“There are objects that an artist HIJA chooses for the plot of her fiction”. Subjectivity and sovereignty in María Moreno’s Oración

María Moreno's Oración can be read as an intervention in the horizon of debate on the politics of memory. We will examine, specifically, the interpretation that Moreno makes of the productions of Albertina Carri (Los Rubios) and Marta Dillon (Aparecida) as images, that is, as "forms of red...

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Detalles Bibliográficos
Autor principal: Tellechea, Anabel
Formato: Artículo revista
Lenguaje:Español
Publicado: CETYCLI 2022
Materias:
María Moreno
Subjetividad
Soberanía
Políticas de la memoria
Subjectivity
Sovereignty
Politics of memory
Acceso en línea:https://badebec.unr.edu.ar/index.php/badebec/article/view/566
Aporte de:
Badebec de Universidad Nacional de Rosario
id I15-R206-article-566
record_format ojs
spelling I15-R206-article-5662023-03-06T21:41:50Z “There are objects that an artist HIJA chooses for the plot of her fiction”. Subjectivity and sovereignty in María Moreno’s Oración “Hay objetos que una HIJA artista elige para la trama de su ficción”. Subjetividad y soberanía en Oración de María Moreno Tellechea, Anabel María Moreno Subjetividad Soberanía Políticas de la memoria María Moreno Subjectivity Sovereignty Politics of memory María Moreno's Oración can be read as an intervention in the horizon of debate on the politics of memory. We will examine, specifically, the interpretation that Moreno makes of the productions of Albertina Carri (Los Rubios) and Marta Dillon (Aparecida) as images, that is, as "forms of redistribution of the elements of representation" (Rancière El espectador 97), as “alternative images or thought configurations” (Didi-Huberman Supervivencia 99). In both cases, the material is worked in such a way that it displaces the possibility of correspondences between the present objects and the absent subjects. Also, we will examine the presupposition that underlies Moreno's intervention, namely, the positioning and conception of the subject (Didi-Huberman Cuando las imágenes; Butler Dar cuenta) that distinguishes Moreno and that she recognizes in Carri and Dillon; a mobile, relative position that rejects identity, and that Moreno associates with sovereignty (Derrida La bestia y el soberano). Oración de María Moreno puede leerse como una intervención en el horizonte de debate de las políticas de la memoria. Examinaremos, específicamente, la interpretación que Moreno realiza de las producciones de Albertina Carri (Los rubios) y Marta Dillon (Aparecida) en cuanto imágenes, es decir, como “formas de redistribución de los elementos de la representación” (Rancière El espectador 97), como “imágenes o configuraciones de pensamiento alternativas” (Didi-Huberman Supervivencia 99). En ambos casos, lo material se trabaja de tal manera que desplaza la posibilidad de correspondencias entre los objetos presentes y los sujetos ausentes. Asimismo, nos ocuparemos del presupuesto que subyace a la intervención de Moreno, a saber, el posicionamiento y la concepción de sujeto (Didi-Huberman Cuando las imágenes; Butler Dar cuenta) que distingue a la escritora y que ella reconoce en Carri y Dillon; una posición móvil, relativa, que rechaza lo identitario, y que Moreno asocia con la soberanía (Derrida La bestia y el soberano). CETYCLI 2022-09-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares application/pdf https://badebec.unr.edu.ar/index.php/badebec/article/view/566 10.35305/b.v12i23.566 Badebec; Vol. 12 Núm. 23 (2022): Septiembre (2022); 83-108 1853-9580 spa https://badebec.unr.edu.ar/index.php/badebec/article/view/566/514
institution Universidad Nacional de Rosario
institution_str I-15
repository_str R-206
container_title_str Badebec
language Español
format Artículo revista
topic María Moreno
Subjetividad
Soberanía
Políticas de la memoria
María Moreno
Subjectivity
Sovereignty
Politics of memory
spellingShingle María Moreno
Subjetividad
Soberanía
Políticas de la memoria
María Moreno
Subjectivity
Sovereignty
Politics of memory
Tellechea, Anabel
“There are objects that an artist HIJA chooses for the plot of her fiction”. Subjectivity and sovereignty in María Moreno’s Oración
topic_facet María Moreno
Subjetividad
Soberanía
Políticas de la memoria
María Moreno
Subjectivity
Sovereignty
Politics of memory
author Tellechea, Anabel
author_facet Tellechea, Anabel
author_sort Tellechea, Anabel
title “There are objects that an artist HIJA chooses for the plot of her fiction”. Subjectivity and sovereignty in María Moreno’s Oración
title_short “There are objects that an artist HIJA chooses for the plot of her fiction”. Subjectivity and sovereignty in María Moreno’s Oración
title_full “There are objects that an artist HIJA chooses for the plot of her fiction”. Subjectivity and sovereignty in María Moreno’s Oración
title_fullStr “There are objects that an artist HIJA chooses for the plot of her fiction”. Subjectivity and sovereignty in María Moreno’s Oración
title_full_unstemmed “There are objects that an artist HIJA chooses for the plot of her fiction”. Subjectivity and sovereignty in María Moreno’s Oración
title_sort “there are objects that an artist hija chooses for the plot of her fiction”. subjectivity and sovereignty in maría moreno’s oración
description María Moreno's Oración can be read as an intervention in the horizon of debate on the politics of memory. We will examine, specifically, the interpretation that Moreno makes of the productions of Albertina Carri (Los Rubios) and Marta Dillon (Aparecida) as images, that is, as "forms of redistribution of the elements of representation" (Rancière El espectador 97), as “alternative images or thought configurations” (Didi-Huberman Supervivencia 99). In both cases, the material is worked in such a way that it displaces the possibility of correspondences between the present objects and the absent subjects. Also, we will examine the presupposition that underlies Moreno's intervention, namely, the positioning and conception of the subject (Didi-Huberman Cuando las imágenes; Butler Dar cuenta) that distinguishes Moreno and that she recognizes in Carri and Dillon; a mobile, relative position that rejects identity, and that Moreno associates with sovereignty (Derrida La bestia y el soberano).
publisher CETYCLI
publishDate 2022
url https://badebec.unr.edu.ar/index.php/badebec/article/view/566
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first_indexed 2023-05-11T18:51:05Z
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