Constructing Presence and Pathways between Juan Luis Martínez and Jean Tardieu
Keywords:Juan Luis Martínez, Intertext, Movement, Juan Tardieu, Chile, absence
In his book-object La nueva novela (1977), Juan Luis Martínez uses photography, collage, translation and text to create a chaotic, yet humorous world that invites readers to engage with his materials. This article studies the intertextual relationship between Martínez and French playwright Jean Tardieu, whose collection Le Professeur Frœppel: Nouvelle Édition Revue et Augmenté de Un mot pour un autre (1978) serves as the intertextual interlocutor in the first two sections of Martínez’s La nueva novela. An examination of Tardieu’s play Un mot pour un autre (1951) and the accompanying notes penned by Tardieu’s fictitious alter ego allows for an exploration of transatlantic exchange as a means of examining haunting voids, absence and the unsaid. By looking at the interpolation of image and photography in the text as a means of further engaging the reader with negative space, this study analyzes how Martínez questions the materiality of his book-object through the creation of an imaginary realm built within the page. As Martínez uses chaos and disorder to encourage movement and imagination in order to conjure phantom presences, he turns to Tardieu’s work in order to create a space in which the visibilization of disappearing bodies and beings responds to the absences and voids that continue to haunt Martínez and his contemporaries as they strive for voice and presence under authoritarian rule in Chile.
En su libro-objeto La nueva novela (1977), Juan Luis Martínez utiliza la fotografía, el collage, la traducción y la palabra para crear un mundo caótico, pero humorístico, que invita a los lectores a dialogar con sus materiales. Este artículo estudia la relación intertextual entre Martínez y el dramaturgo francés Jean Tardieu, cuya obra Le Professeur Frœppel: Nouvelle Édition Revue et Augmenté de Un mot pour un autre (1978) sirve como el interlocutor intertextual en dos secciones de La nueva novela. Una examinación de la obra de teatro de Tardieu, Un mot pour un autre (1951), y las notas acompañantes, escritas por el alter ego ficticio de Tardieu, permite explorar el uso del intercambio transatlántico para examinar los vacíos inquietantes, la ausencia y lo no dicho. Al observar la interpolación de la imagen y la fotografía en el texto como un modo de involucrar aún más al lector con el espacio negativo, este estudio analiza cómo Martínez cuestiona la materialidad de su libro-objeto a través de la creación de un reino imaginario construido dentro de la página. Al usar el caos y el desorden para generar movimiento e imaginación para conjurar unas presencias fantasmales, Martínez utiliza la figura y la obra de Tardieu para crear un espacio en el que la visibilización de los cuerpos y los seres, al desaparecer, responda a las ausencias y los vacíos que siguen persiguiendo a Martínez y sus contemporáneos mientras luchan para lograr una voz y presencia bajo un régimen autoritario en Chile.
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