{"id":8588,"date":"2017-12-22T06:00:57","date_gmt":"2017-12-22T06:00:57","guid":{"rendered":"http:\/\/cafebarbantia.barbantia.es\/?p=8588"},"modified":"2017-12-01T11:13:22","modified_gmt":"2017-12-01T11:13:22","slug":"un-coup-de-des-de-mallarme-apuntamentos-v","status":"publish","type":"post","link":"http:\/\/cafebarbantia.barbantia.es\/?p=8588","title":{"rendered":"Un Coup de d\u00e9s, de Mallarm\u00e9. Apuntamentos (V)"},"content":{"rendered":"<p lang=\"gl-ES\" align=\"justify\"><span style=\"font-size: large;\"><span style=\"font-family: 'Times New Roman', serif;\"><a href=\"http:\/\/cafebarbantia.barbantia.es\/wp-content\/uploads\/2017\/12\/4175134-under-the-water.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"alignleft size-medium wp-image-8589\" alt=\"4175134-under-the-water\" src=\"http:\/\/cafebarbantia.barbantia.es\/wp-content\/uploads\/2017\/12\/4175134-under-the-water-300x187.jpg\" width=\"300\" height=\"187\" srcset=\"http:\/\/cafebarbantia.barbantia.es\/wp-content\/uploads\/2017\/12\/4175134-under-the-water-300x187.jpg 300w, http:\/\/cafebarbantia.barbantia.es\/wp-content\/uploads\/2017\/12\/4175134-under-the-water-1024x640.jpg 1024w, http:\/\/cafebarbantia.barbantia.es\/wp-content\/uploads\/2017\/12\/4175134-under-the-water-900x562.jpg 900w, http:\/\/cafebarbantia.barbantia.es\/wp-content\/uploads\/2017\/12\/4175134-under-the-water.jpg 1920w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a><em><strong>Fidel Vidal.\u00a0<\/strong><\/em>En Malla<\/span><span style=\"font-family: 'Times New Roman', serif;\">r<\/span><span style=\"font-family: 'Times New Roman', serif;\">m\u00e9 latexa unha fascinaci\u00f3n pola noite c\u00f3smica, pola noite estrelada, aquela que, con paix\u00f3n desmesu-rada intentou pintar Van Gogh, coma Mir\u00f3 (tam\u00e9n afeccionado aos c\u00f3digos secretos) nos m\u00e1xicos lenzos das <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>Constelaci\u00f3ns<\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">, e certa correspondencia na persecuci\u00f3n de <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>l\u2019eternel azur<\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">, polo mar e o ceo, polo azul<!--more-->: \u201ca \u00fanica ocupaci\u00f3n dun home que se respecta \u00e9, aos meus ollos, mirar o azul morrendo de fame\u201d. Un ceo nocturno repleto de estrelas (branco sobre negro) ou dun mar en calma despois da tormenta cos restos do naufraxio aboiando (negro sobre branco). \u201cO espello que me reflectiu o Ser foi case sempre o Horror\u201d (M., <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>Fragmentos<\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">, p. 58) <\/span><\/span><\/p>\n<p lang=\"gl-ES\" align=\"justify\"><span style=\"font-size: large;\"><b>V. N\u00fameros e cifras.<\/b><\/span><\/p>\n<p lang=\"gl-ES\" align=\"justify\"><span style=\"font-size: large;\"><span style=\"font-family: 'Times New Roman', serif;\">A Constelaci\u00f3n \u00e9 o infinito fixo, componse de 7 estrelas pero, sobre todo, ori\u00e9ntanos cara ao Norte, o Septentri\u00f3n. As marxes, os grandes espazos en branco das p\u00e1xinas son moito m\u00e1is que marxes: \u201ca orde do discurso mantense aberto fronte ao seu outro, a orde do proceso inconsciente tam\u00e9n sup\u00f3n as cr\u00edticas do discurso como censura, represi\u00f3n do desexo\u201d (Lyotard, <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>Discurso, Figuras<\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">, p. 317). <\/span><\/span><\/p>\n<p lang=\"gl-ES\" align=\"justify\"><span style=\"font-size: large;\"><span style=\"font-family: 'Times New Roman', serif;\">A poes\u00eda moderna estaba cuestionando o modelo de verso, como desfacerse do xustillo acad\u00e9mico, da medida rigorosa: v<\/span><span style=\"font-family: 'Times New Roman', serif;\">erso medido ou verso libre? M\u00e9trica (Ma\u00eetre) alexandrina ou verso ao chou? Polos resultados posteriores, seica o verso libre tomou a dianteira. Mais na an\u00e1lise de Meillassoux, se ben a cousa non dev\u00e9n tan clara, malia a aparencia de desorde, \u00e9 quen de dar coa clave dun enigm\u00e1tico n\u00famero que agocha o poema: \u201c<\/span><span style=\"font-family: 'Times New Roman', serif;\">O que lles vou tentar demostrar, as\u00ed e todo, \u00e9 que <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>Un Coup de d\u00e9s <\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">est\u00e1 cifrado, que hai raz\u00f3ns moi precisas para pensar iso e que o interese final non \u00e9 o que est\u00e1 cifrado no poema sen\u00f3n o feito mesmo da encriptaci\u00f3n\u201d (p. 18). Segundo Meillassoux, <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>Un Coup de d\u00e9s, <\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">malia parecer ser o poema da modernidade extrema, do abandono radical da m\u00e9trica, \u201c<\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>\u00e9 de feito unha defensa do metro<\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">. Tr\u00e1tase dun poema que defende unha m\u00e9trica determinada\u201d (p. 21). Concretamente a defensa do alexandrino: <\/span><span style=\"font-family: 'Times New Roman', serif;\">\u201cArcano estra\u00f1o, e, con prop\u00f3sitos non menores, abrollou a m\u00e9trica nos tempos da incubaci\u00f3n\u201d (S. M., <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>Fragmentos<\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">, p. 107)<\/span><span style=\"font-family: 'Times New Roman', serif;\">.<\/span><\/span><\/p>\n<p lang=\"gl-ES\" align=\"justify\"><span style=\"font-size: large;\"><b>VI. O n\u00famero Sete (7)<\/b><\/span><\/p>\n<p lang=\"gl-ES\" align=\"justify\"><span style=\"font-size: large;\"><span style=\"font-family: 'Times New Roman', serif;\"><a href=\"http:\/\/cafebarbantia.barbantia.es\/wp-content\/uploads\/2017\/12\/978607827627.gif\"><img decoding=\"async\" loading=\"lazy\" class=\"alignright size-medium wp-image-8590\" alt=\"978607827627\" src=\"http:\/\/cafebarbantia.barbantia.es\/wp-content\/uploads\/2017\/12\/978607827627-225x300.gif\" width=\"225\" height=\"300\" \/><\/a>Para comezar, Meillassoux,<\/span><span style=\"font-family: 'Times New Roman', serif;\"> preg\u00fantase \u201cse un n\u00famero, ou unha cifra, aparece explicitamente no poema. A \u00fanica cifra que aparece escrita en <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>Un Coup de d\u00e9s <\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">\u00e9 o Sete. A tirada de dados final, que suple a do Ma\u00eetre esmorecente, d\u00e1 lugar en efecto a un \u201cSeptentri\u00f3n\u201d, a un sete estelar que se sinala como unha victoria posible da estrofa final malia a desfeita reinante\u201d (p. 50). Esta afirmaci\u00f3n de Meillassoux \u00e9 arriscada, xa que logo, o 7 non \u00e9 a \u201c\u00fanica\u201d cifra escrita do poema. Non en balde, a\u00ed est\u00e1 a evidencia, o obvio do mesmo comezo e t\u00edtulo do poema: Un <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>Coup de d\u00e9s<\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">, quer dicir, o Un (1) \u00e9 o primeiro n\u00famero que aparece. Un n\u00famero, neste caso, que non relata un feito, sen\u00f3n a posibilidade dunha acci\u00f3n, unha proposta que se pode dar ou non. Unha d\u00fabida, unha eventualidade. Algo que \u00e9 e que non \u00e9, ag\u00e1s o enunciado en si. <\/span><\/span><\/p>\n<p lang=\"gl-ES\" align=\"justify\"><span style=\"font-size: large;\"><span style=\"font-family: 'Times New Roman', serif;\">Contradicir o azar \u201cpalabra por palabra\u201d -como escribe Mallarm\u00e9 nun texto cr\u00edtico-, intentar asociar sensatamente senso e reconto, esa \u00e9 a tarefa suprema da poes\u00eda\u201d (\u2026). Mais, nese caso, advirte Meillassox, a conclusi\u00f3n final do poema: \u201cToute Pens\u00e9e \u00e9met un Coup de D\u00e9s\u201d, \u00bfnon poder\u00eda conter a chave m\u00e9trica que nos haber\u00eda permitir saber o que conta o 7 final? \u201cPregunt\u00e9monos daquela se existe un elemento ling\u00fc\u00edstico que, contado <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>nesa frase<\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">, dar\u00eda o 7 como resultado. Abof\u00e9 que o hai, o m\u00e1is simple de todos: <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>a conclusi\u00f3n de <\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">Un Coup de d\u00e9s <\/span><span style=\"font-family: 'Times New Roman', serif;\"><i>cont\u00e9n 7 palabras<\/i><\/span><span style=\"font-family: 'Times New Roman', serif;\">\u201d(p. 57).<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Fidel Vidal.\u00a0En Mallarm\u00e9 latexa unha fascinaci\u00f3n pola noite c\u00f3smica, pola noite estrelada, aquela que, con paix\u00f3n desmesu-rada intentou pintar Van Gogh, coma Mir\u00f3 (tam\u00e9n afeccionado aos c\u00f3digos secretos) nos m\u00e1xicos lenzos das Constelaci\u00f3ns, e certa correspondencia na persecuci\u00f3n de l\u2019eternel azur, polo mar e o ceo, polo azul<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[7,65,10],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=\/wp\/v2\/posts\/8588"}],"collection":[{"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8588"}],"version-history":[{"count":2,"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=\/wp\/v2\/posts\/8588\/revisions"}],"predecessor-version":[{"id":8592,"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=\/wp\/v2\/posts\/8588\/revisions\/8592"}],"wp:attachment":[{"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8588"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/cafebarbantia.barbantia.es\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}