Del centro a la periferia: las cartografías parisinas de charles Baudelaire y Annie Ernaux.
Fecha
2018
Autores
Título de la revista
ISSN de la revista
Título del volumen
Editor
Escuela de Letras. Facultad de Humanidades y Artes. Universidad Nacional de Rosario
Resumen
Descripción
Si Benjamin se interesaba por elflâneurbaudelaireano, que remedaba al espectador urbano de la modernidad, Annie Ernaux enDiario del afuerayLa vida exteriorse desvía de ese paseante ocioso. Los fragmentos cortos, con la estética de la anotación que se proponen construir una escritura fotográfica de la realidad de una época a partir de una colección de instantáneas sobre la ciudad, con una narradora que forma parte de lo que narra pero que es exterior a la vez -remedando el gesto del poeta-, ya no responden al vagabundeo del paseante sino a los ritmos del RERen la jornada laboral, y retoman las rutinas diarias de la ciudad contemporánea (las compras, los espacios de descanso en los días feriados). Son los mismos habitantes de Baudelaire, pero en otro tiempo, ya no es la París capital del Siglo XIX, sino sus afueras, esas ciudades al margen construidas para absorber el exceso de población de lo que fue la metrópolis imperial. Y los sujetos también se sitúan en el margen pero del consumo: los mendigos que pueblan sus páginas, accidente estructural de la lógica capitalista, son la caricatura del paseante ocioso y nada preservan de su goce estético. Son los sujetos de la diferencia, de la otredad, -“un hombre negro”, “una mujer asiática”-cuyos orígenes pierden el centro (o se descentran), aunque sin embargo la mirada, el lugar de la enunciación no pierde su centralidad y su ética heredada de la modernidad y que encuentra sus valores en las declaraciones de la Revolución Francesa.
If Benjamin was interested in the Baudelairean flâneur, who mimicked the urban spectator of modernity, Annie Ernaux in Diario del fueraand La vida exteriordeviates from that idle walker. The short fragments, with the aesthetics of the annotation that are proposed to build a photographic writing of the reality of an era from a collection of snapshots about the city, with a narrator that is part of what narrates but also external, doesn’t respond any more to the poet's gesture, to the wandering of the stroller, but to the rhythms of the RER in the working day, and resume the daily routines of the contemporary city (shopping, resting spaces on holidays). They are the same inhabitants of Baudelaire, but in another time, it is no longer the “Paris capital of the 19th century”, but its outskirts, those marginal cities built to absorb the excess population of what was the imperial metropolis. And the subjects also situate themselves in the margin of the consumption: the beggars that populate its pages -structural accident of the capitalist logic-are the caricature of the idle walker and they don’t preserve anything of the aesthetic enjoyment. They are the subjects of difference, of otherness, -"a black man", "anAsian woman" -whose origins lose center (or are decentralized), although nevertheless the place of enunciation does not lose its centrality and his ethics inherited from modernity and which finds its values in the declarations of the French Revolution.
If Benjamin was interested in the Baudelairean flâneur, who mimicked the urban spectator of modernity, Annie Ernaux in Diario del fueraand La vida exteriordeviates from that idle walker. The short fragments, with the aesthetics of the annotation that are proposed to build a photographic writing of the reality of an era from a collection of snapshots about the city, with a narrator that is part of what narrates but also external, doesn’t respond any more to the poet's gesture, to the wandering of the stroller, but to the rhythms of the RER in the working day, and resume the daily routines of the contemporary city (shopping, resting spaces on holidays). They are the same inhabitants of Baudelaire, but in another time, it is no longer the “Paris capital of the 19th century”, but its outskirts, those marginal cities built to absorb the excess population of what was the imperial metropolis. And the subjects also situate themselves in the margin of the consumption: the beggars that populate its pages -structural accident of the capitalist logic-are the caricature of the idle walker and they don’t preserve anything of the aesthetic enjoyment. They are the subjects of difference, of otherness, -"a black man", "anAsian woman" -whose origins lose center (or are decentralized), although nevertheless the place of enunciation does not lose its centrality and his ethics inherited from modernity and which finds its values in the declarations of the French Revolution.
Palabras clave
Charles Baudelaire, Annie Ernaux, Cartografías literarias, Literary cartographies