Hygrophilia as a Waste of Language in Cobra by Severo Sarduy

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Undoubtedly, in these times the struggle for the expansion of the literary canon operates from the language, specifically, from its transgressive character. Cobra (1972) by Severo Sarduy is an example of this type of work in which the beautiful and ornate word surrenders so that a colossal monument...

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Autor principal: Lúquez Fonseca, Jesús
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones de la Facultad de Filosofía y Humanidades 2018
Materias:
Baroque
hygrophilia
language
representation
transgression
Barroco
higrofilia
lenguaje
representación
transgresión
Acceso en línea:https://revistas.unc.edu.ar/index.php/recial/article/view/22860
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
id I10-R10article-22860
record_format ojs
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 Baroque
hygrophilia
language
representation
transgression
Barroco
higrofilia
lenguaje
representación
transgresión
spellingShingle Baroque
hygrophilia
language
representation
transgression
Barroco
higrofilia
lenguaje
representación
transgresión
Lúquez Fonseca, Jesús
Hygrophilia as a Waste of Language in Cobra by Severo Sarduy
topic_facet Baroque
hygrophilia
language
representation
transgression
Barroco
higrofilia
lenguaje
representación
transgresión
author Lúquez Fonseca, Jesús
author_facet Lúquez Fonseca, Jesús
author_sort Lúquez Fonseca, Jesús
title Hygrophilia as a Waste of Language in Cobra by Severo Sarduy
title_short Hygrophilia as a Waste of Language in Cobra by Severo Sarduy
title_full Hygrophilia as a Waste of Language in Cobra by Severo Sarduy
title_fullStr Hygrophilia as a Waste of Language in Cobra by Severo Sarduy
title_full_unstemmed Hygrophilia as a Waste of Language in Cobra by Severo Sarduy
title_sort hygrophilia as a waste of language in cobra by severo sarduy
description Undoubtedly, in these times the struggle for the expansion of the literary canon operates from the language, specifically, from its transgressive character. Cobra (1972) by Severo Sarduy is an example of this type of work in which the beautiful and ornate word surrenders so that a colossal monument of the degradation of language rises, with characters that experience in their bodies that subversion of the canon that gives entrance to a literature, no longer based on solemnity, but on the abject. The transgressive character of Cobra can be seen in the waste of language and with which I seek to show that such excess finds its fullness in the spilling of bodily fluids. The characters in the novel experience the hygrophilia: they enjoy the emanation of blood, urine, semen, sweat, stools, etc., while they reduplicate, stretch the meanings of things with an aesthetic management. Is not Cobra, then, a faithful expression of the neo-baroque that ends up fragmenting its contours and proposing a different representation of art?
publisher Centro de Investigaciones de la Facultad de Filosofía y Humanidades
publishDate 2018
url https://revistas.unc.edu.ar/index.php/recial/article/view/22860
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