El haiku como germen de matices. Notas para una diaforalogía
Fecha
2019-09
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios de Teoría y Crítica Literaria
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A partir de su breve composición, el haiku ofrece la posibilidad de una expansión en estructuras más extensas. Es así que el haiku es, como lo dice Beatriz Sarlo —a propósito dela escritura de Juan José Saer—, “una semilla de narración-descripcion”. O, en palabras de Roland Barthes, un “germen, un argumento breve”: el haiku como germen de escritura, es decir, como discurso que alberga en sí mismo posibilidades narrativas-descriptivas a partir de los matices que dispone. Desde el pensamiento barthesiano proponemos entoncces pensar el haiku desde tres aspectos: en primer lugar, el haiku como tangibilia, es decir, la presencia de palabras que tienen como referencia cosas concretas u objetos, y las posibilidades perceptivas que esto provoca; en segundo lugar, el “despertar” ante el acontecimiento: el haiku como “sacudimiento mental”, una especie de satori; finalmente, el haiku como el tiempo que hace. A partir de estas notas, inivitamos a pensar una diaforalogía que estudie los matices en torno al haiku y las escrituras que este origina.
The haiku offers the possibility of expansion into more extensive structures due to its brief composition. As Beatriz Sarlo stated—in relation to the writing of Juan José Saer—the haiku is “a seed ofnarration and description.” Or —in the words of Roland Barthes—“[a wheat] germ, a brief plot.” Seeing the haiku as a seed of writing implies it harbors narrative and descriptive possibilities within itself by means of nuance present in its arrangement. Three manners of looking at the haiku are hereby proposed, each stemming from the Barthesian thought: firstly, the haiku as tangibilia, which is to say as reference to concrete things or objects, and the perceptive possibilities that this provokes; secondly, the “awakening” before the event: the haiku as a “mental shakedown,” a type of satori; finally, the haiku as time that passes. By means of these notes, the reader is invited to participate in a diaphorology that studies the nuances of the haiku and the writings from which it originates.
The haiku offers the possibility of expansion into more extensive structures due to its brief composition. As Beatriz Sarlo stated—in relation to the writing of Juan José Saer—the haiku is “a seed ofnarration and description.” Or —in the words of Roland Barthes—“[a wheat] germ, a brief plot.” Seeing the haiku as a seed of writing implies it harbors narrative and descriptive possibilities within itself by means of nuance present in its arrangement. Three manners of looking at the haiku are hereby proposed, each stemming from the Barthesian thought: firstly, the haiku as tangibilia, which is to say as reference to concrete things or objects, and the perceptive possibilities that this provokes; secondly, the “awakening” before the event: the haiku as a “mental shakedown,” a type of satori; finally, the haiku as time that passes. By means of these notes, the reader is invited to participate in a diaphorology that studies the nuances of the haiku and the writings from which it originates.
Palabras clave
Barthes, Haiku, Narración, Saer, Diaforalogía, Narration, Diaphorology