jueves, 17 de septiembre de 2009
Ricardo Marcenaro bitácora. Recuerdo permanente
Ricardo Marcenaro bitácora. Recuerdo permanente
Mi padre me dijo una vez, cuando niño-adolescente e iba a la escuela:
“Mirá Ricardo, a mi no me interesa que me traigas notas excelentes, a mi me interesa que sepas. Si vos supieras todo lo que vas a aprender en el colegio secundario serías una persona erudita”
Ese era mi padre.
Me enseñaba, a aprender, a pensar, a saber, a ser yo.
Tuve mucha suerte con el padre que me tocó.
Sé que no le cumplí, seguro, en una pila de cosas, pero sé también que a veces su buena voluntad ha iluminado en su hijo, el que en este lado del tiempo sigue la historia.
Philosophy: Sun Tzu. The Art of War. Chapter 1, Filosofía: Sun Tzu, El Arte de la Guerra. Capítulo 1
Section I: Laying Plans
1. Sun Tzu said: The art of war is of vital importance to the State.
2. It is a matter of life and death, a road either to safety or to ruin. Hence it is a subject of inquiry which can on no account be neglected.
3. The art of war, then, is governed by five constant factors, to be taken into account in one's deliberations, when seeking to determine the conditions obtaining in the field.
4. These are:
1. The Moral Law;
2. Heaven;
3. Earth;
4. The Commander;
5. Method and discipline.
5. The Moral Law causes the people to be in complete accord with their ruler, so that they will follow him regardless of their lives, undismayed by any danger.
6. Heaven signifies night and day, cold and heat, times and seasons.
7. Earth comprises distances, great and small; danger and security; open ground and narrow passes; the chances of life and death.
8. The Commander stands for the virtues of wisdom, sincerity, benevolence, courage and strictness.
9. By method and discipline are to be understood the marshaling of the army in its proper subdivisions, the graduations of rank among the officers, the maintenance of roads by which supplies may reach the army, and the control of military expenditure.
10. These five heads should be familiar to every general: he who knows them will be victorious; he who knows them not will fail.
11. Therefore, in your deliberations, when seeking to determine the military conditions, let them be made the basis of a comparison, in this wise:--
12.
1. Which of the two sovereigns is imbued with the Moral law?
2. Which of the two generals has most ability?
3. With whom lie the advantages derived from Heaven and Earth?
4. On which side is discipline most rigorously enforced?
5. Which army is stronger?
6. On which side are officers and men more highly trained?
7. In which army is there the greater constancy both in reward and punishment?
13. By means of these seven considerations I can forecast victory or defeat.
14. The general that hearkens to my counsel and acts upon it, will conquer: let such a one be retained in command! The general that hearkens not to my counsel nor acts upon it, will suffer defeat:--let such a one be dismissed!
15. While heeding the profit of my counsel, avail yourself also of any helpful circumstances over and beyond the ordinary rules.
16. According as circumstances are favorable, one should modify one's plans.
17. All warfare is based on deception.
18. Hence, when able to attack, we must seem unable; when using our forces, we must seem inactive; when we are near, we must make the enemy believe we are far away; when far away, we must make him believe we are near.
19. Hold out baits to entice the enemy. Feign disorder, and crush him.
20. If he is secure at all points, be prepared for him. If he is in superior strength, evade him.
21. If your opponent is of choleric temper, seek to irritate him. Pretend to be weak, that he may grow arrogant.
22. If he is taking his ease, give him no rest. If his forces are united, separate them.
23. Attack him where he is unprepared, appear where you are not expected.
24. These military devices, leading to victory, must not be divulged beforehand.
25. Now the general who wins a battle makes many calculations in his temple ere the battle is fought. The general who loses a battle makes but few calculations beforehand. Thus do many calculations lead to victory, and few calculations to defeat: how much more no calculation at all! It is by attention to this point that I can foresee who is likely to win or lose.
C A P I T U L O I
Sobre la evaluación
Sun Tzu dice: la guerra es de vital importancia para el Estado; es el dominio de la vida o de la muerte, el camino hacia la supervivencia o la pérdida del Imperio: es forzoso manejarla bien. No reflexionar seriamente sobre todo lo que le concierne es dar prueba de una culpable indiferencia en lo que respecta a la conservación o pérdida de lo que nos es mas querido; y ello no debe ocurrir entre nosotros.
Hay que valorarla en términos de cinco factores fundamentales, y hacer comparaciones entre diversas condiciones de los bandos rivales, con vistas a determinar el resultado de la guerra. El primero de estos factores es la doctrina; el segundo, el tiempo; el tercero, el terreno; el cuarto, el mando; y el quinto, la disciplina.
La doctrina significa aquello que hace que el pueblo esté en armonía con su gobernante, de modo que le siga donde sea, sin temer por sus vidas ni a correr cualquier peligro.
El tiempo significa el Ying y el Yang, la noche y el día, el frío y el calor, días despejados o lluviosos, y el cambio de las estaciones.
El terreno implica las distancias, y hace referencia a dónde es fácil o difícil desplazarse, y si es campo abierto o lugares estrechos, y esto influencia las posibilidades de supervivencia.
El mando ha de tener como cualidades: sabiduría, sinceridad, benevolencia, coraje y disciplina.
Por último, la disciplina ha de ser comprendida como la organización del ejército, las graduaciones y rangos entre los oficiales, la regulación de las rutas de suministros, y la provisión de material militar al ejército.
Estos cinco factores fundamentales han de ser conocidos por cada general. Aquel que los domina, vence; aquel que no, sale derrotado. Por lo tanto, al trazar los planes, han de compararse los siguiente siete factores, valorando cada uno con el mayor cuidado:
¿Qué dirigente es más sabio y capaz?
¿Qué comandante posee el mayor talento?
¿Qué ejército obtiene ventajas de la naturaleza y el terreno?
¿En qué ejército se observan mejor las regulaciones y las instrucciones?
¿Qué tropas son más fuertes?
¿Qué ejército tiene oficiales y tropas mejor entrenadas?
¿Qué ejército administra recompensas y castigos de forma más justa?
Mediante el estudio de estos siete factores, seré capaz de adivinar cual de los dos bandos saldrá victorioso y cual será derrotado.
El general que siga mi consejo, es seguro que vencerá. Ese general ha de ser mantenido al mando. Aquel que ignore mi consejo, ciertamente será derrotado. Ese debe ser destituido. Tras prestar atención a mi consejo y planes, el general debe crear una situación que contribuya a su cumplimiento. Por situación quiero decir que debe tomar en consideración la situación del campo, y actuar de acuerdo con lo que le es ventajoso. El arte de la guerra se basa en el engaño. Por lo tanto, cuando es capaz de atacar, ha de aparentar incapacidad; cuando las tropas se mueven, aparentar inactividad. Si está cerca del enemigo, ha de hacerle creer que está lejos; si está lejos, aparentar que se está cerca. Poner cebos para atraer al enemigo.
Golpear al enemigo cuando está desordenado. Prepararse contra él cuando está seguro en todas partes. Evitarle durante un tiempo cuando es más fuerte. Si tu oponente tiene un temperamento colérico, intenta irritarle. Si es arrogante, trata de fomentar su egoísmo.
Si las tropas enemigas se hallan bien preparadas tras una reorganización, intenta desordenarlas. Si están unidas, siembra la disensión entre sus filas. Ataca al enemigo cuando no está preparado, y aparece cuando no te espera. Estas son las claves de la victoria para el estratega.
Ahora, si las estimaciones realizadas antes de la batalla indican victoria, es porque los cálculos cuidadosamente realizados muestran que tus condiciones son más favorables que las condiciones del enemigo; si indican derrota, es porque muestran que las condiciones favorables para la batalla son menores. Con una evaluación cuidadosa, uno puede vencer; sin ella, no puede. Muchas menos oportunidades de victoria tendrá aquel que no realiza cálculos en absoluto.
Gracias a este método, se puede examinar la situación, y el resultado aparece claramente.
Poetica - Poema: Eugenio Montale. Quasi una fantasia - Italian y Español
QUASI UNA FANTASIA
Raggiorna,lo presento da
un albore di frusto
argento alle pareti:
lista un barlume le finestre chiuse.
Torna l'avvenimento
del sole e le diffuse
voci, i consueti strepiti non porta.
Perché? Penso ad un giorno d'incantesimo
e delle giostre d'ore troppo uguali
mi ripago. Traboccherà la forza
che mi turgeva, incosciente mago,
da grande tempo. Ora m'affaccerò,
subisserò alte case, spogli viali.
Avrò di contro un paese d'intatte nevi
ma lievi come viste in un arazzo.
Scivolerà dal cielo bioccoso un tardo raggio.
Gremite d'invisibile luce selve e colline
mi diranno l'elogio degl'ilari ritorni.
Lieto leggerò i neri
segni dei rami sul bianco
come un essenziale alfabeto.
Tutto il passato in un punto
dinanzi mi sarà comparso.
Non turberà suono alcuno,
quest'allegrezza solitaria.
Filerà nell'aria
o scenderà s'un paletto
qualche galletto di marzo.
Amanece de nuevo, lo presiento
por el albor de vieja
plata en las paredes:
las ventanas cerradas se vetean de un tenue resplandor.
Vuelve el advenimiento del sol
pero sin las difusas voces,
los acostumbrados estrépitos.
¿Por qué? Pienso en un día encantado
y de las justas de horas demasiado iguales
me resarzo.
Desbordará la fuerza que me inflamaba,
inconsciente mago, desde largo tiempo.
Ahora me asomaré, destruiré altas casas,
despojos viales.
Tendré ante mí un lugar de limpia nieve
mas tan ligero como el paisaje de un tapiz.
Resbalará un destello lento
entre el algodón del cielo.
Selvas y colinas llenas de invisible luz
me harán el elogio de los festivos retornos.
Alegre leeré sobre el blanco
los negros signos de las ramas
como un esencial alfabeto.
Todo el pasado de repente aparecerá delante.
No turbará sonido alguno esta alegría solitaria.
Cruzará el aire posándose sobre una estaca
algún gallito de Marzo.
Versión de F.Ferrer Lerin
Poetica: Eugenio Montale. In Limine - Italian, Poesía: Eugenio Montale: In Limine
IN LIMINE
Godi se il vento ch'entra nel pomario
vi rimena l'ondata della vita:
qui dove affonda un morto
viluppo di memorie
orto non era, ma reliquiario.
Il frullo che tu senti non è un volo,
ma il commuoversi dell'eterno grembo;
vedi che si trasforma questo lembo
di terra solitario in un crogiuolo.
Un rovello è di qua dall'erto muro.
Se procedi t'imbatti
tu forse nel fantasma che ti salva:
si compongono qui le storie, gli atti
scancellati pel giuoco del futuro.
Cerca una maglia rotta nella rete
che ci stringe, tu balza fuori, fuggi!
Va, per te l'ho pregato, - ora la sete
mi sarà lieve, meno acre la ruggine...
Ossi di seppia è un libro di gioventù sulla cui nascita non esistono documenti formali e testimonianze dirette da parte dell'autore. Quando la raccolta viene pubblicata, nel 1925, a Torino, per le edizioni gobettiane di "Rivoluzione liberale", essa è già frutto di una selezione piuttosto severa - il volume infatti è assai esile - operata dal poeta tra le liriche giovanili, quelle che lui stesso definirà "protomontaliane". Siamo lontani, con Montale, dai progetti letterari dei maestri della letteratura: il progetto strutturato, sullo stile del canzoniere lirico, appartiene alla stagione più matura di questo poeta. Con ciò, non mancano, come vedremo, elementi di coesione interna tra i componimenti di questa raccolta.
Nel 1983 viene pubblicato, postumo, il diario degli anni di studio di Montale, col titolo di Quaderno genovese. Fu subito evidente l'importanza di quel documento per la scoperta delle origini poetiche di Montale. In esso compaiono infatti riflessioni e rielaborazioni giovanili sui grandi temi della letteratura europea che poi formeranno la struttura semantica della sua poesia: la maschera decadente dell'inetto, del disadattato (il Peer Gynt di Ibsen); l'impotenza di fronte allo scorrere del tempo (Svevo); la vena futurista ed espressionista di un Govoni.
Non meno importante, accanto alle suggestioni emotive delle lunghe e solitarie ore di lettura, anche l'educazione musicale ricevuta fra il 1915 e il 1923. Un non piccolo gruppo di liriche - di cui negli Ossi di seppia rimarrà solo Corno inglese - è dedicato infatti all'ambiziosa intenzione di imitare la musica con le parole.
Per ultimo vanno annotate, nella cornice della genesi poetica di Montale, le lezioni private di filosofia della sorella a cui partecipò come osservatore, e da cui trasse spunto per la lettura dei più prestigiosi spiritualisti francesi, tra cui Boutroux e Amiel.
Ma tutto questo non basta a dare un'idea sufficiente della preparazione intellettuale e spirituale del giovane Montale. Egli aveva la capacità di rielaborare interiormente con profonda originalità tutto ciò che leggeva, per cui modelli, spunti e suggestioni entrano a far parte della sua poetica come un residuo occulto di forme, simboli e ritmi, residuo che costituisce la struttura profonda della sua lingua.
In Limine
Goza si el viento que entra en el pomar
trae de nuevo la oleada de la vida:
aquí donde se hunde un muerto
amasijo de recuerdos,
huerto no hay, sino relicario.
El aleteo que sientes no es un vuelo,
sino el conmoverse del eterno regazo;
mira como se transforma este rincón
de tierra solitario en un crisol.
Ira en esta parte del escarpado muro.
Si avanzas penetras
quizá en la pesadilla que te salva:
se componen aquí las historias, los actos
borrados por el juego del futuro.
Busca una malla rota en la red
que nos estrecha, ¡salta fuera, huye!
Vete, por ti lo he deseado, ahora mi sed
será más leve, menos acre la herrumbre...
Painter: STOSKOPFF Sébastien
Large Still-Life
Still-Life of Glasses in a Basket
Still-Life with Glasses and Bottles
Still-Life with Statuette and Shells
Summer or the Five SensesSebastian (or Sébastien) Stoskopff (July 13, 1597 in Strasbourg – February 10, 1657 in Idstein) was an Alsatian painter. He is considered one of the most important German still life painters of his time. His works, which were rediscovered after 1930, portray goblets, cups and especially glasses. The reduction to a few objects, which is characteristic of early still life painting, can again be recognized in Stoskopff's painting. His chief works hang in Strasbourg and in Saarbrücken.
The Great Vanity Still-lifeSebastian Stoskopff was born in 1597 in Strasbourg. His father was employed by the city since 1590 and acted as a mounted courier or royal escort, driving a one-horse-carriage. In 1614, Stoskopff's father asked the Strasbourg council for help for his 17-year-old son. He wanted him to be able to learn the craft of painting, since Sebastian had already been extremely talented in drawing and painting since he was 15. The council agreed to provide their support and probably sent the young artist at first to the Strasbourg painter and copper engraver, Friedrich Brentel. However, he only learned how to further refine his drawing and was not, as hoped, introduced to the art of painting.
In 1615, Stoskopff's father died and his widowed mother went to the Strasbourg council once again to ask for support for training from a recognized painter. Stoskopff was then sent to Daniel Soreau, a painter who was active in Hanau. In the beginning, Soreau was not very enthusiastic, since he usually chose his apprentices from among his relatives and close friends. However, he finally complied with the request of the council and assured them that would "make an Albrecht Dürer of this apprentice". There is not a single definite picture by Daniel Soreau existing. It is only possible to draw conclusions about how well the master passed on his artistic skills to his students through the works of his sons, other apprentices of his workshop and through Stoskopff's works.
After Soreau's death in 1619, Stoskopff took over his workshop with the apprentices, as well as his function as the master. One of the apprentices was Joachim von Sandrart[1], who later became a successful painter and who wrote the first important work on the history of art in the German language: "Teutsche Academie der Bau-, Bild,- und Malerey- Künste". This work contains descriptions of the lives of earlier and contemporary artists, including descriptions of the time in Hanau with his master, Sebastian Stoskopff.
After his attempt to get permission to settle in Frankfurt failed, Stoskopff went to Paris. He stayed there from about 1622 until 1639, which can be reconstructed from indirect reports and property inventories of Parisians. His first works in larger format were also created here, such as "Summer" or "Winter" (now both in Strasbourg). A contemporary statement from Sandrart proves his residence in Paris: "Von dannen [gemeint ist Hanau] verreiste er in Frankreich und hinterließ viele gute Werke; von Pariß zoge er nach Italien (allwo ich ihn zu Venedig Anno 1629 gesehen), hernach wieder zurück nach Pariß und so fürters nach Straßburg [...] ("From there [meaning Hanau], he travelled to France and left many good works; from Paris, he moved to Italy (where I saw him in Venice in 1629), afterwards again back to Paris and further to Strasbourg [...]").
Stoskopff returned to Strasbourg in 1639. This could have been for familial reasons or because of the strong increase of religious conflict in Paris. One year later, he joined the guild of Steltz, to which other painters, copper engravers and craftsmen in the arts belonged. There were several arguments between the artist and the guild after he joined it, among other things because Stoskopff loved his freedom as an independent and self-responsible artist and did not want to operate a workshop with apprentices, as was usually done. He achieved wealth and prestige in Strasbourg and married the stepdaughter of his youngest sister in 1646.
As of 1650, Stoskopff oriented himself more and more toward Idstein, where he maintained a close and good relationship to the Count Johannes von Nassau und Idstein in his last phase of creativity up until his death. The Count was a Lutheran and supported the Protestant Union. He was Stoskopff's most important patron at this time. Joachim von Sandrart was an important contact man who negotiated about Stoskopff's paintings with the Count.
Sebastian Stoskopff died in 1657 at the age of 60 in a public house. He was reportedly supposed to have died because of drinking too much alcohol. Nearly 20 years later, Stoskopff's murder became clear during an indictment for witchcraft, in which the owner of the public house and a woman were involved. The owner had killed Stoskopff out of greed.