By Clarice Lispector
Aprendizaje o El libro de los placeres, publicado por primera vez en 1969, despertó los angeles polémica entre los críticos, que aún hoy debaten sus posibles interpretaciones. Este es el relato de cómo el amor se forja en dos seres: a través de un arduo desnudamiento interno los protagonistas van recuperando su identidad hasta alcanzar l. a. renovación important en l. a. mutua entrega. A su ejercicio introspectivo opone l. a. autora su propia búsqueda formal, el intento de superar los límites del estilo amalgamando forma y fondo en una prosa rebosante de imágenes que desarman al lector con su verdad hiriente. Su lectura ofrece a quien l. a. emprende el desafío de seguir paso a paso ese ahondamiento, ese despojarse de todos los bagajes para iniciar un definitivo aprendizaje de los angeles existencia.
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Extra info for Aprendizaje o el libro de los placeres (Biblioteca Clarice Lispector)
The conceit is sustained through the use of high-contrast black-andwhite cinematography to give the suggestion of early cinema. The hand-held camera technique, on the other hand, and direct location sound recording, are as modern and up-to-date as you could get, along with the figure of the wandering nueva trova singer Pablo Milanés, who contributes a musical commentary. The effect of these elements and techniques is to deconstruct the conventional historical movie, which aims to separate the past from the present in the interests of ideological cleansing.
1057/9780230622159 - Visual Synergies in Fiction and Documentary Film from Latin America, Edited by Miriam Haddu and Joanna Page 21 more of a sliding in and out of shifting perspectives. The fiesta in Paucartambo, where the protagonists of the legend are filmed in the setting of the event, is where ethnography and legend become fused. Here, amid the kaleidoscope of the dances that enact the cultural figures of the indigenous world, the camera witnesses the moment when the dancing bear finds his prey, and from this moment on we are inside a world that until that moment has been foreign and inaccessible to us.
There are also two less well-known examples which employ other strategies but are equally typical of Cuba’s cinema of Revolution. La primera carga al machete (The First Charge of the Machete, Manuel Octavio Gómez, 1969) commemorates the centenary of the first war of independence against Spain by reconstructing its opening battle as if it were a contemporaneous documentary. The conceit is sustained through the use of high-contrast black-andwhite cinematography to give the suggestion of early cinema.