Book reviews: Three semblances of the human body
Absorbed - from the Latin ab-sorptus - is the past participle of the verb absorb, literally, "ingest", "absorb", "swallow". From the outset then, the-eye-absorbed is a disturbing phrase. An eye that swallows what it sees. An eye, an organ, which becomes a body. But not...
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| Format: | Online |
| Language: | spa |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2016
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| Online Access: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/14861 |
| _version_ | 1811172795184316416 |
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| author | Cambra Badii, Irene González Pla, Florencia Provenza, Ailén |
| author_facet | Cambra Badii, Irene González Pla, Florencia Provenza, Ailén |
| author_sort | Cambra Badii, Irene |
| collection | Portal de Revistas |
| description | Absorbed - from the Latin ab-sorptus - is the past participle of the verb absorb, literally, "ingest", "absorb", "swallow". From the outset then, the-eye-absorbed is a disturbing phrase. An eye that swallows what it sees. An eye, an organ, which becomes a body. But not to be satisfied with what it devours, but to make it poetry. To transform it, from the look returned to us by the cinema screen. The cover of the book already puts us on topic. It is a work of the unique Cuban designer Pepe Menéndez, and represents an eye, with its bluish iris and a black pupil, framed in a film reel. The resulting object is supported on a white surface, as if this peculiar "eye-cook" could be separated from the body. Or better: as if the eye itself, cinema through, had become a body itself - autonomous, fragmented, but body at last. At the beginning of our journey, then, the body already appears intervened. As if the author warned us, from the image of the cover, that within the limits of the cinematographic frame, the body is sighted, examined and metamorphosed by virtue of the exercise of seeing. This review of the work of Alberto Garrandés1 proposes, in fidelity with the author, an interlocution with the real nucleus that his essays distil. The proposal is relatively simple: three young Argentine researchers contribute their texts in tune with two passages from The Absorbed Eye. They do not comment on the book, but multiply it, contributing the analytical reading of Rio de la Plata. Garrandés' book, enormous in itself, is supplemented by this narrative and at the same time ethical-clinical exercise. Because now the body emerges doubly treated: from the literary essay and from the cinema as an outline, as a rudiment of an analysis. To the various sources referred to by Garrandés, authors such as Alain Badiou, Jacques Lacan, Julio Cabrera, Barbara Cassin, Massimo Recalcati, Stanley Cavell, Slavoj Zizek are added, thus giving the body a statute that transcends its initial edges. Statute that emerges from an unthinkable meeting between Havana and Buenos Aires. |
| format | Online |
| id | oai:ojs.revistas.unc.edu.ar:article-14861 |
| institution | Universidad Nacional de Cordoba |
| language | spa |
| publishDate | 2016 |
| publisher | Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| record_format | ojs |
| spelling | oai:ojs.revistas.unc.edu.ar:article-148612020-02-06T17:33:53Z Book reviews: Three semblances of the human body Reseña de libros: Tres semblanzas sobre el cuerpo Cambra Badii, Irene González Pla, Florencia Provenza, Ailén El ojo absorto Alberto Garrandés 2014 The eye absorbed Alberto Garrandés 2014 Absorbed - from the Latin ab-sorptus - is the past participle of the verb absorb, literally, "ingest", "absorb", "swallow". From the outset then, the-eye-absorbed is a disturbing phrase. An eye that swallows what it sees. An eye, an organ, which becomes a body. But not to be satisfied with what it devours, but to make it poetry. To transform it, from the look returned to us by the cinema screen. The cover of the book already puts us on topic. It is a work of the unique Cuban designer Pepe Menéndez, and represents an eye, with its bluish iris and a black pupil, framed in a film reel. The resulting object is supported on a white surface, as if this peculiar "eye-cook" could be separated from the body. Or better: as if the eye itself, cinema through, had become a body itself - autonomous, fragmented, but body at last. At the beginning of our journey, then, the body already appears intervened. As if the author warned us, from the image of the cover, that within the limits of the cinematographic frame, the body is sighted, examined and metamorphosed by virtue of the exercise of seeing. This review of the work of Alberto Garrandés1 proposes, in fidelity with the author, an interlocution with the real nucleus that his essays distil. The proposal is relatively simple: three young Argentine researchers contribute their texts in tune with two passages from The Absorbed Eye. They do not comment on the book, but multiply it, contributing the analytical reading of Rio de la Plata. Garrandés' book, enormous in itself, is supplemented by this narrative and at the same time ethical-clinical exercise. Because now the body emerges doubly treated: from the literary essay and from the cinema as an outline, as a rudiment of an analysis. To the various sources referred to by Garrandés, authors such as Alain Badiou, Jacques Lacan, Julio Cabrera, Barbara Cassin, Massimo Recalcati, Stanley Cavell, Slavoj Zizek are added, thus giving the body a statute that transcends its initial edges. Statute that emerges from an unthinkable meeting between Havana and Buenos Aires. Absorto –del latín ab-sorptus– es el participio pasado del verbo absorbere, literalmente, “ingerir”, “absorber”, “tragar”. De entrada entonces, el-ojo-absorto es un sintagma inquietante. Un ojo que traga lo que ve. Un ojo, un órgano, que deviene cuerpo. Pero no para saciarse de aquello que devora, sino para hacerlo poesía. Para transformarlo, a partir de la mirada que nos devuelve la pantalla del cine. La portada del libro ya nos pone en tema. Se trata de una obra del singular diseñador cubano Pepe Menéndez, y representa un ojo, con su iris azulado y una negra pupila, enmarcado en un carretel de cine. El objeto resultante está apoyado en una superficie blanca, como si este peculiar “ojo -cine” pudiera ser separado del cuerpo. O mejor: como si el ojo mismo, cine mediante, hubiera devenido él mismo un cuerpo –autónomo, fragmentado, pero cuerpo al fin. Al inicio de nuestro periplo, entonces, el cuerpo ya aparece intervenido. Como si el autor nos advirtiera, desde la propia imagen de la portada, que dentro de los límites del encuadre cinematográfico, el cuerpo queda avistado, examinado y metamorfoseado en virtud del ejercicio de ver. Esta reseña de la obra de Alberto Garrandés1 propone, en fidelidad con el autor, una interlocución con el núcleo real que destilan sus ensayos. La propuesta es relativamente sencilla: tres jóvenes investigadoras argentinas aportan sus textos en sintonía con sendos pasajes de El ojo absorto. No comentan el libro, sino que lo multiplican, aportando la lectura analítica rioplatense. El libro de Garrandés, enorme en sí mismo, se ve suplementado por este ejercicio narrativo y a la vez éticoclínico. Porque ahora el cuerpo emerge doblemente tratado: desde el ensayo literario y desde el cine como esbozo, como rudimento de un análisis. A las variadas fuentes referidas por Garrandés, se suman autores como Alain Badiou, Jacques Lacan, Julio Cabrera, Barbara Cassin, Massimo Recalcati, Stanley Cavell, Slavoj Zizek, otorgándole así al cuerpo un estatuto que trasciende sus bordes iniciales. Estatuto que emerge de un encuentro impensado entre La Habana y Buenos Aires. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2016-03-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/14861 10.31056/2250.5415.v6.n1.14861 Ética y Cine Journal; Vol. 6 Núm. 1 (2016): La ética y el espectáculo del Mal; 51-55 2250-5415 2250-5660 10.31056/2250.5415.v6.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/14861/14816 Derechos de autor 2016 Ética&Cine Journal |
| spellingShingle | El ojo absorto Alberto Garrandés 2014 The eye absorbed Alberto Garrandés 2014 Cambra Badii, Irene González Pla, Florencia Provenza, Ailén Book reviews: Three semblances of the human body |
| title | Book reviews: Three semblances of the human body |
| title_alt | Reseña de libros: Tres semblanzas sobre el cuerpo |
| title_full | Book reviews: Three semblances of the human body |
| title_fullStr | Book reviews: Three semblances of the human body |
| title_full_unstemmed | Book reviews: Three semblances of the human body |
| title_short | Book reviews: Three semblances of the human body |
| title_sort | book reviews three semblances of the human body |
| topic | El ojo absorto Alberto Garrandés 2014 The eye absorbed Alberto Garrandés 2014 |
| topic_facet | El ojo absorto Alberto Garrandés 2014 The eye absorbed Alberto Garrandés 2014 |
| url | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/14861 |
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