Lecturas saerianas a la luz del diálogo intertextual con Mircea Eliade. Observaciones acerca de <em>Lugar</em> (2000) y <em>Lo imborrable</em> (1992)
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Latin America Cultural StudiesResumen
Abstract: The current submission is a comparative reading of three stories that belong to the collection “Lugar” and the novel “Lo imborrable” by Juan José Saer meant to demonstrate, by adopting Saer’s interpretation of concepts that are central to Mircea Eliade’s theories as a point of departure, the uniqueness of the Saer’s artistic project, as a modern exploration of the Heraclitean legacy. The analysis of the role played by the irony, as a means of de-framing the narrative, as well as of that of the titles on the margin aims to demonstrate that in spite of the fact that the above-mentioned works seem to accommodate both an essentialist and a postmodern reading, Saer’s work reveals itself, through the principles that articulate it both in terms of poetics and thematic tensions, as a denouncement of violence shaped in a fertile dialog with the work of Theodor Adorno regarding the artistic function.
Resumen: El presente artículo propone un cotejo entre tres cuentos de la colección Lugar--“El hombre ‘no cultural’’’, “Deseos múltiples” y “Copión”-- y la novela “Lo imborrable” con el fin de abogar, a partir de la interpretación de teorías de Mircea Eliade presente en El río sín orillas, por el carácter inédito del proyecto artístico propuesto por Juan José Saer en cuanto revalorización de la influencia heraclítea en el contexto de la modernidad. El análisis de la función de la ironía como forma de desenmarcamiento, y de los títulos al margen, en los casos mencionados, tiene como propósito demostrar que si bien dichas obras albergan, aparentemente, tanto una interpretación en clave esencialista, como una de corte posmoderno, la obra saeriana se devela, en un contexto dominado por tendencias posmodernas, por su consustancialidad entre los recursos formales y los núcleos temáticos, como una denuncia sui-géneris de la violencia, en un fértil diálogo con las teorías de Theodor Adorno acerca de la función del arte.
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