Normal 0 21 false false false ES-CO X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Este estudio tiene la intención de profundizar en la estética de la ciencia de la Hemotafonomía (HTN), mediante la identificación de sus pa­­ralelos estilísticos con la Literatura y las Artes Visuales. El objeto de estudio de esta ciencia (...) es la citomorfología de las células sanguíneas en manchas de sangre. Sus sujetos de estudio son especímenes manchados de sangre, mientras que su método de estudio es el análisis de imágenes en claroscuro obtenidas por Microscopía Electró­­nica de Barrido. Literariamente, la HTN es estilísticamente paralela a la estética del Tremendismo y el Deca­­dentismo. Visualmente, la HTN es estilísticamente paralela a la estética de la decoración arquitectónica chu­­rrigueresca y al Tenebrismo pictórico. De acuerdo con los resultados de este estudio, la HTN puede también con­­siderarse estilísticamente como un Realismo literario y un Naturalismo visual. Además, puesto que Tremen­­dismo, Decadentismo, Churrigueris­­mo y Tenebrismo convergen en la cultura del Barroco, debe concluirse que, estéticamente, la HTN es una ciencia barroquista. Normal 0 21 false false false ES X-NONE X-NONE MicrosoftInternetExplorer4. (shrink)

This article discusses how everyday speech was mediated in early modern England: how speech was registered and remediated through various cultural techniques making it recognizable as a distinct linguistic medium and how these processes intersected with literary writing. A contribution to the study of the early modern English mediascape and its literary ramifications, this essay is also an effort to think historically about media change and literary transformation both as they happen and as they become visible over time. In what (...) follows, I trace the relationship between speech and the cultural techniques that engage with speech as the medium of everyday face-to-face interaction. Although my question is ultimately about speech, not poetry, and although the larger question I am interested in is not about artistic production but about media and cultural techniques more broadly, literary—poetic and especially dramatic—writing is nevertheless central to my essay. My argument grows out of the insights of twentieth-century literary criticism, whose observations about the relationship between speech and writing in 1600 were recognizably informed by the discourse network of their own moment and by their own concerns with modernity and its origins. So even as I am making an argument about the media constellation of a particular moment (an argument that could perhaps be described as crudely historicist), I am also curious about how the features of that moment became visible under different historical conditions or were imprinted by different media constellations and also how the defamiliarizing effect of the new may have made the past look familiar. (shrink)