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HORACIO QUIROGA PDF

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Project Gutenberg · 59, free ebooks · 2 by Horacio Quiroga. South American Jungle Tales by Horacio Quiroga. Book Cover. Download. Project Gutenberg's South American Jungle Tales, by Horacio Quiroga This eBook is for the use of anyone anywhere at no cost and with almost. Translation: "The Feather Pillow" by Horacio Quiroga. The Feather Pillow. By Horacio Quiroga. Translated, from the Spanish, by A.Z. Foreman. Their honeymoon.


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View Horacio myavr.info from HIS at University of Texas. He was influenced at first by 19th-century writers: from the United States the macabre visions of. CUENTOS DE AMOR, DE LOCURA Y DE MUERTE Horacio Quiroga myavr.info The Miracle. All day long the four idiot sons of the couple Mazzini-Ferraz sat on a bench in the patio. Their tongues protruded from between their lips; their eyes were.

Can we say with total certainty that this or that account of death is realistic? The Spanish philosopher argues for a conceptualization of the human condition as a border space in which reason and being are in constant dialogue with the power of non-being that lies beyond the limit of this world. The reader never knows what the two men find on the other side, because narration can only provide tangible words for what remains inside the limits.

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The only difference at this stage is the conclusion. At the end of the story, once the man is dead, his ego disperses itself in nature, becoming a fly nurtured by the decomposed corpse. While the narrator was consistently situated within the limits of the world in his previous literary produciton, he now adopts the perspective of what exists beyond it. It presents a sudden discontinuity with the physical realm where, until that point, the story had been enclosed.

His conclusion does not identify which barriers Quiroga removes, but I propose that there are three: the limits of the narrator and the character, the limits of life and death, and finally the limits of man and nature.

The critic states that nature does not attack man and does not become the stage of death. In doing their work, these characters try to impress the stamp of their will upon the world, but this is only an illusion. Their work has no impact on nature and they depart from this world without being able to produce any change.

Tanto mejor, entonces. Ambos son radios diametrales de la misma esfera. The stories examined here represent a miniature corpus of such a literary undertaking. The question still stands for those who are rebuilding the ruins of the lettered city. Fatalidad y angustia en tres cuentos de Horacio Quiroga. Vervuert: Iberoamericana, Alazraki, Jaime. Enrique Pupo Walker, Madrid: Castalia, Alonso, Carlos J. Enrique Pupo-Walker. Madrid: Castalia, El estilo de Horacio Quiroga en sus cuentos.

Madrid: Gredos, Canfield, Martha L. Leonardo Garet. Montevideo: Editores asociados, Collard, Andree.

Horacio Quiroga.pdf - He was influenced at first by...

Cosgrove, Denis E. Social Formation and Symbolic Landscape. Engels, Frederick. Dialectics of Nature. Moscow: Foreign Languages Publishing House, Escalante, Marie. Etcheverry, Enrique. Fleming, Leonor. New York: Cornell UP, French, Jennifer. Hanover: Darmouth College P, Horacio Quiroga, una obra de experiencia y riesgo.

In this river there are many rays, a kind of mud fish like the salt-water skate; and the river, indeed, gets its name from them: The tail is very bony; and when it strikes you it cuts, and leaves poison in the wound. There are so many rays in the river that it is dangerous even to put your foot into the water. I once knew a man who had his heel pricked by a ray. He had to walk more than two miles home, groaning with pain all the way and fainting several times from the poison.

The pain from a ray bite is one of the sharpest pains one can feel. That is why some evil men once began to fish for them with dynamite.

Log In Sign Up. Haunted Screens: This concern with the ability of ghosts to move and adapt to technological change is not only about what happens in the films but is also related to what happens outside the films, that is, the viral expansion of ghosts stories and filmic narratives as ways to talk about social and political issues.

Horacio Quiroga, Japanese horror, Ghosts in cinema, Logic of sense Since the beginning of the twentieth century, writers and filmmakers of multiple nationalities have dramatized similarities between ghosts and cinema.

Such comparisons are not difficult to imagine: In these stories, the screen becomes a portal for ghosts not only to move on it, but also through it. In imagining these supernatural potentials of the screen, Quiroga showed admiration, as well as the terror and apprehension, toward the development of cinematic technology. They move through these mediums in both senses of the word and also engage with the surfaces of these technologies through their apparitions.

Ghostly manifestations through technology—specifically in the use of screens as portals to access different dimensions—became the common point between two different traditions and cultural products: Uruguayan short stories and Japanese horror movies. I argue that ghosts are used, in these two very different contexts, as ways to represent anxieties about the advances of science and the uses of technology, while expressing a cautious fascination with these unstoppable advances.

This concern with the ability of ghosts to move and adapt to technological change is not only about what happens in the films—the ghosts can travel and expand the range of their curses using technological artifacts—but is also related to what happens outside the film, that is, the viral expansion of ghost stories and filmic narratives as ways to talk about social and political issues. This closeness can also be seen in the presentation of the screen as an interface between the world of the living and the world of the dead.

In both cases the ghosts are able to move at will through the screens, using technological instruments to reveal themselves and take revenge on those who harmed them. F a l l 2 0 1 8 Through the Looking-Screen And certainly the glass was beginning to melt away just like a bright silvery mist. In another moment Alice was through the glass, and had jumped lightly down into the Looking-Glass room.

Through the Looking-Glass.

In these stories Quiroga makes clear that cinema, with its immaterial projection and translucent film, is haunted by ghosts, for whom the mixture of still images, motion, and light appears as an ideal space within which to live, move and maintain their immortality. The fact that actors remain young and vital in the movies, without any change even after their death, fascinated Quiroga and inspired him to relate this capacity of cinema with the one exhibited by vampires and other immortals.

In fact, the claim of immortality becomes clear in a short note written for the Argentinian magazine Caras y caretas Faces and Masks in , contrasting the fate of ordinary people with the stars of cinema: F a l l 2 0 1 8 allows the emergence and spread of specters and ghosts, providing a surface for such propagation.

Enid and I, apart from the world around us, we are all eyes on the screen.

Our intrusion is never noticed, as it is necessary to note now that Enid and I are dead. Grant and Enid were moviegoers in life and still are after death.

Although Grant and Enid do not live in the theater, they haunt it, relating to this space in a particular way, as if part of the curse that keeps them on earth requires that they must watch a film every night.

One of the main characters—Duncan Wyoming—is described as a contemporary of William Hart , famous American actor known for his roles in Hollywood westerns of the early twentieth century. F a l l 2 0 1 8 The development of the story, then, focuses on the guilty love between Enid and Grant, which is intensified by their own prejudices and the growing sensation of betrayal of their dead husband and friend.

South American Jungle Tales by Horacio Quiroga

The same confident smile from his lips. The same energetic figure that glided and stuck to the screen. And twenty feet away, there was his same woman who was under the fingers of his close friend The vision leaves them full of anguish and determination to attend all subsequent nightly screenings of the film.

This forced return to watch the film is a harbinger of the return of the two characters as ghosts and the inevitability of the fate that draws them to the movie theater. This revelation opens a space of horror for the characters, revealing the cinema as a medium for capturing vital essences of the actors and for transporting ghosts as well as images. The specter of Duncan Wyoming manifests himself on the screen and beyond it through the projection of the light spectrum, a phenomenon that can be seen only by the guilty lovers.

The cinema screen functions, then, as a threshold between the worlds of the living and the dead, one that enables the ghost of Wyoming to observe the betrayal of his friend and his wife— despite his body ostensibly rotting underground thousands of miles away.

It also serves as a portal, opening a path for the judgmental glare of the dead actor, directed at those who have been watching him in the film: The gaze is not the only thing that crosses the screen in this story. The ghost of Duncan Wyoming also crosses, searching with his hands for the body of Grant: Despite the menacing gesture, the apparition itself does not cause any physical harm to the main characters, who died from fear and shock.

The screen becomes the point of entry of ghosts, but also the surface through which they exit: For the past seven years Enid and I waited. This idea has been reshaped and adapted by several films since the second half of the twentieth century, from different perspectives and genres. Poltergeist by Tobe Hooper is one of the best-known examples in the horror genre, staging the tragedy of a family haunted by ghosts that come and go through the TV, as well as Shocker by Wes Craven, featuring a supernatural serial killer that can travel through TV screens.

Outside of the genre, The Purple Rose of Cairo by Woody Allen uses a similar idea to shape a romantic comedy, in which an actor emerges from the cinema screen to have a romance with an ordinary woman. The film Pleasantville directed by Gary Ross, inverts the emerging-from-the-screen logic, now portraying characters that become part of a TV show by entering into the screen. Since the mids a new Japanese horror cinema has taken over movie theaters worldwide, revealing a new facet of horror while at the same time overturning the established genre.

Productions such as The Ring , Rasen , Ju-on: The Grudge introduced the Western public to the pale ghosts with their characteristic white dresses and long black hair and demonstrated a new way to film horror with concurrent influences on American, European, Latin American and Asian cinemas.

One of the most important features of these new horror films is the emphasis on the ghost as a source of terror. These Japanese ghosts are different from those that could be imitated by using a sheet: These ghosts need to exact revenge on whoever wronged them, no matter how extreme the means necessary to carry it out.

This representation of ghosts relates to other ways of portraying angry spirits, as Jay McRoy affirms: One of the major innovations within contemporary Japanese horror is how the ghosts move both within and through the film. They can now move further through technology, which means that they are no longer confined to physical spaces, such as haunted houses or cemeteries. The detailed investigation of the videotape and its viewers leads Reiko and Ryuyi, the main characters, to discover Sadako, a terrifying ghost who created the curse and the cursed video and who seeks revenge both on those who killed her and those who find the movie.

After the death of Ryuyi, Reiko discovers that the only way to placate and stop the ghost is by creating more copies of the video, triggering a circularity without end connected with the viral nature of the videotape.

Antología de cuentos de Horacio Quiroga

The viewer learns that the goal of the curse is its infinite repetition: As Eric White asserts: Ghosts are thus able to move through electronic media and create it by their own volition: Both in the Japanese film and in the Uruguayan short story, the movies — the videotape in the first and the celluloid and its projection in the second—are the vehicle that transports vengeful ghosts, while the screen is the threshold that allows their mobilization and their entry from one world to another.

The screen becomes an area of transition for specters that emerge from death and appear as surface themselves in flat mediums via viewing devices. They no longer appear as site- specific ghosts, haunting a particular place.

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Instead they move through the surface of the TV, the lens of the camera, and in the case of other Japanese and Asian movies, the screens of computers and cellphones.

F a l l 2 0 1 8 with the enunciation of phantoms as surface effects made by the French philosopher Giles Deleuze in his book Logique du sens Logic of Sense In the formulations of the Greek philosopher, phantasms are rejected as a vulgar form of simulacrum that prevented the development of more advanced forms of the idea. Deleuze rejects Plato and decides to return to the stoics and their vision of events: The phantasm moves between seeing and being seen, inhabiting a space of liminality while at the same time remaining undifferentiated.

In this formulation, the phantasm rises from the depths of death, the tomb, or haunted houses and becomes a product of the surface, created in a specific moment during the formation of the surfaces; a product that can be expressed only by the interplay of grammatical transformations and using prepositions, where no depth is allowed and where both transformation and recombination are possible.

In this sense, it allows the emergence of new forms of organization.They are hunting, killing, decapitating.

One of the main characters—Duncan Wyoming—is described as a contemporary of William Hart , famous American actor known for his roles in Hollywood westerns of the early twentieth century. Precisely for this reason it is possible to conceive of the cinema as a source of horror, for its ability to replicate and ominously represent reality, to create doubles and ghosts that move through the screens and swarm the cinemas. His home was on the water and he used the boat to go from San Ignacio downriver to Buenos Aires and on numerous river expeditions.

We will call the tamer soon, before Juan Darien can escape. The only one he knows is me, my poor son! We want nothing to do with tigers. Despite not being able to conjure ghosts at will, Mac Namara has a strong sense of duty to his wife and son - dictated by their religious and moral principles and his Puritanism—a conviction that leads to the development of his initial resistance to the advances of the actress, and then, the rupture of those principles and beliefs to commit suicide with the end goal of facilitating a reunion with her.

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