The Cuir Writings of the Self as a [Neo]Baroque Braid. Individual Subject, Collective Subjectivities and Impersonality of the Living

The article intends to read the texts by Marlene Wayar, Furia Travesti, and Camila Sosa Villada, Las malas and Soy una tonta por quererte, from a perspective that deviates from the canonical reading pacts. The accent will therefore be placed on the way in which the texts respond to the question “Who...

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Autor principal: Montes, Alicia
Formato: Artículo publishedVersion Artículo revisado por pares
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2024
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/15009
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=filologia&d=15009_oai
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Repositorio Digital de la Universidad de Buenos Aires (UBA) de Universidad de Buenos Aires
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spelling I28-R145-15009_oai2025-11-17 Montes, Alicia 2024-07-17 The article intends to read the texts by Marlene Wayar, Furia Travesti, and Camila Sosa Villada, Las malas and Soy una tonta por quererte, from a perspective that deviates from the canonical reading pacts. The accent will therefore be placed on the way in which the texts respond to the question “Who am I?” and, at the same time, “Who are we?”, based on a conception of decentered, mutant, non-binary and becoming subjectivity that also unfolds as an unformed-form of the living. Thus, due to the characteristic estrangement effect of anamorphosis, one of the forms that biopoetic criticism can assume, what appears to be a dictionary can be conceived as an autobiography that braids the individual, the collective and the impersonal. Moreover, what is presented as a novel or collection of short stories focused on the figure of a ghostly self that appears and disappears in the text, can be considered a fantastic autofiction in which individual subjectivity is dispersed and multiplied in stories of fabulous beings that define an unformed-form of animal life. The work postulates that queer self-writings, in this case transvestite figurations, display their ambivalences and contradictions as an act of political dissidence in which a textual process of denaturation occurs that puts in crisis the meaning that editorial paratexts and metatexts (prologues, interviews with the author) try to impose. El artículo se propone leer los textos de Marlene Wayar, Furia Travesti, y Camila Sosa Villada, Las malas y Soy una tonta por quererte, desde una perspectiva que se desvía de los pactos de lectura canónicos. Se pondrá el acento, por tanto, en el modo en que los textos responden a la pregunta “¿Quién soy?” y, al mismo tiempo, “¿Quiénes somos?”, a partir de una concepción de la subjetividad descentrada, mutante, no binarie y en devenir que se despliega, también, como forma-informe de lo viviente. Así, por efecto de extrañamiento característico de la anamorfosis, una de las formas que puede asumir la crítica biopoética, lo que aparenta ser un diccionario puede concebirse como una autobiografía que trenza lo individual, lo colectivo y lo impersonal. Por su parte, lo que se presenta como novela o colección de cuentos en torno a la figura de un yo fantasmal que aparece y desaparece en el texto, puede considerarse una autoficción fantástica en la que la subjetividad individual se dispersa y multiplica en historias de seres fabulosos que definen una forma-informe de vida animal. El trabajo postula que las autoescrituras cuir, en este caso las figuraciones travestis, despliegan sus ambivalencias y contradicciones como un acto de disidencia política en la que se produce un proceso textual de desnaturalización que pone en crisis el sentido que los paratextos editoriales y los metatextos (prólogos, entrevistas al autor) pretenden imponer. application/pdf https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/15009 10.34096/filologia.n56.15009 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/15009/13160 Derechos de autor 2024 Alicia Montes Filología; Vol. 1 No. 56 (2024) Filología; Vol. 1 Núm. 56 (2024) 2422-6009 0071-495X The Cuir Writings of the Self as a [Neo]Baroque Braid. Individual Subject, Collective Subjectivities and Impersonality of the Living Las escrituras cuir del yo como trenza [neo]barroca. Sujeto individual, subjetividades colectivas e impersonalidad de lo viviente info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=filologia&d=15009_oai
institution Universidad de Buenos Aires
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repository_str R-145
collection Repositorio Digital de la Universidad de Buenos Aires (UBA)
language Español
orig_language_str_mv spa
description The article intends to read the texts by Marlene Wayar, Furia Travesti, and Camila Sosa Villada, Las malas and Soy una tonta por quererte, from a perspective that deviates from the canonical reading pacts. The accent will therefore be placed on the way in which the texts respond to the question “Who am I?” and, at the same time, “Who are we?”, based on a conception of decentered, mutant, non-binary and becoming subjectivity that also unfolds as an unformed-form of the living. Thus, due to the characteristic estrangement effect of anamorphosis, one of the forms that biopoetic criticism can assume, what appears to be a dictionary can be conceived as an autobiography that braids the individual, the collective and the impersonal. Moreover, what is presented as a novel or collection of short stories focused on the figure of a ghostly self that appears and disappears in the text, can be considered a fantastic autofiction in which individual subjectivity is dispersed and multiplied in stories of fabulous beings that define an unformed-form of animal life. The work postulates that queer self-writings, in this case transvestite figurations, display their ambivalences and contradictions as an act of political dissidence in which a textual process of denaturation occurs that puts in crisis the meaning that editorial paratexts and metatexts (prologues, interviews with the author) try to impose.
format Artículo
publishedVersion
Artículo revisado por pares
author Montes, Alicia
spellingShingle Montes, Alicia
The Cuir Writings of the Self as a [Neo]Baroque Braid. Individual Subject, Collective Subjectivities and Impersonality of the Living
author_facet Montes, Alicia
author_sort Montes, Alicia
title The Cuir Writings of the Self as a [Neo]Baroque Braid. Individual Subject, Collective Subjectivities and Impersonality of the Living
title_short The Cuir Writings of the Self as a [Neo]Baroque Braid. Individual Subject, Collective Subjectivities and Impersonality of the Living
title_full The Cuir Writings of the Self as a [Neo]Baroque Braid. Individual Subject, Collective Subjectivities and Impersonality of the Living
title_fullStr The Cuir Writings of the Self as a [Neo]Baroque Braid. Individual Subject, Collective Subjectivities and Impersonality of the Living
title_full_unstemmed The Cuir Writings of the Self as a [Neo]Baroque Braid. Individual Subject, Collective Subjectivities and Impersonality of the Living
title_sort cuir writings of the self as a [neo]baroque braid. individual subject, collective subjectivities and impersonality of the living
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2024
url https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/15009
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=filologia&d=15009_oai
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AT montesalicia cuirwritingsoftheselfasa91neo93baroquebraidindividualsubjectcollectivesubjectivitiesandimpersonalityoftheliving
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