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This thesis investigates how masculinity was imagined, articulated, and problematised as porous in early modern English cultures of performance between 1590 and 1640. I argue that early modern masculinity is characterised by its capacity to be communicable and how this porous quality exposes the spectre of immoderate, uncontrollable, and subversive forms of masculinity that haunt early modern performance. This thesis considers the ways in which early modern performance actively experimented with the attainability and stability of models of idealised manhood, demonstrating how these formulations are intrinsically fluid in nature. It brings together a range of performance types and contexts – such as court masques; university drama; progress entertainments; a military exercise; transnational performance of scripted drama; duelling, alongside commercial drama – to query the stability of an aspirational, idealised manhood. Each of the four chapters analyse models where masculinity can be gained or can falter and how this flux is rendered visible through the body. Chapter One reappraises masculine melancholy, arguing that the transmissible quality and humoral opportunity provided by the condition draws attention to fissures in early modern masculine subjectivity. Chapter Two makes a case for how channels of communication, such as gossip and rumour, cultivate masculine reputation and contest the agency underlying masculine self- determination. Chapter Three considers the notion of a touring masculinity, arguing that mobile performance engenders the interaction between metropolitan and provincial models of manhood. The final chapter interrogates the paradigm of transnational masculinity by considering how a recognisably English manhood might contrast or compete with European counterparts. By attending to these varied embodiments of masculinity, this thesis will advance our understanding of the porous nature of early modern manhood, demonstrating the stakes at play to attai

his chapter aims to review the contemporary theorizations that surround nostalgia and the current Anthropocene conditions. Nostalgia is primarily conceptualized as a critical tool that not only allows a deeper understanding of the resistance to acknowledge the dangers of the climate crisis but also presents ways to counteract it. The first section of this chapter discusses the relation of nostalgia to the “pastoral” mode of environmental representation and the general capacity of nostalgia to facilitate ecological agency. The second section of this chapter is dedicated to the discussion of “petro-nostalgia”. Through the reference to different works of art, the section sets out to examine various mediations of nostalgia for preceding auto cultures, nature lost to oil dependence, and pre-capitalist times of “innocence”. In the third section, other nostalgia-related emotional registers concerned with environmental loss are addressed. In particular, “green trauma”, “solastalgia”, “eco-nostalgia”, “geotrauma”, “planetary melancholy”, and “socioecological melancholy” help to capture the intricate emotional attachments that one might have to the landscapes disappearing due to climate change and extinction of species. The fourth section briefly touches upon the role of the aesthetics of nostalgia in mediating the experience of living in the age of the Anthropocene. At last, the final section introduces the definition of Anthropocene nostalgia, bringing to the fore its political potential to affect the status quo.

Gjenskinn is a graphic novel about feeling stuck, and the attempt to walk it off. The comic follows the young student Mia as she leaves her apartment around midnight to go buy snacks, ending up on a trip that is both longer and more social than planned. Exploring themes of melancholia through excessive overthinking and awkward conversations, Gjenskinn tries to put images to feelings it's hard to put words to. It is a story about finding your way back (from the store), told with both humor and seriousness., Gjenskinn er en grafisk roman om følelsen av å stå fast og forsøket på å gå det av seg. Historien følger den unge studenten Mia når hun forlater leiligheten sin litt før midnatt for å kjøpe snacks, på en tur som både blir lengre og mer sosial enn planlagt. Tegneserien utforsker tema som melankoli gjennom alt fra kontinuerlig overtenking til kleine samtaler, og prøver å sette bilde på følelser det er vanskelig å sette ord på. Det er en historie om å finne veien tilbake (fra butikken), fortalt med både humor og alvor.

Gjenskinn is a graphic novel about feeling stuck, and the attempt to walk it off. The comic follows the young student Mia as she leaves her apartment around midnight to go buy snacks, ending up on a trip that is both longer and more social than planned. Exploring themes of melancholia through excessive overthinking and awkward conversations, Gjenskinn tries to put images to feelings it's hard to put words to. It is a story about finding your way back (from the store), told with both humor and seriousness., Gjenskinn er en grafisk roman om følelsen av å stå fast og forsøket på å gå det av seg. Historien følger den unge studenten Mia når hun forlater leiligheten sin litt før midnatt for å kjøpe snacks, på en tur som både blir lengre og mer sosial enn planlagt. Tegneserien utforsker tema som melankoli gjennom alt fra kontinuerlig overtenking til kleine samtaler, og prøver å sette bilde på følelser det er vanskelig å sette ord på. Det er en historie om å finne veien tilbake (fra butikken), fortalt med både humor og alvor.

La vida y la obra de Annibale Carracci en los años posteriores a la finalización de la que fue considerada como su gran obra maestra, la decoración de la Galleria Farnese, estuvieron marcadas de forma creciente por su delicado estado de salud a causa de una enfermedad que no se ha podido precisar, combinada con una profunda melancolía. Los biógrafos y tratadistas del siglo XVII ya dejaron constancia de que en el origen de aquella melancolía pudo encontrarse la escasa recompensa financiera y afectiva que el pintor boloñés recibió de su principal comitente en Roma: el cardenal Odoardo Farnese. En el presente artículo analizamos las posibles causas de esa melancolía, que unida a su enfermedad, condicionó notablemente sus últimos años de vida., The life and work of Annibale Carracci in the years following the completion of what was considered his great masterpiece, the decoration of the Galleria Farnese, were increasingly marked by his delicate state of health due to an illness that it has not been possible to specify, combined with a deep melancholy. Biographers and treatise writers from the 17th century have already recorded that, in the origin of that melancholy, could be found the meagre financial and affective reward that the Bolognese painter received from his main patron in Rome: Cardinal Odoardo Farnese. In this article we analyse the possible causes of this melancholy, which, together with his disease, remarkably conditioned his last years of life.

In the present text, it is intended to grant one more point of importance to boredom seen from the figure of the flâneur, as its essential opposite that requires a particular pathos, as a factor and element that fosters and instigates self-knowledge, reflection, creativity and contemplation. To deal with boredom, the flâneur emerges, the subject who is never bored and who is self-sufficient. In it we can trace the traits of sadness, nostalgia, boredom. The flâneur, through erratic wandering, abandons himself in search of nostalgia for the passage of time and the anguishing boredom he came to feel when he was rejected by a decadent society. Then boredom is the engine of that activity of the flâneur that he will turn into vital tedium. The flâneur wanders, always willing to idleness, to the reverie that mediates a vital tedium that covers everything. The boredom of the flâneur, for its part, flows towards unbridled artistic creation as the remedy for the anguish he suffers and sug- gests that the quality of heartburn and boredom is known by its fruits. But in today’s neoliberal and consumer society, there is no room for boredom, all activities being solely pragmatic and elimina- ting the existence of the flâneur., En el presente texto, se pretende concederle un punto más de importancia al aburrimiento visto desde la figura del flâneur, como su opuesto esencial que requiere de un particular páthos, como factor y elemento que propicia e instiga el autoconocimiento, la reflexión, la creatividad y la contemplación. Para lidiar con el tedio surge el flâneur, el sujeto que no se aburre jamás y que se basta a sí mismo. En él podemos rastrear los rasgos de la tristeza, la nostalgia, el tedio. El flâneur, a través del vagabundeo errático, se abandona a la búsqueda de la nostalgia del paso del tiempo y del tedio angustioso que llegó a sentir cuando fue rechazado por una sociedad decadente. Luego el aburrimiento es el motor de esa actividad del flâneur que convertirá en tedio vital. El flâneur deambula dispuesto siempre al ocio, a la ensoñación que media en un tedio vital que lo cubre todo. El tedio del flâneur, por su parte, fluye, hacia la creación artística desenfrenada como el remedio de la angustia que padece y sugiere que, a la calidad de la acedía y del aburrimiento, se la conoce por sus frutos. Pero en la sociedad neoliberal y de consumo actual, no tiene espacio para el aburrimiento siendo toda actividad únicamente pragmática y eliminando la existencia del flâneur.

Loneliness enrolls a paradox: knowing that you are never alone and yet you can feel a deep sense of loneliness. A feeling that accompanies the whole life with more or less amplitude, with greater or lesser insistence. Basically we distinguish two types of loneliness, solitude, which is the desired or sought loneliness, and loneliness itself, which is a forced and faced lonely. At their poles we find another solitude, which is the loneliness of the lonely, a loneliness whose arc of tensión ranges from the one who is a loner and lives a solitary life, to the one who has an inability to relate to another person, and extreme loneliness, due to the lack of contact with oneself and with others, which is typical of madness. Freud with Mouring and Melancholia (1917) and the psychoanalysts of the next generation, specially Donald Winnicott with «The Capacity to be Alone» (1957) and Melanie Klein with «On the Sense of Loneliness» (1959), are the most involved authors in the study of loneliness. In this context, the work Anatomy of Melancholy (1621) by Robert Burton is analyzed and, as an example, the case of a patient diagnosed with paranoid schizophrenia whose psychotic defense responds to her need to be fused with God to deny her deep state of loneliness is exposed., La soledad inscribe una paradoja: saber que nunca se está solo y, sin embargo, sentir un profundo sentimiento de soledad. Un sentimiento que acompaña toda la vida con mayor o menor amplitud, con mayor o menor insistencia. Básicamente distinguimos dos tipos de soledad, la solitud, que es la soledad deseada o buscada; y la soledad propiamente dicha, que es la soledad obligada, arrostrada. En sus polos están la solitariedad, que es la soledad del solitario, una soledad cuyo arco de tensión oscila desde el que es un solitario y que vive una vida solitaria hasta el que tiene una incapacidad de relacionarse con el otro, y la soledad extrema, por falta de contacto con uno mismo y con los demás, y que es propia de la locura. Freud con Duelo y melancolía (1917) y los psicoanalistas de la siguiente generación, en particular Donald Winnicott con la «La capacidad para estar solo» (1957) y Melanie Klein con «Sobre el sentimiento de soledad» (1959), son los autores más involucrados en el estudio de la soledad. En este contexto se aborda la obra Anatomía de la melancolía (1621) de Robert Burton y se expone, como ejemplo, el caso de una paciente diagnosticada de esquizofrenia paranoide cuya defensa psicótica responde a su necesidad de estar fusionada con Dios para negar su profundo estado de soledad.

The purpose of this work is to discuss the suicide and its structure of the act, taking as its premise that the satisfaction present in self-punishment introduces the Lacanian perspective on passage to the act and acting out. For the construction of this study, the metapsychology of melancholia in its differentiation from the mourning process, the myth of Ajax, of Sophocles, and the Freudian case about the Young Homosexual Woman were used as basis, to explore the positioning of the Ego and the object as intrinsic gear to the suicidal act. Given that Ajax lets himself fall on the sword and the Young Homosexual Woman survives after throwing herself off a bridge, what is noticeable is that there is in the fall the outcome of something that would no longer be bearable. It is in this movement that the egoic constitution is transposed and the subject throws himself out of the scene, by identifying himself with object a, in a last exit, O trabalho tem como propósito discutir o suicídio e sua estrutura de ato, adotando como pre-missa que a satisfação presente na autopunição é indutora da perspectiva lacaniana sobre pas-sagem ao ato e acting out. Para a construção deste estudo, tomou-se como base a metapsico-logia da melancolia em sua diferenciação do luto, o mito de Ájax, de Sófocles, e o caso freudi-ano da Jovem Homossexual, para explorar o posicionamento do Eu e do objeto como engrena-gem intrínseca ao ato suicida. Dado que Ajax se deixa cair sobre a espada e a Jovem Homosse-xual sobrevive após se atirar de uma ponte, o que se percebe é que há na queda o desfecho de algo que não mais seria suportável. É neste movimento que a constituição do Eu é atravessada e o sujeito lança-se para fora da cena, ao se identificar ao objeto a, em uma última saída.

This article is an attempt is to understand insanity, melancholy, madness, sorrow as the offshoots of gender discrimination and stereotype roles prevailing in the society. Such issues, being claimed as the subject of clinical psychology, have been analyzed popularly from the Freudian point of view, but in this paper, the researcher endeavors to philosophize the issue of insanity and attempts to offer a kind of solution to the problem which seems more ethical and moral in nature. The researcher proposes ‘philosophical counseling’ as an active practice to avoid such mental conditions. Since the study focuses on the gender-biased understanding of insanity, researcher will choose only women as the case of study. It is usually suggested by the scholars such as Terry Eagleton (in Literary Theory: An Introduction) and Edward Said (in his seminal work, Orientalism) that any literary work has to be studied and interpreted in its appropriate socio-cultural and intellectual background.

This article is an attempt is to understand insanity, melancholy, madness, sorrow as the offshoots of gender discrimination and stereotype roles prevailing in the society. Such issues, being claimed as the subject of clinical psychology, have been analyzed popularly from the Freudian point of view, but in this paper, the researcher endeavors to philosophize the issue of insanity and attempts to offer a kind of solution to the problem which seems more ethical and moral in nature. The researcher proposes ‘philosophical counseling’ as an active practice to avoid such mental conditions. Since the study focuses on the gender-biased understanding of insanity, researcher will choose only women as the case of study. It is usually suggested by the scholars such as Terry Eagleton (in Literary Theory: An Introduction) and Edward Said (in his seminal work, Orientalism) that any literary work has to be studied and interpreted in its appropriate socio-cultural and intellectual background.

A Piedmont’s inhabitant always finds a great familiarity with the Catalan hills and its vineyards; furthermore, the rough outspokenness of the population increases that kind of feeling. The work is based on the comparison between El carrer estret by Josep Pla and La luna e i falò by Cesare Pavese, two unmissable authors of the twentieth century for Catalan and Italian literature. Through the lines of these novels, the real life is confused through memory and dreams, opening the doors to a constantly changing world., Un abitante del Piemonte trova sempre una grande familiarità con le colline della Catalogna ed i suoi vigneti; inoltre, la ruvida schiettezza della popolazione rafforzano questa sensazione. Il lavoro si fonda sul confronto tra El carrer estret di Josep Pla e La luna e i falò di Cesare Pavese, due autori di riferimento del Novecento per la letteratura catalana e per quella italiana. Attraverso le righe di questi romanzi, il reale si confonde attraverso il ricordo ed il sogno, aprendo le porte ad un mondo in continuo divenire.

The article is a review of the most important works by Herbert George Wells in terms of the relationship between futurological vision, projected ideal and knowledge about the past. Wells is usually associated with a prospective attitude, with forecasting the future and modeling its desired image. Indeed, his science fiction novels, treatises and utopias try to answer the question of the paths of civilization’s development. But this work is accompanied by constant analysis of the past, correcting the scenarios of past events and shaping their new version. On the one hand, the retroactive formation of historical matter supports a utopia with a socialist profile, and on the other, it prevents its stabilization and closes it in the circle of left-wing melancholy, as described by Enzo Traverso. Some of the writer’s progressive ideas seem to be patient self-persuasion, others – such as fantasies about “fortunate disasters” – can be understood as attempts to escape from melancholy. Breaking free from its power, however, comes at a high price: it is the end of the socialist utopia, the abandonment of the idea of progress and the optimistic history of philosophy., The article is a review of the most important works by Herbert George Wells in terms of the relationship between futurological vision, projected ideal and knowledge about the past. Wells is usually associated with a prospective attitude, with forecasting the future and modeling its desired image. Indeed, his science fiction novels, treatises and utopias try to answer the question of the paths of civilization’s development. But this work is accompanied by constant analysis of the past, correcting the scenarios of past events and shaping their new version. On the one hand, the retroactive formation of historical matter supports a utopia with a socialist profile, and on the other, it prevents its stabilization and closes it in the circle of left-wing melancholy, as described by Enzo Traverso. Some of the writer’s progressive ideas seem to be patient self-persuasion, others – such as fantasies about “fortunate disasters” – can be understood as attempts to escape from melancholy. Breaking free from its power, however, comes at a high price: it is the end of the socialist utopia, the abandonment of the idea of progress and the optimistic history of philosophy.

[EN] The history of Spanish science brims with living dead figures: intermittent and fleeting presences, barely buried or barely known corpses. These are the phantoms of Spanish science. This paper will focus on the Prado Museum, a space haunted by such ghosts, for museums are not only places of memory, but also of oblivion. We will pay particular attention to two melancholic portraits, that of Jovellanos by Goya and a self-portrait by Ramón y Cajal, the renowned histologist of the nervous tissue, [FR] L’histoire des sciences espagnoles est remplie de morts-vivants : des présences intermittentes et fugaces, des cadavres sans sépulture ou méconnus. Ce sont les spectres ou les fantômes des sciences espagnoles. Dans cette contribution, nous nous concentrons sur le musée du Prado, un espace habité par ces fantômes, puisque les musées, après tout, sont des lieux de mémoire autant que d’oubli. Nous accorderons une attention particulière à deux portraits mélancoliques : celui de Jovellanos par Goya et l’autoportrait de Ramón y Cajal, le grand histologiste du tissu nerveux., [ES] La historia de la ciencia española está llena de muertos vivientes, presencias intermitentes y fugaces, cadáveres mal enterrados o no reconocidos. Son los espectros o fantasmas de la ciencia española. En este artículo nos fijamos en el Museo del Prado, donde habita ese fantasma, pues los museos son lugares donde no solo se recuerdan cosas, sino también donde se olvidan muchas otras. Finalmente, nos detendremos en dos retratos melancólicos, el que Goya realizó a Jovellanos y un autorretrato de Ramón y Cajal, el gran histólogo de los tejidos nerviosos.

This paper aims to think about the characteristic self absorption of melancholy in order to understand its particular endon. Following the discussions that phenomenological psychiatry has maintained with heideggerian theses about fear and anguish, we will try to show that melancholy, despite being understood as a withdrawal from the world and as a reproachful relationship whith itself, can also be thought as a vital condition that resides in a movement of self-annulment housed in the own relation of existence to itself, while this one unfolds in the world. Thus, it will be outlined a reflection in which melancholy can be understood as an aporia from the Kierkegaard’s considerations on despair as a deadly disease., Este artículo se propone pensar el ensimismamiento característico de la melancolía en vistas a comprender su particular endon. Siguiendo las discusiones que ha mantenido la psiquiatría fenomenológica con las tesis heideggerianas sobre el miedo y la angustia, intentaremos mostrar que la melancolía, pese a poder ser entendida como un retraimiento del mundo y como una relación consigo mismo de autorreproche, puede ser pensada también como una condición vital que radicaría en un movimiento de autoanulación albergado en la propia relación del existir consigo, mientras se despliega en el mundo. Así, se esbozará una reflexión en la que la melancolía pueda ser entendida como una aporía a partir de las consideraciones kierkegaardianas sobre la desesperación en cuanto enfermedad mortal.

This paper aims to think about the characteristic self absorption of melancholy in order to understand its particular endon. Following the discussions that phenomenological psychiatry has maintained with heideggerian theses about fear and anguish, we will try to show that melancholy, despite being understood as a withdrawal from the world and as a reproachful relationship whith itself, can also be thought as a vital condition that resides in a movement of self-annulment housed in the own relation of existence to itself, while this one unfolds in the world. Thus, it will be outlined a reflection in which melancholy can be understood as an aporia from the Kierkegaard’s considerations on despair as a deadly disease., Este artículo se propone pensar el ensimismamiento característico de la melancolía en vistas a comprender su particular endon. Siguiendo las discusiones que ha mantenido la psiquiatría fenomenológica con las tesis heideggerianas sobre el miedo y la angustia, intentaremos mostrar que la melancolía, pese a poder ser entendida como un retraimiento del mundo y como una relación consigo mismo de autorreproche, puede ser pensada también como una condición vital que radicaría en un movimiento de autoanulación albergado en la propia relación del existir consigo, mientras se despliega en el mundo. Así, se esbozará una reflexión en la que la melancolía pueda ser entendida como una aporía a partir de las consideraciones kierkegaardianas sobre la desesperación en cuanto enfermedad mortal.

This dissertation explores how various early-twentieth century British composers used the cello as an instrument of melancholy and mourning in response to loss. Through an analysis of the biographies, correspondence, music, and cultural dimensions of Edward Elgar, Frederick Delius, Frank Bridge, Herbert Howells, Gerald Finzi, E.J. Moeran, Gustav Holst, Edmund Rubbra, Ralph Vaughan Williams, and William Walton, all who composed significant cello works, this dissertation illuminates the legacy of melancholy that the cello came to symbolize. The first chapter surveys melancholia, what the sixteenth-century author, philosopher, and Anglican clergyman Robert Burton called the “English malady.” Identifying its causes within British history, religion, and literature, the chapter argues that the immense tragedies of the twentieth century compelled these composers to aestheticize grief through new cello works. Chapter two analyzes how Elgar's valedictory and influential cello concerto portrays the composer’s histrionic lament over the passing of the world he knew. Chapter three meditates on Delius's Double Concerto, Cello Concerto, Cello Sonata, Serenade, and Caprice and Elegie, revealing the paradoxical melancholy of his fervid musical pantheism. In a study of Bridge's Cello Sonata and Oration, Concerto Elegiaco, the fourth chapter argues that Bridge negotiated the national and continental musical trends in order to meet the emotional exigencies of his artistic development during and after the Great War. The fifth chapter provides a hiatus from melancholic musings by presenting five British cellists, all women, who contributed to the success of several of the works discussed in the dissertation. Chapter six, a comparison of Herbert Howells and Gerald Finzi in tandem with their respective cello concertos, posits that the loss of childhood innocence—literally in the death of Howells's son Michael and figuratively in Finzi's experience of early losses—informed their cello comp

J. Butler se ha ocupado, desde sus primeros trabajos, de la política y del problema de la transformación social. Este interés ha estado vinculado con una fenomenología del campo (del campo del lenguaje, del cuerpo o del campo político propiamente dicho), pero su trabajo también ha estado vinculado con el psicoanálisis, con el que ha tenido un diálogo fructífero (especialmente con Freud y Lacan). En este trabajo muestro, en primer lugar, que el campo está marcado y recibe su necesaria movilidad por mor del exterior constitutivo. En segundo lugar, muestro que Butler hace una lectura de la psique more freudiano que interpreta como un campo atravesado por la economía de la melancolía. La melancolía no es un fenómeno psíquico más, sino una estructura y un acontecimiento fundamental de la psique y de su formación. Este acontecimiento inaugura un campo marcado por la ambivalencia entre la pérdida del Otro y la interpelación abierta al Otro, y por la vulnerabilidad, pues no se puede distinguir entre la actividad de la agencia y la pasividad de la receptividad. Esta indistinguibilidad o ambivalencia es pensada por Butler como el punto de partida para un modo distinto de hacer política., J. Butler has dealt with politics and the problem of social transformation since her early works. Her interest in these topics has been linked to the phenomenology of field (the field of language, of the body, or the political field itself), but her work has also been linked to psychoanalysis, with which she has had a fruitful dialogue (especially with Freud and Lacan). In this paper, I show, firstly, that a field is marked and receives its necessary mobility from the constitutive outside. Secondly, I show that Butler makes a "a la Freud" reading of the psyche which she interprets as a field traversed by the economy of melancholy. Melancholy is not a psychic phenomenon but a structure and a fundamental event of the psyche and its formation. This event inaugurates a field marked by the ambivalence between the loss of the Other and the interpellation open to the Other, and marked by vulnerability as well, since the activity of agency and the passivity of receptivity cannot be distinguished. This indistinguishability or ambivalence is thought by Butler to be the starting point for a different way of doing politics.

This dissertation explores how various early-twentieth century British composers used the cello as an instrument of melancholy and mourning in response to loss. Through an analysis of the biographies, correspondence, music, and cultural dimensions of Edward Elgar, Frederick Delius, Frank Bridge, Herbert Howells, Gerald Finzi, E.J. Moeran, Gustav Holst, Edmund Rubbra, Ralph Vaughan Williams, and William Walton, all who composed significant cello works, this dissertation illuminates the legacy of melancholy that the cello came to symbolize. The first chapter surveys melancholia, what the sixteenth-century author, philosopher, and Anglican clergyman Robert Burton called the “English malady.” Identifying its causes within British history, religion, and literature, the chapter argues that the immense tragedies of the twentieth century compelled these composers to aestheticize grief through new cello works. Chapter two analyzes how Elgar's valedictory and influential cello concerto portrays the composer’s histrionic lament over the passing of the world he knew. Chapter three meditates on Delius's Double Concerto, Cello Concerto, Cello Sonata, Serenade, and Caprice and Elegie, revealing the paradoxical melancholy of his fervid musical pantheism. In a study of Bridge's Cello Sonata and Oration, Concerto Elegiaco, the fourth chapter argues that Bridge negotiated the national and continental musical trends in order to meet the emotional exigencies of his artistic development during and after the Great War. The fifth chapter provides a hiatus from melancholic musings by presenting five British cellists, all women, who contributed to the success of several of the works discussed in the dissertation. Chapter six, a comparison of Herbert Howells and Gerald Finzi in tandem with their respective cello concertos, posits that the loss of childhood innocence—literally in the death of Howells's son Michael and figuratively in Finzi's experience of early losses—informed their cello comp

This paper aims to think about the characteristic self absorption of melancholy in order to understand its particular endon. Following the discussions that phenomenological psychiatry has maintained with heideggerian theses about fear and anguish, we will try to show that melancholy, despite being understood as a withdrawal from the world and as a reproachful relationship whith itself, can also be thought as a vital condition that resides in a movement of self-annulment housed in the own relation of existence to itself, while this one unfolds in the world. Thus, it will be outlined a reflection in which melancholy can be understood as an aporia from the Kierkegaard’s considerations on despair as a deadly disease., Este artículo se propone pensar el ensimismamiento característico de la melancolía en vistas a comprender su particular endon. Siguiendo las discusiones que ha mantenido la psiquiatría fenomenológica con las tesis heideggerianas sobre el miedo y la angustia, intentaremos mostrar que la melancolía, pese a poder ser entendida como un retraimiento del mundo y como una relación consigo mismo de autorreproche, puede ser pensada también como una condición vital que radicaría en un movimiento de autoanulación albergado en la propia relación del existir consigo, mientras se despliega en el mundo. Así, se esbozará una reflexión en la que la melancolía pueda ser entendida como una aporía a partir de las consideraciones kierkegaardianas sobre la desesperación en cuanto enfermedad mortal.

Escenarios de guerra indaga en la memoria, como aquella faceta en la que se recuerda y vuelve una y otra vez a ciertas inquietudes y limitaciones del afecto. La narradora lleva a la escena los conflictos de los orígenes de su familia, las incertidumbres políticas y los desencuentros personales que marcan su vida como un camino de guerra, que deja heridas ocultas. La narración está marcada por la compulsión a la repetición, la represión del eros y la melancolía. Sin embargo, la historia se relata desde una conciencia dramática que permite también una reflexión sobre la propia identidad, la identidad de los seres cercanos y la relación con estos. Este estudio aborda la obra desde distintos modelos psicocríticos para tratar las motivaciones de la protagonista y desde la identidad narrativa ricoeuriana para explicar el proceso de construcción de la identidad a través del discurso., War scenarios investigates memory, as that facet in which certain concerns and limitations of affection are remembered and returned again and again. The narrator brings to the scene the conflicts of the origins of her family, the political uncertainties and the personal misunderstandings that mark her life as a path of war, which leaves hidden wounds. The narrative is marked by the compulsion to repeat, the repression of eros and melancholy. However, the story is told from a dramatic consciousness that also allows a reflection on one’s own identity, the identity of close beings and the relationship with them. This study approaches the work from different psychocritical models to deal with the motivations of the protagonist and from the Ricoeurian narrative identity to explain the process of identity construction through discourse.

Aquest treball s’estructura al voltant de les pràctiques professionals desenvolupades a l’Institut Botànic de Barcelona, que van consistir en l’organització i catalogació de l’arxiu de fotografies (1985-2017) relacionades a la Col·lecció Salvador. A partir d’una reflexió sobre la importància de la catalogació i difusió d’eixes imatges fotogràfiques en la preservació del Gabinet Salvador com a patrimoni científic, es proposa un estudi sobre una imatge pictòrica que estampa una de les portes de l’armari de l’herbari. La pintura representa l’espècie Paeonia officinalis, que també integra l’herbari i la farmàcia del Gabinet. El treball demostra la importància d’una recerca que tingui en consideració l’encreuament entre eixos tres àmbits per a la comprensió del seu significat dins del Gabinet Salvador, dedicant una atenció especial als seus usos en el tractament de la malenconia, la “malaltia invisible”. D’eixa manera es pretén associar el treball analític al voltant de les pràctiques associades a un patrimoni científic, al treball de recerca al voltant de la seua història, per tal d’ampliar-ne la difusió., This paper is structured around a professional internship developed at the Institut Botànic de Barcelona that consisted in the organization and cataloging of the photographic archive (1985-2017) related to the Salvador Collection. Based on a reflection on the importance of cataloging and disseminating these photographic images in the preservation of the Salvador Cabinet as scientific heritage, we propose a study on a pictural image that stamps one of the doors of the herbarium cabinet. The painting on the furniture of the Cabinet represents the species Paeonia officinalis, which is also part of the Cabinet’s herbarium and pharmacy. This work demonstrates the importance of an investigation that takes into account the intersection between these three areas, to understand its meaning within the Salvador Cabinet, giving special attention to its uses in the treatment of melancholia, the “invisible disease”. Thus, it is intended to associate analytical work around practices related to scientific heritage to investigative work on its history, in order to expand its diffusion., O presente trabalho estrutura-se em torno das práticas profissionais desenvolvidas no Institut Botànic de Barcelona que consistiram na organização e catalogação do arquivo de fotografias (1985-2017) relacionadas à Coleção Salvador. A partir de uma reflexão sobre a importância da catalogação e difusão dessas imagens fotográficas na preservação do Gabinete Salvador enquanto patrimônio científico, propõe-se um estudo sobre uma imagem pictórica que estampa uma das portas do armário do herbário. A pintura no armário representa a espécie Paeonia officinalis, que também integra o herbário e a farmácia do Gabinete. O trabalho demonstra a importância de uma investigação que leve em consideração o cruzamento entre esses três âmbitos para o entendimento de seu significado dentro do Gabinete Salvador, dedicando uma especial atenção aos seus usos no tratamento da melancolia, a “doença invisível”. Desse modo, pretende-se associar o trabalho analítico em torno das práticas relacionadas a um patrimônio científico ao trabalho investigativo em torno de sua história, a fim de ampliar sua difusão.

The aim of this paper is to put together two phenomena deeply rooted in the Baroque: firstly, melancholy, as a state of mind that permeates the entire era, and, secondly, scepticism, as the resulting philosophical view of the metaphysical and theological changes of that moment. To achieve our goal, we will study some of the main analyses of the notion «melancholy», showing its derivations and asserting that it may be considered a key concept to understand some masterpieces of the Spanish Golden Age, such as the Quijote or El Criticón, where the baroque melancholy depends on the existential experience of disabuse. Given a world of mere appearances that has lost its centre, scepticism arises as a philosophical attitude in which the seek of the truth is a non-ending task and, in consequence, sometimes a desperate one. In the writings of the 16th century doctor and philosopher Francisco Sánchez we find the opportunity to see an expression or unique modulation of melancholy through scepticism, Este trabajo pone en relación dos fenómenos muy presentes en la cultura del Barroco: la melancolía, como estado de ánimo que impregna toda una época, por un lado, y el escepticismo, como posición filosófica que sería reflejo de los cambios metafísicos y teológicos del momento. Para ello se hace un recorrido por distintos acercamientos a la melancolía recogiendo los avatares sufridos por el concepto y mostrando cómo puede ser considerada como una clave de lectura fundamental de algunas obras cumbre del siglo de Oro español, como son el Quijote o El Criticón, donde el signo característico de la melancolía barroca se cifra en la experiencia del desengaño existencial. Ante un mundo de apariencias que ha perdido su centro, el escepticismo se erige igualmente como actitud filosófica en la que la búsqueda de la verdad se plantea como una tarea interminable y, por ello, a veces desesperada. En la obra del médico y filósofo del siglo XVI Francisco Sánchez, encontramos la ocasión para ver en el escepticismo una expresión o una modulación particular de dicha melancolía.

Escenarios de guerra indaga en la memoria, como aquella faceta en la que se recuerda y vuelve una y otra vez a ciertas inquietudes y limitaciones del afecto. La narradora lleva a la escena los conflictos de los orígenes de su familia, las incertidumbres políticas y los desencuentros personales que marcan su vida como un camino de guerra, que deja heridas ocultas. La narración está marcada por la compulsión a la repetición, la represión del eros y la melancolía. Sin embargo, la historia se relata desde una conciencia dramática que permite también una reflexión sobre la propia identidad, la identidad de los seres cercanos y la relación con estos. Este estudio aborda la obra desde distintos modelos psicocríticos para tratar las motivaciones de la protagonista y desde la identidad narrativa ricoeuriana para explicar el proceso de construcción de la identidad a través del discurso., War scenarios investigates memory, as that facet in which certain concerns and limitations of affection are remembered and returned again and again. The narrator brings to the scene the conflicts of the origins of her family, the political uncertainties and the personal misunderstandings that mark her life as a path of war, which leaves hidden wounds. The narrative is marked by the compulsion to repeat, the repression of eros and melancholy. However, the story is told from a dramatic consciousness that also allows a reflection on one’s own identity, the identity of close beings and the relationship with them. This study approaches the work from different psychocritical models to deal with the motivations of the protagonist and from the Ricoeurian narrative identity to explain the process of identity construction through discourse.

The goal of this article is to analyse the different meanings of melancholy in photography following Walter Benjamin’s book Kleine Geschichte der Photographie. The main idea that I am going to develop is that, following Benjamin’s text, there are three different ways of understanding melancholy in photography, even if we understand melancholy just as a lost or a missing phenomenon. Firstly, photography is considered by Benjamin as a melancholic phenomenon because it shows a temporal loss: the course of time is unstoppable, even if images try to fasten time. Secondly, Benjamin introduces Barthes later concept of punctum in his book La Chambre Claire: photography would be melancholic because it would be a kind of premonition able to foresee the destiny of its characters. Thirdly, Benjamin shows that not only photography but also the history of photography is melancholic, because its history does not follow the theory of progress but is determined by the loss of aura., El objetivo de este artículo es analizar los sentidos del carácter melancólico de la fotografía en la obra Breve historia de la fotografía de Walter Benjamin. La tesis que desarrollaré es que, siguiendo el texto, existen en Benjamin tres modos diferentes de caracterizar la fotografía como fenómeno melancólico en tanto que falta o expresión de una pérdida. En primer lugar, la fotografía sería determinada por Benjamin como un espacio melancólico porque señalaría una pérdida temporal: que el transcurso del tiempo es imparable, a pesar de su intento de fijación en la imagen. En segundo lugar, introduciendo la tesis que seguirá Roland Barthes en La cámara lúcida con la noción de punctum, la fotografía sería melancólica porque podría entenderse como un fenómeno premonitorio, futurible o mesiánico que pareciese anticipar el destino de sus personajes. En tercer lugar, Benjamin señalaría que la propia historia de la fotografía sería melancólica, pues, contra la hipótesis del progreso, habría estado determinada por la pérdida de aura.

Based on the discussion about the affective conceptions contained in the ruin as a haunting file, this article explores its direct relations with the spatialization of the time of finitude, its melancholic implications and its character of “metonymy of death” (Ann Holly, 2013). In this sense, when analyzing the Costa Rican film-essay Objetos rebeldes (2020), by Carolina Arias Ortiz and following the use made by the work, both archives and images in ruins, it is proposed to understand the mobilization of negative affective data. from the very materiality of the image. With this, it was possible to analyze the ways in which the filmic form articulates the melancholic paradox of an absent-presence, À partir de la discussion sur les conceptions affectives contenues dans la ruine en tant que dossier obsédant, cet article explore ses relations directes avec la spatialisation du temps de la finitude, ses implications mélancoliques et son caractère de “métonymie de la mort” (Ann Holly, 2013). En ce sens, en analysant le film-essai costaricien Objetos rebeldes (2020), de Carolina Arias Ortiz et en suivant l’utilisation faite par l’œuvre, à la fois d’archi- ves et d’images en ruines, il est proposé de comprendre la mobilisation des données affecti- ves négatives de la matérialité même de l’image. Cela a permis d’analyser les manières dont la forme filmique articule le paradoxe mélancolique d’une absence-présence., Fundamentado na discussão acerca das concepções afetivas contidas na ruína enquanto arquivo-assombro, este artigo explora suas relações diretas com a espacialização do tempo da finitude, suas implicações melancólicas e seu caráter de “metonímia da morte” (Ann Holly, 2013). Neste sentido, ao analisar o filme-ensaio costa-riquenho Objetos rebel- des (2020), de Carolina Arias Ortiz e seguindo a utilização feita pela obra, tanto de arquivos quanto de imagens em ruína, propõe-se o entendimento da mobilização de dados afetos negativos a partir da própria materialidade da imagem. Com isso, foi possível analisar os modos com que a forma fílmica articula o paradoxo melancólico de uma presença-ausente., A partir de la discusión sobre las concepciones afectivas contenidas en la ruina como archivo inquietante, este artículo explora sus relaciones directas con la espacializa- ción del tiempo de la finitud, sus implicaciones melancólicas y su carácter de “metonimia de la muerte” (Ann Holly, 2013). En ese sentido, al analizar el film-ensayo costarricense Objetos rebeldes (2020), de Carolina Arias Ortiz y siguiendo el uso que hace la obra, tanto de archivos como de imágenes en ruinas, se propone comprender la movilización de datos afectivos negativos, a partir de la materialidad misma de la imagen. Con ello, fue posible analizar las maneras en que la forma fílmica articula la paradoja melancólica de una ausen- cia-presencia

This paper aims to think about the characteristic self absorption of melancholy in order to understand its particular endon. Following the discussions that phenomenological psychiatry has maintained with heideggerian theses about fear and anguish, we will try to show that melancholy, despite being understood as a withdrawal from the world and as a reproachful relationship whith itself, can also be thought as a vital condition that resides in a movement of self-annulment housed in the own relation of existence to itself, while this one unfolds in the world. Thus, it will be outlined a reflection in which melancholy can be understood as an aporia from the Kierkegaard’s considerations on despair as a deadly disease., Este artículo se propone pensar el ensimismamiento característico de la melancolía en vistas a comprender su particular endon. Siguiendo las discusiones que ha mantenido la psiquiatría fenomenológica con las tesis heideggerianas sobre el miedo y la angustia, intentaremos mostrar que la melancolía, pese a poder ser entendida como un retraimiento del mundo y como una relación consigo mismo de autorreproche, puede ser pensada también como una condición vital que radicaría en un movimiento de autoanulación albergado en la propia relación del existir consigo, mientras se despliega en el mundo. Así, se esbozará una reflexión en la que la melancolía pueda ser entendida como una aporía a partir de las consideraciones kierkegaardianas sobre la desesperación en cuanto enfermedad mortal.

This article posits that the current focus on the concepts of Eros (life instinct) and Tânatos (death instinct) are tied to an emerging Brazilian cinematography, thematically linked to contemporary malaise. These concepts would allude to an anachronistic “modern subject”, who rejects contemporary cultural mores and conservative ideology regarding the dynamics and power relations of the labor market, sexuality, and family structure, in order to opt for experimentation. Praia do Futuro(2014), Pela Janela (2017) and Beira-Mar (2018), among many other films, illustrate this shift., Este texto discute como os conceitos de Eros (pulsão de vida)e Tânatos(pulsão anarquista)podem significar uma emergente cinematografia brasileira, cuja temática comum é o mal-estar contemporâneo. Estes conceitos expressariam um “sujeito moderno”, que tem sintomas de “anacronismo”, de se desprender das amarras culturais de seu tempo, como a recusa às referências conservadoras em suas variadas nuances –na dinâmica e relações de poder do mercado de trabalho, no padrão de sexualidade, no modelo unívoco de família –, e assim reivindicam possibilidades de experimentação e ruptura com os valores vigentes. Dentro de um panorama maior de filmes,elenca-se como microcosmo para estudos os filmes Praia do Futuro(2014), Pela Janela(2017) e Beira-Mar (2018)., Este texto discute cómo los conceptos de Eros (pulsión de vida) y Tânatos (pulsión anarquista) pueden significar una cinematografía brasileña emergente, cuyo tema común es el malestar contemporáneo. Estos conceptos expresarían un “sujeto moderno”, que tiene síntomas de “anacronismo”, de desvinculación de los lazos culturales de su época, como el rechazo a referencias conservadoras en sus variados matices, en las dinámicas y relaciones de poder del mercado laboral, en el patrón de la sexualidad, en el modelo de familia unívoca-, reivindicando así posibilidades de experimentación y ruptura con los valores actuales. Insertadoenun panorama más amplio de películas, los largometrajes Praia do Futuro(2014), Pela Janela(2017) y Beira-Mar(2018) figuran como microcosmos de estudio.

Telón de boca by Juan Goytisolo isa text about human beings’ universal meta-physics on life and Literature as a way to catal-yse the melancholic glance of the protagonist —of the author and of the reader too— about thedrama of life, beyond the front curtain whichopens and closes this performance. For thisreason, firstly I will analyse the connection be-tween life and Literature, alluding frequently toan autobiographical essay,Coto vedado, whichclarifies the idyiosincrasy of this text. Secondly,I will explain the link between Literature andmelancholy —the central concept of this paper—and finally, the idea of life as a performance —lived, dreamt, repressed and hated—. Behindits front curtain, the melancholic protagonistdesires a (perhaps) dangerous truth about life,about death. I will use multidisciplinary tools:literature, narratology, philosophy and psycho-analysis., Telón de boca de Juan Goytisolo est un texte sur la métaphysique universelle del’être humain autour de la vie et de la littéra-ture comme moyen de catalyser le regard mé-lancolique du protagoniste — de l’auteur et dulecteur aussi — sur le théâtre de la vie, au-delà du rideau de scène qui ouvre et fermecette pièce de théâtre. Dans cette perspective,j’analyserai d’abord la relation entre la vie etla littérature, en me référant essentiellement àun essai autobiographique éclairant pour com-prendre la particularité de ce texte,Coto veda-do. Ensuite, j’approfondirai le lien entre la lit-térature et la mélancolie, l ́axe de cette étude,et enfin la conception de la vie comme théâtre—vécu, rêvé, réprimé et détesté —, derrière lerideau duquel le protagoniste mélancolique as-pire à une vérité peut-êtredangereuse sur la vie sur la mort. Je prendrai appui sur des outilsmultidisciplinaires à caractère littéraire, narra-tif, philosophique et psychanalytique., Telón de boca de Juan Goytisolo es un texto sobre la metafísica universal del ser humano en torno a la vida y la literatura como me-dio para catalizar de la mirada melancólica del protagonista —del autor y el lector también—acerca del teatro de la vida, más allá del telón de boca que abre y cierra esta función. Por ello, analizaré primeramente la relación entre vida y literatura, aludiendo con frecuencia a un ensayo autobiográfico esclarecedor para comprender la idiosincrasia de este texto, Coto vedado. A continuación, desarrollaré la vinculación entre literatura y melancolía —eje de este estudio— y, finalmente, la concepción de la vida como teatro —vivido, soñado, reprimido y odiado—, tras cuyo telón de boca el protagonista melancólico anhela una verdad acaso peligrosa sobre la vida, sobre la muerte. Emplearé herramientas multi-disciplinares de carácter literario, narratológico, filosófico y psicoanalítico.

Philip II is a controversial figure for Modernist poets Amado Nervo and José Santos Chocano, who wrote sonnets that portray the monarch with empathy (Nervo) and antagonism (Chocano). Both interpret (mistakenly) the illness that killed the king from a psycho-pathological and political standpoint., Felipe II es una figura controvertida para los poetas modernistas Amado Nervo y José Santos Chocano, autores de sendos sonetos que retratan al rey con empatía (Nervo) y con animadversión (Chocano). Ambos interpretan la enfermedad que llevó al Rey a la tumba desde un punto de vista psicopatológico o político. Y referente a la tal enfermedad, ambos yerran

This article reads the late Rafael Chirbes’s novels Crematorio and En la orilla as melancholic testimonies of a world in crisis. Departing from Walter Benjamin’s work on the dialectics of melancholia and from a more recent intellectual tradition around the interconnectedness between melancholia and slowness, the article examines the various acts of decelerated perception that animate Chirbes’s novels about the excesses and ruins of neoliberalism in contemporary Spain. Specifically, I will interrogate the dialectics of melancholic deceleration, by considering melancholia both as an oppositional force and as a heightened perceptive state through which the dreamscapes of neoliberal capitalism can find a curious sense of continuity. Through close readings of Chirbes’s novels and a theoretical critique of deceleration, this article aims to interrogate the productivity of the melancholic disposition for a confusing transitional phase in which the era of hiperdesarrollismo seems to be approaching its end., Este artículo lee las novelas del fallecido Rafael Chirbes, Crematorio y En la orilla, como testimonios melancólicos de un mundo en crisis. Partiendo de la obra de Walter Benjamin sobre la dialéctica de la melancolía y de una tradición intelectual más reciente en torno a la interconexión entre melancolía y lentitud, el artículo examina los diversos actos de percepción desacelerada que animan las novelas de Chirbes sobre los excesos y las ruinas del neoliberalismo en la España contemporánea. En concreto, interrogaré la dialéctica de la desaceleración melancólica, considerando la melancolía tanto como una fuerza de oposición como un estado perceptivo elevado a través del cual los paisajes oníricos del capitalismo neoliberal pueden encontrar un curioso sentido de continuidad. A través de lecturas cercanas de las novelas de Chirbes y de una crítica teórica de la desaceleración, este artículo pretende interrogar la productividad de la disposición melancólica para una confusa fase de transición en la que la era del hiperdesarrollismo parece acercarse a su fin

What cinema can a state of national alarm in which the camera itself is confined give rise to? With what aesthetics is a general and prolonged confinement represented? What affective world can be created and transmitted visually in the midst of domestic solitudes that only soothe screens and telephones? In the absence of cinematographic fictions to come, the first feature-length documentary, Madrid, Interior (Cavestany 2020), shot and premiered during the COVID-19 pandemic itself, chooses to offer above all melancholy, a melancholy to be provisionally qualified here as virtual. With a film produced and released under such special conditions as an object of study, this essay wonders about the possibilities of melancholy as a hermeneutic both in the cinematic medium and in the midst of a global plague. The possibility of speaking of national feelings or affections in times of crisis, as well as the timeliness of assessing the virtues of a melancholic cinema in such a context are the two main lines of research of this article., ¿A qué cine puede dar lugar un estado de alarma nacional en el que la cámara misma está confinada? ¿Con qué estética se representa un encierro general y prolongado? ¿Qué mundo afectivo crear y transmitir visualmente en medio de soledades domésticas que solo alivian pantallas y teléfonos? A falta de ficciones cinematográficas por venir, el primer largometraje de carácter documental, Madrid, Interior (Cavestany 2020), rodado y estrenado durante la pandemia del COVID-19 misma, opta por ofrecer sobre todo melancolía, una melancolía que calificar provisionalmente aquí de virtual. Con una cinta producida y difundida en condiciones tan especiales como objeto de estudio, este ensayo se pregunta por las posibilidades de la melancolía como hermenéutica tanto en el medio cinematográfico, como en mitad de una plaga global. La posibilidad de hablar de sentimientos o afectos nacionales en tiempos de crisis, así como lo oportuno que pueda ser dirimir las virtudes de un cine melancólico en tal contexto son las dos líneas de investigación fundamentales de este artículo.

This article focuses on the relationship between melancholy and modernization in Spain during the romantic era. It takes up three key works within the Spanish romantic archive (José Cadalso’s Noches lúgubres, José de Espronceda’s “Canto a Teresa,” and Enrique Gil y Carrasco’s El señor de Bembibre) in order to examine what some of the better-known Spanish literary engagements with melancholy reveal about the feeling and its relationship to the profound historical changes that Spain experienced over the course of the first half of the nineteenth century. Drawing on Freud's insights on melancholy and Marx's intuitions on the destabilizing effects of modern capitalism, the essay underscores the double-valence of romantic melancholy as an emotion that is profoundly subjective and, at the same time, deeply social. It probes the links between structures of feeling and socio-economic change., Este artículo se centra en la relación entre la melancolía y la modernización en España durante la época romántica. Para ello, se toman tres obras clave dentro del archivo romántico español (Noches lúgubres de José Cadalso, el "Canto a Teresa" de José de Espronceda y El señor de Bembibre de Enrique Gil y Carrasco) con el fin de examinar lo que algunos de los compromisos literarios españoles más conocidos con la melancolía revelan sobre el sentimiento y su relación con los profundos cambios históricos que España experimentó a lo largo de la primera mitad del siglo XIX. Basándose en las ideas de Freud sobre la melancolía y en las intuiciones de Marx sobre los efectos desestabilizadores del capitalismo moderno, el ensayo subraya el doble valor de la melancolía romántica como una emoción profundamente subjetiva y, al mismo tiempo, profundamente social. El ensayo explora los vínculos entre las estructuras de los sentimientos y los cambios socioeconómicos.

This article analyzes the role of melancholy in the colonialist discourse of Pedro Antonio de Alarcón’s Diario de un witness de la Guerra de África (1860). In particular, it pays attention to the moments in which the narrative voice appeals to God to intercede for Spain and help her restore a Christian empire. As it is finally argued, this type of discourse is bidirectional. Alarcón, assuming the role of a prophet and mediating before God, also addresses the Spanish people to work towards that goal., Este artículo analiza el papel de la melancolía en el discurso colonialista en el Diario de un testigo de la Guerra de África(1860) de Pedro Antonio de Alarcón. En especial, se presta atención a los momentos en los que la voz narrativa apela a Dios para que interceda por España y la ayude a reinstaurar un imperio cristiano. Como finalmente se argumenta, este tipo de discurso es bidireccional. Alarcón, asumiendo el rol de profeta, Además de interceder ante Dios, también se dirige el pueblo español con el objetivo de que trabaje en la consecución de ese objetivo.

The character of the Cid is the subject of countless critical articles that attempt to explain the actions and reactions of a very particular medieval hero. Restraint has always been the quasi-absolute answer to the real unknown that represents the temperament of the Campeador. The purpose of this approach is to approach the main character of the Cantar de mio Cid from the complexity of his traits, attitudes, and reactions. In melancholy may lie the explanation of the Campeador's temperament. Although the multiple instances in which the subject of melancholy has been approached through the centuries will be reviewed, I propose Sigmund Freud's theory of mourning and melancholy to understand this medieval character. El Cid loses the king's favor and from then on, his becoming in the text concentrates on recovering the "lost object", as Freud would say, thus falling into a mourning that leads him to become a melancholic hero., El carácter del Cid es motivo de un sinfín de artículos críticos que intentan explicar las acciones y reacciones de un héroe medieval muy particular. La mesura siempre se ha erigido como la respuesta cuasi absoluta ante la verdadera incógnita que representa el temperamento del Campeador. El propósito de esta aproximación es abordar el personaje principal del Cantar de mio Cid desde la complejidad de sus rasgos, actitudes y reacciones. En la melancolía puede residir la explicación del temperamento del Campeador. Si bien se revisarán las múltiples instancias en que se ha abordado el tema de la melancolía a través de los siglos, propongo la teoría de Sigmund Freud sobre el duelo y la melancolía para entender a este personaje medieval. El Cid pierde el favor del rey y desde entonces su devenir en el texto se concentra en recuperar el “objeto perdido”, como diría Freud, cayendo así en un duelo que lo aboca a convertirse en un héroe melancólico.

Melancholy has become almost synonymous with early modernity—not just as a chronic affliction of the medico-psychological domain, but as a defining mood of the period at large. This is especially true for early modern Spain, whose reputation for engendering melancholics was legendary both within and outside the country’s borders. The condition’s authenticity, however, has recently come under scrutiny, with scholars questioning how much of melancholy was a genuine psychological condition, and how much was passing fashion, self-styled obsession, collectively imagined hysteria, or dramatic performance. This essay teases out the mutual implications of melancholy and incertitude in the most conspicuous and theatrical of places: Tirso de Molina’s early seventeenth-century play El melancólico. My close reading of its main character, informed by the histories of emotion and medical science, suggests that we should take his psychological condition neither at face value nor as solely a theatrical ruse. Yet by uncovering the tension between melancholy as a private condition and public performance, and by rescuing the psychologically generative effects of performance itself, my analysis aims to tip the scales back toward credulity. Ultimately, my reading of El melancólico holds that the doubts engendered by the performance of melancholy make it no less an authentic condition, and that in fact its inherent ambiguity is precisely what renders its representation in the play at once more plausible and historically verisimilar., La melancolía se ha convertido casi en sinónimo de la temprana modernidad, no ya como una aflicción crónica de la psicología médica, sino como un sentimiento definitorio del periodo en términos generales. Esto es de aplicación especial para el caso de España, cuya reputación como creadora de melancólicos fue legendaria dentro y fuera de sus fronteras. Recientemente se ha dudado sobre su autenticidad, y los estudiosos han cuestionado cuánto en esa melancolía era condición psicológica, o bien moda pasajera, obsesión auto-creada, histeria colectiva imaginada o performance dramática. Este ensayo analiza las implicaciones mutuas de la melancolía y la incertidumbre en uno de sus casos más paradigmáticos, El melancólico de Tirso de Molina (s. XVII). Mi lectura textual del personaje principal, bajo influjo de la ciencia médica y de las emociones, sugiere que no debemos aceptar su condición de melancólico a simple vista ni tampoco como mecanismo dramático. Pero al destapar la tensión entre melancolía como condición médica privada y como performance pública, y rescatando los efectos generativos de índole psicológica de la performance pública, el artículo intenta inclinar la balanza en favor de que sea algo creíble. En último término mi lectura de El melancólico defiende que las dudas que engendra la performance de la melancolía no dejan de hacerla una auténtica enfermedad y que de hecho su ambigüedad intrínseca es precisamente lo que hace que su representación en la pieza sea a la vez plausible y verosímil históricamente.

The aim of this paper is to put together two phenomena deeply rooted in the Baroque: firstly, melancholy, as a state of mind that permeates the entire era, and, secondly, scepticism, as the resulting philosophical view of the metaphysical and theological changes of that moment. To achieve our goal, we will study some of the main analyses of the notion «melancholy», showing its derivations and asserting that it may be considered a key concept to understand some masterpieces of the Spanish Golden Age, such as the Quijote or El Criticón, where the baroque melancholy depends on the existential experience of disabuse. Given a world of mere appearances that has lost its centre, scepticism arises as a philosophical attitude in which the seek of the truth is a non-ending task and, in consequence, sometimes a desperate one. In the writings of the 16th century doctor and philosopher Francisco Sánchez we find the opportunity to see an expression or unique modulation of melancholy through scepticism, Este trabajo pone en relación dos fenómenos muy presentes en la cultura del Barroco: la melancolía, como estado de ánimo que impregna toda una época, por un lado, y el escepticismo, como posición filosófica que sería reflejo de los cambios metafísicos y teológicos del momento. Para ello se hace un recorrido por distintos acercamientos a la melancolía recogiendo los avatares sufridos por el concepto y mostrando cómo puede ser considerada como una clave de lectura fundamental de algunas obras cumbre del siglo de Oro español, como son el Quijote o El Criticón, donde el signo característico de la melancolía barroca se cifra en la experiencia del desengaño existencial. Ante un mundo de apariencias que ha perdido su centro, el escepticismo se erige igualmente como actitud filosófica en la que la búsqueda de la verdad se plantea como una tarea interminable y, por ello, a veces desesperada. En la obra del médico y filósofo del siglo XVI Francisco Sánchez, encontramos la ocasión para ver en el escepticismo una expresión o una modulación particular de dicha melancolía.

Escenarios de guerra indaga en la memoria, como aquella faceta en la que se recuerda y vuelve una y otra vez a ciertas inquietudes y limitaciones del afecto. La narradora lleva a la escena los conflictos de los orígenes de su familia, las incertidumbres políticas y los desencuentros personales que marcan su vida como un camino de guerra, que deja heridas ocultas. La narración está marcada por la compulsión a la repetición, la represión del eros y la melancolía. Sin embargo, la historia se relata desde una conciencia dramática que permite también una reflexión sobre la propia identidad, la identidad de los seres cercanos y la relación con estos. Este estudio aborda la obra desde distintos modelos psicocríticos para tratar las motivaciones de la protagonista y desde la identidad narrativa ricoeuriana para explicar el proceso de construcción de la identidad a través del discurso., War scenarios investigates memory, as that facet in which certain concerns and limitations of affection are remembered and returned again and again. The narrator brings to the scene the conflicts of the origins of her family, the political uncertainties and the personal misunderstandings that mark her life as a path of war, which leaves hidden wounds. The narrative is marked by the compulsion to repeat, the repression of eros and melancholy. However, the story is told from a dramatic consciousness that also allows a reflection on one’s own identity, the identity of close beings and the relationship with them. This study approaches the work from different psychocritical models to deal with the motivations of the protagonist and from the Ricoeurian narrative identity to explain the process of identity construction through discourse.

Aquest treball s’estructura al voltant de les pràctiques professionals desenvolupades a l’Institut Botànic de Barcelona, que van consistir en l’organització i catalogació de l’arxiu de fotografies (1985-2017) relacionades a la Col·lecció Salvador. A partir d’una reflexió sobre la importància de la catalogació i difusió d’eixes imatges fotogràfiques en la preservació del Gabinet Salvador com a patrimoni científic, es proposa un estudi sobre una imatge pictòrica que estampa una de les portes de l’armari de l’herbari. La pintura representa l’espècie Paeonia officinalis, que també integra l’herbari i la farmàcia del Gabinet. El treball demostra la importància d’una recerca que tingui en consideració l’encreuament entre eixos tres àmbits per a la comprensió del seu significat dins del Gabinet Salvador, dedicant una atenció especial als seus usos en el tractament de la malenconia, la “malaltia invisible”. D’eixa manera es pretén associar el treball analític al voltant de les pràctiques associades a un patrimoni científic, al treball de recerca al voltant de la seua història, per tal d’ampliar-ne la difusió., This paper is structured around a professional internship developed at the Institut Botànic de Barcelona that consisted in the organization and cataloging of the photographic archive (1985-2017) related to the Salvador Collection. Based on a reflection on the importance of cataloging and disseminating these photographic images in the preservation of the Salvador Cabinet as scientific heritage, we propose a study on a pictural image that stamps one of the doors of the herbarium cabinet. The painting on the furniture of the Cabinet represents the species Paeonia officinalis, which is also part of the Cabinet’s herbarium and pharmacy. This work demonstrates the importance of an investigation that takes into account the intersection between these three areas, to understand its meaning within the Salvador Cabinet, giving special attention to its uses in the treatment of melancholia, the “invisible disease”. Thus, it is intended to associate analytical work around practices related to scientific heritage to investigative work on its history, in order to expand its diffusion., O presente trabalho estrutura-se em torno das práticas profissionais desenvolvidas no Institut Botànic de Barcelona que consistiram na organização e catalogação do arquivo de fotografias (1985-2017) relacionadas à Coleção Salvador. A partir de uma reflexão sobre a importância da catalogação e difusão dessas imagens fotográficas na preservação do Gabinete Salvador enquanto patrimônio científico, propõe-se um estudo sobre uma imagem pictórica que estampa uma das portas do armário do herbário. A pintura no armário representa a espécie Paeonia officinalis, que também integra o herbário e a farmácia do Gabinete. O trabalho demonstra a importância de uma investigação que leve em consideração o cruzamento entre esses três âmbitos para o entendimento de seu significado dentro do Gabinete Salvador, dedicando uma especial atenção aos seus usos no tratamento da melancolia, a “doença invisível”. Desse modo, pretende-se associar o trabalho analítico em torno das práticas relacionadas a um patrimônio científico ao trabalho investigativo em torno de sua história, a fim de ampliar sua difusão.

Taking as a starting point the Hamletian sentence "The time is out of joint" that seems to mark all Shakespearean dramaturgy, I will carry out an analysis of the counterpoint between the clown Touchstone and the melancholic Jaques in As You Like It under the hypothesis that the actions and expressions of the clown enable the criticism that the disrupted world needs to be considered a home again, as opposed to the melancholic who waits for the world he perceives as corrupt to burn., Tomando como punto de partida la sentencia hamletiana “The time is out of joint”, que parece signar toda la dramaturgia shakesperiana, se llevará a cabo un análisis del contrapunto entre el bufón Touchstone y el melancólico Jaques de Como gustéis bajo la hipótesis de que las acciones y expresiones del clown habilitan las críticas que el mundo trastocado precisa para volver a ser considerado un hogar, en contraposición al melancólico que espera que arda el mundo al que percibe como corrupto.

La melancolía se ha convertido casi en sinónimo de la temprana modernidad, no ya como una aflicción crónica de la psicología médica, sino como un sentimiento definitorio del periodo en términos generales. Esto es de aplicación especial para el caso de España, cuya reputación como creadora de melancólicos fue legendaria dentro y fuera de sus fronteras. Recientemente se ha dudado sobre su autenticidad, y los estudiosos han cuestionado cuánto en esa melancolía era condición psicológica, o bien moda pasajera, obsesión auto-creada, histeria colectiva imaginada o performance dramática. Este ensayo analiza las implicaciones mutuas de la melancolía y la incertidumbre en uno de sus casos más paradigmáticos, El melancólico de Tirso de Molina (s. XVII). Mi lectura textual del personaje principal, bajo influjo de la ciencia médica y de las emociones, sugiere que no debemos aceptar su condición de melancólico a simple vista ni tampoco como mecanismo dramático. Pero al destapar la tensión entre melancolía como condición médica privada y como performance pública, y rescatando los efectos generativos de índole psicológica de la performance pública, el artículo intenta inclinar la balanza en favor de que sea algo creíble. En último término mi lectura de El melancólico defiende que las dudas que engendra la performance de la melancolía no dejan de hacerla una auténtica enfermedad y que de hecho su ambigüedad intrínseca es precisamente lo que hace que su representación en la pieza sea a la vez plausible y verosímil históricamente. Abstract: Melancholy has become almost synonymous with early modernity—not just as a chronic affliction of the medico-psychological domain, but as a defining mood of the period at large. This is especially true for early modern Spain, whose reputation for engendering melancholics was legendary both within and outside the country’s borders. The condition’s authenticity, however, has recently come under scrutiny, with scholars questioning how much of melanchol

This work analyzes Boca de lobo (2000), by Sergio Chejfec, starting from the hypothesis that the conjectural future that is constructed in the text has the form of a foggy and overwhelming future. Correlatively, that the industrial suburb is designed more on the traces of conceptual and aesthetic traditions than on an empirical or referential basis, and in this sense the urban space is built through mechanisms of disfigurement and fading that tend to blur the real. The novel is built on the basis of an inquiry into the effect that the remains of the past produce in the present. We interpret these remains in a triple dimension: subjective, to the extent that they refer to a love bond and the aftermath after the breakup; historical, because they allude to the world of industrial work at its point of disintegration; and literary, insofar as they allow to hear resonances of diverse cultural traditions that range from social realism and Marxism to gaucho literature. The three dimensions are imbricated by the concepts of “melancholy” (Freud, Butler) and “spectrality” (Derrida), since they express, respectively, the impossibility of giving up the object and the phantasmatic persistence of the past., Este trabajo analiza Boca de lobo (2000) de Sergio Chejfec partiendo de la hipótesis de que en el texto se construye un futuro conjetural que tiene la forma de un porvenir brumoso y abrumador. Correlativamente, que el suburbio industrial se diseña más sobre la huella de tradiciones conceptuales y estéticas que sobre una base empírica o referencial, y en ese sentido el espacio urbano está construido por medio de mecanismos de desfiguración y desvanecimiento que tienden a esfumar lo real. La novela propone una indagación sobre el efecto que los restos del pasado producen en el presente. El trabajo interpreta esos restos en una triple dimensión: subjetiva, en la medida en que se refieren a un vínculo amoroso y las secuelas tras la ruptura; histórica, porque aluden al mundo del trabajo industrial en su punto de desintegración; y literaria, en tanto dejan oír resonancias de diversas tradiciones culturales que van del realismo social y el marxismo a la literatura gauchesca. Las tres dimensiones están imbricadas por los conceptos de “melancolía” (Freud, Butler) y “espectralidad” (Derrida), dado que expresan, respectivamente, la imposibilidad de dar por perdido el objeto y la persistencia fantasmática del pasado.

Victoria De Stefano has been considered by her peers as one of the most important writers in Venezuela. Her profound sensitivity to the existential becoming, translated into a writing that is not exempt of poeticism, makes her an unavoidable reference when it comes to establishing a canon of the contemporary Spanish-speaking novel. This dissertation aims to approach the relationship between the author's writing and tedium from the ideas put forward by philosophers such as Giorgio Agamben, Lars Svendsen, Elizabeth Goodstein, among others. To do so, some concepts will be explained in relation to the family of acedia, melancholy and boredom in relation to the literary "metapoiesis". To then establish the correspondences with the most emblematic texts of the writer, emphasizing her novel Historia de una marcha a pie and, finally, sketch her aesthetics, Victoria De Stefano ha sido considerada por sus pares como una de las escritoras más importantes de Venezuela. Su profunda sensibilidad ante el devenir existencial, traducido en una escritura no exenta de poeticidad, la convierten en un referente ineludible a la hora de establecer un canon de la novela contemporánea de habla hispana. La presente disertación pretende una aproximación a la relación de la escritura de la autora con el tedium a partir de las ideas expuestas por filósofos como Giorgio Agamben, Lars Svendsen, Elizabeth Goodstein, entre otros. Para ello, se explicarán algunos conceptos en relación a la familia de la acedia, la melancolía y el aburrimiento en relación a la “metapoiesis” literaria. Para luego establecer las correspondencias con los textos más emblemáticos de la escritora, haciendo hincapié en su novela Historia de una marcha a pie y, finalmente, bosquejar su estética.

The aim of this paper is to put together two phenomena deeply rooted in the Baroque: firstly, melancholy, as a state of mind that permeates the entire era, and, secondly, scepticism, as the resulting philosophical view of the metaphysical and theological changes of that moment. To achieve our goal, we will study some of the main analyses of the notion «melancholy», showing its derivations and asserting that it may be considered a key concept to understand some masterpieces of the Spanish Golden Age, such as the Quijote or El Criticón, where the baroque melancholy depends on the existential experience of disabuse. Given a world of mere appearances that has lost its centre, scepticism arises as a philosophical attitude in which the seek of the truth is a non-ending task and, in consequence, sometimes a desperate one. In the writings of the 16th century doctor and philosopher Francisco Sánchez we find the opportunity to see an expression or unique modulation of melancholy through scepticism, Este trabajo pone en relación dos fenómenos muy presentes en la cultura del Barroco: la melancolía, como estado de ánimo que impregna toda una época, por un lado, y el escepticismo, como posición filosófica que sería reflejo de los cambios metafísicos y teológicos del momento. Para ello se hace un recorrido por distintos acercamientos a la melancolía recogiendo los avatares sufridos por el concepto y mostrando cómo puede ser considerada como una clave de lectura fundamental de algunas obras cumbre del siglo de Oro español, como son el Quijote o El Criticón, donde el signo característico de la melancolía barroca se cifra en la experiencia del desengaño existencial. Ante un mundo de apariencias que ha perdido su centro, el escepticismo se erige igualmente como actitud filosófica en la que la búsqueda de la verdad se plantea como una tarea interminable y, por ello, a veces desesperada. En la obra del médico y filósofo del siglo XVI Francisco Sánchez, encontramos la ocasión para ver en el escepticismo una expresión o una modulación particular de dicha melancolía.

Aquest treball s’estructura al voltant de les pràctiques professionals desenvolupades a l’Institut Botànic de Barcelona, que van consistir en l’organització i catalogació de l’arxiu de fotografies (1985-2017) relacionades a la Col·lecció Salvador. A partir d’una reflexió sobre la importància de la catalogació i difusió d’eixes imatges fotogràfiques en la preservació del Gabinet Salvador com a patrimoni científic, es proposa un estudi sobre una imatge pictòrica que estampa una de les portes de l’armari de l’herbari. La pintura representa l’espècie Paeonia officinalis, que també integra l’herbari i la farmàcia del Gabinet. El treball demostra la importància d’una recerca que tingui en consideració l’encreuament entre eixos tres àmbits per a la comprensió del seu significat dins del Gabinet Salvador, dedicant una atenció especial als seus usos en el tractament de la malenconia, la “malaltia invisible”. D’eixa manera es pretén associar el treball analític al voltant de les pràctiques associades a un patrimoni científic, al treball de recerca al voltant de la seua història, per tal d’ampliar-ne la difusió., This paper is structured around a professional internship developed at the Institut Botànic de Barcelona that consisted in the organization and cataloging of the photographic archive (1985-2017) related to the Salvador Collection. Based on a reflection on the importance of cataloging and disseminating these photographic images in the preservation of the Salvador Cabinet as scientific heritage, we propose a study on a pictural image that stamps one of the doors of the herbarium cabinet. The painting on the furniture of the Cabinet represents the species Paeonia officinalis, which is also part of the Cabinet’s herbarium and pharmacy. This work demonstrates the importance of an investigation that takes into account the intersection between these three areas, to understand its meaning within the Salvador Cabinet, giving special attention to its uses in the treatment of melancholia, the “invisible disease”. Thus, it is intended to associate analytical work around practices related to scientific heritage to investigative work on its history, in order to expand its diffusion., O presente trabalho estrutura-se em torno das práticas profissionais desenvolvidas no Institut Botànic de Barcelona que consistiram na organização e catalogação do arquivo de fotografias (1985-2017) relacionadas à Coleção Salvador. A partir de uma reflexão sobre a importância da catalogação e difusão dessas imagens fotográficas na preservação do Gabinete Salvador enquanto patrimônio científico, propõe-se um estudo sobre uma imagem pictórica que estampa uma das portas do armário do herbário. A pintura no armário representa a espécie Paeonia officinalis, que também integra o herbário e a farmácia do Gabinete. O trabalho demonstra a importância de uma investigação que leve em consideração o cruzamento entre esses três âmbitos para o entendimento de seu significado dentro do Gabinete Salvador, dedicando uma especial atenção aos seus usos no tratamento da melancolia, a “doença invisível”. Desse modo, pretende-se associar o trabalho analítico em torno das práticas relacionadas a um patrimônio científico ao trabalho investigativo em torno de sua história, a fim de ampliar sua difusão.

This article aims to study the relationship between melancholy and allegory in the poetry of Aníbal Núñez (Salamanca, 1944-1987). On the basis of Walter Benjamin’s thought in Das Passagen-Werk about melancholic gaze in the metropolis, we first address the connection between melancholy as an historical emotion, the critique of modernity, and allegorical expression. Second, we examine the Freudian distinction between melancholy and mourning, in which the poet, as the melancholic identified with the lost object, becomes damaged. Finally, we study three allegorical images from the series “Tríptico plástico” belonging to the book Naturaleza no recuperable., Este artículo trata sobre la relación entre melancolía y alegoría en la poesía del salmantino Aníbal Núñez (1944-1987). Partiendo de las reflexiones benjaminianas en Das Passagen-Werk acerca de la mirada del melancólico en la ciudad, se plantea primero el vínculo entre melancolía, entendida como emoción histórica, crítica a la modernidad y expresión alegórica, en el contexto del desarrollismo salvaje de la España los años 70. Se aborda a continuación la distinción freudiana entre melancolía y duelo, en la que el poeta, como melancólico identificado con el objeto perdido, queda él mismo dañado, “aterido”. Por último, se estudian tres imágenes alegóricas de la serie titulada “Tríptico plástico”, perteneciente al poemario Naturaleza no recuperable.

The forgotten are, for Giorgio Agamben (1999, p. 72-73), the ones who demand justice, and should not be consigned to memory and language, but remain unmistakable and nameless. To do justice to the forgotten ones will therefore be to talk about beings without importance and even existence, marked by emptiness and void, plunged into the despair of their bare lives, like the characters of the Portuguese writer Maria Judite de Carvalho are. This study wants to show how she does justice to the forgotten, displaying the lack of sense that only literature – the art which is disconnected from pragmatism and deprived of hope – can work with the tricks of Persefone and of Orpheus, in his transit between death and life, with the melancholy and negativity characteristic of forgotten subjects, trapped in their concentrated spaces of banishment and exclusion. The work recalls, therefore, Blanchot’s perspective that the literary work is proof of the impossibility of union, repetition that never ends, satiety that has nothing, scintillation of what is groundless and shallow. Nothing to do: no integration’s possible; for the forgotten, there is no rescue possibility. We know, however, with Almansi (1978): writers and poets are magicians, that language and poetry do not allow for a clear and definite sense; so it is possible to guarantee, with Orpheu’s songs and Persefone’s masks, life and prosperity in literature., O esquecido é, para Giorgio Agamben (1999, p. 72-73), aquele que busca a justiça, não para ser entregue à memória e à língua, mas para permanecer imemorável e sem nome. Fazer justiça ao esquecido será, portanto, falar de seres desprovidos de importância e mesmo de existência, marcados pelo vazio e pela falta, mergulhados no desespero de suas vidas nuas, como são as personagens de Maria Judite de Carvalho. Estuda-se aqui a obra dessa escritora portuguesa que faz justiça aos esquecidos, exibindo a falta de sentido que somente a literatura – arte do intervalo desligada de pragmatismo e desvinculada de esperanças – pode elaborar com os artifícios e as trapaças de Perséfone e de Orfeu, em seu trânsito entre morte e vida, com a melancolia e a negatividade características de sujeitos presos em seus espaços concentracionais de banimento e exclusão. Lembra-se, assim, a perspectiva de Blanchot de que a obra literária é prova de impossibilidade de união, repetição nunca terminada, saciedade que nada tem, cintilação sem fundamento e sem profundidade. Aparentemente, nada a fazer: não há soluções a esperar, não há integração possível; para os esquecidos, não há possibilidade de resgate. Sabe-se, entretanto, com Almansi (1978): escritores e poetas são mágicos, a linguagem e a poesia impedem um sentido claro e definitivo e podem assim garantir, com os cantos de Orfeu e as máscaras de Perséfone, a vida e a prosperidade da literatura.

The essay aims to analyze the writings of Gianni Celati and his way of ‘re-narrating’ and ‘re-mapping’ the environment in contemporary times, focusing on two trilogies, namely Narratori delle pianure (1985), Quattro novelle sulle apparenze (1987) and Verso la foce (1989), as well as on the collections of short stories Un eroe moderno (2008), Il benessere arriva in casa Pucci (2008), and Selve d’amore (2013). The paper discusses how the themes addressed by the author, who assumes the role of a flâneur of postmod- ernism, are a way to express his continuous nostalgia for the naturalness, simplicity, and originality of living and narrating., The essay aims to analyze the writings of Gianni Celati and his way of ‘re-narrating’ and ‘re-mapping’ the environment in contemporary times, focusing on two trilogies, namely Narratori delle pianure (1985), Quattro novelle sulle apparenze (1987) and Verso la foce (1989), as well as on the collections of short stories Un eroe moderno (2008), Il benessere arriva in casa Pucci (2008), and Selve d’amore (2013). The paper discusses how the themes addressed by the author, who assumes the role of a flâneur of postmod- ernism, are a way to express his continuous nostalgia for the naturalness, simplicity, and originality of living and narrating.

Melancholy occupies a privileged place in the Kantian taxonomy of temperaments since the pre- critical phase, but it is in the Nineties that it reveals its philosophical fecundity. Melancholy becomes, in fact, an interesting notion not so much because of its relationship with Kantian biography, nor because of its presence in the description of psychopathies, but because it lies, unique in this, on the borderline between pathology and sanity. Melancholy thus provides an opportunity to show the topicality of Kantian reflection on mental illness since it underlines the continuity, and not the rupture, between the healthy mental state and that affected by illness, in line with today's most widespread tendencies to consider mental illness as a privileged observatory of the subject.