التفاصيل البيبلوغرافية
| العنوان: |
La vanguardia paradójica de Juan José Saer: señuelos y escamoteos. (Spanish) |
| Alternate Title: |
The paradoxical avant-guard of Juan José Saer: lures and scamages. (English) |
| المؤلفون: |
Longoni, Bruno |
| المصدر: |
Literatura y Lingüística; 2024, Issue 49, p137-154, 18p |
| مصطلحات موضوعية: |
WESTERN civilization, SELF-portraits, ICONOCLASM, PARODY, NONCITIZENS, HAIKU, APOCRYPHAL Gospels |
| People: |
SAER, Juan Jose, 1937-2005 |
| Abstract (English): |
From the iconoclasm of Sor Teresita and the prevalence of her iterative drive to the combination of the invariant and the fluid that Verde and Verdecito take up from the Japanese haiku, The clouds (1997) reverses the sign of the aristofan parody: if the Greek theatrical comedy mocks the Socratic whims of the dilettantes, Saer undertakes a subtle exaltation of those discards by the western civilization model, expatriates of the Platonic Republic. This caravan of apocryphal self-portraits linked to the avant-garde finds its myth of origin in that curious mixture of Juan L. Ortiz and Macedonio Fernández that Washington Noriega plays in The sixty-five years of Washington (1986), quintessence of the inorganic and fragmentary writer whose superior intelligence exempts him from the transited roads of publishing and recognition. The narrative of Juan José Saer place itself on that paradox: that of the writer outside the tendencies and the market that seeks, nevertheless, to become visible. [ABSTRACT FROM AUTHOR] |
| Abstract (Spanish): |
Desde la iconoclastia lectora de Sor Teresita y su pulsión iterativa disolvente del sentido textual a la combinación de lo invariante y lo fluido que Verde y Verdecito retoman del haikú japonés, Las nubes (1997) invierte el signo de la parodia aristofánica: si la comedia teatral griega se burla de las veleidades socráticas de los diletantes, Saer emprende una sutil exaltación de esos descartes del modelo civilizatorio occidental, expatriados de la República platónica. Esa caravana de autorretratos apócrifos vinculados a la vanguardia halla su mito de origen en esa curiosa mezcla de Juan L. Ortiz y Macedonio Fernández que encarna Washington Noriega en Glosa (1986), quintaesencia del escritor inorgánico y fragmentario, cuya inteligencia superior lo exime de los transitados caminos de la publicación y el reconocimiento. La narrativa de Juan José Saer se emplaza sobre esa paradoja: la del escritor al margen de las tendencias y el mercado que persigue, no obstante, la visibilidad. [ABSTRACT FROM AUTHOR] |
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