No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
Velocidad y desorientación en Punctum de Martín Gambarotta y Silvia Prieto de Martín Rejtman
Abstract
Martín Gambarotta’s collection of poetry, Punctum (1996), and Martín Rejtman’s film Silvia Prieto (1999) are significant examples of the cultural transformations that took place in Argentina during the 1990s. Both works show the effects of market logic in social space, speech and on new subjectivities. However, this article proposes that the emancipatory character of Punctum and Silvia Prieto goes beyond the mere ‘exposure’ of the corrosive effects of neoliberalism in everyday life. By way of an analysis of certain scenes and poems, this article will discuss how, by taking a critical position ‘within’ present social relations of production (and therefore, their mediations), these works reveal a critique of neoliberalism through an ‘economy of language’ that frustrates mercantile logic, by submitting its rapid mediations to the effects of anti-narrative.
This article analyses the spatial logic of the Argentine film El hombre de al lado / The Man Next Door (2009) directed by Mariano Cohn and Gastón Duprat by using Marc Augé’s categories of place and non-place. In the film, neighbours Leonardo and Víctor fight over the building of a window in Víctor’s apartment that will face Leonardo’s home and modern architecture exemplar, the Curutchet House – a house built by renowned architect Le Corbusier. The tension between Leonardo and Víctor can be better understood as a tension between the global and the national, and how their particular perspectives match how they see the Curutchet House itself, either as non-place or place. The article proposes the non-place/anthropological place entanglement as a useful tool to understand how subjects interact with a given space, and how such interactions can be read as favouring one type of relationship or another, space as place or space as non-place , in practices of textual critique. Reading El hombre de al lado , this article pays close attention to how the protagonists, Víctor and Leonardo, occupy space in the film, whether as place or non-place, and read this contingent relationship as a commentary on the tension between the global and the national.
This article explores the politics of form proposed by the poetry of Martín Gambarotta. It discusses how his poems carry out a mapping of affective forces across language in the context of a pacified society during the neoliberal project of the late 1990s. The work on verbal materiality invites the reader -as Jean-Luc Nancy would say- To put the ear in order to perceive the resonances of the 'unsaid' at the edges of meaning. While his early work, Punctum (1996), exercises an appropriation of the political rhetoric of the 1970s and of the mass media in a fast and distorted montage, Seudo (2000) investigates the dissociation between sense and sound in the context of a dislocated language, where repetition and silence play a pivotal role. Finally, in the extensive section 'Dubitación (para una reescritura de Seudo)' that appears in the reissue of 2012, loop construction sets the pace of impossibility of the poem-object of naming experience.
ResearchGate has not been able to resolve any references for this publication.