una revoluci\u00f3n de vez en cuando es necesaria para mantener el sistema (aunque presumo que no es eso lo que motiva a los \u201cindignados\u201d). Pero \u00bfQue ocurre si esa revoluci\u00f3n se torna en motivo de si misma? \u00bfCuando el simple hecho de hacer algo diferente de continuo y en carrera constante es objetivo en si mismo? Si Lampedusa levantara la cabeza…<\/p>\n

La cultura literaria se ejerce leyendo y los m\u00e1s afortunados, o dotados para ello, escribiendo, cre\u00e1ndola. \u00bfQui\u00e9n no ha crecido con un libro de Stevenson en la mano?<\/p>\n

Los arquitectos, como los escritores, jugamos a componer nuestras respectivas obras con elementos heredados, palabras unos, materiales otros; llenos, vac\u00edos y combinaciones de ambos en los dos casos. Borges se mostraba convencido de que todas las tramas de las novelas escritas, corresponden a unos pocos modelos que una y otra vez se repiten y transforman hasta cegarnos en un infinito numero de variaciones. Puede parecer que todas, sin excepci\u00f3n, son \u00abs\u00f3lo apariencias de un reducido n\u00famero de tramas esenciales\u00bb[2]<\/sup><\/sup>.<\/p>\n

La arquitectura, o mejor dicho la profesi\u00f3n de arquitecto, pasa un mal momento, un impasse<\/em>, en su m\u00e1s estricta definici\u00f3n[3]<\/sup><\/sup>. Pero, como antes dec\u00eda sobre la cultura literaria, la cultura arquitect\u00f3nica se ejerce construyendo, pero tambi\u00e9n pens\u00e1ndola y revisit\u00e1ndola; y por supuesto tambi\u00e9n leyendo(la).<\/p>\n

No nos queda m\u00e1s remedio que \u201caprovechar\u201d el momento para hallar un equilibrio entre lo ya realizado, la tradici\u00f3n heredada, con su historia de errores y aciertos, y los caminos por recorrer, la vanguardia; recordando la obviedad de que uno fue ayer y otro ser\u00e1 el ma\u00f1ana, pero ninguno de los dos se puede convertir en un presente continuo \u201cautocomplaciente\u201d. En cualquier caso la reflexi\u00f3n debe partir del convencimiento de que una buena y sana autocr\u00edtica es el mejor camino para hallar el rigor necesario para avanzar, aprovechando la ausencia de sensacionalismo y facilidad que estos tiempos de crisis nos parecen brindar.<\/p>\n

Recordemos por \u00faltimo a Samuel Beckett: \u201cDa igual. Prueba otra vez. Fracasa otra vez. Fracasa mejor\u201d<\/em>. El arte de Beckett es el arte del fracaso que no un fracaso de arte…<\/p>\n

jorge meijide. arquitecto
\na coru\u00f1a. junio de 2012<\/span><\/p>\n

notas:<\/span><\/span>
\n[1] Revista mensual \u00abcontracultural\u00bb Ajoblanco n\u00ba107, a\u00f1o 1999. La revista se despide, por segunda y definitiva vez, ese mismo a\u00f1o con el n\u00famero 125.<\/span>
\n[2] J.L. Borges. Arte po\u00e9tica. Editorial Cr\u00edtica. Barcelona, 2001. Conferencia \u201dEl arte de contar historias\u201d.<\/span>
\n[3] impasse: voz francesa que significa \u201csituaci\u00f3n de dif\u00edcil o imposible resoluci\u00f3n, o en la que no se produce ning\u00fan avance\u201d. Real Academia Espa\u00f1ola. Diccionario Panhisp\u00e1nico de Dudas. Primera edici\u00f3n (2005).<\/span><\/p>\n

<\/p>\n

\n

\"\"<\/a>The Gatopardo reads Stevenson<\/strong><\/p>\n

He was reading another day an interview that they were doing to Francisco Jarauta in the missing magazine Ajoblanco as far back as the year 1999[1]<\/sup><\/sup>. In her the philosopher was asked about the paper that he believed they had to have the libraries in the transmission of the literary culture. Jarauta, accurate as always, was defending the paper of the same ones as depositaries of a bibliographical solid bottom, in opposition to the great sample of innovations with which the publishing industry gives us without solution of continuity, and that seems they are the big and only inhabitants of many of the current libraries, colonizing his tables and racks.<\/p>\n

It was speaking about the need of recovering so, of re-discovering, the solid bases of the literature opposite to the uniformity, and certain lightness I add, of the publishing constant innovation. An innovation \u00abthat dominates on the tradition\u00bb, generating something similar to the boredom of a permanent forefront that advances, if it does not run, without rest and without looking behind; and therefore with scanty time to be thought or thought over. The revolution as perpetuum mobile<\/em>.<\/p>\n

Both, forefront and revolution, they remember that phrase of Lampedusa’s Il Gattopardo that Visconti was putting in Burt Lancaster’s mouth interpreting the Prince of Salina: \u00abSe vogliamo che tutto rimanga come \u00e8, bisogna che tutto cambi<\/em>\u00ab; if we want that everything continues since it is, it is necessary that everything changes. We go, that a revolution occasionally is necessary to support the system (though I presume that it is not it what motivates the \u00abindignant ones\u00bb). But that happens if this revolution returns in motive of if same? When the simple fact of making something different constantly and in constant career it is objective in if same? If Lampedusa was raising the head…<\/p>\n

The literary culture is exercised reading and the luckiest, or endowed for it, writing, creating it. The one who has not grown with Stevenson’s book in the hand?<\/p>\n

The architects, as the writers, we play at composing our respective works with inherited elements, words some, different materials; abundances, emptinesses and combinations of both in both cases. Borges was proving to be convinced that all the plots of the written novels, they correspond to a few models who again and again repeat themselves and transform up to blinding ourselves in an infinite number of variations. It can seem that they all, without exception, are \u00abonly appearances of a limited number of essential plots\u00bb[2]<\/sup><\/sup>.<\/p>\n

The architecture, or rather the architect’s profession, spends an evil moment, an impasse, in his more strict definition[3]<\/sup><\/sup>. But, as before he was saying on the literary culture, the architectural culture is exercised constructing, but also thinking it and revisit\u00e1ndola; and certainly also reading.<\/p>\n

We do not still have any more remedy that \u00abto \u00abtake advantage\u00bb of the moment to find a balance between the already realized, the inherited tradition, with his history of mistakes and successes, and the ways for crossing, the forefront; remembering the obviedad of which one was yesterday and other one will be the tomorrow, but none of the two can turn into a constant \u00abautocomplaisent\u00bb present. In any case the reflection must depart from the conviction of which good and it cures self-criticism is the best way to find the necessary rigor to advance, taking advantage of the absence of sensationalism and facility that these times of crisis seem to us to drink.<\/p>\n

Let’s remember finally Samuel Beckett: \u201c<\/em>It Is all the same. It tries again. It fails again. It fails better<\/em>\u201d<\/em>. Beckett’s art is the art of the failure that not a failure of art…<\/p>\n

jorge meijide . architect<\/p>\n

a coru\u00f1a. june, 2012<\/p>\n

notes:<\/span><\/p>\n

[1] Monthly \u00abalternative\u00bb magazine Ajoblanco n\u00ba107, year 1999. The magazine says goodbye, for the second and definitive time, the same year with the number 125.<\/span><\/p>\n

[2] J.L. Borges. Arte po\u00e9tica. Editorial Cr\u00edtica. Barcelona, 2001. Conference \u201dEl arte de contar historias\u201d.<\/span><\/p>\n

[3] impasse: French voice that there means \u00bb situation of difficult or impossible resolution, or in the one that does not produce any advance to herself \u00ab. Real Academia Espa\u00f1ola. Diccionario Panhisp\u00e1nico de Dudas. First edition (2005).<\/span><\/p>\n

<\/p>\n

\n

\"\"<\/a>O Gatopardo lee a Stevenson<\/strong><\/p>\n

L\u00eda o outro d\u00eda unha entrevista que lle fac\u00edan a Francisco Jarauta na desaparecida revista Ajoblanco al\u00e1 polo ano 1999[1]<\/sup><\/sup>. Nela o fil\u00f3sofo era preguntado polo papel que el cr\u00eda deb\u00edan ter as bibliotecas na transmisi\u00f3n da cultura literaria. Jarauta, certeiro como sempre, defend\u00eda o papel das mesmas como depositarias dun fondo bibliogr\u00e1fico s\u00f3lido, en oposici\u00f3n ao gran muestrario de novidades coas que a industria editorial reg\u00e1lanos sen soluci\u00f3n de continuidade, e que parece son os grandes e \u00fanicos habitantes de moitas das actuais bibliotecas, colonizando as s\u00faas mesas e estanter\u00edas.<\/p>\n

Falaba pois da necesidade de recuperar, de redescubrir, as s\u00f3lidas bases da literatura fronte \u00e1 uniformidade, e certa ligereza engado eu, da novidade editorial constante. Unha novidade \u00abque domina sobre a tradici\u00f3n\u00bb, xerando algo parecido ao aburrimiento dunha vanguardia permanente que avanza, si non corre, sen descanso e sen mirar atr\u00e1s; e xa que logo con escaso tempo para ser pensada ou reflexionada. A revoluci\u00f3n como perpetuum mobile<\/em>.<\/p>\n

Ambas, vanguardia e revoluci\u00f3n, rec\u00f3rdanme aquela frase de Il Gattopardo de Lampedusa que Visconti po\u00f1\u00eda en boca de Burt Lancaster interpretando ao Pr\u00edncipe de Salina: \u00abSe vogliamo che tutto rimanga come \u00e8, bisogna che tutto cambi<\/em>\u00ab; se queremos que todo siga como est\u00e1, \u00e9 necesario que todo cambie. Imos, que unha revoluci\u00f3n de cando en vez \u00e9 necesaria para manter o sistema (a\u00ednda que presumo que non \u00e9 iso o que motiva aos \u201cindignados\u201d). Pero Que ocorre si esa revoluci\u00f3n t\u00f3rnase en motivo de si mesma? Cando o simple feito de facer algo diferente de continuo e en carreira constante \u00e9 obxectivo en si mesmo? Si Lampedusa levantase a cabeza…<\/p>\n

A cultura literaria ex\u00e9rcese lendo e os m\u00e1is afortunados, ou dotados para iso, escribindo, cre\u00e1ndoa. \u00bfQuen non creceu cun libro de Stevenson na man?<\/p>\n

Os arquitectos, como os escritores, xogamos a compo\u00f1er as nosas respectivas obras con elementos herdados, palabras uns, materiais outros; cheos, baleiros e combinaci\u00f3ns de ambos nos dous casos. Borges mostr\u00e1base convencido de que todas as tramas das novelas escritas, corresponden a uns poucos modelos que unha e outra vez se repiten e transforman ata cegarnos nun infinito numero de variaci\u00f3ns. Pode parecer que todas, sen excepci\u00f3n, son \u00abs\u00f3 aparencias dun reducido n\u00famero de tramas esenciais\u00bb[2]<\/sup><\/sup>.<\/p>\n

A arquitectura, ou mellor dito a profesi\u00f3n de arquitecto, pasa un mal momento, un impasse, no seu m\u00e1is estrita definici\u00f3n[3]<\/sup><\/sup>. Pero, como antes dic\u00eda sobre a cultura literaria, a cultura arquitect\u00f3nica ex\u00e9rcese constru\u00edndo, pero tam\u00e9n pens\u00e1ndoa e revisit\u00e1ndola; e por suposto tam\u00e9n lendo(a).<\/p>\n

Non nos queda m\u00e1is remedio que \u201caproveitar\u201d o momento para achar un equilibrio entre o xa realizado, a tradici\u00f3n herdada, coa s\u00faa historia de erros e acertos, e os cami\u00f1os por percorrer, a vanguardia; recordando a obviedad de que un foi onte e outro ser\u00e1 o ma\u00f1\u00e1, pero ning\u00fan dos dous p\u00f3dese converter nun presente continuo \u201cautocomplacente\u201d. En calquera caso a reflexi\u00f3n debe partir do convencimiento de que unha boa e sa autocr\u00edtica \u00e9 o mellor cami\u00f1o para achar o rigor necesario para avanzar, aproveitando a ausencia de sensacionalismo e facilidade que estes tempos de crises par\u00e9cennos brindar.<\/p>\n

Recordemos para rematar a Samuel Beckett: \u201cD\u00e1 igual. Proba outra vez. Fracasa outra vez. Fracasa mellor\u201d<\/em>. A arte de Beckett \u00e9 a arte do fracaso que non un fracaso de arte…<\/p>\n

jorge meijide. arquitecto<\/p>\n

a coru\u00f1a. xunio 2012<\/p>\n

notas:<\/span><\/p>\n

[1] Revista mensual \u00abcontracultural\u00bb Ajoblanco n\u00ba107, ano 1999. A revista desp\u00eddese, por segunda e definitiva vez, ese mesmo ano co n\u00famero 125.<\/span><\/p>\n

[2] J.L. Borges. Arte po\u00e9tica. Editorial Cr\u00edtica. Barcelona, 2001. Conferencia \u201dA arte de contar historias\u201d.<\/span><\/p>\n

[3] impasse: voz francesa que significa \u201csituaci\u00f3n de dif\u00edcil ou imposible resoluci\u00f3n, ou na que non se produce ning\u00fan avance\u201d. Real Academia Espa\u00f1ola. Dicionario Panhisp\u00e1nico de D\u00fabidas. Primeira edici\u00f3n (2005).<\/span><\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

El Gatopardo lee a Stevenson Le\u00eda el otro d\u00eda una entrevista que le hac\u00edan a Francisco Jarauta en la desaparecida revista Ajoblanco all\u00e1 por el a\u00f1o 1999[1]. En ella el fil\u00f3sofo era preguntado por el papel que \u00e9l cre\u00eda deb\u00edan tener las bibliotecas en la transmisi\u00f3n de la cultura literaria. Jarauta, certero como siempre, defend\u00eda […]<\/p>\n","protected":false},"author":47,"featured_media":22505,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[208,399,4954,4957,3462,1021,4955,2412,4958,4956],"class_list":["post-22504","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-biblioteca","tag-cultura","tag-francisco-jarauta","tag-gatopardo","tag-jorge-meijide","tag-pensamiento","tag-revista-ajoblanco","tag-robert-louis-stevenson","tag-samuel-beckett","tag-transmision"],"yoast_head":"\nEl Gatopardo lee a Stevenson | Jorge Meijide<\/title>\n<meta name=\"description\" content=\"El Gatopardo lee a Stevenson\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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