The New Yorker: comemorando 96 anos de uma vibrante revista da cidade que não dorme - Clássicos

 

Lives in Profile This coming week, The New Yorker is celebrating its ninety-sixth anniversary. (The début issue was published on February 21, 1925.) When Harold Ross, the first editor, sent the prospectus for the magazine to potential investors and readers, in 1924, he wrote of his proposed new weekly, “the new yorker will be a reflection in word and picture of metropolitan life. It will be human.” The human part was significant—and still is. Ross expected the magazine’s writers, above all, to exhibit a voracious curiosity about their subjects—whether they were writing about the next literary sensation or the vender selling bagels down the street. In the subsequent years, the magazine created a department specifically for that purpose—to feature portraits, both intimate and surprising, of the characters driving the cultural, political, and more localized discussions of the day. Today, to mark our anniversary, we’re bringing you a selection of classic Profiles from our archive. In “Mazie,” published in 1940, Joseph Mitchell writes about an intriguing local figure who runs the ticket booth at a seedy movie theatre on the Bowery. (“At the Venice, Mazie is the bouncer. She tells intimates that she feels fighting is unladylike but she considers it her duty to throw at least one customer out of the theatre every day.”) In “Secrets of the Magus,” Mark Singer takes us behind the scenes with Ricky Jay, the acclaimed magician and master illusionist who took sleight of hand to new heights. In “A Pryor Love,” Hilton Als explores the groundbreaking vision of the comedian Richard Pryor. (“Pryor’s art defies the very definition of the word ‘order.’ He based his style on digressions and riffs—the monologue as jam session. He reinvented standup.”) In “Covering the Cops,” Calvin Trillin chronicles the career of the intrepid Edna Buchanan, Miami’s top crime reporter in the eighties. In “Living Large,” Susan Orlean profiles Fab Five Freddy, the pioneering rapper and one of the coolest men in nineties New York. In “Cotton-Dress Girl,” published in 1943, Janet Flanner considers the dynamic, unconventional personality of the actress Bette Davis. (“She is disciplined but unpredictable, is mettlesome, is creative, and hates monotony. She is truthful, and as candid as glass.”) Finally, in “A Sense of Where You Are,” John McPhee writes about the soaring athleticism of the Princeton basketball phenom (and future U.S. senator) Bill Bradley. The word “profile” suggests glimpsing someone from an unexpected angle. All of these pieces offer memorable and evocative impressions of their subjects, as well as of the eras to which they belong. We hope that you find them as captivating as we do—and that you’ll join us in celebrating some of the unforgettable personalities the magazine has highlighted over the past ninety-six years. —Erin Overbey, archive editor From The New Yorker’s Archive Profiles Mazie Mazie Gordon, queen of the Bowery. By Joseph Mitchell | December 21, 1940 Profile A Pryor Love The life and times of America’s comic prophet of race. By Hilton Als | September 13, 1999 Profiles Secrets of the Magus Ricky Jay does closeup magic that flouts reality. By Mark Singer | April 5, 1993  Profiles Living Large The world of Fab Five Freddy. By Susan Orlean | June 17, 1991 Newsletters Sign Up for the New Yorker Recommends Newsletter Discover what our staff is reading, watching, and listening to each week. Profiles Covering the Cops The world of Miami’s top crime reporter. By Calvin Trillin | February 17, 1986 Profiles Cotton-Dress Girl Bette Davis’s almost regal power in Hollywood still startles her, and she makes no use of it. By Janet Flanner | February 20, 1943 Profiles A Sense of Where You Are What makes a truly great basketball player? By John McPhee | January 23, 1965

Alunos do Instituto Rio Branco discutem ideias dos clássicos: novo livro da Funag

 Apresentação da publicação no site da Funag, Biblioteca Digital: 

 

Este livro reúne uma seleção de doze textos que foram também apresentados oralmente pelos alunos e debatidos em sala de aula, em torno de grandes ideias e autores do pensamento ocidental. A beleza em Kafka e Kant é deslindada por Rafael Bernardes, enquanto Matheus da Costa se debruça sobre o desejo na obra de Dante e Jorge Luiz adentra os segredos da linguagem na interpretação dos sonhos freudiana. Já Angelo Santos foi buscar os conceitos de ideia e de ideal em Vianna Moog. Luiz Eduardo expõe a surpreendente atualidade das Confissões de Santo Agostinho e Bernardo Pereira efetua avaliação precisa da complexa fenomenologia do Ser em Vicente Ferreira da Silva. Francisco Luiz e Victor ousaram enfrentar o tempo em Proust e Nietzsche, respectivamente. A ideia de ética em Aristóteles e Levinas foi minuciosamente tratada por Osvaldo Quirino, ao passo que Matheus de Souza examina de forma inovadora a cidadania em Grande sertão: veredas, Anna Paula investiga o constitucionalismo sob Tocqueville e Cauê Pimentel, o conceito de governo na visão de Hobbes e Locke.

Clássicos: coletânea de ensaios dos alunos do Instituto Rio Branco

http://funag.gov.br/biblioteca/index.php?route=product/product&product_id=1059

Autor	Fabio Mendes Marzano e Carlos Guilherme Sampaio Fernandes
Editor	FUNAG
Assunto	Coletânea. Resenhas. Estudos filosóficos. Instituto Rio Branco. Diplomacia brasileira.
Ano de edição	2020
Número de páginas	216
ISBN	978-65-87083-34-6

A frase da semana: o que e' um classico? Aposto que voce nao sabe...

Um clássico, segundo uma visão consagrada, e provavelmente verdadeira, é um livro -- mas pode-se aplicar a uma teoria científica também -- que todos citam, mas poucos leram, e ninguém compreendeu.

Exemplos?
A Teoria Geral, de Keynes.
Ou a teoria da relatividade, de Einstein.
O Capital, de Karl Marx.

Bem, fico por aqui, mas devem existir dezenas de outros exemplos.
Paulo Roberto de Almeida