Topos (literatura) – Wikipedia, la enciclopedia libre
Un topos literario, cuando se produce el encuentro de un héroe con un animal salvaje que le desafía. Aquí Dante se encuentra con un león.
Un topos (del griego τόπος, “lugar”, de tópos koinós, “lugar común”; plural, topoi, y en latín locus, de locus communis) se refiere, en el contexto de la retórica griega clásica, a un método normalizado de construir o tratar un tema o argumento para que el orador pueda ganar el apoyo de su audiencia. El topos ha designado gradualmente, por extensión, todos los temas, situaciones, circunstancias o fuentes recurrentes de la literatura.[1]
Un topos convertido en algo banal y repetitivo, llega a ser un “lugar común”, también llamado cliché literario o estereotipo. El topos literario designa un motivo particular que se encuentra en diversas obras.
Al término técnico topos literario se le suele traducir indistintamente como “tópico”, “línea argumental” o “lugar común” y se ha ampliado este concepto al estudio de los topoi como “lugares comunes” de reelaboraciones de materiales tradicionales, particularmente descripciones de parámetros normalizados. Por ejemplo, de la observación común en el mundo clásico antiguo sobre “todos deben morir” como un topos en la oratoria de consuelo, es decir, cuando alguien se enfrenta a su propia muerte, a menudo se para a reflexionar que los hombres más grandes del pasado también murieron.[2] Un tipo ligeramente diferente de topos puede ser la invocación de la naturaleza (cielo, mar, animales, etc.) para diversos fines retóricos, como el testimonio de un juramento, el regocijo o la alabanza a Dios o la participación en el duelo del orador.[3]
Índice
- 1 Algunos ejemplos de topos
- 2 Topos en las artes plásticas
- 3 Topos en lingüística
- 4 Referencias
- 5 Enlaces externos
Algunos ejemplos de topos[editar]
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Los topos más conocidos son los que se han encontrado comúnmente en diferentes épocas, culturas y literaturas:
- La profecía y la profecía autocumplida.
- El descenso a los infiernos o catábasis.
- El diluvio (desde la Epopeya de Gilgamesh).
- El elixir de la eterna juventud.
- El idilio.
- El impulso de la muerte, el amor como muerte (Eros y Tánatos).
- El jardín cerrado (hortus conclusus) o abierto.
- El locus amoenus (por ejemplo, el mundo imaginario de la Arcadia) y el locus horridus (como el infierno de Dante).
- El manuscrito encontrado.
- El mundo al revés.
- El viaje de retorno a la patria (véase la Odisea)
- La anagnórisis.
- La captatio benevolentiae (fórmula de modestia).
- La Edad de oro.
- La invocación de los dioses y musas.
- La isla (como espacio representativo del paraíso terrestre).
- La noche peligrosa.
- Los mitos de la creación.
Topos en las artes plásticas[editar]
Distintos soberanos retratados a caballo. De izquierda a derecha y de arriba abajo: el emperador romano ̠Marco Aurelio, Ricardo I de Inglaterra, Carlos V de Alemania, Napoleón Bonaparte
También es común entre artistas plásticos, tales como pintores o escultores, la repetición de ciertos temas en sus obras. Algunos de ellos consisten en la representación de topos literarios preexistentes, mientras que otros son propios de estas artes en sí. Por ejemplo, un topos que existió desde tiempos antiguos es la representación del monarca o soberano marchando a caballo.
Topos en lingüística[editar]
Algunos autores utilizan el concepto de topos en semántica para analizar el discurso desde la perspectiva de la argumentación.[4]
Referencias[editar]
- ↑ Van Gorp et al. Dictionnaire des termes littéraires, 2005, «Topos, topoï», p. 481.
- ↑ Ernst Robert Curtius, European Literature and the Latin Middle Ages, Nueva York, Pantheon Books, 1953, p. 80.
- ↑ Ernst Robert Curtius, European Literature and the Latin Middle Ages, Nueva York, Pantheon Books, 1953, pp. 92-94.
- ↑ Jean-Claude Anscombre (dir.), Théorie des topoï, París, Kimé, 1995, ISBN 2-841740-06-4.
481.
Enlaces externos[editar]
- Acerca de la teoría de los topos. De S. Bruxelles y H. de Chanay. 1998.
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Topos – significado de topos diccionario
Nosotros mismos. ¿En virtud de qué razonamiento de topos hemos resuelto pagarles por visita? Ningún técnico es empleado a jornal; se le ajusta el precio de una obra concluida satisfactoriamente, y ¡ay del ingeniero a quien se le cae el viaducto, o del contador a quien no le salen las cuentas!
Preguntamos les como no sembravan maiz : respondieronnos que lo hazian por no perder lo que sembrassen : porque dos años arreo les avian faltado las aguas : y avia sido el tiempo tan seco que a todos les avian perdido los maizes los topos : y que no osarian tornar a sembrar sin que primero oviesse llovido mucho : y rogavan nos que dixessemos al cielo que lloviesse y se lo rogassemos : y nosotros se lo prometimos de hazerlo ansi.
Álvar Núñez Cabeza de Vaca
El gobierno del topos, del lugar, la gente que está allí formando parte del lugar, del cerro, del árbol, de la orilla del río, es el gobierno directo de la comunidad.
Este rebaño de topos que agujereaban las minas de Portovelo, nunca conocieron el Hospital de “Curipamba”, el mejor equipado y progresista en la Ciencia Médica, cuya fama traspasó los linderos patrios.
Lo hazen y lo entierra con sus ojotas y bestidos y comidas. Con todo ello entierra, hasta los topos de plata lo entierra; dizen que se la lleue.
20 Aquel día arrojará el hombre, á los topos y murciélagos, sus ídolos de plata y sus ídolos de oro, que le hicieron para que adorase; 21 Y se entrarán en las hendiduras de las rocas y en las cavernas de las peñas, por la presencia formidable de Jehová, y por el resplandor de su majestad, cuando se levantare para herir la tierra.
Esto dezía del bestido que se bisten para dansar y baylar taquies que hazen los yndios con bestidos de plata, oro, culque curi cusma, cacro, chipana, canipo, culqui uayta, topos, todo de oro y plata.
Una cosa todavía mas cierta es que en el dia del juicio caminarán todos los muertos por debajo de la tierra como topos, segun dice el Talmud, para ir al valle de Josafat, que está entre la ciudad de Jerusalem y el monte Olivete.
Para se casar, dizen que pedió a su padre al sol dote y le dio dote y se casaron madre y hijo. Y la dicha Mama Uaco, coya, tenía su bestido de rrosado y tenía sus topos muy grandes de plata.
Como soy historiador moderno, me pongo a hurgar bajo la tierra, saco tales y cuales lápidas y fósiles, digo que unos garabatos que tienen las primeras dicen que si fue, que si vino, y que la forma y dimensiones que tienen los segundos prueban esto, lo otro o lo de más allá, y… ¡que me echen frailecitos eruditos que convirtiéndose en topos me prueben con lápidas y fósiles que el verdadero topo soy yo!
Se dice que las ostras tienen dos sentidos, los topos cuatro, y cinco los demas animales como el hombre: algunas personas han admitido un sesto sentido; pero es evidente que la sensacion voluptuosa, de que quieren hablar, se reduce al sentido del tacto, y que cinco sentidos son nuestro patrimonio.
Entre los esfuerzos civiles organizados, surgió el grupo que posteriormente se incorporaría como la Brigada de Rescate Topos Tlatelolco.
The triumph of the idea of the significance of the subconscious | S. Volozhin | Word Lab | Topos
“Art”, that is, conscious intentionality, is not enough; “furiousness” is necessary, the participation of the subconscious; moreover, it alone gives perfection to the work.
Mukarzhovsky
I declare right away: I am not writing in the usual way. I know where I want to lead you, reader. Toward the recognition of the defining significance of the subconscious* for art. I want to boast that my reflections on the subconsciousness of the use of unsteady syntactic connections by romantics in their poems, etc. was confirmed by the opinion of Mukarzhovsky, a Czech esthetician and literary critic.
To do this, I need to start from a very distant place, with Baratynsky’s “Stans” (1827) (that’s how the poem was for some reason named when it was published).
Fate imposed chains
Fell from my hands, and again
I see you, dear steppes,
My initial love.
Desirable vault of the steppe sky,
jets of steppe air,
I am in a breathless bliss on you
My eyes stopped.
But it was sweeter for me to see
Forest on the slope of two hills
And a modest house in the garden thicket –
Orphanage for infants.
You flew by, golden time!
Since then, I have wandered around the world
And watched the human tribe
And, watching, grieved.
An ardent striving for the good
It was given to me from heaven;
But did division gain,
But did it bear fruit?
I knew the brothers; but young dreams
Connected us for a moment:
Others live in poverty,
And there are no others in the world.
I am yours, dear dubrova!
But from violent fates
Pray for protective shelter
I did not come to you alone.
I brought your saint under the shade
I am an accomplice in prayers –
My young wife
With a quiet baby in her arms.
.
Let me not yearn for the light,
Having forgotten people,
I will save the idols of the heart
Alone, alone in my love.
Evgeny Abramovich Baratynsky (1800 – 1844)
07 “symbolist poetry”. In the sense that his good ideal is already in the superfuture, like the Symbolists, the real world is so bad, according to Baratynsky. The mere fact that he, albeit one of the impoverished nobles, nevertheless suddenly took and stole a large sum of money and threw himself out of ordinary life, has a lot to say. The very name “Mara” is apt, “merging the subjective with the objective and deriving it from the real”. This is both the poet’s objective birthplace and leads to a subjectively unattainable return to the past, that is, to the unattainability of good for oneself in the future.
Although, it would seem, we have before us – materially – here it is: the return and liberation from the past. – And why? – But because is given “bizarrely confusing syntax”. Here is the first quatrain… After all, love is an experience. And at the same time she is “steppes” . Moreover, it’s not that “steppes” opened up before my eyes. No. They are addressed as animated objects: “I see you” . The same in the second quatrain: an appeal, as to the animated ones, to the vault of the sky, to the streams of air. And after all, it would seem that these are distant and elusive things. But no! If it were so, it would be romanticism with its flight (from the here, from materiality) into such non-materiality as one’s own beautiful soul. But Baratynsky is not so! They are perceptible, jets of air, both the vault of the sky and the steppe are visible. Objectively is subjective! It is, but it is just in a terrible distance.
Everything is very unusual from the usual point of view.
And by what is expressed, and by how it is expressed.
Accordingly, the public is dissatisfied:
“So, in the Ladies’ Journal of 1827 (part 22) an article was printed: “A letter to the Luzhnitsky elder about the rapid successes of Russian poetry” signed “Yu – K-v” . This is a vicious analysis of Baratynsky’s “Stans” from the point of view of the archaic classic who hates “the colorful, striped and checkered attire of the Romantic age, “poetry” in a new and most perfect taste.” The author is dissatisfied with the romantic isolation of the lyrics from the outside world. He analyzes the beginning of the Stanzas (according to the first edition of the Moscow Telegraph, 1828, No. 2):
Burdensome chains
Fell from my hands – and again
I see you, dear steppes,
My initial love.
“Isn’t it true that the sad stanza is excellent? You may ask: from what chains did the poet escape? where was he? The reader does not need to know about this; the first two verses are picturesque, new, and therefore wonderful!” the critic scoffs.
“Further on, you will probably say that native steppes can be neither initial, nor intermediate, nor final love, just as love is neither a steppe, nor a meadow, nor a field. I agree: yes it is in the old way; the romantic world is a world of transformations: there tales appear in faces.
But it was sweeter to see
Forest, on the slope of two hills,
And a modest house in the garden thicket –
Orphanage for infants.
Do you feel, do you feel, my venerable one, the sweetness of the first verse, truly piistic? Where can you find similar ones? Ah, sweeter, sweeter! we would not have tasted better than now, if we would not have followed you in the garden thicket… tyrant rhyme…
pure aspiration for good0002 It was given to me from heaven;
But did it find division?
But did it bear fruit?
What, venerable old man? do you wince, yawn and seem to understand nothing? I confess, and I, as in the darkness of the night.
There is a reason for this: we are not initiated into the sacraments – to touch the intangible, to interpret the stupid, to be surprised at the strange; higher contemplatives comprehend this. So! you alone, O higher contemplators! you alone can explain to us the meaning of the last two verses… Indeed, has the division found anything, or has anyone found a division, and what and with whom? Who has borne fruit: is pure aspiration, or division, or the author himself, or, finally, his solemn stanzas good? .. “” .
Those accustomed to classicism were outraged. It is necessary, de, “so that the plot never deviates from the sequence and does not look for a brilliant word too far away.”
For example, Lomonosov poeticizes the First Psalm of David (its beginning):
“1 Blessed is the man who does not go to the council of the wicked and does not stand in the way of sinners and does not sit in the assembly of corrupters…” (Ps 1).
Blessed is he who does not go to the evil in council,
He doesn’t want to follow sinners,
And with those who lead to destruction,
To sit in concordant thoughts.
Done, “so that the individual parts, obeying the refined art of [rhythm and rhyme] , are combined into a single whole [verb ( “Blessed” ) and listing to whom it refers – clearly and clearly] ”.
Baratynsky also “strongly connected with the 18th century. not only in the language and forms of his poetry, but also in that basic rational tone.
(Language “is distinguished by a “high” vocabulary” : “Fate”, “bliss”, “shelter”, “gold”, “oblivion”, “Idols” . Reasonable tone: “ Stopped my eyes ”, “ observed the human tribe ”, “I will not remember being” .)
No. Some kind of rebellion is evident … And – the dissatisfaction of readers. It turns out that, as it were, unintentionality broke through against the will of the author.
What does Mukarzhovsky write when he sees such unintentionality?
“…it is interpreted as the result of subconscious processes in the author’s psyche” .
How did I come to the same conclusion? I did not notice anything unusual when reading poetry. Only after reading a literary critic of the highest class, Gukovsky, my jaw dropped – WHAT, it turns out, was hidden in poetry. And I thought that human consciousness could not be so prudent as to arrange everything SO well, so accurately, multiplely and elegantly figuratively express the innermost of the author. Only the subconscious mind can do this.
Seeing in Gukovsky how the adherents of classicism rebelled, I could judge differently: the innovators simply didn’t do it the same way. How the current others show off. (I once overheard the cynical confession of an artist to a friend in front of his picture: “Now it’s not fashionable to write with smooth strokes – so I write rudely.” This opportunist does not care that there is nothing in common between his innermost and his paintings. He holds his nose to the wind, fashion catches.) But somehow I didn’t want to think so badly about the artists of the word glorified by the time.
– I attributed the miraculous hit, HOW it is expressed, into WHAT it is expressed, to the omnipotence of the subconscious. Well, do not blame God, the Omnipresent?
And now I’m glad that I’m not alone.
* – By “subconscious” the author means “not controlled by consciousness”.
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Questions of theory and practice (included in the list of VAK) . Tambov: Diploma, 2017. No. 5. Part 1. S. 30-34. 
As a result of the study, for the first time, a conclusion is made about the transformation of the topos of the origin of the saint, traditional for hagiography, and its transformation into a symbolic-biblical explanation of the “heavenly” path of the ascetic. The analysis showed that significant works in the formation of a new topos of the origin of the saint in such hagiographies were the corpus of hagiographic-hymnographic texts about the righteous Jacob of Borovichi in the 16th-17th centuries. 
A free PDF viewer can be downloaded here. 
M.: Nauka, 1990. 224 p. 
Petrozavodsk: Karelian Scientific Center of the Russian Academy of Sciences, 2011, pp. 455-457. 