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El Poder De La Anomalía Prismas - Revista De Historia Intelectual, Núm Prismas - Revista de Historia Intelectual ISSN: 1666-1508 [email protected] Universidad Nacional de Quilmes Argentina Anderson, Perry El poder de la anomalía Prismas - Revista de Historia Intelectual, núm. 18, junio-, 2014, pp. 245-260 Universidad Nacional de Quilmes Bernal, Argentina Disponible en: http://www.redalyc.org/articulo.oa?id=387036833021 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto El poder de la anomalía * Perry Anderson Carlo Ginzburg ganó fama como historiador iglesia hasta la Ilustración y el largo siglo xix , debido a sus extraordinarios descubrimientos y caracteriza a El hilo y las huellas y a las sobre las creencias populares y sobre lo que los compilaciones que lo precedieron: Mitos, cazadores de brujas llamaron “brujería” en la emblemas e indicios ; Ojazos de madera ; modernidad temprana. A Los Benandanti y El Historia, retórica y demostración, y Ninguna queso y los gusanos , dos estudios de caso isla es una isla . localizados en el rincón noreste de Italia, le siguió Es claro que los estudios del Renacimiento Historia nocturna , con su síntesis de extensión requieren, por definición, la trashumancia entre euroasiática. Aunque sus trabajos más recientes fuentes antiguas y modernas y el paso por lo que no sean menos desafiantes, es correcto decir que se encuentra en medio de ellas. El tipo de se ha producido una alteración significativa en sus dominio filológico que estos estudios requieren formas y en muchos de sus temas. A los libros también se puede apreciar en el trabajo del que escribió en los primeros veinte años de su historiador Anthony Grafton, otro sorprendente carrera les han seguido una serie de ensayos, que cometa de erudición, con el cual se puede a esta altura suman más de cincuenta, y que comparar a Ginzburg. Estos dos historiadores, cubren una asombrosa variedad de figuras y ambos provenientes de familias judías con tópicos: Tucídides, Aristóteles, Luciano, trasfondos políticos, uno en Turín y el otro en Quintiliano, Orígenes, San Agustín, Dante, Manhattan, comparten el punto de partida común Boccaccio, Moro, Maquiavelo, Montaigne, de las temporadas pasadas en el Instituto Hobbes, Bayle, Voltaire, Sterne, Diderot, David, Warburg de Londres, y la influencia próxima de Stendhal, Flaubert, Tolstoi, Warburg, Proust, Arnaldo Momigliano. También existe entre ellos Kracauer y Picasso, entre muchos otros. Todos una ocasional superposición de intereses ellos despliegan su formidable variedad de –Panofsky, los jesuitas, Bayle, los estudios saberes. Como ilustra cada página de El hilo y las judaicos– y tal vez una sensibilidad cívica huellas , su trabajo más recientemente traducido al similar. La más obvia diferencia se encuentra en inglés, ningún otro historiador se aproxima a la el molde antropológico que informa los trabajos extensión de su erudición. más conocidos de Ginzburg, quien prefiere Ginzburg, que opone una resistencia explorar la cultura popular antes que la cultura de nominalista a las etiquetas temporales de elite. En las últimas dos décadas, sin embargo, se cualquier tipo, desearía ignorar el dictum de ha producido una convergencia territorial, en la Frederic Jameson, según el cual “no podemos no medida en que Ginzburg ha reenfocado su periodizar”. Sin embargo, resulta imposible escritura hacia la historia intelectual, sobre la comprender su éxito sin recordar que el eje de su cual siempre ha trabajado Grafton. trabajo se encuentra en lo que, aunque bajo Sin embargo, tales coincidencias también protesta, seguimos llamando “Renacimiento”. resaltan los contrastes. Los ensayos de Ginzburg, Ese anclaje torna posible la facilidad y la que se han tornado su instrumento preferido, son naturalidad con las que su escritura va y viene únicos. Son todos bastante cortos: muy pocos de desde la Antigüedad clásica y los padres de la ellos cuentan con más de treinta páginas, y la mayoría posee menos de veinte. En general se ordenan en forma de cascada, presentando una * Versión especialmente preparada para Prismas referencia intelectual detrás de la otra –autor o del trabajo que Anderson había publicado en London Review cita– que ruedan en procesión veloz y contundente of Books (vol. 34, nº 8, 26 de abril de 2012) como reseña a la traducción inglesa de El hilo y las huellas , de Carlo (en staccato ), para terminar en un final súbito. En Ginzburg. Traducción de Eugenia Gay. un caso nos movemos de Paolo Sarpi a través de Prismas , Nº 18, 2014 245 Agustín, Cicerón, Vasari, Winckelmann, Flaxman, tomado como símbolo de la inagotable fertilidad Hegel, Heine, Baudelaire, Semper, Scott, Riegl, de su mente, su impaciencia incluso con lo que Feyerabend, Simone Weil y Adorno, y terminamos acaba de dar a conocer y su invitación a pensar con Roberto Longhi. 1 En otro, de Viktor oblicuamente lo que acaba de mostrar. Shklovsky pasando por Tolstoi, Marco Aurelio y Pero si Ginzburg se distingue de otros los acertijos populares de tiempos romanos, historiadores por la forma de su escritura, Antonio de Guevara y la transmisión de cuentos también lo hace por sus temas. El abigarrado medievales, a la época de Carlos V, Montaigne, La corpus de Grafton forma, en efecto, un único Bruyère, Madame de Sévigné, Voltaire, para proyecto general, a saber, la demostración de que terminar en Proust –todo en veinticinco páginas–. 2 el humanismo renacentista, que durante mucho En este procedimiento, que también podríamos tiempo fuera menospreciado como un callejón llamar “montaje histórico”, el énfasis está siempre sin salida –un laberinto de manías textuales y –para utilizar el contraste que le da título a la especulaciones cronológicas, para no mencionar primera entrada de El hilo y las huellas – en la sus obsesiones astrológicas– en la progresión cita, más que en la descripción. 3 La prosa frugal intelectual hacia la ciencia moderna representó, de Ginzburg encarna la máxima de Claudel según por el contrario, su –altamente productiva– la cual “La crainte de l’adjectif –y en este caso condición de posibilidad. 5 La unidad del trabajo también de los adverbios –est le commencement de Ginzburg, igualmente evidente, descansa en du style”.* un nivel más reflexivo. Su producción ha tenido Al laconismo ático del lenguaje se une, hacia desde un principio una carga altamente teórica, el final de sus ensayos, el dispositivo autoral de en una profesión muchas veces poco curiosa o un viraje brusco de dirección –“la marca torpe sobre tales asuntos. En su trabajo, las Ginzburg”–. La conclusión convencional de un controversias epistemológicas y las cuestiones de artículo o ensayo puede tomar una de las método son más que simples preámbulos o siguientes formas. O –en la versión más extrema “arrière-pensées”. Son lo que da forma a su y lamentable de la ciencia social del Atlántico recorrido. En el subtítulo de El hilo y las huellas Norte– recapitula todo lo que se ha explicado se leen las palabras “verdadero”, “falso” y antes, o –con más respeto por la inteligencia del “ficticio”, y tal es el trío que ha comandado en lector– comporta la culminación lógica de un buena parte la agenda de los escritos más argumento. Cualquier escritor decente evitará la recientes de Ginzburg. A través de sus sucesivos primera opción como a la peste. Lo que distingue ensayos aparece una conspicua preocupación por los finales de Ginzburg es que rompen la verdad histórica, que es abordada desde bruscamente también con esto último, ofreciendo diferentes ángulos: la relación entre lo verídico y no la conclusión de una idea o de un argumento, lo ficcional, entre el documento y la falsificación, sino la insinuación subrepticia de otro nuevo, por entre mitos y narrativas, perspectivas y pruebas, y arte de una tangente de lo que se ha dicho antes, entre las sentencias de los tribunales y los juicios que apunta en una nueva dirección con la cual se de la cátedra. En su mayoría, estas intervenciones finaliza abruptamente. 4 El gesto puede ser se oponen a lo que Ginzburg define como una forma moderna de escepticismo, que tiende a erosionar cualquier diferencia significativa entre 1 Carlo Ginzburg,“Stile. Inclusione ed exclusion”, en el hecho y la invención, entre las pretensiones de Occhiacci di legno , Milán, Feltrinelli, 1998 [trad. esp.: “Estilo. la historia y las artimañas de la retórica. Un Inclusión y exclusión”, en Ojazos de madera: nueve segundo tema principal en los ensayos de reflexiones sobre la distancia , Madrid, Península, 2000]. 2 Carlo Ginzburg, “Straniamento. Preistoria di un procedimento letterario”, en Occhiacci di legno , op. cit . [trad. esp.: “Extrañamiento. Prehistoria de un procedimiento literario”, en Ojazos de madera , op. cit .] la literatura inglesa desde una perspectiva mundial , México, 3 Carlo Ginzburg,“Descrizione e citazione”, en Il Filo e le Universidad Juárez Autónoma de Tabasco, 2002]; Il Filo e le tracce , Milán, Feltrinelli, 2006 [trad. esp.: “Descripción y tracce, op. cit ., pp. 136-137; “The Letter Kills”, en History cita”, en El hilo y las huellas. Lo verdadero, lo falso, lo and Theory , febrero de 2010, pp. 88-89. ficticio , México, Fondo de Cultura Económica, 2010]. 5 Véase Anthony Grafton, Defenders of the Text. The * “El temor al adjetivo es el comienzo del estilo” [n/eds.]. Traditions of Scholarship in an Age of Science, 1450-1800 , 4 Ejemplos: Occhiacci di legno , op. cit ., p. 129; No Island is Cambridge, ma , 1991, pp. 2-5; y What Was History? The Art an Island , Nueva York, Columbia University Press, 2000, of History in Early Modern Europe , Cambridge, Cambridge p. 88 [trad. esp.: Ninguna isla es una isla: cuatro visiones de University Press, 2007, especialmente cap. 2. 246 Prismas , Nº 18, 2014 Ginzburg es el de la importancia de las anomalías energía intelectual. Otra respuesta podría apuntar para la investigación histórica, y el papel que a la propagación del estructuralismo y del juegan los indicios en su identificación.
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