DAVID VIÑAS: EL LAST Duelist
By Edgardo H. Berg
Tengo sobre mi escritorio el último libro who drove David Viñas, al menemato From Alfonsin (1983-2011), en el volumen collective that tuve la Dicha participate avec un ensayo, y las preocupaciones incorporating y el proyecto started en 1989, by Viñas, to build a social history of the literature reviewed the book and the news of the passing away of the author brings me to the past, or better, present from the past.
the mid-eighties, still devoted and enthusiastic reader of poetry and European and American fiction, I started reading a book that changed me my indolence and contempt as an undergraduate. Argentina was studying literature at the Faculty of Humanities, in the old building of Maipú and Marconi, and reading literature and political reality Argentina (1964) by David Viñas woke me up like a fist hitting my head, as would Kafka in his diary, and radically turned my thinking and analyze the national culture. I think from there, started my interest in literature and criticism Argentina, rather in some form of criticism, before passing by TW Adorno, Walter Benjamin, Bakhtin and Barthes, Rosa, Ludmer, Sarlo or Piglia. The book raised, through a haunting series of metaphors and transport purposes, the inescapable relationship between the formation and development of national literature and politics, analogies and correspondences between cultural series and the series, between theory political and artistic practice, always seen from an ethical position and ideological textual analysis was possible brawl and crosses with epochal events and measurements. The book is clearly departed from the traditional criticism that concealed, in most cases, the ideological and political determinations of culture. More or less over the same period that was studying at the university, my interest moved the trial to work Viñas novels, in particular, face Dar (1962), which in an emblematic way condensed the ideological and cultural debates of the Frondizism era. Together with a friend of Bills and two colleagues from the race tried to raise History, still students, a project covering the context of the time, the Cuban revolution, relationship between intellectuals and government Frondizi, Peronism, seen from the literary and film production and, of course, as usual with the first and initial projects, which are often the most passionate, was rejected by the investigating authorities because it allowed students group projects.
Later I read his other great book of essays Indian army and Border (1982), text written in exile and is, I think, the best tribute that the author did in life to their children Maria Adelaida and Lorenzo Ismael, kidnapped and disappeared by the last military dictatorship. In a way, if you want to allegorical or translaticio, brings together two historical contexts and draws a parallel, admirable, between the origins and constitution of the nation state and the self-styled National Reorganization Process, since spatialization of political sovereignty and its corollary: the genocide. Under state terror social subjects can be deprived of territory they inhabit or expelled, electrified fences around the extermination centers.
could say that the work of David Viñas, your essays and fiction, we plunge the depths of the silent world of power (military power, economic or political power), I mean us into the bowels of reality and Argentina's history, hence their willingness to style "gut" his verbal overflow does not mince words. Possession of the word, as they say, is a double-edged sword, dangerous and demanding. The will to style, strong intonation, and a virulent polemic, the gestures of the body of his writing comes in correlation with the effect of voice dialing, with the inevitable identification between the subject of enunciation and the subject of the statement. This is not a game of double cloth, then swallow or voice. Neither fish nor fowl. To face. Show and prove. Put the body-the body of writing. Against orthodoxy and the excesses of intellectual-turned-government official, questioning. True David Viñas preaching will always be passionate, annoying, unwelcome. As he once said himself Viñas de Roberto Arlt, the author figure resembling a parliament "that will automatically report all the rules of the game and that hit, kick, rant and ends up hitting the referee." What persists in his texts, beyond the contexts of enunciation and its discursive formulations, is a national will, a melee with Argentina's history.
If you ask me, I say: David Viñas, the last duelist. Note
extracted from the blog: http://salierishistoria.wordpress.com (see "transitional words)
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