Eating to live/Eating until death. Subjectivity and voracity
Taking as a basis of reflection La grande bouffe (The Big Feast), by Ferreri (1973), this article intends to show to what extent eating constitutes in thecontemporary world a perfect emblem of consumer society and of subjectivity itself. After it is separated from its meaning and good sense as nutri...
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| Format: | Online |
| Language: | spa |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2020
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| Online Access: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29249 |
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| author | Moreno-Márquez, César de Mingo Rodríguez, Alicia Mª |
| author_facet | Moreno-Márquez, César de Mingo Rodríguez, Alicia Mª |
| author_sort | Moreno-Márquez, César |
| collection | Portal de Revistas |
| description | Taking as a basis of reflection La grande bouffe (The Big Feast), by Ferreri (1973), this article intends to show to what extent eating constitutes in thecontemporary world a perfect emblem of consumer society and of subjectivity itself. After it is separated from its meaning and good sense as nutritional need, eating becomes obsessive. Instead of “eating to live”, our voracity and insatiability (already essential features of the human being) seem to lead “to eat until death” or, as in the Ferreri/Azcona film, to eat-towards-death. We have become swallows and gluttons, in a delirium of excess, as an answer absurd and, at the same time, logical) to the impossibility of transcending the “ingestion” not only of food, but also of Everything. In this sense, the last of the arts should be the culinary art, which should seduce us to wish to eat when we no longer have an appetite. On the other hand, from the ethical point of view, Ferreri/Azcona invite us indirectly to think, that while some human beings are starving, we die fed up with our insatiable satiety. In this way, erreri’s film becomes a very current mirror of the contemporary world and a strange, ironic and sad, but lucid,apology for the seductive and deadly art of cooking, which excites our voracity, if one may say so. Ten years later (1983), Creosota burst, fed up witheating, from Monty Python’s The Meaning of Life. |
| format | Online |
| id | oai:ojs.revistas.unc.edu.ar:article-29249 |
| institution | Universidad Nacional de Cordoba |
| language | spa |
| publishDate | 2020 |
| publisher | Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| record_format | ojs |
| spelling | oai:ojs.revistas.unc.edu.ar:article-292492020-07-02T18:19:31Z Eating to live/Eating until death. Subjectivity and voracity Comer para vivir, comer hasta morir. Subjetividad y voracidad Moreno-Márquez, César de Mingo Rodríguez, Alicia Mª Culinary art Consumption Gluttony Obsession Meaningless Suicide Arte culinario Consumo Glotonería Obsesión Sinsentido Suicidio Taking as a basis of reflection La grande bouffe (The Big Feast), by Ferreri (1973), this article intends to show to what extent eating constitutes in thecontemporary world a perfect emblem of consumer society and of subjectivity itself. After it is separated from its meaning and good sense as nutritional need, eating becomes obsessive. Instead of “eating to live”, our voracity and insatiability (already essential features of the human being) seem to lead “to eat until death” or, as in the Ferreri/Azcona film, to eat-towards-death. We have become swallows and gluttons, in a delirium of excess, as an answer absurd and, at the same time, logical) to the impossibility of transcending the “ingestion” not only of food, but also of Everything. In this sense, the last of the arts should be the culinary art, which should seduce us to wish to eat when we no longer have an appetite. On the other hand, from the ethical point of view, Ferreri/Azcona invite us indirectly to think, that while some human beings are starving, we die fed up with our insatiable satiety. In this way, erreri’s film becomes a very current mirror of the contemporary world and a strange, ironic and sad, but lucid,apology for the seductive and deadly art of cooking, which excites our voracity, if one may say so. Ten years later (1983), Creosota burst, fed up witheating, from Monty Python’s The Meaning of Life. Tomando como base de reflexión La grande bouffe, de Ferreri (1973), el presente artículo se propone mostrar hasta qué punto el comer constituye en el mundo contemporáneo un perfecto emblema de la sociedad de consumo y de la propia subjetividad. Después de que se separa de su sentido y de su sensatez como necesidad de nutrición, el comer se torna obsesivo. En lugar de “comer para vivir”, nuestra voracidad e insaciabilidad (rasgos ya esenciales del ser humano) parecen abocar a un “comer hasta morir” o, como en el film de Ferreri/Azcona, a comer-para-la-muerte. Nos hemos convertido en tragones y glotones, en un delirio de exceso, como respuesta (absurda y, al mismo tiempo, lógica) a la imposibilidad de trascender la “ingestión” no sólo de alimento, sino de Todo. En este sentido, la última de las artes habría de ser el arte culinario, que deberá seducirnos para desear comer cuando ya no tengamos apetito. Por otra parte, desde el punto de vista ético, Ferreri/Azcona nos invitan a pensar, indirectamente, que mientras unos seres humanos mueren de inanición, nosotros morimos hartos en nuestra insaciable saciedad. El film de Ferreri se convierte, de este modo, en espejo muy actual del mundo contemporáneo y en una extraña apología irónica y triste, pero lúcida, -si se puede decir así- del seductor y mortífero arte de cocinar, que excita nuestra voracidad. Diez años después (1983), Creosota reventará, harto de comer, en El sentido de la vida. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29249 Ética y Cine Journal; Vol. 10 Núm. 2 (2020): Ingerir, comer, degustar. La comida en el cine; 39-48 2250-5415 2250-5660 10.31056/2250.5415.v10.n2 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29249/30050 Derechos de autor 2020 Ética y Cine https://creativecommons.org/licenses/by-sa/4.0/ |
| spellingShingle | Culinary art Consumption Gluttony Obsession Meaningless Suicide Arte culinario Consumo Glotonería Obsesión Sinsentido Suicidio Moreno-Márquez, César de Mingo Rodríguez, Alicia Mª Eating to live/Eating until death. Subjectivity and voracity |
| title | Eating to live/Eating until death. Subjectivity and voracity |
| title_alt | Comer para vivir, comer hasta morir. Subjetividad y voracidad |
| title_full | Eating to live/Eating until death. Subjectivity and voracity |
| title_fullStr | Eating to live/Eating until death. Subjectivity and voracity |
| title_full_unstemmed | Eating to live/Eating until death. Subjectivity and voracity |
| title_short | Eating to live/Eating until death. Subjectivity and voracity |
| title_sort | eating to live eating until death subjectivity and voracity |
| topic | Culinary art Consumption Gluttony Obsession Meaningless Suicide Arte culinario Consumo Glotonería Obsesión Sinsentido Suicidio |
| topic_facet | Culinary art Consumption Gluttony Obsession Meaningless Suicide Arte culinario Consumo Glotonería Obsesión Sinsentido Suicidio |
| url | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29249 |
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