{"id":257469,"date":"2022-12-12T00:25:12","date_gmt":"2022-12-12T00:25:12","guid":{"rendered":"https:\/\/theprisma.co.uk\/?p=257469"},"modified":"2022-12-12T05:32:28","modified_gmt":"2022-12-12T05:32:28","slug":"placer-y-dolor-a-partes-iguales","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2022\/12\/12\/placer-y-dolor-a-partes-iguales\/","title":{"rendered":"Placer y dolor a partes iguales"},"content":{"rendered":"<p><em>Los lectores saben que este en\u00e9rgico estudio de seis poemas de Keats promete algo nuevo cuando la autora anuncia en su prefacio que cualquier lectura seria de Keats comienza con la secci\u00f3n sobre \u2018Propiedad privada y comunismo&#8217; de los \u00abManuscritos econ\u00f3micos y filos\u00f3ficos de 1844\u00bb de Marx. <\/em><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #003366;\"><strong><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-257477 alignright\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/Hojasotono-autum-from-Pixabay.jpg\" alt=\"\" width=\"529\" height=\"371\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/Hojasotono-autum-from-Pixabay.jpg 802w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/Hojasotono-autum-from-Pixabay-285x200.jpg 285w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/Hojasotono-autum-from-Pixabay-431x303.jpg 431w\" sizes=\"auto, (max-width: 529px) 100vw, 529px\" \/>Sean Sheehan<\/strong><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>La postura provocadora de Anahid Nersessian no aporta nada sorprendentemente nuevo sobre las odas y no es tan tonta como para intentar argumentar que Keats tiene una agenda criptocomunista que puede ser finalmente revelada.<\/p>\n<p>Lo que s\u00ed aporta es una ardiente conciencia de que Keats es mucho m\u00e1s que la imagen que se tiene de \u00e9l como un poeta tan obsesionado con lo sensual que a veces resulta un tanto afeminado.<\/p>\n<p>Esto no concuerda con su pol\u00edtica de izquierdas y tiene m\u00e1s sentido leerlo, como hace Nersessian, como alguien que lucha con el \u00abesforzado e incluso agonizante trabajo de dar forma a la respuesta del cuerpo al mundo\u00bb.<\/p>\n<figure id=\"attachment_257475\" aria-describedby=\"caption-attachment-257475\" style=\"width: 320px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-257475\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/portrait.jpg\" alt=\"\" width=\"320\" height=\"399\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/portrait.jpg 201w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/portrait-160x200.jpg 160w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><figcaption id=\"caption-attachment-257475\" class=\"wp-caption-text\">Anahid Nersessian (<em>Foto autorizada por la autora para su publicaci\u00f3n.<\/em>)<\/figcaption><\/figure>\n<p>La respuesta del cuerpo al mundo preocupaba igualmente a Marx, de 26 a\u00f1os, en 1844, cuando escribi\u00f3 <em>en \u00abPropiedad privada y comunismo\u00bb<\/em> acerca de lo sensual como fundamental para la naturaleza material de la vida humana.<\/p>\n<p>Es, dice, mediante la \u00abapropiaci\u00f3n sensual\u00bb como nos abrimos al trabajo de vivir en el mundo, pero para la mentalidad capitalista esto se traduce en propiedad, valor de uso y propiedad privada: \u00abLa propiedad privada nos ha vuelto tan est\u00fapidos y unilaterales que un objeto s\u00f3lo es nuestro cuando lo tenemos, cuando existe para nosotros como capital&#8230; cuando lo utilizamos\u00bb.<\/p>\n<p>Considera esto como un grave alejamiento de lo que est\u00e1 plenamente disponible para nosotros como seres sensuales, pero no est\u00e1 celebrando hedonistamente el placer por el placer: el sufrimiento es tambi\u00e9n parte de nuestro compromiso sensual con la vida, parte de nuestra naturaleza, parte de lo que \u00e9l llama nuestro \u00abser-especie\u00bb.<\/p>\n<p>Las odas de Keats comparten esta concepci\u00f3n humanista de la vida y se detienen en esas fuerzas y estados mentales contrarios que nos aportan alegr\u00eda, pero tambi\u00e9n dolor, intimidad y desamparo, cuidado y a\u00f1oranza, amor y abandono. Es una mezcla embriagadora y constituye un c\u00f3ctel ingobernable; la poes\u00eda, nos recuerda Nersessian, \u00abes el arte de tomar lo que se puede\u00bb.<\/p>\n<p><em><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-257473\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/9780226762678.jpg\" alt=\"\" width=\"321\" height=\"496\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/9780226762678.jpg 516w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/9780226762678-129x200.jpg 129w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2022\/12\/9780226762678-431x667.jpg 431w\" sizes=\"auto, (max-width: 321px) 100vw, 321px\" \/><\/em>La vulnerabilidad forma parte de lo que define a la humanidad y repercute en la infancia de Keats, en su personalidad y sus relaciones y en la dura y hostil acogida que tuvo su poes\u00eda cuando se public\u00f3 por primera vez.<\/p>\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=sTix5VaBmqA\">Nersessian<\/a> reaviva el inter\u00e9s por las odas de Keats, aclamando con justicia lo que consiguen sin ser acr\u00edtico. La aparentemente pesada l\u00ednea \u00abLa belleza es verdad, la verdad belleza\u00bb de la &#8216;Oda a una oda griega&#8217; es &#8216;profundidad de dos centavos&#8217; y el hablante de la oda tiene una &#8216;visi\u00f3n de la masculinidad como licencia para herir&#8217;; &#8216;Al oto\u00f1o&#8217; es &#8216;perfecta&#8217; pero tambi\u00e9n &#8216;imperdonable&#8217; por haber sido escrita s\u00f3lo cuatro semanas despu\u00e9s de la <a href=\"http:\/\/www.peterloomassacre.org\/history.html\">masacre de Peterloo<\/a>, pero con el poeta aparentemente impasible ante ella.<\/p>\n<p>Lo que a\u00f1ade inter\u00e9s al libro es un elemento autobiogr\u00e1fico\/confesional, que tangencialmente secunda las preocupaciones a las que Keats y el joven Marx fueron tan sensibles en sus escritos<\/p>\n<p><em>\u00a0\u00abKeats&#8217;s odes: a lover&#8217;s discourse\u00bb<\/em>, de Anahid Nersessian, es publicado por <a href=\"https:\/\/press.uchicago.edu\/ucp\/books\/book\/chicago\/K\/bo77573957.html\">The University of Chicago Press<\/a>.<\/p>\n<p><strong><span style=\"color: #003366;\">(Traducido por Monica del Pilar Uribe Marin)<\/span><\/strong><\/p>\n<div class=\"twttr_buttons\"><div class=\"twttr_twitter\">\n\t\t\t\t\t<a href=\"http:\/\/twitter.com\/share?text=Placer+y+dolor+a+partes+iguales\" class=\"twitter-share-button\" data-via=\"\" data-hashtags=\"\"  data-size=\"default\" data-url=\"https:\/\/theprisma.co.uk\/es\/2022\/12\/12\/placer-y-dolor-a-partes-iguales\/\" data-dnt=\"true\" data-related=\"\" target=\"_blank\">Tweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Los lectores saben que este en\u00e9rgico estudio de seis poemas de Keats promete algo nuevo cuando la autora anuncia en su prefacio que cualquier lectura seria de Keats comienza con la secci\u00f3n sobre \u2018Propiedad privada y comunismo&#8217; de los \u00abManuscritos econ\u00f3micos y filos\u00f3ficos de 1844\u00bb de Marx. &nbsp; Sean Sheehan [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":250696,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,14,7,26],"tags":[],"class_list":["post-257469","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cultura","category-en-foco","category-opinion","category-paginas"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - 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