IDIHCS   22126
INSTITUTO DE INVESTIGACIONES EN HUMANIDADES Y CIENCIAS SOCIALES
Unidad Ejecutora - UE
capítulos de libros
Título:
Temporalities, ruptures and discontinuities of the modern experience in Juan José Saer.
Autor/es:
MEHDI PARSA; VICTOR H. GONNET; MEGHA KANDWAL; ROBERT MOSCALIUC
Libro:
(Un-)Gleichzeitigkeiten
Editorial:
Iudicium Verlag GmbH
Referencias:
Lugar: Munich; Año: 2018; p. 91 - 102
Resumen:
In an interview in 2001, the Argentinian writer Juan José Saer (1937-2005) states that time and space are subjective, psychological categories, which depend on perception: the same historical event, lived by the same individual, changes every time it is narrated. Thus, he says, ?if any of us would like to tell yesterday?s day, for example, there would always be different series, since through memory we cannot recover exactly the same series of events? (Chiatti 2001: 305). The author also asserts that three of his novels - Scars (1969), The real lemon tree (1974) and Nobody, nothing, never (1980) - show this subjectivity in a programmatic way by three different versions of time: a circular time, a discontinued time and a continuum of space/time, respectively. Not only these but also other novels of the author introduce realistic glances at national traumatic historical events, building autonomous literary devices that have nothing to do with the classic notion of realism but with ?the effect of unreal?, a notion created by Alberto Giordano (1989) regarding Saer?s literature. Despite being called ?the last modernist? (Gerbaudo, 2006), the narrative procedures of Saer?s literature break ?the omnipotent modern and Hegelian confidence in the capacity of art to represent totality? (Siskind, 2012).In La mayor (1976), several decades after the well-known Proustian scene of the narrator who manages to recover a world buried in the memory by sinking a madeleine in a cup of tea, one of the characters of Juan José Saer?s nouvelle tries to recreate the same experience, but he does not remove anything from the bottom of the memory. In the article introduced above, Mariano Siskind (2012) wonders what happens to literature after the End of Art proposed by Hegel. Moreover, what happens when the claim that realistic representation is possible - in Proust, the enormous idea that ?the lost time? could be recovered - is questioned from the margins, from non-hegemonic places like the Argentinian city of Santa Fe. From conceptualizations such as the Event (Badiou) and the anachronism (Didi-Huberman), this essay will try to address the theoretical notions underlying the idea of time from a hegemonic vision opposed to one stemming from the margins of the western civilization.