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The Map and the Territory

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Michel Houellebecq, είτε γιατί είχα ήδη υπόψη μου μερικούς από τους χαρακτηρισμούς που (δικαίως ή αδίκως, δεν θα το κρίνω εγώ) του έχουν κατά καιρούς αποδοθεί με αφορμή κάποιες απόψεις του: μισογύνης, ρατσιστής, αντισημίτης κ.α.. Από την άλλη, βέβαια, ήξερα πως πρόκειται για έναν αναντίρρητα σπουδαίο συγγραφέα και πως ειδικά στον Χάρτη και στην Επικράτεια συμβαίνει το εξής (λογοτεχνικά) ιδιοφυές: ο ίδιος ο συγγραφέας γίνεται μέρος της ιστορίας που διηγείται (σε τρίτο πρόσωπο), διαδραματίζοντας σημαντικό ρόλο στην εξέλιξή της, καθώς, μεταξύ άλλων, στα μισά του βιβλίου θα βρεθεί φριχτά δολοφονημένος (κυριολεκτικά κατακρεουργημένος!) στο καθιστικό του σπιτιού του και η μισή Εθνική Αστυν�

En parallèle, Jed témoigne de la disparition des lieux de sociabilité traditionnels et de modes de vie qui leur étaient attachés :Les Nymphéas noirs, avec son duo policier, le milieu de l'art, l'étrange abolition du temps qui est commune aux villages de Souppes et de Giverny En materia de seres humanos sólo conocía a su padre, y tampoco mucho. Esta frecuentación no podía incitarle a un gran optimismo en cuanto a las relaciones humanas. Por lo que había podido observar, la existencia de los hombres se organizaba alrededor del trabajo, que ocupaba la mayor parte de la vida, y se realizaba en organizaciones de dimensión variable. Eventually, Jed also paints Michel Houellebecq, Writer -- his last painting -- and promises it to the writer; by the time he gives it to Houellebecq it is an incredibly valuable piece of art -- and the portrait also proves to be Houellebecq's undoing (significant, given that The Map and the Territory is itself a '(self-)portrait of the artist'). Bir polis komiseri ile köpeği arasındaki benzerlikleri daha doğrusu kader birlikteliklerini anlatan bölümü beni benden aldı. 2010 da yayınlanan kitap Fransa’nın son çeyrek asrındaki köklü değişiklikleri anlatma çabası içinde. Kitap son bölümünde birden polisiye bir romana dönüşerek okuru tekrar şaşırtıyor. Romanın sonu da yazarın kendisi gibi gizemli ve tuhaf.

The map–territory relation is the relationship between an object and a representation of that object, as in the relation between a geographical territory and a map of it. Mistaking the map for the territory is a logical fallacy that occurs when someone confuses the semantics of a term with what it represents. Polish-American scientist and philosopher Alfred Korzybski remarked that "the map is not the territory" and that "the word is not the thing", encapsulating his view that an abstraction derived from something, or a reaction to it, is not the thing itself. Korzybski held that many people do confuse maps with territories, that is, confuse conceptual models of reality with reality itself. These ideas are crucial to general semantics, a system Korzybski originated. See also Korzybski, Alfred (1996) [1933]. " Chapter IV: On Structure". In Schuchardt Read, Charlotte, ed.His best novel. The themes are basically the same, but Michel Houellebecq tells the tale again with great energy and in a large tongue in cheek manner. On one level it is about the rise of an artist who doesn't really want to participate in the art market. He has nothing against it, but his character is not one where he follows the market place. Yet he's extremely successful in what he does. The other textual parts are Houellebecq's fascination with what people do on their 'free' time - the need to be a tourist in 21st Century life as well as the issue of aging, fame, and the beauty of maps. in many ways, of all his novels, this is the most Situationist like. Houellebecq is for sure not Guy Debord, but he shares his sense of love (disgust?) at looking at culture and what that means to an artist/writer as well September 2018 - 7 January 2019: Luigi Ghirri El Mapa y el Territorio at Museo Reina Sofia, Madrid, Spain to be an artist, in his view, was above all to be someone, submissive. Someone who submitted himself to mysterious, unpredictable messages, that you would be led, for want of a better word and in the absence of any religious belief, to describe as intuitions, messages which nonetheless commanded you in an imperious and categorical manner, without leaving the slightest possibility of escape--except by losing any notion of integrity and self-respect. These messages could involve destroying a work, or even an entire body of work, to set off in a radically new direction or even occasionally no direction at all…. Jed's career, and his relationships with his father -- trying to fulfill filial obligations, but largely just going through some motions with a man who, in his decline, continues to go his own way and with whom he feels little connection -- and Houellebecq, a man Jed barely knows but whom he clearly considers a friend of sorts ("you've become important for me" he tells the writer), allow Houellebecq(-the-author) to muse and reflect on his usual obsessions. Pensé que la cosa se animaría cuando saliera Michel Houellebecq como personaje, pero ni así. Su personaje es demasiado personaje, demasiado tópico; se trata de una oportunidad desaprovechada, esperaba más ironía, más mala leche. Luego se produce un crimen y pensé que así se animaría el cotarro, pero ni así. El crimen sólo sirve para que salgan más personajes igual de planos que todos los demás. Sí, Houellebecq aprovecha para insinuar alguna que otra teoría sobre el arte y analizar/criticar el sistema capitalista, pero todo de una forma muy previsible y nada interesante. Esperaba más sarcasmo y más mala leche. ¿He dicho ya que todo demasiado plano? En ocasiones habrá alguna idea brillante y algún párrafo memorable, pero es todo muy escaso.

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