Francesc Oui
I am a performance artist, voice talent, writer, and art director. I was born in 1979 by the Atlantic coast. I grew up in Lisbon, where I graduated as a philologist and became a member of the Lisbon Comparatists in 2003. I earned a PhD from Barcelona’s UPF with a thesis on what cannot be said, from medieval mysticism to contemporary art. I was a four-year recipient of the FCT doctoral scholarship and a 2016 ICSI grant holder for Judith Butler’s seminar at The New School, NY. My training on dance and psychoanalysis was critical to understand that bodies are continuous although we usually experience them as separate. I want a life of beauty and a death worth grieving.
Address: LISBOA
http://www.comparatistas.edu.pt/investigadores/membros-nao-integrados/francisco-serra-lopes.html
Pompeu Fabra/HAAS, BARCELONA
http://www.upf.edu/haas/recerca/equip/externs/fserra.html
Address: LISBOA
http://www.comparatistas.edu.pt/investigadores/membros-nao-integrados/francisco-serra-lopes.html
Pompeu Fabra/HAAS, BARCELONA
http://www.upf.edu/haas/recerca/equip/externs/fserra.html
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Papers by Francesc Oui
A la performance académica -y traumática- del debate Searle-Derrida, paradigma de deshonestidad intelectual y crisis de la universidad, contrapongo los estudios de Jerzy Grotowski, el Kundance de Dominik Borucki y el método Gaga de Ohad Naharin como prácticas de disolución del cuerpo social que nos acercan a la realidad del cuerpo continuo.
La hipótesis de trabajo consiste en que solo superficialmente somos cuerpos contiguos, por lo que no solo no existe "individuo" sino que también "la sociedad" carece de existencia. Así, por ejemplo, el género no es siquiera una construcción social porque lo social es efecto de la misma psicosis que separó el habla de la emoción primordial.
Experiencias terminales del lenguaje sugieren que el espejismo de la identidad se pierde al aparecernos el cuerpo continuo; y que esto no sea repetible pero sí testimoniable significa un cambio de paradigma científico donde el presente inefable es el único posible verdadero.
In order to have knowledge of national literatures other than those in our mother languages we have to be willing to seek such knowledge, and I’d suggest that there must be a strong interest and sense of curiosity that is easily identifiable with a loving response to the seductive power of foreign literatures.
It may be easy to imagine a teacher of literature speaking passionately about works of a national literature that is not hers or his own, and even easier to see a cultural market responding to often sympathetic stereotypes of another European nation. However, what mental representations may we have of such emotions and practices in case we speak of a European literature?
Have you ever felt European? Will you ever do? Will Europe ever break your heart?
I hope to move from an exclusively rationalistic approach to one that takes into account an affective archaeology of the modern idea of Europe, whose fathers were moved not only by ideal rationale but also by a certain national feeling that was highly informed by Illustrated ideals and a conception of the Spirit (Geist) that must not be bracketed because it may be that little ugly feature that, albeit unnoticed, makes wealthy, smart, good-looking Europe so uninteresting.
Main references will be Herder’s Letters for the Advancement of Humanity, Hegel’s The Scientific Ways of Treating Natural Law (especially on the State and war) as well as two official reports: Green Paper on Territorial Cohesion: Turning territorial diversity into strength (Commission of the European Communities, 2008); Extra & Yagmur, Language diversity in multicultural Europe: Comparative perspectives on immigrant minority languages at home and at school (UNESCO, 2002).
A phenomenology of reading allows discerning what is there in the text, while conforming a disposition for self-understanding through poetic understanding.
A critique of philosophical approaches to poetry (through distinctive models represented by Jacques Maritain, Martin Heidegger and Jean-Luc Marion) and an emancipation of resistance to the text as an invitation to what it may give converge on the necessity of recognizing in European mysticism a privileged source of understanding for Echevarría’s poetic discourse.
Moreover, they underpin Negative Hermeneutics as an innovative, dynamic and strictly intuitive process of understanding of his poetic work as well as the reader’s self through the reading relationship that develops.
Nogensmenys, L’Acte de Lectura també fa servir la noció molt desplegable de negativitat en un capítol que ha passat prou desapercebut malgrat els seus desviaments innovadors cap al que considero una comprensió més correcta del rol del lector, que d’una altra manera estaria identificat amb un ideal abstracte de correspondència amb les finalitats de l’obra literària.
Si es rellegeix L’Acte de Lectura i les propostes dels estudis de recepció en general a la llum d’aquest capítol veritablement operatiu, llavors s’entén que el moviment de correspondència en la lectura és més aviat el contrari: és l’obra que ha de co-respondre a les finalitats cercades o desitjades per un lector específic – les quals Hans Robert Jauss ha anomenat justament “horitzó d’expectatives”.
Aquest gir conceptual es revesteix de la màxima importància tant per a l’art verbal com per als altres arts, atès que la tònica ja no es coloca en la diversitat de discursos sinó més aviat en la diversitat de lectors que llegeixen, en una “enciclopèdia” (Umberto Eco) de textos (verbals, gràfics, sonors...), la possibilitat de llur conformació com a negativitats potencialment creadores i actuants sobre la realitat llegida.
La negativitat sorgeix doncs com a projecte de sentit que implica el lector (en el projecte de recerca del sentit des de si mateix).
A la performance académica -y traumática- del debate Searle-Derrida, paradigma de deshonestidad intelectual y crisis de la universidad, contrapongo los estudios de Jerzy Grotowski, el Kundance de Dominik Borucki y el método Gaga de Ohad Naharin como prácticas de disolución del cuerpo social que nos acercan a la realidad del cuerpo continuo.
La hipótesis de trabajo consiste en que solo superficialmente somos cuerpos contiguos, por lo que no solo no existe "individuo" sino que también "la sociedad" carece de existencia. Así, por ejemplo, el género no es siquiera una construcción social porque lo social es efecto de la misma psicosis que separó el habla de la emoción primordial.
Experiencias terminales del lenguaje sugieren que el espejismo de la identidad se pierde al aparecernos el cuerpo continuo; y que esto no sea repetible pero sí testimoniable significa un cambio de paradigma científico donde el presente inefable es el único posible verdadero.
In order to have knowledge of national literatures other than those in our mother languages we have to be willing to seek such knowledge, and I’d suggest that there must be a strong interest and sense of curiosity that is easily identifiable with a loving response to the seductive power of foreign literatures.
It may be easy to imagine a teacher of literature speaking passionately about works of a national literature that is not hers or his own, and even easier to see a cultural market responding to often sympathetic stereotypes of another European nation. However, what mental representations may we have of such emotions and practices in case we speak of a European literature?
Have you ever felt European? Will you ever do? Will Europe ever break your heart?
I hope to move from an exclusively rationalistic approach to one that takes into account an affective archaeology of the modern idea of Europe, whose fathers were moved not only by ideal rationale but also by a certain national feeling that was highly informed by Illustrated ideals and a conception of the Spirit (Geist) that must not be bracketed because it may be that little ugly feature that, albeit unnoticed, makes wealthy, smart, good-looking Europe so uninteresting.
Main references will be Herder’s Letters for the Advancement of Humanity, Hegel’s The Scientific Ways of Treating Natural Law (especially on the State and war) as well as two official reports: Green Paper on Territorial Cohesion: Turning territorial diversity into strength (Commission of the European Communities, 2008); Extra & Yagmur, Language diversity in multicultural Europe: Comparative perspectives on immigrant minority languages at home and at school (UNESCO, 2002).
A phenomenology of reading allows discerning what is there in the text, while conforming a disposition for self-understanding through poetic understanding.
A critique of philosophical approaches to poetry (through distinctive models represented by Jacques Maritain, Martin Heidegger and Jean-Luc Marion) and an emancipation of resistance to the text as an invitation to what it may give converge on the necessity of recognizing in European mysticism a privileged source of understanding for Echevarría’s poetic discourse.
Moreover, they underpin Negative Hermeneutics as an innovative, dynamic and strictly intuitive process of understanding of his poetic work as well as the reader’s self through the reading relationship that develops.
Nogensmenys, L’Acte de Lectura també fa servir la noció molt desplegable de negativitat en un capítol que ha passat prou desapercebut malgrat els seus desviaments innovadors cap al que considero una comprensió més correcta del rol del lector, que d’una altra manera estaria identificat amb un ideal abstracte de correspondència amb les finalitats de l’obra literària.
Si es rellegeix L’Acte de Lectura i les propostes dels estudis de recepció en general a la llum d’aquest capítol veritablement operatiu, llavors s’entén que el moviment de correspondència en la lectura és més aviat el contrari: és l’obra que ha de co-respondre a les finalitats cercades o desitjades per un lector específic – les quals Hans Robert Jauss ha anomenat justament “horitzó d’expectatives”.
Aquest gir conceptual es revesteix de la màxima importància tant per a l’art verbal com per als altres arts, atès que la tònica ja no es coloca en la diversitat de discursos sinó més aviat en la diversitat de lectors que llegeixen, en una “enciclopèdia” (Umberto Eco) de textos (verbals, gràfics, sonors...), la possibilitat de llur conformació com a negativitats potencialment creadores i actuants sobre la realitat llegida.
La negativitat sorgeix doncs com a projecte de sentit que implica el lector (en el projecte de recerca del sentit des de si mateix).