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Frases de George Steiner

Francis George Steiner , conocido como George Steiner, es un profesor, crítico y teórico de la literatura y de la cultura, y escritor.

Es profesor emérito del Churchill College de la Universidad de Cambridge y del St Anne's College de la Universidad de Oxford.

Su ámbito de interés principal es la literatura comparada. Su obra como crítico tiende a la exploración, con reconocida brillantez, de temas culturales y filosóficos de interés permanente, contrastando con las corrientes más actuales por las que ha transitado buena parte de la crítica literaria contemporánea. Su obra ensayística ha ejercido una importante influencia en el discurso intelectual público de los últimos cincuenta años.

Steiner escribe desde 1995 para The Times Literary Supplement; a lo largo de su trayectoria, ha colaborado también con otras publicaciones periódicas, tanto de forma continua , como esporádica .

Ha publicado, además, varias novelas y libros de poesía.

✵ 23. abril 1929 – 3. febrero 2020
George Steiner Foto
George Steiner: 95 citas19 Me gusta

Frases célebres de George Steiner

“Los estereotipos son verdades cansadas.”

George Steiner

“No nos quedan más comienzos.”

George Steiner

“Lo que no se nombra no existe.”

George Steiner

“No hay lenguas pequeñas. no existen sintaxis primitivas. Cada lengua, sabemos, genera y articula una visión del mundo, una narrativa del destino humano, una construcción de futuribles de la cual no hay facsímil en ninguna otra.”

George Steiner

“El error es el punto de partida de la creación.”

George Steiner

Frases de amor de George Steiner

“El amor más intenso, quizá más débil que el odio, es una negociación, nunca concluyente, entre soledades.”

George Steiner

Dix raisons (possibles) à la tristesse de pensée

“Si no se puede enseñar el amor, ¿se puede enseñar el odio?”

George Steiner

“La crítica literaria suele proceder de déficit de amor.”

George Steiner

Frases de muerte de George Steiner

“La gran maestra de la democracia es la muerte. Todo”

George Steiner

Fragmentos

“Las narraciones son ensayos para la muerte.”

George Steiner

George Steiner Frases y Citas

“No cabe duda de que el contraataque más exuberante lanzado por escritor alguno contra la reducción del lenguaje es el de James Joyce. Después de Shakespeare y de Burton, la literatura no había conocido semejante goloso de las palabras. Como si se hubiera dado cuenta de que la ciecnia había arrebatado al lenguaje muchas de sus antiguas posesiones, de sus colonias periféricas, Joyce quiso anexionarle una nuevo reino subterráneo. El Ulises pesca en su red luminosa la confusión viva de la vida inconsciente; Finnegan´s Wake destruye los bastiones del sueño, Joyce, como nadie había después de Milton, devuelve al oído inglés la vasta magnificiencia de su ancestro. Comanda grandes batallones de palabras, recluta nuevas palabras hace tiempo olvidadas u oxidadas, llama a filas otras palabras nuevas convocadas por las necesidades de la imaginación.”

George Steiner

“Babel es tal vez una bendición misteriosa e inmensa. Las ventanas que abre una lengua dan a un paisaje único. Aprender nuevas lenguas es entrar en otros tantos mundos nuevos.”

George Steiner

http://www.fce.com.mx/prensaImprimir.asp?art=271

“Al mirar hacia atrás, el crítico ve la sombra de un eunuco. ¿Quién sería crítico si pudiera ser escritor?”

George Steiner

“La inhumanidad es perenne.”

George Steiner

“La inmensa mayoría de las biografías humanas son un grisáceo relato que se desarrolla entre espasmos domésticos y el olvido.”

George Steiner

La Poscultura

“Schopenhauer asegura que cuando nuestro universo se extinga, la música permanecerá. Para”

George Steiner

Fragmentos

“«Existimos para la oscuridad». ¿Esto”

George Steiner

Fragmentos

“No se trata solo de que los vehículos convencionales de la civilización —las universidades, las artes, el mundo del libro— fueran incapaces de presentar resistencia apropiada a la brutalidad política; a veces se levantaron para acogerla y tributarle sus ceremonias y su apología. ¿Por qué? ¿Cuáles son los nexos, hasta ahora apenas conocidos, entre las pautas intelectuales, psicológicas, del alto saber literario y las tentaciones de lo inhumano.”

George Steiner

Language & Silence: Essays on Language, Literature & the Inhuman
Steiner, G. (2006). Sevilla: Editorial Gedisa (trabajo original publicado en New York, 1976), p. 12.

“Los idiolectos del pensamiento, las privacidades de lo no dicho son de un orden mucho más profundo e inalcanzable.”

George Steiner

Dix raisons (possibles) à la tristesse de pensée

George Steiner: Frases en inglés

“Nothing in the next-door world of Dachau impinged on the great winter cycle of Beethoven chamber music played in Munich. No canvases came off museum walls as the butchers strolled reverently past, guide-books in hand.”

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George Steiner

"In a Post-Culture".
In Bluebeard's Castle (1971)

“We speak still of "sunrise" and "sunset." We do so as if the Copernican model of the solar system had not replaced, ineradicably, the Ptolemaic. Vacant metaphors, eroded figures of speech, inhabit our vocabulary and grammar. They are caught, tenaciously, in the scaffolding and recesses of our common parlance. There they rattle about like old rags or ghosts in the attic.”

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George Steiner

Fuente: Real Presences (1989), I: A Secondary City, Ch. 1 (p. 3).

“Literature and the arts are also criticism in a more particular and practical sense. They embody an expository reflection on, a value judgement of, the inheritance and context to which they pertain.”

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George Steiner

Fuente: Real Presences (1989), I: A Secondary City, Ch. 4 (p. 11).

“Language can only deal meaningfully with a special, restricted segment of reality. The rest, and it is presumably the much larger part, is silence.”

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George Steiner

"The Retreat from the Word," Kenyon Review (Spring 1961).
Language and Silence: Essays 1958-1966 (1967)

“We know now that a man can read Goethe or Rilke in the evening, that he can
play Bach and Schubert, and go to his day's work at Auschwitz in the
morning.”

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George Steiner

Preface.
Language and Silence: Essays 1958-1966 (1967)
Contexto: We come after. We know now that a man can read Goethe or Rilke in the evening, that he can play Bach and Schubert, and go to his day's work at Auschwitz in the morning. To say that he has read them without understanding or that his ear is gross, is cant. In what way does this knowledge bear on literature and society, on the hope, grown almost axiomatic from the time of Plato to that of Matthew Arnold, that culture is a humanizing force, that the energies of spirit are transferable to those of conduct?

“In aesthetic discourse, no interpretative-critical analysis, doctrine or programme is superseded, is erased, by any later construction. The Copernican theory did correct and supersede that of Ptolemy. The chemistry of Lavoisier makes untenable the early phlogiston theory. Aristotle on mimesis and pathos is not superseded by Lessing or Bergson. The Surrealist manifestos of Breton do not cancel out Pope's Essay on Criticism though they may well be antithetical to it.”

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George Steiner

Fuente: Real Presences (1989), II: The Broken Contract, Ch. 3 (p. 76).

“The private ownership of great art, its seclusion from the general view of men and women, let alone from that of interested amateurs and scholars, is a curious business. The literal disappearance of a Turner or a Van Gogh into some Middle Eastern or Latin-American bank vault to be kept as investment and collateral, the sardonic decision of a Greek shipping tycoon to put an incomparable El Greco on his yacht, where it hangs at persistent risk — these are phenomena that verge on vandalism.”

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George Steiner

"The Cleric of Treason".
George Steiner: A Reader (1984)

“The journalistic vision sharpens to the point of maximum impact every event, every individual and social configuration; but the honing is uniform.”

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George Steiner

Fuente: Real Presences (1989), I: A Secondary City, Ch. 6 (p. 27).

“Do the identifications with fictions, the inner, tidal motions of pathos and libido which the novel, the film, the painting, the symphony unleash within us somehow immunize us against the humbler, less formed, but actual claims of suffering and of need in our surroundings? Does the cry in the tragic play muffle, even blot out, the cry in the street?”

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George Steiner

Fuente: Real Presences (1989), III: Presences, Ch. 1 (p. 144).

“When it turned on the Jew, Christianity and European civilization turned on the incarnation — albeit an incarnation often wayward and unaware — of its own best hopes.”

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George Steiner

"A Season in Hell".
In Bluebeard's Castle (1971)

“Creation of absolutely the first rank — in philosophy, in music, in much of literature, in mathematics — continues to occur outside the American milieu. It is at once taken up and intelligently exploited, but the "motion of the spirit" has taken place elsewhere, amid the enervation of Europe, in the oppressive climate of Russia. There is, in a good deal of American intellectual, artistic production (recent paining may be a challenging exception) a characteristic near-greatness, a strength just below the best. Could it be that the United States is destined to be the "museum culture?"”

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George Steiner

"Tomorrow".
In Bluebeard's Castle (1971)

“Nothing in a language is less translatable than its modes of understatement.”

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George Steiner

Fuente: The Death of Tragedy (1961), Ch. III (p. 104).

“Literary criticism has about it neither rigour nor proof. Where it is honest, it is passionate, private experience seeking to persuade.”

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George Steiner

Fuente: The Death of Tragedy (1961), Ch. X (p. 351).

“In the Soviet Union, he knew, great art hangs in public galleries. No scholars, no men and women waiting to mend their souls before a Raphael or a Matisse need wait, cap in hand at the mansion door.”

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George Steiner

"The Cleric of Treason".
George Steiner: A Reader (1984)

“It was a brilliant, mutinous period. Brecht gave back to German prose its Lutheran simplicity and Thomas Mann brought into his style the supple, luminous elegance of the classic and Mediterranean tradition. These years, 1920-33, were the anni mirabiles of the modern German spirit.”

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George Steiner

"The Hollow Miracle" (1959).
Language and Silence: Essays 1958-1966 (1967)

“Almost alone among cognitive-aesthetic movements and strategies of interpretation, deconstruction neither champions any body of past literature or art, nor does it act as vanguard or advocate for any contemporary or incipient school. The New Criticism and T. S. Eliot strove for the revaluation of Metaphysical poetry so as to underwrite, in turn, certain tactics of modenity. Aristotle was advocate for Sophocles. Deconstruction is, intentionally, marginal (a key trope) to all histories of taste and manifestos for innovation.”

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George Steiner

Fuente: Real Presences (1989), II: The Broken Contract, Ch. 7 (p. 117).

“What I affirm is the intuition that where God's presence is no longer a tenable supposition and where His absence is no longer a felt, indeed overwhelming weight, certain dimensions of thought and creativity are no longer attainable. And I would vary Yeats's axiom so as to say: no man can read fully, can answer answeringly to the aesthetic, whose "nerve and blood" are at peace in sceptical rationality, are now at home in immanence and verification. We must read as if.”

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George Steiner

Fuente: Real Presences (1989), III: Presences, Ch. 7 (p. 229).

“The Socratic demonstration of the ultimate unity of tragic and comic drama is forever lost. But the proof is in the art of Chekhov.”

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George Steiner

Fuente: The Death of Tragedy (1961), Ch. VIII (p. 302).

“The immense majority of human biographies are a gray transit between domestic spasm and oblivion.”

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George Steiner

"In a Post-Culture".
In Bluebeard's Castle (1971)

“Cheap music, childish images, the vulgate in language, in its crassest sense, can penetrate to the deeps of our necessities and dreams. It can assert irrevocable tenure there. The opening bars, the hammer-beat accelerando of Edith Piaf's Je ne regrette rien — the text is infantile, the tune stentorian, and the politics which enlisted the song unattractive — tempt every nerve in me, touch the bone with a cold burn and draw me into God knows what infidelities to reason, each time I hear the song, and hear it, uncalled for, recurrent inside me.”

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George Steiner

Fuente: Real Presences (1989), III: Presences, Ch. 4 (p. 183).

“Verse no longer stands at the centre of communicative discourse. It is no longer, as it was from Homer to Milton, the natural repository of knowledge and traditional sentiment. It no longer gives to society its main record of past grandeur or its natural setting for prophecy, as it did in Virgil and Dante. Verse has grown private. It is a special language which the individual poet insinuates, by force of personal genius, into the awareness of his contemporaries, persuading to learn and perhaps hand on his own uses of words. Poetry has become essentially lyric — that is to say, it is the poetry of private vision rather than of public or of national occasion.”

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George Steiner

Fuente: The Death of Tragedy (1961), Ch. IX (p. 309).

“When the modern scholar cites from a classic text, the quotation seems to burn a hole in his own drab page.”

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George Steiner

Fuente: The Death of Tragedy (1961), Ch. IX: (p. 314).

“We cannot turn back. We cannot choose the dreams of unknowing. We shall, I expect, open the last door in the castle, even if it leads, perhaps because it leads, on to realities which are beyond the reach of human comprehension and control. And we shall do so with that desolate clairvoyance, so marvellously rendered in Bartok's music, because opening doors is the tragic merit of our identity.”

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George Steiner

"Tomorrow"
In Bluebeard's Castle (1971)

“Fantasizing about action out there in the 'real' world, spinning dreams abut the secret centrality, about the occult importance of the labours in which he has interred his existence — labours that the vast majority of his fellow men would deem wholly marginal and socially wasteful if they knew of them at all — the pure scholar, the master of catalogues, can sup on hatred. At the ordinary level, he will exorcize his spleen in the ad-hominem nastiness of a book review, in the arsenic of a footnote. He will vent his resentments in the soft betrayals of an ambiguous recommendation or examination report and in the scorpion's round of a committee on tenure. The violence stays formal. Not, one supposes, in Professor Blunt.”

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George Steiner

"The Cleric of Treason"
George Steiner: A Reader (1984)

“A sentence always means more. Even a single word, within the weave of incommensurable connotation, can, and usually does.”

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George Steiner

Fuente: Real Presences (1989), II: The Broken Contract, Ch. 4 (p. 82).

“For it is a plain fact that, most certainly in the West, the writings, works of art, musical compositions which are of central reference, comport that which is "grave and constant" (Joyce's epithets) in the mystery of our condition.”

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George Steiner

Fuente: Real Presences (1989), III: Presences, Ch. 6 (p. 224).

“Men are accomplices to that which leaves them indifferent.”

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George Steiner

"A Kind of Survivor".
Language and Silence: Essays 1958-1966 (1967)

“But I would like to think for a moment about a man who in the morning teaches his students that a false attribution of a Watteau drawing or an inaccurate transcription of a fourteenth-century epigraph is a sin against the spirit and in the afternoon or evening transmits to the agents of Soviet intelligence classified, perhaps vital information given to him in sworn trust by his countrymen and intimate colleagues. What are the sources of such scission? How does the spirit mask itself?”

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George Steiner

"The Cleric of Treason," The New Yorker (1980-12-08).
George Steiner: A Reader (1984)

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