En el siguiente artículo abordamos Zama, una de las novelas más importantes de la literatura latinoamericana del siglo XX, centrándonos en la construcción de la subjetividad de su protagonista y en ...cómo se imbrican en ella los planos del individuo y del contexto histórico-político (fines del período colonial). Con el sostén de ciertos nudos del pensamiento existencialista, pero sin tomar sus postulados como prescripciones, recorremos el itinerario de Diego de Zama para indagar en la forma en que construye, para habitar, un entrelugar delimitado por el deseo y la espera, en el que se ponen en juego dos atributos fundamentales de lo humano: la libertad y la conciencia de muerte.
En este artículo, abordaremos el planteamiento de la frontera en Zama de Antonio Di Benedetto y la forma en que interactúa con los conceptos proyectivos de la nación argentina ideados por la ...historiografía mitrista. A través de un análisis sociohistórico, veremos cómo la novela dialoga con la construcción del sujeto argentino –establecida a partir de la fundación del Estado nacional, mediante semas dicotómicos y marginalizadores como el binomio civilización/barbarie– para fundamentar nuestra hipótesis de lectura: al contar la historia de un protagonista imposibilitado de alcanzar el progreso y de interpretar el mundo fronterizo que lo rodea, Zama desarticula el paradigma inspirado por el racionalismo occidental y exhibe, en su lugar, una visión compleja del espacio americano en donde la perspectiva europeizante cede el paso a matrices nativas de conocimiento. De este modo, estableceremos que la obra de Di Benedetto revaloriza los saberes americanos, muestra una identidad argentina “transculturada” por la otredad (desde la perspectiva de Ángel Rama) y se constituye como precedente para la corriente de novelas históricas que, a partir de la segunda mitad del siglo XX, buscó replantear las bases restrictivas del “ser argentino” y proponer formas más plurales de comprender la nación, sus espacios y sujetos.
Lucrecia Martel's Zama (2017) is the adaptation of the homonymous novel by Antonio di Benedetto, published in 1956. The action takes place in the 18th century, something we know from the novel, and ...from the representation of colonial society in the film. The film, however, does not make any clear indication of the time period in which the action takes place. Instead, it immerses the spectator in an atmosphere that is both natural and social. This immersion is achieved through sound and its connection with images. However, it does not entail illusion but is, in fact, intertwined with critical distance. This paper explores the apparent paradox between immersion and critique, by examining sound, the creation of a multisensory atmosphere, the composition of the frames, and the geometry of some scenes. Ultimately, then, this paper analyzes the connection between sound, image and power structures.
This paper proposes a reading of El pentágono, by the Argentine writer Antonio Di Benedetto, from the dialogue with the French pataphysics and with the experimental forms that, since the ...mid-twentieth century, embraced Alfred Jarry’s proposal as a more experimental and playful variant of absurd, fruitful for contesting positivist concept of reality. Emphasizing imagination, compositional freedom, experimentalism, and language as the aim of fiction, we analyze how Di Benedetto draws upon antimetaphysical conjecture and the universe of the potential, typical of the pataphysicists, and OuLiPo’s contraintes, to create a literary object in which meaning plays an elusive role that invites misunderstanding and multiple interpretations. Finally, it concludes with the novelty that El pentágono supposed in its production context and the work’s restitution in the avantgarde novel panorama.
Este artículo emprende una lectura de El pentágono, del escritor argentino Antonio Di Benedetto, en diálogo con la patafísica francesa y con las formas experimentales que, desde mediados del siglo xx, abrazaron la propuesta de Alfred Jarry como variante más experimental y lúdica del absurdo, fructífera para impugnar la concepción positivista de lo real. Destacando la imaginación, la libertad compositiva, el experimentalismo y el lenguaje como fin de la ficción, se indaga cómo Di Benedetto recurre a la conjetura antimetafísica y al universo de lo potencial, propio de los patafísicos, y a las contraintes del OuLiPo, para crear un objeto literario en el que el sentido juega un rol escurridizo que invita al equívoco y a la multiplicidad de interpretaciones. Finalmente, se concluye con la novedad que El pentágono supuso en su contexto de producción y la restitución de la obra en el panorama de la novela de vanguardia.
Antonio Di Benedetto wrote a novel titled El silenciero, and its topic, he says, is abandonment; the narrator, without a name, suffers from abandonment and wants to write a novel, the topic of which ...is abandonment, he says, and title it El techo, but he never begins writing. In El silenciero, thus, we are faced with two novels: one written and the other one not; one says and the other one does not. El silenciero, consequently, may be read and understood as a commentary on the limits of language and the role of silence when it comes to communicating ideas. Under this framework, this article proposes that the novel suggests when one attempts to explain and understand the world, even when departing from logic and tautologic relationships, little can be said without becoming nonsensical and, as Wittgenstein suggests, when it is not possible to say something meaningful, silence is what fills the gap.
La animalidad es un tema recurrente en la obra narrativa de Antonio Di Benedetto. En este artículo, me enfocaré en uno de sus más célebres relatos, "Caballo en el salitral" (1961). A partir de ...algunos conceptos de Jakob Von Uexküll (mundo circundante), Martin Heidegger (pobreza de mundo y perturbamiento) y Jacques Derrida (sobrevida), este trabajo propone una lectura de "Caballo en el salitral" que intenta exceder la reducción simbólica del relato a su significación humana. En contraste, conjetura una apuesta especulativa en torno a las nociones de organismo, animalidad, vida y muerte en las que convergen la imaginación literaria, filosófica y científica. Palabras clave: Antonio Di Benedetto, Caballo en el salitral, literatura argentina, filosofía contemporánea, estudios de animalidad Animality is a recurring subject in the narrative work of Antonio Di Benedetto. In this article, I focus on one of his most famous stories, "Caballo en el salitral" (1961). Based on some concepts of Jakob Von Uexküll (surrounding-world), Martin Heidegger (poverty of world and captivation) and Jacques Derrida (survival), this paper proposes a reading of "Caballo en el salitral" that attempts to exceed the symbolic reduction of the story to its human significance. By contrast, we conjecture a speculative commitment to the notions of organism, animality, life and death in which literary, philosophical and scientific imagination converge. Keywords: Antonio Di Benedetto, Caballo en el salitral, Argentinian literature, contemporary philosophy, animal studies
Antonio Di Benedetto (1922-1986), one of the most important Argentinean writers of the twentieth century, published in 1953 Mundo Animal, a volume of short stories in which the animal figure becomes ...fundamental, as its title makes explicit. Within the fictional universe of the work, this figure is incarnated in the human and vice versa, suggesting that humanity, beyond its exclusive attributes -reason and language-, shares a broad common substratum with other living beings. This existential configuration not only provokes hesitations in the reader, but has also ontological implications, that is, it leads to questioning about meaning schemes and the human condition in these fantasticallegorical stories. The purpose of this paper is then to investigate and interpret Di Benedetto's fictionalization of these encounters and borders between the animal and the human, analyzing different textual manifestations of this question: the quid pro quo procedure, the non-human narrators, the animality of children, the relationship with psychic pathologies, the ontological proximity between the two worlds, the metaphor of the mirror, and the corporality.
El artículo propone una lectura de El pentágono, primera novela del escritor argentino Antonio Di Benedetto. Esta lectura intenta superar las clasificaciones genéricas que se dividen entre el ...realismo literario y el fantástico, pero también discute la interpretación meramente antirrealista de la novela. Para ello, utiliza el concepto de imaginación y propone una hipótesis que se pretende generalizable al resto de la obra.
Tradition is presented in the work of Juan José Saer as a constant object of debate and investigation. My intention is not to return to a reading of Saer's place in relation to the extensive literary ...horizon of Argentina, something that critics such as Ricardo Piglia and Julio Premat have already done, but rather to concentrate on Saer's El Entenado (1983) as a novel that articulates a new way of reading and thinking the Argentine cultural tradition.
The presence of animals, both domestic and wild, is a constant in the narrative of the Argentine writer Antonio Di Benedetto. The presence of the irrational assumes various functions, while it shapes ...a kind of personal symbolism, whose meaning, intrinsic to the work, but also in relation to universal culture, may still be deepened from different angles. In this sense, it intends to delve into the symbolic significance of the animals on the brief narrative of the author, to illuminate the interpretation of his dense work as well as that of his poetics. PUBLICATION ABSTRACT