{"id":8018,"date":"2021-04-19T18:24:41","date_gmt":"2021-04-19T16:24:41","guid":{"rendered":"http:\/\/www.ub.edu\/las_nubes\/elnubarron\/?page_id=8018"},"modified":"2025-08-25T13:33:33","modified_gmt":"2025-08-25T11:33:33","slug":"critica","status":"publish","type":"page","link":"https:\/\/www.ub.edu\/las_nubes\/elnubarron\/critica\/","title":{"rendered":"CR\u00cdTICA"},"content":{"rendered":"\n
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A<\/a> – B<\/a> – C<\/a> – D<\/a> – E – F<\/a> – G<\/a> – H<\/a> – I – J – K<\/a> – L – M<\/a> – N<\/a> – \u00d1 – O<\/a> – P<\/a> – Q – R<\/a> – S<\/a> – T – U – V<\/a> – W – X – Y – Z<\/a><\/p>\n<\/div>\n<\/div>\n\n\n\n

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JOHN ASHBERY<\/strong>
M\u00e1scaras casi mortuorias
<\/em>Gonzalo Torn\u00e9<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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MURIEL BARBERY<\/strong>
Los estragos de la Ilustraci\u00f3n<\/em>
Enrique Lynch<\/figcaption><\/figure>\n<\/div>\n\n
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HAROLD BLOOM
<\/strong>Jes\u00fas y Yahv\u00e9: los nombres divinos
<\/em>Daniel S\u00e1bat<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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GEORGES BATAILLE<\/strong>
A un paso del autismo
<\/em>Enrique Lynch<\/figcaption><\/figure>\n<\/div>\n\n
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BUNTE G\u00d6TTER
<\/strong>Los dioses a todo color
<\/em>Elisenda Julibert<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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CHARLES BAXTER<\/strong>
Tenemos una cita
<\/em>David Aceituno<\/figcaption><\/figure>\n<\/div>\n\n
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LUIS BU\u00d1UEL
<\/strong>O Bu\u00f1uel o bu\u00f1uelo
<\/em>Enrique Lynch<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
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ELIAS CANETTI<\/strong>
La revancha del \u00abhamster\u00bb
<\/em>Enrique Lynch<\/figcaption><\/figure>\n<\/div>\n\n
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ANTONIO CASTILLA CEREZO
<\/strong>Una racionalidad discursiva en mutaci\u00f3n
<\/em>Miguel Morey<\/figcaption><\/figure>\n<\/div>\n\n
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J. M. COETZEE
<\/strong>J. M. Coetzee: autorretrato de artista con gafas de sol
<\/em>Elisenda Julibert <\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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ELIAS CANNETTI
<\/strong>Entre el legado y el legajo
<\/em>Francis Garc\u00eda Collado<\/figcaption><\/figure>\n<\/div>\n\n
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G. K. CHESTERTON
<\/strong>El club Chesterton
<\/em>Manuel Arranz<\/figcaption><\/figure>\n<\/div>\n\n
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ANDR\u00c9 COMTE-SPONVILLE
<\/strong>Volvamos a Pascal
<\/em>Enrique Lynch<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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ANNE CARSON<\/strong>
Cuando la belleza es verdad
<\/em>David Aceituno<\/figcaption><\/figure>\n<\/div>\n\n
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STEFAN CHWIN
<\/strong>Hanemann y ese incesante movimiento
<\/em>Francesc Adri\u00e0<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
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GILLES DELEUZE
<\/strong>El \u00faltimo universal
<\/em>Carlos Yannuzzi<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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F\u00cdDOR DOSTOIEVSKY
<\/strong>Un chiste amargo en el r\u00edo Neva
<\/em>Carlos Yannuzzi<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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MAURIZIO FERRARIS
<\/strong>El gusto del secreto
<\/em>Marc Franco<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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HARRY G. FRANKFURT
<\/strong>A prop\u00f3sito de la \u00absanata\u00bb
<\/em>Enrique Lynch<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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RAM\u00d3N GAYA
<\/strong>Vida y pintura de Ram\u00f3n Gaya: el curso de una transparencia<\/em>
Daniel S\u00e1bat<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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REN\u00c9 GIRARD
<\/strong>El triunfo de la nada
<\/em>Enrique Lynch<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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MICHAEL HANEKE
<\/strong>Una vocaci\u00f3n
<\/em>Enrique Lynch<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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MARTIN HEIDEGGER
<\/strong>Ser o no ser
<\/em>Francis Garc\u00eda Collado<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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MICHEL HOUELLEBECQ
<\/strong>Decadencia impostada
<\/em>Daniel Gamper<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
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YVES KLEIN
<\/strong>El mundo inmaterializado: a prop\u00f3sito de Yves Klein<\/em>
Santiago Espinosa<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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KARL KRAUS
<\/strong>Distancia<\/em>
Jordi Vernis<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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MILAN KUNDERA
<\/strong>Escultores de s\u00ed mismos
<\/em>Al Bert<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
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CHANTAL MAILLARD
<\/strong>La memoria sonora
<\/em>Lola Nieto<\/figcaption><\/figure>\n<\/div>\n\n
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PIERRE MICHON
<\/strong>M\u00e1s que opiniones
<\/em>Francesc Adri\u00e0<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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ST\u00c9PHANE MALLARM\u00c9
<\/strong>La r\u00e9alit\u00e9 et son mirage
<\/em>Anabel Crist\u00f3bal Amor\u00f3s<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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JAVIER MAR\u00cdAS
<\/strong>La guerra de las met\u00e1foras
<\/em>Gonzalo Torn\u00e9<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
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VLADIMIR NABOKOV<\/strong>
Dualismo antropol\u00f3gico<\/em>
Francis Garc\u00eda Collado<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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RUWEN OGIEN
<\/strong>Contra los liberales porn\u00f3fobos
<\/em>Daniel Gamper<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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SHARON OLDS
<\/strong>La descomposici\u00f3n del padre
<\/em>Gonzalo Torn\u00e9<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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MICHEL ONFRAY
<\/strong>El fil\u00f3sofo mosquetero, o c\u00f3mo transformar el martillo en hoz<\/em>
Santiago Espinosa<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
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THOMAS PAVEL
<\/strong>Ni representaci\u00f3n ni pensamiento
<\/em>Gonzalo Torn\u00e9<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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GEORGES PEREC
<\/strong>Georges Perec y lo impensable
<\/em>Santiago Espinosa<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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LENI RIEFENSTAHL
<\/strong>El artefacto
<\/em>Enrique Lynch<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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ERIC ROHMER
<\/strong>Lenta catarsis. Itinerario de un espectador por las \u00abComedias contempor\u00e1neas\u00bb de Eric Rohmer<\/em>
Al Bert<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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CLEMENT ROSSET<\/strong>
El amor (por lo) singular
<\/em>Santiago Espinosa<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
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EDWARD SAID
<\/strong>Sobre el estilo tard\u00edo
<\/em>Manuel Arranz<\/figcaption><\/figure>\n<\/div>\n\n
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PETER SLOTERDIJK
<\/strong>Posfilosof\u00eda mosaica: sobre Derrida
<\/em>Enrique Lynch<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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ARTHUR SCHOPENHAUER
<\/strong>Aquello que no podr\u00e1n llevarse las parcas<\/em>
Francis Garc\u00eda Collado<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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RICHARD SERRA
<\/strong>El espacio-tiempo de Richard Serra
<\/em>Santiago Espinosa<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
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REN\u00c9E VIVIEN
<\/strong>Se me apareci\u00f3 una mujer
<\/em>Elisenda Julibert<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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STEFAN ZWEIG
<\/strong>Montaigne visto por Zweig y viceversa
<\/em>Manuel Arranz<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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Hombres con los pies en el suelo u hombres con la cabeza en las nubes, esa es la \u00fanica alternativa<\/p>Th. Adorno, \u00abEl ensayo como forma\u00bb<\/cite><\/blockquote><\/figure>\n<\/div>\n\n\n\n

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el nubarr\u00f3<\/span>n<\/h2>\n\n\n