No se ve nada
The text from the French author Pierre Michon, named Les Onze, allows the study of the interaction between different ways of representation within this text, which are as diverse and rich: the literary, the theatrical, the picturesque, the museistic, the historical. This p...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2020
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/9647 |
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I26-R133-article-9647 |
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I26-R133-article-96472022-09-24T08:24:48Z No se ve nada Dubor, Françoise Zenarruza de Clément, Silvia Representation Vision Soliloquy Painting Literature Text Image Representación Visión Soliloquio Pintura Literatura Texto Imagen The text from the French author Pierre Michon, named Les Onze, allows the study of the interaction between different ways of representation within this text, which are as diverse and rich: the literary, the theatrical, the picturesque, the museistic, the historical. This painting represents the Committee for Salut Public, under the period of the Terror, during the French revolution. But the principle of this text is its confrontation to the irrepresentable. Hence the multiplicity of interpretive strategies that can be applied to this aporetic representation. The way in which these different levels of representation interrelate, complement each other, compete with each other and even repeat themselves, all are conducive to a reflection about the way in which meaning is constructed and evolves by way of the representational system selected or, in other words, the representational support. Thus, the representational levels seem to be conveyed by an image separated from its object, one whose meaning and function have yet to be understood. El texto del escritor francés Pierre Michon, titulado Les Onze (Los once) permite considerar cómo se cruzan los regímenes de representación en ese texto, que son tan variados como ricos: literario, teatral, pictórico, museístico, histórico. Se trata de un cuadro que representa el Comité de Salvación Pública, bajo el Terror, durante la Revolución francesa. Pero el principio de este texto es su confrontación a lo irrepresentable, de allí una multiplicidad de estrategias para perfilar esta representación aporética. La manera en que los diversos regímenes de representación se responden, se completan, compiten entre sí, o se repiten, conduce a una reflexión sobre la manera en que el sentido se construye y evoluciona según el régimen de representación elegido, es decir, según su soporte. En definitiva, parecería que la representación fuese una imagen separada de todo objeto, de la que se trata de comprender el sentido y la función. Universidad Nacional del Litoral 2020-09-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/9647 10.14409/hf.v0i20.9647 El Hilo de la Fabula; Núm. 20 (18): El hilo de la fábula; 195-211 El Hilo de la Fabula; No. 20 (18): El hilo de la fábula; 195-211 2362-5651 1667-7900 10.14409/hf.v0i20 spa https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/9647/12919 Derechos de autor 2020 El Hilo de la Fabula |
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Universidad Nacional del Litoral |
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I-26 |
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R-133 |
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Biblioteca Virtual - Publicaciones (UNL) |
| language |
Español |
| format |
Artículo revista |
| topic |
Representation Vision Soliloquy Painting Literature Text Image Representación Visión Soliloquio Pintura Literatura Texto Imagen |
| spellingShingle |
Representation Vision Soliloquy Painting Literature Text Image Representación Visión Soliloquio Pintura Literatura Texto Imagen Dubor, Françoise Zenarruza de Clément, Silvia No se ve nada |
| topic_facet |
Representation Vision Soliloquy Painting Literature Text Image Representación Visión Soliloquio Pintura Literatura Texto Imagen |
| author |
Dubor, Françoise Zenarruza de Clément, Silvia |
| author_facet |
Dubor, Françoise Zenarruza de Clément, Silvia |
| author_sort |
Dubor, Françoise |
| title |
No se ve nada |
| title_short |
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| title_full |
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| title_fullStr |
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| title_full_unstemmed |
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| title_sort |
no se ve nada |
| description |
The text from the French author Pierre Michon, named Les Onze, allows the study of the interaction between different ways of representation within this text, which are as diverse and rich: the literary, the theatrical, the picturesque, the museistic, the historical. This painting represents the Committee for Salut Public, under the period of the Terror, during the French revolution. But the principle of this text is its confrontation to the irrepresentable. Hence the multiplicity of interpretive strategies that can be applied to this aporetic representation. The way in which these different levels of representation interrelate, complement each other, compete with each other and even repeat themselves, all are conducive to a reflection about the way in which meaning is constructed and evolves by way of the representational system selected or, in other words, the representational support. Thus, the representational levels seem to be conveyed by an image separated from its object, one whose meaning and function have yet to be understood. |
| publisher |
Universidad Nacional del Litoral |
| publishDate |
2020 |
| url |
https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/9647 |
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AT duborfrancoise nosevenada AT zenarruzadeclementsilvia nosevenada |
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2022-10-05T02:25:30Z |
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2022-10-05T02:25:30Z |
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1770623984257204224 |