Perspectives on a winged fiction or the method as butterflying. Method, criticism and poetics in the rhythm’s notion
In his/her way, the researcher is led by the hand by a dominant passion in an endless journey that we will can call a method. When an indefatigable search mobilizes poetic or critical writing, perhaps we are in front of what we recognize as a poetic or a method: the insistence of a form and a moveme...
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Facultad de Filosofía y Humanidades
2023
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/recial/article/view/43327 |
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I10-R377-article-433272025-11-20T06:02:10Z Perspectives on a winged fiction or the method as butterflying. Method, criticism and poetics in the rhythm’s notion Perspectivas sobre una ficción alada o el mariposeo como método Método, crítica y poética en la noción de ritmo Canseco, Adriana rhythm criticism method poetics flutter ritmo mariposeo crítica poética método In his/her way, the researcher is led by the hand by a dominant passion in an endless journey that we will can call a method. When an indefatigable search mobilizes poetic or critical writing, perhaps we are in front of what we recognize as a poetic or a method: the insistence of a form and a movement, a rhythm. And to make is the real name of that obstinacy. Criticism, like poetics, requires thinking in terms of what has not yet been done or thought, and escapes any immobilizing will. What do poetics and method, fiction and theory have in common? Do their limits touch each other? If writing only begins where it “let to define what has already been defined” (as Meschonnic suggests), it’s because it has been able to suffer in language the mystery of an unknown form-sense. This insistence on the postponement of the end is nothing more than the “custody of an unappropriable” (according to Agamben), that outlines a system there: poetics or method. And if (as Didi Huberman points out) a question of method is also a question of tempo, it’s also a question of rhythm: the tracing of a form-meaning that is articulated as a legible form in movement. En su búsqueda, el investigador es llevado de la mano por una pasión dominante en un recorrido sin final a la que más tarde podremos llamar un método. Cuando una búsqueda infatigable moviliza la escritura, ya sea poética o crítica quizás estemos ante lo que reconocemos como una poética o como un método: esto es, la insistencia de una forma y de un movimiento, un ritmo. Esa obstinación es el nombre mismo del hacer. La crítica como la poética requiere pensarse en términos de lo que no ha sido hecho o pensado todavía y escapa por ello mismo a toda voluntad inmovilizante. ¿Qué tienen en común la poética y el método, la ficción y la teoría? ¿Sus límites acaso se tocan? Si la escritura solo comienza donde “deja de definir lo ya definido” (como sugiere Meschonnic), es porque ha sido capaz de soportar en la lengua el misterio de una forma desconocida. Esa insistencia en la postergación del fin no es sino la “custodia de un inapropiable” (según Agamben) que delinea allí un sistema: poética o método. Y si (como señala Didi Huberman) una cuestión de método es también una cuestión de tempo, lo es también de ritmo: el trazado de una forma-sentido que se articula como forma legible en movimiento. Facultad de Filosofía y Humanidades 2023-12-07 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/recial/article/view/43327 10.53971/2718.658x.v15.n24.43327 Recial; Vol. 14 Núm. 24 (2023): Dossier: Figuras de la crítica: gestos, esferas e imágenes; 8-21 2718-658X 1853-4112 10.53971/2718.658x.v14.n24 spa https://revistas.unc.edu.ar/index.php/recial/article/view/43327/43470 https://revistas.unc.edu.ar/index.php/recial/article/view/43327/43508 https://creativecommons.org/licenses/by-nc-sa/4.0 |
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Universidad Nacional de Córdoba |
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I-10 |
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Recial |
| language |
Español |
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Artículo revista |
| topic |
rhythm criticism method poetics flutter ritmo mariposeo crítica poética método |
| spellingShingle |
rhythm criticism method poetics flutter ritmo mariposeo crítica poética método Canseco, Adriana Perspectives on a winged fiction or the method as butterflying. Method, criticism and poetics in the rhythm’s notion |
| topic_facet |
rhythm criticism method poetics flutter ritmo mariposeo crítica poética método |
| author |
Canseco, Adriana |
| author_facet |
Canseco, Adriana |
| author_sort |
Canseco, Adriana |
| title |
Perspectives on a winged fiction or the method as butterflying. Method, criticism and poetics in the rhythm’s notion |
| title_short |
Perspectives on a winged fiction or the method as butterflying. Method, criticism and poetics in the rhythm’s notion |
| title_full |
Perspectives on a winged fiction or the method as butterflying. Method, criticism and poetics in the rhythm’s notion |
| title_fullStr |
Perspectives on a winged fiction or the method as butterflying. Method, criticism and poetics in the rhythm’s notion |
| title_full_unstemmed |
Perspectives on a winged fiction or the method as butterflying. Method, criticism and poetics in the rhythm’s notion |
| title_sort |
perspectives on a winged fiction or the method as butterflying. method, criticism and poetics in the rhythm’s notion |
| description |
In his/her way, the researcher is led by the hand by a dominant passion in an endless journey that we will can call a method.
When an indefatigable search mobilizes poetic or critical writing, perhaps we are in front of what we recognize as a poetic or a method: the insistence of a form and a movement, a rhythm. And to make is the real name of that obstinacy. Criticism, like poetics, requires thinking in terms of what has not yet been done or thought, and escapes any immobilizing will.
What do poetics and method, fiction and theory have in common? Do their limits touch each other? If writing only begins where it “let to define what has already been defined” (as Meschonnic suggests), it’s because it has been able to suffer in language the mystery of an unknown form-sense. This insistence on the postponement of the end is nothing more than the “custody of an unappropriable” (according to Agamben), that outlines a system there: poetics or method.
And if (as Didi Huberman points out) a question of method is also a question of tempo, it’s also a question of rhythm: the tracing of a form-meaning that is articulated as a legible form in movement. |
| publisher |
Facultad de Filosofía y Humanidades |
| publishDate |
2023 |
| url |
https://revistas.unc.edu.ar/index.php/recial/article/view/43327 |
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2024-09-03T23:09:07Z |
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2025-11-27T05:26:24Z |
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