Eating to live/Eating until death. Subjectivity and voracity

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Taking as a basis of reflection La grande bouffe (The Big Feast), by Ferreri (1973), this article intends to show to what extent eating constitutes in thecontemporary world a perfect emblem of consumer society and of subjectivity itself. After it is separated from its meaning and good sense as nutri...

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Autores principales: Moreno-Márquez, César, de Mingo Rodríguez, Alicia Mª
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020
Materias:
Culinary art
Consumption
Gluttony
Obsession
Meaningless
Suicide
Arte culinario
Consumo
Glotonería
Obsesión
Sinsentido
Suicidio
Acceso en línea:https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29249
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
id I10-R10-article-29249
record_format ojs
spelling I10-R10-article-292492020-07-02T18:19:31Z Eating to live/Eating until death. Subjectivity and voracity Comer para vivir, comer hasta morir. Subjetividad y voracidad Moreno-Márquez, César de Mingo Rodríguez, Alicia Mª Culinary art Consumption Gluttony Obsession Meaningless Suicide Arte culinario Consumo Glotonería Obsesión Sinsentido Suicidio Taking as a basis of reflection La grande bouffe (The Big Feast), by Ferreri (1973), this article intends to show to what extent eating constitutes in thecontemporary world a perfect emblem of consumer society and of subjectivity itself. After it is separated from its meaning and good sense as nutritional need, eating becomes obsessive. Instead of “eating to live”, our voracity and insatiability (already essential features of the human being) seem to lead “to eat until death” or, as in the Ferreri/Azcona film, to eat-towards-death. We have become swallows and gluttons, in a delirium of excess, as an answer  absurd and, at the same time, logical) to the impossibility of transcending the “ingestion” not only of food, but also of Everything. In this sense, the last of the arts should be the culinary art, which should seduce us to wish to eat when we no longer have an appetite. On the other hand, from the ethical point of view, Ferreri/Azcona invite us indirectly to think, that while some human beings are starving, we die fed up with our insatiable satiety. In this way, erreri’s film becomes a very current mirror of the contemporary world and a strange, ironic and sad, but lucid,apology for the seductive and deadly art of cooking, which excites our voracity, if one may say so. Ten years later (1983), Creosota burst, fed up witheating, from Monty Python’s The Meaning of Life. Tomando como base de reflexión La grande bouffe, de Ferreri (1973), el presente artículo se propone mostrar hasta qué punto el comer constituye en el mundo contemporáneo un perfecto emblema de la sociedad de consumo y de la propia subjetividad. Después de que se separa de su sentido y de su sensatez como necesidad de nutrición, el comer se torna obsesivo. En lugar de “comer para vivir”, nuestra voracidad e insaciabilidad (rasgos ya esenciales del ser humano) parecen abocar a un “comer hasta morir” o, como en el film de Ferreri/Azcona, a comer-para-la-muerte. Nos hemos convertido en tragones y glotones, en un delirio de exceso, como respuesta (absurda y, al mismo tiempo, lógica) a la imposibilidad de trascender la “ingestión” no sólo de alimento, sino de Todo. En este sentido, la última de las artes habría de ser el arte culinario, que deberá seducirnos para desear comer cuando ya no tengamos apetito. Por otra parte, desde el punto de vista ético, Ferreri/Azcona nos invitan a pensar, indirectamente, que mientras unos seres humanos mueren de inanición, nosotros morimos hartos en nuestra insaciable saciedad. El film de Ferreri se convierte, de este modo, en espejo muy actual del mundo contemporáneo y en una extraña apología irónica y triste, pero lúcida, -si se puede decir así- del seductor y mortífero arte de cocinar, que excita nuestra voracidad. Diez años después (1983), Creosota reventará, harto de comer, en El sentido de la vida.  Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29249 Ética y Cine Journal; Vol. 10 Núm. 2 (2020): Ingerir, comer, degustar. La comida en el cine; 39-48 2250-5415 2250-5660 10.31056/2250.5415.v10.n2 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29249/30050 Derechos de autor 2020 Ética y Cine https://creativecommons.org/licenses/by-sa/4.0/
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic Culinary art
Consumption
Gluttony
Obsession
Meaningless
Suicide
Arte culinario
Consumo
Glotonería
Obsesión
Sinsentido
Suicidio
spellingShingle Culinary art
Consumption
Gluttony
Obsession
Meaningless
Suicide
Arte culinario
Consumo
Glotonería
Obsesión
Sinsentido
Suicidio
Moreno-Márquez, César
de Mingo Rodríguez, Alicia Mª
Eating to live/Eating until death. Subjectivity and voracity
topic_facet Culinary art
Consumption
Gluttony
Obsession
Meaningless
Suicide
Arte culinario
Consumo
Glotonería
Obsesión
Sinsentido
Suicidio
author Moreno-Márquez, César
de Mingo Rodríguez, Alicia Mª
author_facet Moreno-Márquez, César
de Mingo Rodríguez, Alicia Mª
author_sort Moreno-Márquez, César
title Eating to live/Eating until death. Subjectivity and voracity
title_short Eating to live/Eating until death. Subjectivity and voracity
title_full Eating to live/Eating until death. Subjectivity and voracity
title_fullStr Eating to live/Eating until death. Subjectivity and voracity
title_full_unstemmed Eating to live/Eating until death. Subjectivity and voracity
title_sort eating to live/eating until death. subjectivity and voracity
description Taking as a basis of reflection La grande bouffe (The Big Feast), by Ferreri (1973), this article intends to show to what extent eating constitutes in thecontemporary world a perfect emblem of consumer society and of subjectivity itself. After it is separated from its meaning and good sense as nutritional need, eating becomes obsessive. Instead of “eating to live”, our voracity and insatiability (already essential features of the human being) seem to lead “to eat until death” or, as in the Ferreri/Azcona film, to eat-towards-death. We have become swallows and gluttons, in a delirium of excess, as an answer  absurd and, at the same time, logical) to the impossibility of transcending the “ingestion” not only of food, but also of Everything. In this sense, the last of the arts should be the culinary art, which should seduce us to wish to eat when we no longer have an appetite. On the other hand, from the ethical point of view, Ferreri/Azcona invite us indirectly to think, that while some human beings are starving, we die fed up with our insatiable satiety. In this way, erreri’s film becomes a very current mirror of the contemporary world and a strange, ironic and sad, but lucid,apology for the seductive and deadly art of cooking, which excites our voracity, if one may say so. Ten years later (1983), Creosota burst, fed up witheating, from Monty Python’s The Meaning of Life.
publisher Centro de Investigaciones y Estudios sobre Cultura y Sociedad
publishDate 2020
url https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29249
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first_indexed 2022-08-20T01:04:51Z
last_indexed 2022-08-20T01:04:51Z
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