El proyecto intellectual is founded by David Viñas en su lectura de la literature argentina policy. Su critical work exhib provocación la una de las bellas as arts.
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| David Viñas (1927-2011) |
Viñas The critical work always asserts the priority of a political reading. This condition, which also permeates his narrative and theater, is the ethical imperative that underpins their intellectual project. Stubbornness is not capricious: it is conceived and justified as a political action-oriented work to "bring in pictures." Phrases canonized as "The style is the man to whom one addresses", "Style is the most immediate result of the superstructure and, like the character, is a symptom" or "Every aesthetic implies a moral "back-translated provided a heads-up on the bar La Paz-like" man is his job, "his" particular laburo "his" task ";" the rest is the chattering, dribbling or inflation. " The adjustment is effective: specific returns to practice everyday materials and conjures the "myth of the writer" and work "traditionally sanctified." Restores intellectual function at the crossroads of a situation: read politically is to read here and now, with his hands in the mud, is to assume the political perspective not as one among others, but as that to which the other tend reading, reading not in rejection of these other readings, but rather to promote them and involving them, involving them in its echoes and reverberations. That said, I find no less unjust way to honor the political drive that ruled the life of the reviewing Viñas, if only swiftly, not the mythological and toiled anecdotes which boasts the spectacular figure, but the actual work rubrica his intellectual stature.
Reprinted with modifications on several occasions, Argentina and Literature political reality (1964), is the capital work. Defines the start and anticipated the guidelines of all his critical work. There, clear and sharp, Viñas sclerotic breaks the versions of literary history in Argentina (de Rojas Garcia Mérou), and read the process of "nationalization of Argentina literature" as a result of their articulation in the bourgeois political program: "Literature in Argentina is the history of national will, "meaning: it is (not shown) the history of the will of the bourgeoisie to impose its national project. Clearly perceived the alibi implicit in the idea of \u200b\u200b"nation" (where the bourgeoisie is invisible while universalizing his political project, imposing his ownership, legal and ideological configuration) and recognizes that literature is neither innocent nor alien to that process. The bourgeoisie is diluted in the "National Project" as well as in the "Literature" for her, there is no book that the Book bourgeois literature there is no national bourgeois literature, and there is no more authority than the bourgeois writer. Viñas discover covert complicity in the Triad nation bourgeoisie literature (literature naturalizes the ideological content from which the bourgeoisie imposed its political project and universalized) and shall endeavor to trace the political operations that the ruling class makes to the literature for the nation. Based on that, create a strategic reorganization of the material device literature emphasizing its political role. Lee at the confluence of text, gestures, voices and bodies, said conditions and verified elections builds objects, trace coordinates, time series diagram according to "thematic spots" or significant structures (mostly variants of the master-slave) has cuts and caesuras; defines constants, condensation or emergency areas, or rigorous analysis of text displays. However, the most lucid expression can be read there is the adoption of a practical materialism, which neutralizes the split between base and superstructure, between nature and culture, between action and truth, between literature and policy, while aimed at making the practice in its original cohesion: Viñas reads a textual monad whose integrity factual literature and politics are fused and inseparable from one another.
Published in 1965 by the Universidad del Litoral, his doctoral thesis follows the same pattern Laferrère critical. It provides a detailed textual analysis that incorporates a historical counterpoint socio-political events. Assembles a jealous reading mechanism that makes the story not as an epiphenomenon, but as the humus that covers alike the writer as level comprising a constituent impersonal existence (the class) and the literary text as an "answer next" to social events. Lee hedonistic dilettante theater of the "gentleman behind" the horizon of a social crisis that is beyond the order of the liberal city whose heyday was the first president of Rock. The city besieged by immigrants who claim that they deny (the land) and, accordingly, mobilize politically peace twitching apparent that class society. Archaeological precision, between jettatore and The Barranco, Viñas read the rhetoric of class consciousness "on the defensive," which in their retreat, bare its contradictions, cowardice and miseries.
Grotesque, immigration and failed (1973) replies, no, that line of reading. The grotesque Discepolian listed as "literary transgression a historical juncture" characterized by the frustrated middle class rise to power. Viñas note, at the outbreak of the genre grotesque (the "farce Dialectizer"), the materialization of expression (baroque), a poetic commoner who, at the language level, reveals the emergence of a repressed voice in the arc of triumph Yrigoyen in '16 to '30 coup led by Uriburu. The series opens
De Sarmiento a Cortázar (1971) raises controversy still hot. It gives a read on the figure of the writer (Bourgeois) theatrics involving scripts. The class talks in their stakes, retractions and drawing. But, as is the body present in writing (not shown) which returns the contortions class and not vice versa, read Vines bodies of others without criticism sneak moods and passions of hers. Predictably, the series refers to the rape that marks the romantic liberalism Cortazarian abstraction, but without falling in facilities, also presents a range of shades that includes unorthodox and discomfort for Hernández, wink and authoritarianism Mitre, whispering and complicity in Mansilla, trembling hand in Cane, dematerialization blessed in Darius, withdrawal, loneliness and abandonment Quiroga, and emphatic entreaty order submissive Lugones, hesitation and snuggling in Arlt, Mallea spirit and alienation, cunning and avoidance of meat and pathetic Borges Sabato crystallization statuary.
But that book is also the "complement" of another almost clandestine, published by Carlos Perez: From the anarchists montoneros (1971). In this work, two emergency cut of popular rebellion and their respective reactions (Pavón and Residence Law) where politics is also exercised over the bodies (from the head of Chacho displayed on a pike in Olta to execution at the hands of Falcon of Radowitzky), Viñas poses its controversial historian. Questions and discussed, while, in Argentina's history interpretations produced both the liberal-progressive and the "down" national-populist ("upside down and right of bourgeois thought Argentina"), cardinal axle bearing the "permanent continuity of the class struggle. "
Written in Berlin and published in Mexico, Indian army and border (1979) is "the book of exile." Precursor in the orbit of cultural studies at home, work naked file joint project between a territorial occupation (of capitalist rationality) and ideology positivist (that is prepared to legislate on the social) in the liturgy of a "frontier literature" openly displaying political program of genocide by the Argentine Army on indigenous peoples. But that's not all. The book in turn keeps the tracks of his own present. From the very threshold, the research (which does not slip in the easy Manichean "Angels Indians vs." White devils ") wishes to emphasize the coercion to which the bourgeois system calls when you know in a crisis, the silence is imposed when you want to deny the violence that underlies the creation of the liberal state, and forces them to think a continuity between " disappeared in 1879, the Decade of the infamous and the recent dictatorship, stressing the liberal tension above and escort the blows of '30, '55 and '76. Viñas
books always leave their marks on this, proof of this is its last and no long-term project: Of God Sarmiento (1998). Written about the "taint issue" of "Trip to USA" and published after the "incident Guggenheim" in a context of postmodern fervor that many of their "peers" they crave for a nominal fee at an American university, the book reads a process that begins with the mid-nineteenth Sarmiento, with some "dramatic tension" (capable of displaying even "appeals and discrepancies in the model), and closes in the middle of the 90s, as a shift toward a" submissive specularity "of appropriate accommodations," presumably deletions insurmountable "and" obsequious subjugation. "
Like any concrete work, the de Viñas not intended immaculate. Neither asked or required rites. His books weigh, with their provocative boutades , light and shadows findings, arguments and statements relentless inaccurate assessments accurate and hasty judgments and even arbitrary. It is part of religion. It does not detract but rather humanizes the strength and coherence of an intellectual project that takes their positions as you would in a battlefield. What has its costs: a review and, without condescending to their peers, ruthless with enemies and intolerant to the obsequiousness of servers, uncomfortable or frightened to split water. Not only exposed to the predictable, opportunists and petty attacks from the likes of Assisi, but also complicit indifference and uncritical adulation of their "colegatura." Finally, as Sartre wrote, the generosity of others is the measure of our pettiness: the critical work of Viñas evident, sad, pathetic, as the back frame, the childishness and the misery of a watery intellectual field that many times, not even hesitate to proclaim himself a progressive.
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