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By Fernando ZALAMEA

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Additional resources for America – una trama integral: Transversalidad, bordes y abismos en la cultura americana, siglos XIX y XX

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32, «Cetology». Melville, Moby-Dick, cap. 67, «Cutting In». Melville, Moby-Dick, cap. 74, «The Sperm Whale’s Head» y cap. 75, «The Right Whale’s Head». Melville, Moby-Dick, cap. 76, «The Battering Ram». Melville, Moby-Dick, cap. 80, «The Nut». Melville, Moby-Dick, cap. 86, «The Tail». Melville, Moby-Dick, cap. 103, «Measurement of the Whale’s Skeleton». Melville, Moby-Dick, cap. 42, «The Whiteness of the Whale». Melville, Moby-Dick, cap. 55,«Monstrous Pictures of Whales» y cap. ». Melville, Moby-Dick, cap.

En algunos momentos privilegiados del siglo XIX norteamericano, se produce así una mezcla enteramente original de romanticismo y pragmatismo, que encontraremos también modulada —o «iterada» (véase la segunda parte del ensayo)— hacia el siglo XX. S. Peirce elevaría a verdadera modalidad filosófica con sus definiciones y estudios alrededor del «pragmatismo», desde fines de la década de 1870—. Reynolds ha mostrado cómo los mirabili cinco años (1850-1855) que produjeron, en literatura, La letra escarlata, Hombres representativos, Moby-Dick, Walden, Hojas de hierba, reposan en múltiples estratos de imaginería popular, fondo que los grandes escritores de la 45 Fernando Zalamea época moldean a voluntad y contraponen con los clásicos.

68 Ernst Cassirer, Antropología filosófica (México: Fondo de Cultura Económica, 1992) 119 y 123. Cassirer recuerda, a este propósito, unos versos impactantes de Milton, donde describe al mundo mítico como «un negro océano sin límites —sin dimensiones, donde se pierden lo largo, lo ancho, lo profundo— el tiempo y el espacio». Cassirer, 114. 55 Fernando Zalamea del mito consiste justamente en el flujo, pegamiento, o no diferenciación, del concepto y la cosa, la representación y el objeto, el todo y la parte.

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