Perón con Derrida. El problema de la soberanía en El fiord de Osvaldo Lamborghini
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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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La primera obra de Osvaldo Lamborghini, El fiord, publicada en 1969, ha sido muy leída por la crítica. Las lecturas se dividen entre la ilegibilidad (el carácter vanguardista del texto) y el exceso de claridad (la alegoría política). Entre la clave autorreferencial (el mito de origen de la obra) y la clave alegórica (las figuras de Perón y de Evita, la izquierda nacionalista los años sesenta), la hermenéutica psicoanalítica opera como mediadora: literatura, política y erotismo constituyen una tríada que divide el texto y fragmenta la lectura.
Nuestra conjetura es que no puede separarse el modo alegórico del programa vanguardista. En este sentido, la alegoría no se limitaría a aludir a la coyuntura de la que el texto es contemporáneo, sino que más bien tramitaría una reflexión acerca de una serie de estereotipos sobre el peronismo como experiencia decisiva de una época.
Osvaldo Lamborghini's first work, El fiord, published in 1969, has been extensively read by critics. The readings are divided between the illegibility (the avant-garde character of the text) and the excess of clarity (the political allegory). Between the self-referential key (the myth of the origin of the work) and the allegorical key (the figures of Perón and of Evita, the nationalist left of the sixties), the psychoanalytic hermeneutics works as a mediator: literature, politics and eroticism constitute a triad that divides the text and fragments the reading. Our conjecture is that the allegorical mode cannot be separated of the avant-garde program. In this sense, the allegory would not be limited to referring to the conjuncture of which the text is contemporary, but rather would process a reflection on a series of stereotypes about Peronism as the decisive experience of an era.
Osvaldo Lamborghini's first work, El fiord, published in 1969, has been extensively read by critics. The readings are divided between the illegibility (the avant-garde character of the text) and the excess of clarity (the political allegory). Between the self-referential key (the myth of the origin of the work) and the allegorical key (the figures of Perón and of Evita, the nationalist left of the sixties), the psychoanalytic hermeneutics works as a mediator: literature, politics and eroticism constitute a triad that divides the text and fragments the reading. Our conjecture is that the allegorical mode cannot be separated of the avant-garde program. In this sense, the allegory would not be limited to referring to the conjuncture of which the text is contemporary, but rather would process a reflection on a series of stereotypes about Peronism as the decisive experience of an era.
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