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| Campo DC | Valor | Lengua/Idioma |
|---|---|---|
| dc.contributor.author | Accossano Pérez, Natalia Antonela | - |
| dc.date.accessioned | 2024-07-02T12:49:45Z | - |
| dc.date.available | 2024-07-02T12:49:45Z | - |
| dc.date.issued | 2023 | - |
| dc.identifier.uri | http://rid.unrn.edu.ar/handle/20.500.12049/11704 | - |
| dc.language.iso | es | es_ES |
| dc.relation.uri | http://www.letras.ufmg.br/iawis2023/ | es_ES |
| dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/4.0/ | - |
| dc.title | “Of that colossal Wreck…” Ensayo sobre ruinas y espejismos en Fata Morgana (1971) de Werner Herzog | es_ES |
| dc.type | Objeto de conferencia | es_ES |
| dc.rights.license | Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-ND 4.0) | - |
| dc.description.filiation | Accossano Pérez, Natalia Antonela. Universidad Nacional de Río Negro. Laboratorio Texto, Imagen y Sociedad [LabTIS]. Río Negro; Argentina. | es_ES |
| dc.subject.keyword | Paisaje | es_ES |
| dc.subject.keyword | Herzog | es_ES |
| dc.subject.keyword | Cine ensayo | es_ES |
| dc.subject.keyword | Ruinas | es_ES |
| dc.type.version | info:eu-repo/semantics/submittedVersion | es_ES |
| dc.subject.materia | Humanidades | es_ES |
| dc.origin.lugarDesarrollo | Universidad Nacional de Río Negro. Laboratorio Texto, Imagen y Sociedad [LabTIS] | es_ES |
| dc.description.resumen | The landscape in ruins is a genre of landscape painting that we find especially appropriate to think about the dichotomy between nature and culture, landscape and history. This is due, among other factors, to the fact that in this particulate form of landscape coexists diverse time perceptions, namely: the fragments of a lost past, the present experience (traversed by personal and collective memories), and some kind of “prophecy” of the future, which tells us about the transience, the perishable, in all human efforts against nature (Simmel, 1911; Huyssen, 2006; Masiello, 2008). We think this particular feature of the landscape in ruins is what makes it an appropriate example of the “idea of Natural-History” (naturgeschichte), defined by Theodor Adorno in his 1932 essay; as much as the “dialectic image” category, delineated by Walter Benjamin. In this essay, we’ll sketch out a research on a contemporary display of the landscape in ruins: Fata Morgana (1971) by Werner Herzog. The poetic motive of this essay-film, elusive and enigmatic, is a journey through this kind of landscape: dwelled by the skeletons that were symbol and banner of the twentieth century’s progress and which now lie in pieces, abandoned in the desert (like the colossal effigy of Ozymandias in Percy Shelley’s poem). Andreas Huyssen (2006) believes that the aesthetic appreciation of ruins is no longer possible in our time because ours is a culture of renewal and restoration, recycling or destruction. In which way, we wonder, do we appreciate aesthetically the ruins of our time? And in which way does this appreciation manifests in the contemporary audiovisual medium? How does Werner Herzog read and rewrite with his camera these traces of a ruinous civilization, these desert’s mirages? | es_ES |
| dc.relation.journalTitle | XIII Congresso Internacional «Sedimentação. Por uma arqueologia da palavra e da imagem» | es_ES |
| dc.type.subtype | Documento de ponencia | es_ES |
| Aparece en las colecciones: | Objetos de conferencia | |
Archivos en este ítem:
| Archivo | Descripción | Tamaño | Formato | |
|---|---|---|---|---|
| Of that colossal Wreck-AccossanoPerez-ponencia.docx.pdf | 183,71 kB | Adobe PDF | Visualizar/Abrir |
Este documento es resultado del financiamiento otorgado por el Estado Nacional, por lo tanto queda sujeto al cumplimiento de la Ley N° 26.899
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