Los territorios de la escritura radicante en El libro de Tamar y Tratado de arqueología peruana: una mirada al arte contemporáneo desde la literatura latinoamericana.
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Date
2024
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Universidad de Concepción
Abstract
La presente investigación busca develar, de manera comparada, los territorios de la escritura radicante presentes en El libro de Tamar de Tamara Kamenszain y Tratado de arqueología peruana de Roberto Zariquiey. Para ello se invoca el fenómeno de lo contemporáneo que se presenta en estas obras en forma de mutaciones poéticas. Siguiendo las consideraciones teóricas de Nicolas Bourriaud en Radicante (2009), es posible identificar en ambos corpus la forma-trayecto de la obra a partir de una estética del desplazamiento, alcanzada mediante la fusión de espacios literarios y no literarios que circundan a la poesía, lo que desencadena en los autores una obligada reflexión metapoética sobre los modos de escribir; asimismo, se explora la presencia de la intimidad éxtima y la realidad-ficción en la configuración del “yo”, provocando una suerte de vaciamiento literario al desarticular el canon en cuanto a la forma de pensar la literatura; y, por último, se indaga en la reescritura como ejercicio de traducción de signos y de voces del pasado, las que reaparecen en las obras en forma de espectros para colaborar en la construcción del presente. Ambos autores manejan conscientemente dichos artilugios artísticos con la finalidad de potenciar la realización de los objetivos propuestos en cada proceso creativo: la posibilidad de un reencuentro en el caso de Tamara, y el rescate de la verdad político-histórica del Perú, en el caso de Roberto. De esta forma, se logra elaborar una línea de lectura de ambos textos desde la altermodernidad y, al mismo tiempo, se hace posible desentrañar y proyectar la teoría radicante desde/hacia la literatura latinoamericana.
This research aims to unveil, comparatively, the territories of radicant writing in El libro de Tamar by Tamara Kamenszain and Tratado de arqueología peruana by Roberto Zariquiey. For this purpose, we call the phenomenon of the contemporary, which is presented in these works in the form of poetic mutations. Following Nicolas Bourriaud’s theoretical considerations in The Radicant (2009), it is possible to identify in each corpus the work’s form-trajectory from an aesthetics of movement, achieved through the fusion of literary and non-literary spaces that surround poetry, which triggers to the authors a compulsory metapoetic reflection on the ways of writing. Likewise, we explore the presence of extimate intimacy and reality-fiction in the configuration of the “ego”, causing a sort of literary emptying by disarticulating the canon with regard to the way of thinking literature. And, finally, we enquire into rewriting as a translation exercise of signs and voices of the past, which reappear in the works in the form of specters to collaborate in the construction of the present. Both authors consciously handle such artistic devices in order to strengthen the realization of the objectives proposed in each creative process: the possibility of an encounter in the case of Tamara, and the rescue of the politicalhistorical truth of Peru in the case of Roberto. In this way, it is possible to elaborate an interpretation of both texts from altermodernity and, at the same time, it is possible to unravel and project the radicant theory from/to Latin American literature.
This research aims to unveil, comparatively, the territories of radicant writing in El libro de Tamar by Tamara Kamenszain and Tratado de arqueología peruana by Roberto Zariquiey. For this purpose, we call the phenomenon of the contemporary, which is presented in these works in the form of poetic mutations. Following Nicolas Bourriaud’s theoretical considerations in The Radicant (2009), it is possible to identify in each corpus the work’s form-trajectory from an aesthetics of movement, achieved through the fusion of literary and non-literary spaces that surround poetry, which triggers to the authors a compulsory metapoetic reflection on the ways of writing. Likewise, we explore the presence of extimate intimacy and reality-fiction in the configuration of the “ego”, causing a sort of literary emptying by disarticulating the canon with regard to the way of thinking literature. And, finally, we enquire into rewriting as a translation exercise of signs and voices of the past, which reappear in the works in the form of specters to collaborate in the construction of the present. Both authors consciously handle such artistic devices in order to strengthen the realization of the objectives proposed in each creative process: the possibility of an encounter in the case of Tamara, and the rescue of the politicalhistorical truth of Peru in the case of Roberto. In this way, it is possible to elaborate an interpretation of both texts from altermodernity and, at the same time, it is possible to unravel and project the radicant theory from/to Latin American literature.
Description
Tesis presentada para optar al grado de Magíster en Literaturas Hispánicas.
Keywords
Literatura latinoamericana, Arte contemporáneo