{"id":25232,"date":"2012-11-06T06:46:39","date_gmt":"2012-11-06T06:46:39","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=25232"},"modified":"2018-04-24T12:47:37","modified_gmt":"2018-04-24T10:47:37","slug":"hay-que-leer-a-borges-jorge-rodriguez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/hay-que-leer-a-borges-jorge-rodriguez\/","title":{"rendered":"Hay que leer a Borges | Jorge Rodr\u00edguezHai que ler a Borges | Jorge Rodr\u00edguezIt is necessary to read Borges | Jorge Rodr\u00edguez"},"content":{"rendered":"

\"\"<\/a>
Luis Bu\u00f1uel. Hay momentos para recitar poes\u00eda y hay momentos para boxear5<\/sup>.<\/span><\/figcaption><\/figure><\/p>\n

Hay que leer a Borges<\/strong>1<\/sup><\/p>\n

Escrib\u00eda Roberto Bola\u00f1o en su novela 2666<\/em> sobre la cobard\u00eda del lector al enfrentarse a los grandes cl\u00e1sicos. Dec\u00eda: \u201cquieren ver a los grandes maestros en sesiones de esgrima de entrenamiento, pero no quieren saber nada de los combates de verdad, en donde los grandes maestros luchan contra aquello, ese aquello que nos atemoriza a todos, ese aquello que acoquina y encacha, y hay sangre y heridas mortales y fetidez.\u201d <\/em>2<\/sup><\/p>\n

Quiz\u00e1s guiados por la prisa patol\u00f3gica que invade la contemporaneidad, cada vez m\u00e1s breve, el panorama art\u00edstico en general, y por ende el arquitect\u00f3nico, se han visto contagiados de esa cobard\u00eda que aventuraba el chileno. Porque la manera en que un adulto se enfrenta a Moby Dick<\/em>, no difiere de la forma en que diseccionamos cada rinc\u00f3n de Le\u00e7a de Palmeira<\/em> o redibujamos cada despiece de Castellvecchio<\/em>. Ambas dos necesitan de un componente fundamental, tiempo. Y por lo tanto, abstraerse de la velocidad contagiosa que marca el tempo de las tendencias. Hacer un ejercicio de reflexi\u00f3n y aprehensi\u00f3n que nos permita apreciar el valor de esas heridas y cicatrices que definen el rostro de quien forma parte de la historia. De quien tom\u00f3 parte en los grandes combates.<\/p>\n

Y as\u00ed, como los escritores, los arquitectos hemos de formarnos no s\u00f3lo a trav\u00e9s de la ense\u00f1anza frontal, sino a trav\u00e9s de la lectura. Lectura que en nuestro caso se produce a trav\u00e9s del dibujo, de la fotograf\u00eda, de la aprehensi\u00f3n, del viaje, de la copia e imitaci\u00f3n, de perder el miedo a incorporar aquello que se nos ha dejado en herencia. Ha de potenciarse, desde las escuelas, el conocimiento de la historia como una herramienta activa y no como una disciplina ajena al proceso de gestaci\u00f3n de un proyecto, hacer comprender que no solo lo actual es contempor\u00e1neo. Perder el miedo subirse a hombros de aquellos gigantes<\/em> que nos permiten ver m\u00e1s lejos de los que hablaba Bernardo de Chartres.<\/p>\n

Como bien dijo Jorge Meijide en un art\u00edculo anterior3<\/sup>, \u201clos arquitectos, como los escritores, jugamos a componer nuestras respectivas obras con elementos heredados<\/em>\u201d, y que mejor herencia que el legado de los grandes maestros en sus obras m\u00e1s potentes, el camino recorrido desde las primeras lecturas y bocetos que derivan en los \u00faltimos detalles que hacen de cada una de las partes del proyecto, una tesis doctoral. Los elementos heredados de las grandes obras necesitan a\u00fan de m\u00e1s trabajo de desgrane y compresi\u00f3n para poder ser \u00fatiles a la hora de elaborar un proyecto que los mimbres prestados por obras de menor empaque intelectual. Es por ello que su adhesi\u00f3n a nuestra retah\u00edla de recursos ante las oportunidades que nos ofrece cada uno de los problemas que surgen en cualquier producci\u00f3n art\u00edstica, aporta una satisfacci\u00f3n digna del esfuerzo acometido.<\/p>\n

Porque como dec\u00eda Bola\u00f1o, hay un aquello<\/em> que nos atemoriza a todos. Hay problemas, preguntas y temores comunes, que a lo largo de la historia han ido encontrando diferentes soluciones, nunca definitivas ni excluyentes, que nos permiten ir formando nuestras propias respuestas en las primeras etapas de formaci\u00f3n, para despu\u00e9s desarrollar y poner en pr\u00e1ctica. Es una labor que hay que acometer con frescura y pausa, con hambre de conocimiento y tiempo para asimilarlo. Porque no es casualidad que los artistas del siglo XX realizasen sus grandes viajes antes de la treintena.<\/p>\n

Enfrent\u00e1ndonos al descubrimiento de las grandes obras que la historia nos ha ido dejando en pr\u00e9stamo, ser\u00e1 como formemos una amalgama de conocimiento id\u00f3nea para que al realizar un corte intelectual, encontremos las herramientas suficientes para traducirse en arquitectura, literatura, cine o cual sea el lenguaje que prefiramos. As\u00ed es como los autores de Bola\u00f1o consiguieron ganar las grandes batallas.<\/p>\n

Porque tampoco es casualidad que los grandes viajes recorriesen Italia en busca de la tierra en la que el Gatopardo encontr\u00f3 el agua y la soledad<\/em>4<\/sup> necesaria para que todo cambiase, y a su vez, siguiese como siempre.<\/p>\n

jorge rodr\u00edguez seoane
\npalermo. octubre de 2012<\/p>\n

Notas:<\/span>
\n[1] Enti\u00e9ndase, adem\u00e1s de como recomendaci\u00f3n, como gui\u00f1o al genial \u201cConsejos sobre el\u00a0 arte de escribir cuentos\u201d<\/em> <\/span>geniales mandamientos escritos por Roberto Bola\u00f1o para su columna Entre par\u00e9ntesis del Diari de Girona. Todas ellas recogidas en el libro hom\u00f3nimo.<\/span>
\nBola\u00f1o, R: Entre Par\u00e9ntesis<\/em>. Barcelona, Ed. Anagrama. 2004<\/span>
\n[2] Bola\u00f1o, R: 2666<\/em>.Barcelona, Ed. Anagrama.2004<\/span>
\n[3] Fragmento de \u201cEl Gatopardo lee a Stevenson\u201d<\/em><\/span><\/a> art\u00edculo escrito por el arquitecto Jorge Meijide para esta misma p\u00e1gina web en Junio de 2012.<\/span>
\n[4] \u201cDos cosas son necesarias en cualquier paraje donde nos propongamos pasar la vida: soledad y agua.\u201d<\/em> Extracto de: Stevenson, R.L: La casa ideal y otros textos<\/em>. Madrid,\u00a0 Ed. Hiperi\u00f3n. 1998<\/span>
\n[5] Bola\u00f1o, R: Los detectives salvajes. Barcelona, Ed. Anagrama. 1998<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\"\"<\/a>
Luis Bu\u00f1uel. There are moments to recite poetry and there are moments for boxear5<\/sup>.<\/span><\/figcaption><\/figure><\/p>\n

It is necessary to read Borges<\/strong>1<\/sup><\/p>\n

Roberto Bola\u00f1o was writing in his novel 2666 <\/em>on the cowardice of the reader on having faced the big classic ones. He was saying: \u00abthey want to see the big teachers in meetings of fencing of training, but they do not want to know anything of the combats indeed, where the big teachers fight against that one, this that one that frightens his all, this that one that acoquina and encacha, and there is blood and mortal wounds and fetidity.\u00bb\u00a0<\/em>2<\/sup><\/p>\n

Probably guided by the pathological hurry that invades the contemporaneousness, increasingly brief, the artistic panorama in general, and for ende the architectural one, they have met infected of this cowardice that the Chilean was venturing. Because the way in which an adult faces Moby Dick<\/em>, does not differ from the form in that diseccionamos every Le\u00e7a de Palmeira’s<\/em> corner or we re-draw every Castellvecchio<\/em>‘s break-down. Both two need from a fundamental component, time. And therefore, to be abstracted of the contagious speed that marks the tempo of the trends. To do an exercise of reflection and apprehension that allows us to estimate the value of these wounds and scars that define the face of whom it forms a part of the history. Of whom it took part in the big combats.<\/p>\n

And this way, like the writers, the architects we have to be formed not only across the frontal education, but across the reading. Reading that in our case takes place across the drawing, of the photography, the apprehension, of the trip, the copy and imitation, of losing the fear of incorporating that one that has left us in inheritance. The knowledge of the history has to be promoted, from the schools, as an active tool and not as a discipline foreign to the process of gestation of a project, to make understand that not only the current thing is contemporary. To lose the fear to be raised to shoulders of those giants<\/em> that they allow us to see beyond about that Bernardo de Chartres was speaking.<\/p>\n

As good Jorge Meijide said in a previous article3<\/sup>, \u201cthe architects, as the writers, we play at composing our respective works with inherited elements<\/em>\u201d,\u00a0and that better inheritance that the legacy of the big teachers in his more powerful works, the way crossed from the first readings and sketches that derive in the last details that they do of each of the parts of the project, a doctoral thesis. The elements inherited from the big works need still from more work of shelling and compression to be able to be useful at the moment of a project to elaborate that the wickers given by minor’s works intellectual packing. It is for it that his adhesion to our retah\u00edla of resources before the opportunities that there offers us each of the problems that arise in any artistic production, contributes a worthy satisfaction of the attacked effort.<\/p>\n

Because as Bola\u00f1o was saying, there is a that one that frightens his all. There are problems, questions and common dreads, which along the history they have never been finding different solutions, definitive or exclusive, that allow us to be forming our own answers in the first stages of formation, later to develop and to put into practice. It is a labor that it is necessary to attack saucily and to pause, with hunger of knowledge and time to assimilate it. Because it is not a chance that the artists of the 20th century realized his big trips before the treintena.<\/p>\n

Facing the discovery of the big works that the history has been leaving us in lending, it will be since let’s form a suitable amalgam of knowledge in order that on having realized an intellectual cut, we find the sufficient tools to be translated in architecture, literature, cinema or which is the language that prefiramos. This way he is like the authors of Bola\u00f1o they managed to gain the big battles.<\/p>\n

Because it is not a chance either that the big trips were crossing Italy in search of the land in which the Gatopardo the water and the loneliness found<\/em>4<\/sup> necessary in order that everything was changing, and in turn, it was continuing like always.<\/p>\n

jorge rodr\u00edguez seoane<\/p>\n

palermo. october, 2012<\/p>\n

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

[1]\u00a0Understand itself, besides since recommendation, since I wink the brilliant one \u201cConsejos sobre el arte de escribir cuentos\u201d<\/em> <\/span>brilliant orders written by Roberto Bola\u00f1o for his column In brackets of the Diari of Girona. All of them gathered in the homonymous book.<\/span><\/p>\n

Bola\u00f1o, R: Entre Par\u00e9ntesis<\/em>. Barcelona, Ed. Anagrama. 2004<\/span><\/p>\n

[2] Bola\u00f1o, R: 2666<\/em>.Barcelona, Ed. Anagrama.2004<\/span><\/p>\n

[3]\u00a0Fragment of \u201cEl Gatopardo lee a Stevenson\u201d<\/em><\/span><\/a> article written by the architect Jorge Meijide for the same web page in June, 2012.<\/span><\/p>\n

[4] \u201cDos cosas son necesarias en cualquier paraje donde nos propongamos pasar la vida: soledad y agua.\u201d<\/em> Summarize of: Stevenson, R.L: La casa ideal y otros textos<\/em>. Madrid, Ed. Hiperi\u00f3n. 1998<\/span><\/p>\n

[5] Bola\u00f1o, R: Los detectives salvajes. Barcelona, Ed. Anagrama. 1998<\/span><\/p>\n


<\/span><\/p>\n

\"\"<\/a>
Lu\u00eds Bu\u00f1uel. Hai momentos para recitar poes\u00eda e hai momentos para boxear5<\/sup>.<\/span><\/figcaption><\/figure><\/p>\n

Hai que ler a Borges<\/strong>1<\/sup><\/p>\n

Escrib\u00eda Roberto Bola\u00f1o na s\u00faa novela 2666 <\/em>sobre a cobard\u00eda do lector ao enfrontarse aos grandes cl\u00e1sicos. Dic\u00eda: \u201cqueren ver aos grandes mestres en sesi\u00f3ns de esgrima de adestramento, pero non queren saber nada dos combates de verdade, onde os grandes mestres loitan contra aquilo, ese aquilo que nos atemoriza a todos, ese aquilo que apouca e encacha, e hai sangue e feridas mortais e fetidez.\u201d\u00a0<\/em>2<\/sup><\/p>\n

Quizais guiados pola presa patol\u00f3xica que invade a contemporaneidade, cada vez m\u00e1is breve, o panorama art\u00edstico en xeral, e polo tanto o arquitect\u00f3nico, v\u00edronse contaxiados desa cobard\u00eda que aventuraba o chileno. Porque o xeito en que un adulto enfr\u00f3ntase a Moby Dick<\/em>, non difiere da forma en que diseccionamos cada recuncho de Le\u00e7a de Palmeira<\/em> ou redibujamos cada despiece de Castellvecchio.<\/em> Ambas d\u00faas necesitan dun compo\u00f1ente fundamental, tempo. E polo tanto, abstraerse da velocidade contagiosa que marca o tempo das tendencias. Facer un exercicio de reflexi\u00f3n e aprehensi\u00f3n que nos permita apreciar o valor desas feridas e cicatrices que definen o rostro de quen forma parte da historia. De quen tomou parte nos grandes combates.<\/p>\n

E as\u00ed, como os escritores, os arquitectos habemos de formarnos non s\u00f3 a trav\u00e9s do ensino frontal, sen\u00f3n a trav\u00e9s da lectura. Lectura que no noso caso prod\u00facese a trav\u00e9s do debuxo, da fotograf\u00eda, da aprehensi\u00f3n, da viaxe, da copia e imitaci\u00f3n, de perder o medo a incorporar aquilo que se nos deixou en herdanza. Ha de potenciarse, desde as escolas, o co\u00f1ecemento da historia como unha ferramenta activa e non como unha disciplina allea ao proceso de gestaci\u00f3n dun proxecto, facer comprender que non s\u00f3 o actual \u00e9 contempor\u00e1neo. Perder o medo subirse aos ombreiros daqueles xigantes<\/em> que nos permiten ver m\u00e1is lonxe dos que falaba Bernardo de Chartres.<\/p>\n

Como ben dixo Jorge Meijide nun artigo anterior3<\/sup>, \u201cos arquitectos, como os escritores, xogamos a compo\u00f1er as nosas respectivas obras con elementos herdados\u201d<\/em>, e que mellor herdanza que o legado dos grandes mestres nas s\u00faas obras m\u00e1is potentes, o cami\u00f1o percorrido desde as primeiras lecturas e bocetos que derivan nos \u00faltimos detalles que fan de cada unha das partes do proxecto, unha tese doctoral. Os elementos herdados das grandes obras necesitan a\u00ednda de m\u00e1is traballo de desgrane e compresi\u00f3n para poder ser \u00fatiles \u00e1 hora de elaborar un proxecto que os mimbres prestados por obras de menor empaquetado intelectual. \u00c9 por iso que a s\u00faa adhesi\u00f3n \u00e1 nosa retah\u00edla de recursos ante as oportunidades que nos ofrece cada un dos problemas que xorden en calquera produci\u00f3n art\u00edstica, aporta unha satisfacci\u00f3n digna do esforzo acometido.<\/p>\n

Como bien dijo Jorge Meijide en un art\u00edculo anterior3<\/sup>, \u201clos arquitectos, como los escritores, jugamos a componer nuestras respectivas obras con elementos heredados<\/em>\u201d, y que mejor herencia que el legado de los grandes maestros en sus obras m\u00e1s potentes, el camino recorrido desde las primeras lecturas y bocetos que derivan en los \u00faltimos detalles que hacen de cada una de las partes del proyecto, una tesis doctoral. Los elementos heredados de las grandes obras necesitan a\u00fan de m\u00e1s trabajo de desgrane y compresi\u00f3n para poder ser \u00fatiles a la hora de elaborar un proyecto que los mimbres prestados por obras de menor empaque intelectual. Es por ello que su adhesi\u00f3n a nuestra retah\u00edla de recursos ante las oportunidades que nos ofrece cada uno de los problemas que surgen en cualquier producci\u00f3n art\u00edstica, aporta una satisfacci\u00f3n digna del esfuerzo acometido.<\/p>\n

Porque como dic\u00eda Bola\u00f1o, hai un aquilo<\/em> que nos atemoriza a todos. Hai problemas, preguntas e temores com\u00fans, que ao longo da historia han ir atopando diferentes soluci\u00f3ns, nunca definitivas nin exclu\u00edntes, que nos permiten ir formando nosas propias respostas nas primeiras etapas de formaci\u00f3n, para despois desenvolver e po\u00f1er en pr\u00e1ctica. \u00c9 un labor que hai que acometer con frescura e pausa, con fame de co\u00f1ecemento e tempo para asimilalo. Porque non \u00e9 casualidade que os artistas do s\u00e9culo XX realizasen as s\u00faas grandes viaxes antes da treintena.<\/p>\n

Enfront\u00e1ndonos ao descubrimento das grandes obras que a historia nos ha ir deixando en pr\u00e9stamo, ser\u00e1 como formemos unha amalgama de co\u00f1ecemento id\u00f3nea para que ao realizar un corte intelectual, atopemos as ferramentas suficientes para traducirse en arquitectura, literatura, cine ou cal sexa a linguaxe que prefiramos. As\u00ed \u00e9 como os autores de Bola\u00f1o conseguiron ga\u00f1ar as grandes batallas.<\/p>\n

Porque tampouco \u00e9 casualidade que as grandes viaxes percorresen Italia en busca da terra na que o Gatopardo atopou a auga e a soidade<\/em>4<\/sup> necesaria para que todo cambiase, e \u00e1 s\u00faa vez, seguise como sempre.<\/p>\n

Porque tampoco es casualidad que los grandes viajes recorriesen Italia en busca de la tierra en la que el Gatopardo encontr\u00f3 el agua y la soledad<\/em> necesaria para que todo cambiase, y a su vez, siguiese como siempre.<\/p>\n

<\/em>jorge rodr\u00edguez seoane<\/p>\n

palermo. outubro de 2012<\/p>\n

Notas:<\/p>\n

[1] Ent\u00e9ndase, ademais de como recomendaci\u00f3n, como gui\u00f1o ao xenial \u201cConsellos sobre a arte de escribir contos\u201d<\/em> xeniais mandamientos escritos por Roberto Bola\u00f1o para a s\u00faa columna Entre par\u00e9ntesis do Diari de Girona. Todas elas recolleitas no libro hom\u00f3nimo.<\/span><\/p>\n

Bola\u00f1o, R: Entre Par\u00e9ntesis<\/em>. Barcelona, Ed. Anagrama. 2004<\/span><\/p>\n

[2] Bola\u00f1o, R: 2666<\/em>.Barcelona, Ed. Anagrama.2004<\/span><\/p>\n

[3] Fragmento de \u201cO Gatopardo le a Stevenson\u201d<\/em><\/a> artigo escrito polo arquitecto Jorge Meijide para esta mesma p\u00e1xina web en xu\u00f1o de 2012.<\/span><\/p>\n

[4] \u201cD\u00faas cousas son necesarias en calquera paraje onde nos propo\u00f1amos pasar a vida: soidade e auga.\u201d<\/em> Extracto de: Stevenson, R.L: A casa ideal e outros textos. Madrid, Ed. Hiperi\u00f3n. 1998<\/span><\/p>\n

[5] Bola\u00f1o, R: Os detectives salvaxes. Barcelona, Ed. Anagrama. 1998<\/span><\/p>\n

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

Hay que leer a Borges1 Escrib\u00eda Roberto Bola\u00f1o en su novela 2666 sobre la cobard\u00eda del lector al enfrentarse a los grandes cl\u00e1sicos. Dec\u00eda: \u201cquieren ver a los grandes maestros en sesiones de esgrima de entrenamiento, pero no quieren saber nada de los combates de verdad, en donde los grandes maestros luchan contra aquello, ese […]<\/p>\n","protected":false},"author":50,"featured_media":25233,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[3639,3462,5846,6089,1021,2412,4229],"class_list":["post-25232","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-jorge-luis-borges","tag-jorge-meijide","tag-jorge-rodriguez-seoane","tag-luis-bunuel","tag-pensamiento","tag-robert-louis-stevenson","tag-roberto-bolano"],"yoast_head":"\nHay que leer a Borges | Jorge Rodr\u00edguez<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: Hay que leer a Borges | Jorge Rodr\u00edguezHai que ler a Borges | Jorge Rodr\u00edguezIt 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