Traum as an interruption in saer

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Different studies focusing on the importance of perception in Juan José Saer’s literature, have underlined the recurrence of “awakening scenes” in which the narration of the passage between sleep and awakeness stresses the question around perception. In these episodes the critical function of Saer&#...

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Autor principal: Pastoriza, Malena
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Humanidades. Escuela de Letras 2020
Materias:
perception; awakening; Traum; interruption; Saer
percepción; despertar; ensueño; interrupción; Saer
Acceso en línea:https://revistas.unc.edu.ar/index.php/heterotopias/article/view/31614
Aporte de:
Heterotopías de Universidad Nacional de Córdoba
id I10-R333-article-31614
record_format ojs
spelling I10-R333-article-316142021-04-14T12:14:32Z Traum as an interruption in saer El trauma como interrupción en Saer Pastoriza, Malena perception; awakening; Traum; interruption; Saer percepción; despertar; ensueño; interrupción; Saer Different studies focusing on the importance of perception in Juan José Saer’s literature, have underlined the recurrence of “awakening scenes” in which the narration of the passage between sleep and awakeness stresses the question around perception. In these episodes the critical function of Saer's literature is supposed to be revealed, as an exploration and problematization of the act of perceiving as well as its representation. This  article analyzes the problem of perception in the Saerian narrative from the exploration of the interruptive power of imagination. We revise Hegel's considerations regarding perception and imagination, emphasizing the distinction between Schlaf and Traum, in order to propose a critical reading of three central scenes of Saer's literature. In these scenes, the act of perceiving at the moment of awakening is described in detail: the nightmare of Gato Garay and the revelation of the lifegard in Nadie nada nunca, and the scene in El limonero real in which the speech and consciousness of Wenceslao decompose under the effects of the sun. We believe that these episodes can be read as Traum scenes, following the recent contributions of Germán Prósperi regarding Traum in the Hegelian system, which is defined as suspension of dialectical breathing, the extra-time of Being, a dimension open to the Monstra, the extra-human of the human. La crítica literaria que ha abordado el tema de la percepción en la obra de Juan José Saer ha prestado especial atención a las “escenas del despertar”, en las que la narración del pasaje entre el sueño y la vigilia agudiza la interrogación a la que se somete la percepción. En estos episodios se pondría de manifiesto, entonces, la función crítica de la literatura de Saer, en tanto exploración y problematización del acto de percibir y su representación. Nuestra lectura se propone revisar el problema de la percepción en la narrativa saeriana a partir de la indagación de la potencia interruptiva de la imaginación. Para ello, partimos de las consideraciones de Hegel en torno a la percepción y la imaginación, haciendo hincapié en la distinción entre sueño (Schlaf) y ensueño (Traum), para llevar adelante una relectura de tres escenas centrales de la obra de Saer ya trabajadas por la crítica en las que se describe con minuciosidad al acto de percibir en el instante del despertar: la pesadilla del Gato Garay, la revelación del bañero en Nadie nada nunca, y aquel momento en El limonero real en que el discurso y la conciencia de Wenceslao se descomponen por efectos del sol. Consideramos que estos episodios pueden ser leídos como escenas del ensueño, siguiendo los aportes recientes de Germán Prósperi en torno al Traum en el sistema hegeliano, definido como suspensión de la respiración dialéctica, el extra-tiempo del Ser, dimensión abierta a los Monstra, lo extra-humano de lo humano. Facultad de Filosofía y Humanidades. Escuela de Letras 2020-12-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/heterotopias/article/view/31614 Heterotopías; Vol. 3 No. 6 (2020): "Experience of the pause and pause of experience: thought, speeches and practices in detention"; 1-19 Heterotopías; Vol. 3 Núm. 6 (2020): "Experiencia de la pausa y pausa de la experiencia: pensamiento, discursos y prácticas en la detención"; 1-19 2618-2726 spa https://revistas.unc.edu.ar/index.php/heterotopias/article/view/31614/32340 https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-333
container_title_str Heterotopías
language Español
format Artículo revista
topic perception; awakening; Traum; interruption; Saer
percepción; despertar; ensueño; interrupción; Saer
spellingShingle perception; awakening; Traum; interruption; Saer
percepción; despertar; ensueño; interrupción; Saer
Pastoriza, Malena
Traum as an interruption in saer
topic_facet perception; awakening; Traum; interruption; Saer
percepción; despertar; ensueño; interrupción; Saer
author Pastoriza, Malena
author_facet Pastoriza, Malena
author_sort Pastoriza, Malena
title Traum as an interruption in saer
title_short Traum as an interruption in saer
title_full Traum as an interruption in saer
title_fullStr Traum as an interruption in saer
title_full_unstemmed Traum as an interruption in saer
title_sort traum as an interruption in saer
description Different studies focusing on the importance of perception in Juan José Saer’s literature, have underlined the recurrence of “awakening scenes” in which the narration of the passage between sleep and awakeness stresses the question around perception. In these episodes the critical function of Saer's literature is supposed to be revealed, as an exploration and problematization of the act of perceiving as well as its representation. This  article analyzes the problem of perception in the Saerian narrative from the exploration of the interruptive power of imagination. We revise Hegel's considerations regarding perception and imagination, emphasizing the distinction between Schlaf and Traum, in order to propose a critical reading of three central scenes of Saer's literature. In these scenes, the act of perceiving at the moment of awakening is described in detail: the nightmare of Gato Garay and the revelation of the lifegard in Nadie nada nunca, and the scene in El limonero real in which the speech and consciousness of Wenceslao decompose under the effects of the sun. We believe that these episodes can be read as Traum scenes, following the recent contributions of Germán Prósperi regarding Traum in the Hegelian system, which is defined as suspension of dialectical breathing, the extra-time of Being, a dimension open to the Monstra, the extra-human of the human.
publisher Facultad de Filosofía y Humanidades. Escuela de Letras
publishDate 2020
url https://revistas.unc.edu.ar/index.php/heterotopias/article/view/31614
work_keys_str_mv AT pastorizamalena traumasaninterruptioninsaer
AT pastorizamalena eltraumacomointerrupcionensaer
first_indexed 2024-09-03T21:09:28Z
last_indexed 2024-09-03T21:09:28Z
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