Autobiografías ajenas: sobre Barthes y Piglia
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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 la noción de “biografema”, que Roland Barthes presenta en el libro Sade, Fourier, Loyola(1971) y en el curso La preparación de la novela(1978-1980), este artículo pretende estudiar una obra contemporánea: Los diarios de Emilio Renzi(2015-2017), de Ricardo Piglia. En los tres volúmenes de sus diarios, editados antes de su muerte, el autor argentino no proporciona un registro preciso de los acontecimientos de su vida; en cambio, estos diarios apuntan hacia un futuro real a través de una narración de algunos eventos que lo llevarían a escribir su obra. Este artículo busca analizar cómo Piglia, a través de sus diarios, construye su autobiografía como si fuera la de otra persona, en un proyecto similar a los escritos autobiográficos de Barthes, como Roland Barthes por Roland Barthes.
Starting from Roland Barthes’ notion of «biographem», a notion he puts forward in the book Sade, Fourier, Loyola(1971) and in the course The Preparation of the Novel(1978-1980), this article aims at studying a contemporary work: Los diarios de Emilio Renzi(2015-2017), by Ricardo Piglia. In the three volumes of his diaries, edited just before his death, the Argentinian author does not provide an accurate record of the events of his life; instead, these diaries point towards a real future by way of a narrative of some events that would lead him to write his oeuvre. This article seeks to analyze how Piglia, through his diaries, constructs his autobiography as if it were that of someone else, in a project similar to Barthes’ own autobiographical writings, such as Roland Barthes by Roland Barthes.
Starting from Roland Barthes’ notion of «biographem», a notion he puts forward in the book Sade, Fourier, Loyola(1971) and in the course The Preparation of the Novel(1978-1980), this article aims at studying a contemporary work: Los diarios de Emilio Renzi(2015-2017), by Ricardo Piglia. In the three volumes of his diaries, edited just before his death, the Argentinian author does not provide an accurate record of the events of his life; instead, these diaries point towards a real future by way of a narrative of some events that would lead him to write his oeuvre. This article seeks to analyze how Piglia, through his diaries, constructs his autobiography as if it were that of someone else, in a project similar to Barthes’ own autobiographical writings, such as Roland Barthes by Roland Barthes.
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