Artists Lives. Looking and Writing in El nervio óptico of María Gainza
El nervio óptico of María Gainza displays a series of procedures in which the gaze and its materiality —the fragment torn from the body to which the title of the text alludes— organize a narrative flow intertwining the history of art, the biography of artists and the autobiography from the author he...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires)
2023
|
| Materias: | |
| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/zama/article/view/13796 |
| Aporte de: |
| id |
I28-R268-article-13796 |
|---|---|
| record_format |
ojs |
| spelling |
I28-R268-article-137962023-12-29T17:46:01Z Artists Lives. Looking and Writing in El nervio óptico of María Gainza Vidas de artistas. Mirada y escritura en El nervio óptico de María Gainza Vida de artistas. Olhar e escrita em El nervio óptico de María Gainza Manzoni, Celina María Gainza - gaze - corporality - biography of artists -autobiography María Gainza - mirada - corporalidad - biografías de artistas - autobiografía María Gainza - olhar - corporalidade - biografia de artistas - autobiografia El nervio óptico of María Gainza displays a series of procedures in which the gaze and its materiality —the fragment torn from the body to which the title of the text alludes— organize a narrative flow intertwining the history of art, the biography of artists and the autobiography from the author herself. Unlike what happens in other texts that recount the lives of artists, the eleven fragments that are linked in Gainza's novel start from the chance encounter of the narrator with works by painters of different origins, an encounter that activates a scriptural mechanism in which the mandatory aesthetic is relegated to the background compared to the exercise of the viewer's visual perception. El nervio óptico de María Gainza despliega una serie de procedimientos en los que la mirada y su materialidad —el fragmento desgajado del cuerpo al que alude el título del texto— organizan un discurrir narrativo entrelazando la historia del arte, la biografía de artistas y la autobiografía de la propia autora. A diferencia de lo que ocurre en otros textos que cuentan vidas de artistas, los once fragmentos que se engarzan en la novela de Gainza parten del encuentro azaroso de la narradora con obras de pintores de diverso origen, encuentro que activa un mecanismo escriturario en el que la preceptiva estética es relegada a segundo plano frente al ejercicio de la percepción visual del espectador. El nervio óptico de María Gainza apresenta uma série de procedimentos nos quais o olhar e sua materialidade —o fragmento arrancado do corpo a que alude o título do texto— organizam um fluxo narrativo entrelaçando a história da arte, a biografia de artistas e a autobiografia da própria autora. Ao contrário do que acontece em outros textos que narram a vida de artistas, os onze fragmentos que se interligam no romance de Gainza partem do encontro casual da narradora com obras de pintores de diferentes origens, encontro que aciona um mecanismo da escrita em que a estética prescritiva é relegad a segundo plano em relação ao exercício da percepção visual do espectador. Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires) 2023-12-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/zama/article/view/13796 10.34096/zama.a.n15.13796 Zama. Revista del Instituto de Literatura Hispanoamericana; No 15 (2023) Zama. Revista del Instituto de Literatura Hispanoamericana; Núm. 15 (2023) Zama. Revista del Instituto de Literatura Hispanoamericana; n. 15 (2023) 2422-6017 1851-6866 spa http://revistascientificas.filo.uba.ar/index.php/zama/article/view/13796/12335 Derechos de autor 2023 Celina Manzoni https://creativecommons.org/licenses/by-nc-sa/4.0 |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-268 |
| container_title_str |
Zama |
| language |
Español |
| format |
Artículo revista |
| topic |
María Gainza - gaze - corporality - biography of artists -autobiography María Gainza - mirada - corporalidad - biografías de artistas - autobiografía María Gainza - olhar - corporalidade - biografia de artistas - autobiografia |
| spellingShingle |
María Gainza - gaze - corporality - biography of artists -autobiography María Gainza - mirada - corporalidad - biografías de artistas - autobiografía María Gainza - olhar - corporalidade - biografia de artistas - autobiografia Manzoni, Celina Artists Lives. Looking and Writing in El nervio óptico of María Gainza |
| topic_facet |
María Gainza - gaze - corporality - biography of artists -autobiography María Gainza - mirada - corporalidad - biografías de artistas - autobiografía María Gainza - olhar - corporalidade - biografia de artistas - autobiografia |
| author |
Manzoni, Celina |
| author_facet |
Manzoni, Celina |
| author_sort |
Manzoni, Celina |
| title |
Artists Lives. Looking and Writing in El nervio óptico of María Gainza |
| title_short |
Artists Lives. Looking and Writing in El nervio óptico of María Gainza |
| title_full |
Artists Lives. Looking and Writing in El nervio óptico of María Gainza |
| title_fullStr |
Artists Lives. Looking and Writing in El nervio óptico of María Gainza |
| title_full_unstemmed |
Artists Lives. Looking and Writing in El nervio óptico of María Gainza |
| title_sort |
artists lives. looking and writing in el nervio óptico of maría gainza |
| description |
El nervio óptico of María Gainza displays a series of procedures in which the gaze and its materiality —the fragment torn from the body to which the title of the text alludes— organize a narrative flow intertwining the history of art, the biography of artists and the autobiography from the author herself. Unlike what happens in other texts that recount the lives of artists, the eleven fragments that are linked in Gainza's novel start from the chance encounter of the narrator with works by painters of different origins, an encounter that activates a scriptural mechanism in which the mandatory aesthetic is relegated to the background compared to the exercise of the viewer's visual perception. |
| publisher |
Instituto de Literatura Hispanoamericana (Facultad de Filosofía y Letras, Universidad de Buenos Aires) |
| publishDate |
2023 |
| url |
http://revistascientificas.filo.uba.ar/index.php/zama/article/view/13796 |
| work_keys_str_mv |
AT manzonicelina artistsliveslookingandwritinginelnervioopticoofmariagainza AT manzonicelina vidasdeartistasmiradayescrituraenelnervioopticodemariagainza AT manzonicelina vidadeartistasolhareescritaemelnervioopticodemariagainza |
| first_indexed |
2024-08-14T02:00:20Z |
| last_indexed |
2024-08-14T02:00:20Z |
| _version_ |
1807326454201974784 |