By Javier Moscoso
El dolor, que l. a. mayor parte de las veces carece de justificación, posee sin embargo una historia. Los gestos de las vírgenes mártires, las burlas que acompañaron las desventuras de don Quijote, las penitencias que tuvieron lugar, a escondidas, en el inside de los conventos, las pequeñas comedias del masoquismo sexual, el teatro anatómico del Mundo Moderno, las muecas de los pacientes anestesiados, los dolores conscientes del trastorno nervioso o los inconscientes de los angeles enfermedad psychological, se dan cita en este libro. Al contrario de lo que afirmaba el filósofo Cioran, para quien period imposible dialogar con el dolor físico, todas y cada una de estas páginas abogan por ese encuentro y potencian ese diálogo. A medio camino entre l. a. historia y los angeles filosofía, este ensayo versa sobre las formas sucesivas (que no progresivas) de materialización de l. a. experiencia del daño, sobre las modalidades artísticas, jurídicas o científicas que han permitido, desde el Renacimiento hasta nuestros días, los angeles comprensión cultural del sufrimiento humano. los angeles representación, l. a. simpatía, los angeles imitación, pero también los angeles coherencia, l. a. confianza o los angeles narratividad son algunos de los recursos retóricos y argumentativos que los hombres y las mujeres hemos ido utilizando, y todavía usamos, para sentir nuestro dolor, pero también para expresarlo y dotarlo de significado y valor colectivo.
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Example text
Night of the Demon suggests that, at the very least, what is required is an Edwardian scholar-connoisseur’s appreciation of the appeal, force, and validity of the supernatural, and of the fact that it does exist and have a place in the modern world. T. Kumar of Bombay (Peter Elliott, not even remotely Indian), both representatives of decolonized former British Imperial territories, both well versed in the old ways. Professor O’Brien says, ‘I’m a scientist also, Dr Holden. I know the value of the cold light of reason, but I also know the deep shadows that light can cast.
2 From its first deployment, the atomic bomb began radiating metaphors about knowledge, sin, and science that gave startling new life to ancient ideas. ‘I am become Death, shatterer of worlds,’ said bomb scientist J. Robert Oppenheimer, quoting the Upanishad after the first test detonation. G. Wells, who died in 1946, bitter and frustrated by a war that had dashed his utopian hopes, saw a real Judgment Day. 3 Promethean presumption, the spoiling of Eden, Pandora’s box, the golem, Faust, and Frankenstein all absorbed new energy from the atomic blast and in the process gave popular culture of the post-war years a particular mythic intensity.
14 When the story treatment for Them! ’15 26 It Came from the 1950s! Unfortunately, screenwriter Yates, like many a mad scientist, overreached in his creation of mutant insects and turned in a script that deviated considerably from his original concept and was considered unfilmable because of budget considerations. Sherdeman took the script over and shaped the final version, which moved the ants from New York subway tunnels to Los Angeles storm sewers, and eliminated a final battle between the military and the monsters on an amusement pier (Warner story editors obviously recycled the concept in the roller coaster finale of The Beast from 20,000 Fathoms, released the previous year).
