Professional Documents
Culture Documents
Since the appearance of scientific anthropology in Chile a permanent transtextual bond with literature can be appreciated, and also expressive searches on
the part of Chilean anthropologists that have gathered in their professional and
academic practice both anthropologist and writer features, or they have appealed
to figures of speech characteristic of literature, which have been introduced in
their anthropological work: some of the most representative cases are those of our
last national award for social sciences and humanities Sonia Montecino and
authors like Andrs Recasens, Clemente Riedemann, Juan Carlos Olivares,
Carlos Pia, Francisco Gallardo, etc. It is about a barely well- known
phenomenon in the literary world and recognized as marginal in the world of
social sciences. In it converges the effort to report the cultural diversity in our
country with the simultaneous intention to use figures of speech from the social
sciences.
The only possible metaphor to begin this article maybe is Roland Barthes (1989)
that considers the speech of History like an occupation for scribblers. In our
case it can be said that the speech of literary anthropology is that of scribblers
that use other bordering writing forms, like the poetic anthropology, the ethniccultural literature, the experimental sociology, the ethnic history and the
experimental poetry.
This paper intends to differentiate specific literary anthropology from poetic
anthropology since blueprints of a writing type are seen in literary anthropology
which for the first time in Chile and Latin America unites an aesthetic literary root
intending to build a textual standard that without being neither literature nor
anthropology shows diversity in both the narrative and theoretical level and
aims to keep history.
Thinking from the sense can neither imply that our Literary Anthropology arises
from a thought of the totality, nor can be characterized in its origins and
development in an absolute way; each reader and hermeneutist will go
interpreting these texts, both the current ones and the future ones. So each
interpretation becomes a co - original creation, because from this starting point,
the exegesis of the anthropological literary project is an ontology form that turns
the interpreting system, not into an external observation device, but partly into
the wide question for the own observing system.
To
say something
on
the
work
of
representative
authors
of
Literary
frontier
writing can open up to a much wider statement; there is a mutation in the writing
initial elements
here,
beyond
the
experiments
of
some
Chilean
was talking the other night to ngel Flisfisch and he suggested me to speak
in this occasion of sociology like a language that, after their classics and
conservatives, has no much to say to the world. I found that intuition interesting,
Sciences have ignored this call to humility, the disciplinary mutation is in the
middle of a consolidation process, surreptitiously, and to the way of a baroque
expression that uses marginal spaces inside the spaces of the traditional social
science, mainly at universities.
In previous publications we have proven the existence of the Poetic Anthropology
(2002a, 2002b) as a dimension of this mutation, the meta-language (Mignolo,
1986) of this Poetic Anthropology has a lot in common with postmodern
anthropology, but paradoxically, the very appearance of the postmodernism
concept came after the appearance of this poetic anthropology, and the
publication of the fundamental works of this trend (in the mid 70s from last
century).
Postmodernism is a cultural fashion that was functional to give meta-theoretical
basis to an original cultural trend, from an unnecessary and so strange justification
to us, Latin Americans as the troubles of polemic like empiricism or the
Cartesian trend. This out-of-context basis goes making sense to Poetic
Anthropology, taking the place that the theory has in traditional science. On the
other hand Literary Anthropology constitutes a group of works with different
characteristic; in a previous study we have demonstrated how ALCH owns a
tradition that goes back to the mid-20th century from Carlos Munizagas works
under the influence of the poet and anthropologist Alfred Metraux, having a lot of
work left to carry out regarding the relationship between surrealism and Latin
American anthropology. On the other hand, ALCH is fully alive in the works of
Andrs Recasens, Clemente Riedemann, Ivonne Valenzuela, Carlos Pia and
Sonia Montecino, and it possesses a coherence that provides it a family aura,
and through this it can already sustain our statement, regarding the existence of
an anthropological literary experimental standard, what involves the dynamic
development of a disciplinary mutation.
In the counterpoint between Literary Anthropology and Poetic Anthropology, we
see in the objective works of ALCH analyzed from the 90s and in the first
decade of the 21t century, a narration instance, but also of reflection: there is
the fundamental element that differentiate them, beyond the pragmatic
eventualities of the Chilean Poetic Anthropology (from now on APCH as Spanish
acronym), which has been developing in a parallel way under the wing of the
Fund Matta (from the donation of money carried out by the painter Roberto
Matta for these purposes).
Today it can be told the works of Literary Anthropology from those corresponding
to Poetic Anthropology (Alvarado, 2011); this way, the fundamental thing is to say
that two features prevail in the (ALCH): an audacity when narrating that it is
beyond the margins of the postmodern anthropology, and it turns the texts of this
trend into works with literary and scientific value, but it doesnt make it different
from Poetic Anthropology; the main macro-structural factor (understood as
basically thematic dimension) is the existence of a "will for the theory", an intertextual and meta- linguistic effort tied to the narration and determined to make a
theoretical reflection inside a creative original joining.
The above-mentioned allows to think that in the future, beyond the plausible
aesthetic style of Chilean anthropology, the attempt of making theory from the
periphery, will not only keep relationship with academic goals, but rather ALCH
will experience a complex bond with the Academy and marked distancings
and approaches will occur. Nevertheless in their identity it is a main feature: it
in the
to fulfill this publication, Neruda had to sell the wristwatch given by his father to
him; and simultaneously the appearance of Vicente Huidobro's brilliant metalinguistic idea was born, it was an unclassifiable brilliant idea in the Chilean ambit,
an originality that resembled more like the visits from a French poet to Chile than
an experimental Chilean poet.
In the resource to the naive Cartesianism in the developments of our
anthropology, the first sketch is the delirious work of Nicols Palacios: Raza
Chilena that paradoxically served to the ideological necessities of the traditional
oligarchical right; field anthropology was, until the mid-20th century, a work
characteristic of exotic foreigners concerned about exoticism like Martin
Gusinde and Max Uhle. The abandonment of himself that Martin Gusinde carries
out had more significance, in Tierra del Fuego than the fieldwork of Chilean as
Aureliano Oyarzun, Thomas Guevara, Ricardo Latcham.
It can only be mentioned an authentic anthropology that intends scientific
approach in Chile with the appearance of the work: "Vida de un Araucano by
Carlos Munizaga Aguirre the year 1959. More than to make the historiography of
a trajectory is necessary to identify the points of articulation of the poetic
anthropology as postmodern rhyme and of Literary Anthropology simply as an
effort, an isolated point, to constitute a faithful anthropology to the tradition of the
social and literary national thought as well as, an emphatic appeal to the historical
memory: exactly it is in this last point where these frontier texts are invoked or
they avoid their identity and their sense.
injustice
effort appears to fly over the memory impressing through the expressive
capacity of the literature
circumstances; when at the late 80s, some Chilean anthropologists are defined as
postmodernist they don't do more than finding and using a post-metaphysics as
an alibi for its lack of historical commitment.
But if the memory is uncomfortably invited, it is in all effective ways, asking
us a systematic question regarding a textual system produced by some dozens
of authors and that it is unknown at international level; it is the poetic and literary
anthropology that appear in a simultaneous but defined way from completely
different moral distinctions. They are part of an expressive effort that far from
being a postmodernist manifestation, it is above all a conservative continuity of
the aesthetic analogy that is present in the writing regarding the otherness in
Latin America, it is chancy to use the word conservative, but far from founding or
originating the anthropological Chilean literary experiments, they are the
continuity of a type of aesthetic analogy, here we are presenting something much
more overwhelming: all exam of the Latin American reality produced from the mid19th century, has appealed to an aesthetics and therefore to a poetics, more than
to a system of coherent thought (in the sense of the western logos); Jos Mart,
and Domingo Faustino Sarmiento, they are founding records, one in advance in
each hemisphere of the planet, of the expressive necessities that arose from
the Nation State of the 19th century and that today they seem re-founded in the
multi-culturists troubles of the early 21st century. A "grade zero" exists for the
writing of the Latin American diversity, this it is the group of troubles of the
intellectual elites of the 19th century that as continuity they reappear at the end of
the 20th century; and it is more an expressive search than a rational attempt.
the
conceptual
imprecision
with
the
aesthetic
If
we
experimentation,
the anthropological literary text is not able to be other thing but from the theory of
knowledge that thing which is lost and it is recovered already transformed into
another thing: an experimental, imprecise and emergent standard as it is the
characteristic of ALCH.
As well as Marvin Harris (2004), relates the effects in United States of the effects
of the emergence of anthropologists coming from the US working class, in Latin
America and Chile it can witness the appearance of local elites, first western and
then even indigenous that they have shaken the spectrum of the western world
with an anthropology that tries to be de-colonized, and therefore, to represent
another look of the sameness from a cultural accented relativism; it is certain that
they result limited to narrate from this aim point the rhetorical styles of the
traditional science; it is there where the forms of nationalized anthropology
appear and respond to expressive necessities and not to intellectual fashions as
postmodernism (how we have already outlined here); it is almost ridiculous that it
between the objective and the subjective, of that false dichotomy that makes
distribute responsibilities and conjure blames.
In summary,
there is not
that
the
informant
occasions she says what he or she believe that the ethnographer wants to listen;
two characters are integrated this way in scene: first the own ethnographers that
assumes their production as writing and then to the receiver as component of the
text, admitting that the readings of the reader of the anthropological text are not
those of the model archetypal reader, but all the possible forms of looks of
sociocultural landscapes that are derived of the possible infinite significant chains.
All anthropological literary attempt maybe follows Jean Genet's print, Jorge Luis
Borges or Juan Goytisolo, strolling between languages and cultural traditions;
with an existential, ethnographic and complex writing. The anthropological
literary effort is not new, as an attempt of narrating the otherness, for a specialist
in literature in any part of the world; the novel thing is that from Chile, with its
culturally insular character and in the same way, as avid society of the European
or North American last novelty, a textual genre is developed that is basically, and
without intendingto, in some cases, be elaborated or anticolonial type of text and
dissonant in respect to the early 20th century in Chile.
We should clarify that the attempt of this article doesn't consist in identifying
sources or origins to the evolutionist way, or to the way of a mono-genesis chain,
in which the lost links would be plentiful, the objective of these notes is not to
carry out a historiography of Literary Chilean Anthropology; it is not even to
establish an archaeology from it to the foucoulteana way; it is about something
different: to state the existence of a trans-disciplinary mutation in Chilean
anthropology that, from their origins by the mid-20th century, it tried to generate
an own voice fundamentally from the imitation of the British social classic
anthropology, until the permanent nexus with the literature
under the existence in inter-textual, rhetorical and semantic ways of literary origin.
However, the sense of this work is centered in the identification of the metalanguage of this trend basically to carry out a demonstration that can seem
elementary, but it is not: the existence of Literary Anthropology as statement is
based on our supposition, that a discursive genre that involves a mutation in the
textual standard of the anthropology exists; this mutation belongs together with
the efforts developed from Claude Lvi - Strauss from now on, in parallel with the
appropriation of the authors contribution like Michel Leiris or George Bataille
(Alvarado, 2011), but it possesses a notorious range of originality, it is a
phenomenon with a remarkable historicity since it has been developing for at
least 40 years in Latin America. It is a significant coincidence that the Coup dtat
happened 40 years ago in Chile.
of the significant"; (Lacan, 1984) it not only for a matter of writing style, but also for
the necessity of exacerbation of the way that produce in an ostensible way to the
generation of narrative and interpretative categories that, to the way of Lezama
Lima (and their school of literary neo- baroque) (Sarduy, 1999), emanated of
the popular American Baroque and from the ecumenical project of Baroque, it
will be trafficked from classism of anthropology to the Baroque exacerbation of
language. New words will be generated to state new diversities and in this context
neologisms won't be an obstacle, but an instrument for the achievement of this
ethical utopia and fundamental technique of all anthropology, this is the
intercultural communication.
Concerning the plan of the contextual-historical incidence of ALCH, the opposition
among Baroque and classicism rebounds in the opposition among Baroque and
modernity; it bases its vision on the Latin American culture on the persistent
identification of a syncretism that makes of the Baroque not only a historical
landmark, but a reality that more than hybrid it is anthropologically syncretic, it in
the more classic meaning of syncretism: this is the product of the encounter
between two or more cultural forms that produce a third, which is not a replica of
their ways but a sensibility and a specific way of organizing the social and
productive
relationships.
Literary Anthropology
is
seen
as
a Baroque
in the anthropologist's writing, this will give freedom. The uncertainty on the origin
of the anthropological writing already exists, although many anthropologists
are not aware of the phenomenon. The essence of these reflections is based
on considering that ALCH is more than a "surrealism without unconscious",
(Clifford, 1986) thus it tops the textual postmodern experimentation, if it contains a
meta-language in process, ALCH is seen like the clear cultural and discursive
expression
of
psychic
and
social
conjugated
processes,
where
the
cultural context and its historical aproach, it appeals this way to a radical
realism, but to a realism that is not devaluated in the sensitive evidence but
rather it is nurtured of the collective unconsciousness so that the fantastic defines
a reality that goes beyond the evidence.
If ALCH is defined hypothetically like a type of crossing" speech that is nurtured
so much from the scientific social speech and from literature, it will be stated that
the establishment of a more precise profile of this only can settle down from the
answer to two very similar questions in their structuring but dissimilar in the
answer type that they require, they are: Why ACHL is not itself another type of
anthropological speech, inside this immense variety?, and very related with the
above-mentioned, why this Literary Anthropology is not literature itself, with some
variants, but literature as such : on one hand it can be stated that this Literary
Anthropology is not literature because its reader and its model author (Eco, 1981)
are defined regarding the anthropological science and their big semantic
microstructures, it is configured in terms of Clifford and Marcus (Clifford and
Marcus, 1986) in an authors intention, it would be added from Eco that is about
model authors as much as empiric authors, which confers it a character strongly
auto-referential, as long as this model author is an anthropologist that defines his
position in the world and therefore in his work from his subject condition, it is
assumed this way and it is preached in implicit way as well as in explicit way that
anthropology would be a way of life. We recognize that the defined intention
concept from Clifford and Marcus refers to a theoretical intention, while Eco
speaks of textual evidence, nevertheless, this intention passes over the same
theoretical level to flood the composition of the text of ALCH. If anything were
known about contemporary anthropology, it would still be recognized a nonliterary intention in these texts.
From the above-mentioned consideration we see that the model author's
intention takes out to the anthropological literary text of the exclusive marks of
the literature, nevertheless, this intention is not enough to turn ALCH into an
some contexts like anthropology and in others as literature, not being still
achieved in our country to assume them as hybrid texts of an emergent genre. It
would be required the empiric readers to dominate areas like anthropological
theory, the ethnography, next to the theory and history of literature, that model
reader underlies in the texts of our Literary Anthropology, but as empiric reader,
to our view, in our country they don't exist out of academic reduced spaces, and it
cannot be assumed as postmodernism: neither there are a postmodern context of
emission and reception of ALCH nor there is such a widespread interdisciplinary
handling. The model reader's specific figure puts us in front of a type of texts
that are expression of a Baroque modernity, which arises in a very previous way
to postmodernism of the central countries and it is a peculiar type of cultural and
disciplinary mutation rather and not a mere copy of North American and
European trends; only after the emergence of the several works that compose
the corpus of analysis of our study is that some of its authors from APCH take the
lead with the postmodern trend, it allows to tell our Literary Anthropology from its
meta-language and picking up a distinctive element of its writing identity.
The model author on the other hand defines (assuming it as an aesthetic
literary resource) his position from what Marc Auge (1986) denominated as an
" interiorized other " that is constituted from a kind of aesthetic idealization
whose base arises from ethnographic antecedents, from the own field experience,
from the literature and from the own experiential and psychic reality of the
anthropologist writer. This model subject author is uncomfortable with many of the
molds of his own culture, his class and his scientific subject (obviously
anthropology, as practiced in Chile), and discovers in literature a group of textual
procedures, able to make a new another leave his path inside his discursive
construction. This way, this interiorized other is constituted in a self-conscious
subject in the way in that its sociocultural own acondicionamient leads it to look at
the culture, and therefore to develop the anthropological writing, which is
evidently out of the disciplinary limits, to be constituted in a type of hybrid text,
that is why we have denominated as cultural hermeneutics the group of
procedures developed by these model authors, which represent the whole
contingency of its empiric authors, and with that, the access to the interiorized
other is constituted basically in a form of reaffirmation of the oneself, in the
psychoanalytical conception of the "oneself" that Lacan (1984) outlines. There is
an exercise of tremendous self-reference in this hermeneutics that understands
the being of each culture like expression of the " oneself " projected in the "other"
one, that interiorized other is therefore, more than the search of the otherness,
ALCH is an encounter with the way in that the empiric author builds an another
one from the model author's procedures, the one that not appeals to a model
reader very different from the author.
Conclusions
In our initial position it was pointed out that the group of works composed by
ALCH consists on a type of initiating textual production of a new discursive
genre of frontier, as long as it doesn't respond pragmatically neither to the
scientific standard nor to the literary one with exclusivity. Regarding this initial
asseveration it is considered that in general terms the intensive reading of the
texts selected in different investigation processes in the last 20 years, and its
contextualization regarding literary and scientific standard, allows to affirm that
indeed we are in front of a textual hybrid and border genre, as long as
pragmatically it doesn't respond to the circuits of circulation of literature
neither
these
works
are
legitimated
by
the
anthropological
but
traditional
circuits, generating these texts its own circulation circuits and therefore circuits of
reception and reading. Institutional and cultural spaces like the Department of
Anthropology of the University of Chile, and diverse projects like Fondart and
Conicyt (Support Funds to the science of the State of Chile), they constitute
production spaces from where the texts summon their target audience, the one
which in agreement with the reader and the model author identified in each one of
the analyzed texts is above all an anthropologist or somebody with a sensibility
and an excellence for the textual experiment in front of the sociocultural diversity,
as well as with a certain level of knowledge regarding the developments of
literature and anthropological science.
The explicit and implicit meta-language of these texts excludes literature, as long
as there is not the intention of moving pragmatically in the literary environment on
behalf of its authors and let alone still it intends that the texts are taken as literary,
nevertheless,
this
meta-language
neither
coincides
completely
with
the
an anthropological new textual way and not some new kind of literature, for what
its structural duality possesses its profile in the anthropology and its contours and
articulation base they are of literary character.
On the other hand, it is stated that in this new genre is interconnected the use of
macro-structural and inter-textual
elements
(from
literature
toward
text,
centered
therefore
in
the
thematic
specifically responds to the logic of the cultural devices production whose goal
is to produce a rupture in the scientific anthropological field, but not creating a
new way to make literature.
In the meta-linguistic field neither one of these works is recognized itself as a
literary text, rather it happens what Sonia Montecino defines like "crossing",
(Alvarado, 2011) where the use of the metaphor, the inter-texting of literary origin,
or imitating the narrative literary speech, the usage of thematic already used from
literature, they are rather instruments where these resources are used
fundamentally from the verification of the limits and the precariousness of the
anthropological traditional speech. In the level of the textual macro-structures,
these come basically from the anthropological traditional environment, it has been
demonstrated this way from the reiterated verification of the keeping of the rite
like topic axis in each one of the analyzed texts, more than taking topics of
this
discursive
new
genre
makes
it
acquire
this
creation
habitus
(Bourdieu, 1995) that is evidenced this way in the works that compose it, in this
dialectics between text and context, cultural devices that express the disillusions
and marginality of a group of professionals that as long as empiric authors
operate on their texts, coloring to that shade between committed and painful in
front of so concrete phenomena as: poverty or political violence, nevertheless
they are far from conforming a type of anthropological or politically literary
committed text, but rather they express those disillusions in front of a logical
history that supposes that the social reality can be described rationally since it
is rationally organized. It is therefore that from the model author navigating in
their uncertainty, it is seen like it manufactures a model reader, and it
tried to provoke the pleasure with a capital letter in the model author
according to Barthes
textual
(1989)
that
involves
the
identification
with
the
author's uncertainties that are sociologically from the empiric author, the
anthropologist writers create this way their audience, as long as the text
creates its reception context, this is from an intellectual circuit, where the
uncertainties and the doubts prevail, and also a way of avoiding the questions
for the sense, or also a possibility to find the dodging answers, it is this strong
resource to diversity.
The "other" is a mirror where the model reader will depict his doubts, and the
enjoyment
is
achieved
when
more
certainty exists
regarding
constant
anthropological, each one of these texts depicts some encounter type with
some
other, but an encounter that is generated, from the production of the exoticism,
but from an encounter from the uncertainty in those that the other,
the fisherman, the
machi, the popular urban fellow, the animita, etc. it is a source of certainties,
an archetypal model that gives the model author the certainties that their
characters or narrators look for so hopelessly, hence the reception environment is
manufactured in each one of these texts, from the basic premise that in the
encounter with the other will be answers in front of the uncertainties that neither
its class nor its culture, without its scientific discipline, are provided to the
anthropologist writer, and that neither they gave to the one who receives the text,
whether this person is an anthropologist or not, it is enough to share the
uncertainty to be an appropriate receiver.
Bibliography
1) Auge, Marc. 1997. La guerra de los sueos: ejercicios de etnoficcin.
Gedisa: Espaa
2) Alvarado,
Miguel.
2001.
La
antropologa
potica
chilena
como
2002 b .
Ensayos
de
Anlisis
Cultural.
Miguel.
2006.
El
espejo
rpido.
Interculturalidad
estructura
de
otras
(Documento de trabajo).
narrativas,
discurso
40 aniversario
FLACSO
19)
Crcamo,
Solange.
2007.
La
antropologa
literaria:
lenguaje
Ivn.
2003.
La
antropologa
potica
como
mutacin
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Literatura y Lingstica N 30
ISSN 0716 - 5811 / pp. 57- 82
Summary
This article delves into the Chilean Literary Anthropology (ALCH) to describe it as a textual
genre pop, mutant and original, emerged in Chile in the last 40 years. A purpose of this
transdisciplinary cultural phenomenon that suggests a cross between social sciences and
literature, our hypothesis is to assert the existence in this "border textuality" of a gifted
emerging genre of metalanguage itself, which shows contours and expressive textual
identity. Their study is the scientific approach to a living phenomenon, remarkable cultural
dimensions, while a negligible social scale by his spirit and transgressive practices,
mobilizing the language, cultural subjects and aesthetic contexts psychosocial constructs
high originality and expressive values??, representing disciplinary texuales mutations and
interesting to the human sciences.
Keywords: Anthropology, Literature, literary anthropology
**
Introduccin
Durante las ltimas cuatro dcadas hemos visto aparecer en nuestro
pas textos originales, dismiles y en algunos casos desconcertantes,
surgidos desde campos como el cientfico y el literario. Poseen ellos
caracteres heterogneos y son sus contextos de formacin espacios
culturales como el periodismo, la etnoliteratura, la literatura etnocultural,
la poesa experimental, las ciencias humanas y sociales, etc. En este
artculo daremos cuenta del surgimiento de un tipo textual original
bastante desconocido para los circuitos acadmico y literarios; esto es
los textos de la usualmente denominada antropologa potico-literaria
chilena1; ellos representan un desafo desde el punto de vista de su
clasificacin y anlisis, lo cual nos permite pensar en el desarrollo de una
mutacin discursiva en un sector especfico de la ciencia social chilena:
para algunos es antropologa potica o antropologa narrativa, a nosotros
nos interesaremos en este artculo en una expresin puntual de esta
mutacin disciplinaria, muy original de nuestro pas: La antropologa
Literaria Chilena.
Desde la aparicin de la antropologa cientfica en Chile podemos
apreciar un permanente vnculo transtextual con la literatura, y tambin
bsquedas expresivas por parte de antroplogos chilenos que han reunido
en su prctica profesional y acadmica las condiciones de antroplogo
y de escritor, o que han recurrido a recursos expresivos propios de la
literatura, los cuales se han introducido en su obra antropolgica:
algunos de los casos ms representativos son los de nuestra ltimo
premio nacional de ciencias sociales y humanidades Sonia Montecino
y de autores tales como Andrs Recasens, Clemente Riedemann, Juan
81
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No.15, 2014/1
Director/Editor in Chief
Antonio Lastra
Instituto Franklin de Investigacin en Pensamiento Norteamericano
Universidad de Alcal
Adjunto a la direccin/Associated Editor
Fernando Vidaga Murgui
Estudiante de Filosofa, Universitat de Valncia
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philosophy
Pedro Garca-Durn
Nria Molines Galarza
Juanma Pastor Labrandero
Mara Verdeguer Ferrando
Consejo asesor/Advisory Board
Carlos X. Ardavn Trabanco
Trinity University, San Antonio, Texas
Ramn del Castillo
UNED, Madrid
Michele Cometa
Universit di Palermo
Rocco Mangieri
Universidad de Los Andes
Francisco J. Martn
Universit di Torino
Antonio Mndez Rubio
Universitat de Valncia
Ral Miranda
City University, New York
Josep Monserrat Molas
Universitat de Barcelona
Mario Piccinini
Universit di Padova
Julin Sauquillo
Universidad Autnoma de Madrid)
Sultana Wahnn
Universidad de Granada
EDICIN DIGITAL
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www.estudiosculturales.es
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Adolfo Llopis Ibez
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EDITA
Ajuntament de LEliana
Apartado de Correos 255
46183 LEliana (Valencia), Espaa.
DEPSITO LEGAL: V-5267-2005
ISSN: 1885-7353
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a obsesin que escribi este libro, la mano que lo atraviesa, est definida por la testarudez por un luto, este
es el duelo de una comunidad casi desconocida de escritores viviendo el primer exilio sistemtico del siglo XXI,
es el taciturno y barroco luto de los literatos cubanos en
Pars, viviendo una melancola luminosamente opas. Este
libro es el desborde de un obituario espiritual, a la manera
de la devocin de Marguerite Yourcenar por el luto de
Adriano, frente a Antnoo (entre otros lutos del remoto
emperador) o al luto del barroco, la perla barroca del Escorial: palacio y tumba.
La devocin al luto, es oscuridad, aislamiento, y del
mismo modo llamado a la renovacin de la luz y del entendimiento. Esta devocin del punto oscuro de la espiritualidad humana, no es posesin del mundo latino, sino
que da cuenta de un estado anmico de devocin por esa
luminiscencia oscura, que de lo romance va a lo germnico, que de lo sudamericano va a lo europeo, que del
logos va intencionadamente al brillo de la oscuridad barroca, en definitiva y concretamente que desde el oscuro
ms refulgente: Jos Lezama Lima. Lezama en este libro
ilumina a la escritura del exilio cubano. Lo que este libro
de Andrea Gremels enuncia es un ngulo de la luz negra
que desde Lezama todo lo alumbra.
El libro de esta filloga alemana Kubanische Gegenwartsliteratur in Paris zwischen Exil und Transkulturalitt, es del
mismo modo un interesante estudio inscrito en la lgica
de la filologa ms clsica alemana, y a su vez un intento
transdisciplinario de desbordar las demarcaciones de lo
literario, tanto en el plano de lo terico como en el de lo
metodolgico, es por tanto una escritura audaz y difusa
(felizmente difusa) sobre unas demarcaciones estticas y
sociales siempre estrechas:lo cubano, la lengua castellana, el castellano de Cuba, Cuba como territorio, el anhelo de Cuba, la utopa/distopa desgarrada del regreso, el
Pars de los exiliados, el Pars Ciudad Luz, el Pars lleno
de precariedades; por ello su interpretacin (la que aqu
intentamos) debe hacerse desde esa misma ptica transdisciplinaria que supera las disciplinas, leemos as este libro como un llamado a las necesarias lecturas posibles,
en las cuales los artefactos culturales, especialmente las
1
Revista de Libros
de la Torre del Virrey
Nmero 3
2014/1
ISSN 2255-2022
Palabras clave:
literatura cubana
literatura exilio
transculturacin
La devocin de Andrea
Gremels por la diferencia, su fascinacin por la
otredad, se manifiesta en
este libro en la prctica
de describir y percibir lo
diferente, sin idealizarlo,
pero hechizada por esa
diferencia
6. La transculturacin es un
proceso en el cual siempre se da
algo a cambio de lo que se recibe;
es un toma y daca (...), un proceso en el cual ambas partes de la
ecuacin resultan modificadas. Un
proceso en el cual emerge una nueva realidad, compuesta y compleja;
una realidad que no es una aglomeracin mecnica de caracteres,
ni siquiera un mosaico, sino un
fenmeno nuevo, original e independiente. Bronislaw Malinowski, Introduccin, en Fernando
Ortiz, Contrapunteo cubano del tabaco
y del azcar, Ctedra, Madrid, 2002.
El todo mundo de douard Glissant7 no es una profeca sino un deseo, formulado luego de recorrer los extramuros y de encontrar en ellos el propio fundamento,
el origen de todo lo dicho por un autor, por los autores.
Hablar del ltimo exilio del siglo XX y del primero del
XXI, debe ser simultneamente el feliz encuentro con un
tema original y del mismo modo clsico, pero es tambin
un demostracin de la fascinacin por la diferencia, que
no solo vive la autora de este libro, ese deseo del otro, de
lo otro, ya desterritorializado, ya dejado del fundamento
de la isla o de la tierra o de la lengua, es alteridad en Pars
o en la Habana Vieja, es un destello de eso que mantiene
a Cuba de pie a pesar de estar tan pobre y tan descontextualizada, un pas que defiende valores que para algunos,
o quizs muchos, son restos arqueolgicos de una modernidad romntica. Lo ms inaudito es trabajar con aquellos
que deploran el estado de cosas en la isla, que aoran la
circunstancia del agua que circunda como deca Jos
Lezama Lima, esa cubanidad que se da en una fabricacin
del recuerdo y que debe traspasar a la propia lengua, el sujeto en ese todo-mundo recuerda sabores, olores, clima, e
intenta mantener una lengua que invariablemente se ver
trastocada, como la autora identifica: ese todo mundo es
el sujeto desraizado, trasplantado que en el dolor de la
dispora ampla una mirada, eso es un testimonio moral
de que el desarraigo jams impedir la pertenencia ni la
generacin de los productos creativos de esa herencia.
Desde un punto de vista psicolgico y psicopatolgico la aculturacin es un doloroso proceso, pero mantener
un lenguaje que apela a la transculturalidad, como en este
libro de Andrea Gremels es un esfuerzo loable, aunque
simpre incierto Qu deseo hay tras este libro? Probablemente la fascinacin de la extraeza, pero no la fascinacin de la isla pobre y mendicante, sino el hechizo de este
conjunto de obras escritas por parisienses que no son
parisenses, que en un plano metalingstico deploran la
misma europeizacin, quizs no porque acaezca una comunidad imaginaria en Pars, tampoco porque como en
otros exilios latinoamericanos vivan en la forma del gueto,
sino por la evidencia de la construccin de una identidad,
una identidad de frontera heterognea, pero an ms una
11
8.
una transculturacin desarrollada en suelo europeo, descrita y analizada por una europea, pero en textos y escritores que no son europeos de modo que esta investigacin
es tambin un ejercicio de radical extraamiento: ni los
textos son textos que mantengan la cubanidad del tambin afrancesado Alejo Carpentier, ni tampoco la autora
escribe desde un instrumental clsico europeo filolgico.
Es notable que una filloga logre algo (una interpretacin cultural desde los textos) que, hasta donde conozco,
la etnologa alemana no ha alcanzado, en la paradoja de
la antropologa posmoderna, al intentar una hermenutica clsica desde un etnologa muy moderna y norteamericana; para describir escrituras de cruce, de conflicto,
de desarraigo y de mestizaje voltil. Los autores cubanos
habitan el territorio del lenguaje, y en ese territorio se
desgarran, sosteniendo al anticastrismo como superestructura semntica, en un nivel de angustia, que lejos de
medir el arraigo se vuelve afrancesamiento performativo,
demostrando la persistencia de un instrumento psquico:
ser francs en Pars, o ser cubano en Francia, es entonces
una variante del ser cubano, contradictora pero autntica, la autenticidad se demuestra en el arraigo logrado, un
arraigo de rabia y de descentramiento; Gremels elicita ese
centro, dado por la sospecha frente a la cultura europea
y el arraigo de esa escritura en un cubanidad metafsica
y adolorida, pero sin duda permanente: desde Jos Mart
y su latinoamericanismo libertariamente afrancesado, tan
antiguo como el exilio de Francisco de Miranda, o como
la generacin literaria del 1842 compuesta por los discpulos chilenos de Andrs Bello, o desde los ms recientes
exilios de los sesenta y setenta, producto directo de la cadena golpista de esas dcadas en Latinoamrica.
Andrea Gremels nos muestra la lgica de la transculturacin, no es un episodio, es un caso cualitativamente
demostrativo del sujeto doliente que termina al fin adaptndose a su dolor, adaptacin a la opacidad que pasa a
ser introducida en el estilo de vida y en la vida mental. Ni
anticastrista ni procastrista es este libro, es simplemente
una demarcacin antropolgica y filolgica de la universal
capacidad de sujetos y de artefactos escriturales de vivir
el dolor del exilio, desde una aculturacin que es ya una
14
15
099314 Frankf. Stud. 7 - Borgono.qxp_099314 Frankf. Stud. 7 - Borgono Umschlag 02.12.14 13:52 Seite 1
Este es un libro erudito y novedoso, en tanto es sustancialmente transdisciplinario y juega en los lmites de las formas
de escritura: usa formas discursivas del canon cientfico, y
tambin echa mano de las estrategias textuales de la literatura. Ofrece, particularmente a lectores interesados en los
cambios culturales de Latinoamrica, una visin profunda
que descifra y no solo describe, la novedad cultural producida en el Sur del Mundo; nos habla de: antropologa
literaria, tambin nos describe replanteamientos de la teologa de la liberacin y fundamentalmente desarrolla una
teora respecto de los modos de la comprensin cultural de
Amrica Latina, para ello desarrolla tericamente el concepto de "analoga esttica. Esta obra es parte de una
nueva forma de escritura que conecta la literatura y las ciencias humanas de forma transdisciplinaria y transcultural.
As, este texto es una expresin de las bsquedas de muchos
intelectuales latinoamericanos en trnsito entre la cultura
europea y la periferia latinoamericana, sin perder de vista
su fundamento en Amrica del Sur. De este modo la periferia pasa a ocupar el centro desde una reflexin y una escritura innovadora.
Alvarado Borgoo
Analogas estticas
y comprensin
transcultural
latinoamericana
El vuelo de la Calandria
099314 Frankf. Stud. 7 - Borgono.qxp_099314 Frankf. Stud. 7 - Borgono Titelei 02.12.14 13:53 Seite 1
099314 Frankf. Stud. 7 - Borgono.qxp_099314 Frankf. Stud. 7 - Borgono Titelei 02.12.14 13:53 Seite 2
099314 Frankf. Stud. 7 - Borgono.qxp_099314 Frankf. Stud. 7 - Borgono Titelei 02.12.14 13:53 Seite 3
Analogas estticas
y comprensin
transcultural
latinoamericana
El vuelo de la Calandria
099314 Frankf. Stud. 7 - Borgono.qxp_099314 Frankf. Stud. 7 - Borgono Titelei 02.12.14 13:53 Seite 4
Este libro fue escrito en el contexto del desempeo del autor como Profesor Titular
del Instituto de Filosofa de la universidad de Valparaso, adscrito como investigador
jornada completa de Convenio de Desempeo en Artes, Humanidades y Ciencias
Sociales de la misma Universidad. El financiamiento de la investigacin respectiva
corresponde a la ejecucin del proyecto aprobado por la Deutscher Akademischer
Austauschdienst (D.A.A.D), titulado: Anthropological literature in Chile. A hybrid
language for intercultural communication
Reitor
Flix Carlos Ocriz Bazzano
Editor Responsvel
Ernesto Guimares
Vice-Reitora
Maria Aparecida Silva Mariosa
Capa
Guilherme Carrozza
Coordenao do PPGCL
Eni de Lourdes Puccinelli Orlandi
Editorao
Ana Cludia Fernandes Ferreira
Guilherme Carrozza
410
L755
ISBN: 978-85-61622-53-4
Introduccin
La inexistencia de un espacio social para la ciencia antropolgica en Chile durante la segunda
mitad del siglo XX, se asemeja a la ausencia de un espacio para la literatura chilena en la primera mitad
del mismo siglo XX, literatura que irrumpi sorpresivamente dando lugar a la coexistencia de inmensos
paquidermos, que, no obstante, no pudieron convivir en la inmensa llanura del Chile de entonces. Hoy
tendemos a creer que el texto no surge de una necesidad del contexto, sino ms bien de un deseo
colectivo que se cristaliza en ciencia y en literatura, como podra canalizarse a travs de puentes
polticos o religiosos, y que cada forma textual es expresin de cambios en formaciones discursivas
amplias y en algunos casos transculturales. Pero el texto no es gratuito ni se despliega como variable
aislada. El sueo de identificar un grado cero: la lengua, el estilo y la escritura (Barthes, 1989) de
una forma verbosimblica, se corresponde con la ilusin de reconocer el sentido de un proceso
cultural, pero ello es en realidad tan ilusorio como identificar la coherencia de un proceso histrico,
sobre la base de la suposicin metafsica de la identidad entre realidad y razn, una ilusin
interpretativa al mejor estilo del historicismo positivista ms ingenuo y de la sociologa funcionalista
que afianz la ilusin desarrollista.
Ms bien, si el estilo es la reverberacin de la mitologa personal que segn Roland Barthes
(1989), hace y desase contextos, y dialoga con signo y estructura social, los modifica y los sufre; As,
mantiene un vnculo manipulatorio y paradjicamente dependiente, que genera una escritura, que
desde lo intrincado del vnculo entre obra y escritor, da lugar a un documento intrincado y por tanto
ms all de las mitologas personales y los narcicismos diletantes, el camino para asumir y entender
las formas experimentales de la antropologa chilena consiste en sacarla del sayo estrecho de la
ciencia, pero tampoco en este proceso comprometerla exclusivamente con la literatura, sino que
85
Chileno, Antroplogo y socilogo, Doctor en Ciencias Humanas con mencin en Literatura y Lingstica,
postdoctorado en Filologa Romnica Universidad de Goettingen, Alemania. Investigador de Convenio de
desempeo de la Universidad de Valparaso, Chile.
163