El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara

Autores
Fleisner, Paula
Año de publicación
2020
Idioma
español castellano
Tipo de recurso
artículo
Estado
versión publicada
Descripción
In this paper we provide a reading of Gabriela Cabezón Cámara´s Las aventuras de la China Iron (2017) from a post-human materialistic aesthetic perspective, a line of research which considers that, in our post-anthropocentric and post-natural context, it has become essential to revisit the various logics of existence that populate the Earth. In other words, we attempt to think about the post/in-human space that opens up with the interaction, hybridization and co-emergence of everything that exists, a space in which human actors are present but instead of being the center of action inhabit a mix of diverse agencies. From this particular point of view we focus on two issues. Insofar as the narrator is a human animal, on the one hand the novel is understood as a horizontal and non-hierarchical description of the place of humanity on the planet, on the other hand, as the exploration of mutually contaminated powers of acting, thinking and feeling of what exists in general. According to this, the animal, the vegetable, and the mineral are no longer taxonomized in kingdoms but mixed in the unwired, ungovernable and fertile compost that the Argentinian desert could be. Considered as a rewriting of Martín Fierro, a foundational book of Argentina´s national identity, Cabezón Cámara´s novel can be read as the fable of a queer and holoentic "matria" that is the home to multiple species and kingdoms creatures.
Este artigo parte da perspectiva do materialismo pós-humano, uma linha de pesquisa que assume o presente como um contexto pós-antropocêntrico e pós-natural no qual se tornou indispensável reconsiderar as diversas lógicas de existência que povoam a Terra. Ou seja, trata-se de pensar sobre o espaço pós/desumano que se abre com a interação, a hibridização e a co-surgimento de todo o existente em que atores humanos estão presentes, mas não mais no centro da ação, senão em uma mistura de agencialidades diversificadas. En esta oportunidad será apresentada uma leitura de Las aventuras de la China Iron, de Gabriela Cabezón Cámara (2017), a partir de uma estética materialista pós-humana. Por um lado, na medida em que o narrador é um animal humano, o romance será entendido como uma descrição horizontal e não hierárquica do lugar da “humanidade” no planeta; e, por outro lado, como a exploração das mutuamente potencias de agir, pensar e sentir do existente em geral: o animal, o vegetal e o mineral não mais taxonomizados em reinos, senão que misturados no “compost” intransigível, ingovernável e fértil que poderia ser o “deserto” argentino. Assim, como reescrita de Martín Fierro, um texto considerado fundacional da identidade nacional argentina, o romance de Cabezón Cámara poderia ser a fabulação de uma “matria” queer e holoentica que abriga criaturas de múltiplas espécies e reinos.
In this paper we provide a reading of Gabriela Cabezón Cámara’s Las aventuras de la China Iron (2017) from a post-human materialistic aesthetic perspective, a line of research which considers that, in our post-anthropocentric and post-natural context, it has become essential to revisit the various logics of existence that populate the Earth. In other words, we attempt to think about the post/in-human space that opens up with the interaction, hybridization and co-emergence of everything that exists, a space in which human actors are present but instead of being the center of action inhabit a mix of diverse agencies. From this particular point of view we focus on two issues. Insofar as the narrator is a human animal, on the one hand the novel is understood as a horizontal and non-hierarchical description of the place of “humanity” on the planet, on the other hand, as the exploration of mutually contaminated powers of acting, thinking and feeling of what exists in general. According to this, the animal, the vegetable, and the mineral are no longer taxonomized in kingdoms but mixed in the unwired, ungovernable and fertile “compost” that the Argentinian “desert” could be. Considered as a rewriting of Martín Fierro, a foundational book of Argentina’s national identity, Cabezón Cámara’s novel can be read as the fable of a queer and holoentic “matria” that is the home to multiple species and kingdoms creatures.
Fil: Fleisner, Paula. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Filosofía "Dr. Alejandro Korn"; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Departamento de Filosofía; Argentina
Materia
Posthumanism
Materialism
Argentinian Literature
Desert
Nivel de accesibilidad
acceso abierto
Condiciones de uso
https://creativecommons.org/licenses/by/2.5/ar/
Repositorio
CONICET Digital (CONICET)
Institución
Consejo Nacional de Investigaciones Científicas y Técnicas
OAI Identificador
oai:ri.conicet.gov.ar:11336/170418

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network_name_str CONICET Digital (CONICET)
spelling El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón CámaraO deserto era parecido a um paraíso: Aventuras pós-humanas em uma novela de G. Cabezón CámaraThe desert felt like a paradise: Posthuman adventures in a novel by G. Cabezón CámaraFleisner, PaulaPosthumanismMaterialismArgentinian LiteratureDeserthttps://purl.org/becyt/ford/6.3https://purl.org/becyt/ford/6In this paper we provide a reading of Gabriela Cabezón Cámara´s Las aventuras de la China Iron (2017) from a post-human materialistic aesthetic perspective, a line of research which considers that, in our post-anthropocentric and post-natural context, it has become essential to revisit the various logics of existence that populate the Earth. In other words, we attempt to think about the post/in-human space that opens up with the interaction, hybridization and co-emergence of everything that exists, a space in which human actors are present but instead of being the center of action inhabit a mix of diverse agencies. From this particular point of view we focus on two issues. Insofar as the narrator is a human animal, on the one hand the novel is understood as a horizontal and non-hierarchical description of the place of humanity on the planet, on the other hand, as the exploration of mutually contaminated powers of acting, thinking and feeling of what exists in general. According to this, the animal, the vegetable, and the mineral are no longer taxonomized in kingdoms but mixed in the unwired, ungovernable and fertile compost that the Argentinian desert could be. Considered as a rewriting of Martín Fierro, a foundational book of Argentina´s national identity, Cabezón Cámara´s novel can be read as the fable of a queer and holoentic "matria" that is the home to multiple species and kingdoms creatures.Este artigo parte da perspectiva do materialismo pós-humano, uma linha de pesquisa que assume o presente como um contexto pós-antropocêntrico e pós-natural no qual se tornou indispensável reconsiderar as diversas lógicas de existência que povoam a Terra. Ou seja, trata-se de pensar sobre o espaço pós/desumano que se abre com a interação, a hibridização e a co-surgimento de todo o existente em que atores humanos estão presentes, mas não mais no centro da ação, senão em uma mistura de agencialidades diversificadas. En esta oportunidad será apresentada uma leitura de Las aventuras de la China Iron, de Gabriela Cabezón Cámara (2017), a partir de uma estética materialista pós-humana. Por um lado, na medida em que o narrador é um animal humano, o romance será entendido como uma descrição horizontal e não hierárquica do lugar da “humanidade” no planeta; e, por outro lado, como a exploração das mutuamente potencias de agir, pensar e sentir do existente em geral: o animal, o vegetal e o mineral não mais taxonomizados em reinos, senão que misturados no “compost” intransigível, ingovernável e fértil que poderia ser o “deserto” argentino. Assim, como reescrita de Martín Fierro, um texto considerado fundacional da identidade nacional argentina, o romance de Cabezón Cámara poderia ser a fabulação de uma “matria” queer e holoentica que abriga criaturas de múltiplas espécies e reinos.In this paper we provide a reading of Gabriela Cabezón Cámara’s Las aventuras de la China Iron (2017) from a post-human materialistic aesthetic perspective, a line of research which considers that, in our post-anthropocentric and post-natural context, it has become essential to revisit the various logics of existence that populate the Earth. In other words, we attempt to think about the post/in-human space that opens up with the interaction, hybridization and co-emergence of everything that exists, a space in which human actors are present but instead of being the center of action inhabit a mix of diverse agencies. From this particular point of view we focus on two issues. Insofar as the narrator is a human animal, on the one hand the novel is understood as a horizontal and non-hierarchical description of the place of “humanity” on the planet, on the other hand, as the exploration of mutually contaminated powers of acting, thinking and feeling of what exists in general. According to this, the animal, the vegetable, and the mineral are no longer taxonomized in kingdoms but mixed in the unwired, ungovernable and fertile “compost” that the Argentinian “desert” could be. Considered as a rewriting of Martín Fierro, a foundational book of Argentina’s national identity, Cabezón Cámara’s novel can be read as the fable of a queer and holoentic “matria” that is the home to multiple species and kingdoms creatures.Fil: Fleisner, Paula. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Filosofía "Dr. Alejandro Korn"; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Departamento de Filosofía; ArgentinaPontifícia Universidade Católica do Rio Grande do Sul2020-08info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/170418Fleisner, Paula; El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara; Pontifícia Universidade Católica do Rio Grande do Sul; Veritas; 65; 2; 8-2020; 1-130042-39551984-6746CONICET DigitalCONICETspainfo:eu-repo/semantics/altIdentifier/url/https://revistaseletronicas.pucrs.br/index.php/veritas/article/view/37839info:eu-repo/semantics/altIdentifier/doi/10.15448/1984-6746.2020.2.37839info:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-09-29T10:29:06Zoai:ri.conicet.gov.ar:11336/170418instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-09-29 10:29:06.874CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse
dc.title.none.fl_str_mv El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara
O deserto era parecido a um paraíso: Aventuras pós-humanas em uma novela de G. Cabezón Cámara
The desert felt like a paradise: Posthuman adventures in a novel by G. Cabezón Cámara
title El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara
spellingShingle El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara
Fleisner, Paula
Posthumanism
Materialism
Argentinian Literature
Desert
title_short El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara
title_full El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara
title_fullStr El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara
title_full_unstemmed El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara
title_sort El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara
dc.creator.none.fl_str_mv Fleisner, Paula
author Fleisner, Paula
author_facet Fleisner, Paula
author_role author
dc.subject.none.fl_str_mv Posthumanism
Materialism
Argentinian Literature
Desert
topic Posthumanism
Materialism
Argentinian Literature
Desert
purl_subject.fl_str_mv https://purl.org/becyt/ford/6.3
https://purl.org/becyt/ford/6
dc.description.none.fl_txt_mv In this paper we provide a reading of Gabriela Cabezón Cámara´s Las aventuras de la China Iron (2017) from a post-human materialistic aesthetic perspective, a line of research which considers that, in our post-anthropocentric and post-natural context, it has become essential to revisit the various logics of existence that populate the Earth. In other words, we attempt to think about the post/in-human space that opens up with the interaction, hybridization and co-emergence of everything that exists, a space in which human actors are present but instead of being the center of action inhabit a mix of diverse agencies. From this particular point of view we focus on two issues. Insofar as the narrator is a human animal, on the one hand the novel is understood as a horizontal and non-hierarchical description of the place of humanity on the planet, on the other hand, as the exploration of mutually contaminated powers of acting, thinking and feeling of what exists in general. According to this, the animal, the vegetable, and the mineral are no longer taxonomized in kingdoms but mixed in the unwired, ungovernable and fertile compost that the Argentinian desert could be. Considered as a rewriting of Martín Fierro, a foundational book of Argentina´s national identity, Cabezón Cámara´s novel can be read as the fable of a queer and holoentic "matria" that is the home to multiple species and kingdoms creatures.
Este artigo parte da perspectiva do materialismo pós-humano, uma linha de pesquisa que assume o presente como um contexto pós-antropocêntrico e pós-natural no qual se tornou indispensável reconsiderar as diversas lógicas de existência que povoam a Terra. Ou seja, trata-se de pensar sobre o espaço pós/desumano que se abre com a interação, a hibridização e a co-surgimento de todo o existente em que atores humanos estão presentes, mas não mais no centro da ação, senão em uma mistura de agencialidades diversificadas. En esta oportunidad será apresentada uma leitura de Las aventuras de la China Iron, de Gabriela Cabezón Cámara (2017), a partir de uma estética materialista pós-humana. Por um lado, na medida em que o narrador é um animal humano, o romance será entendido como uma descrição horizontal e não hierárquica do lugar da “humanidade” no planeta; e, por outro lado, como a exploração das mutuamente potencias de agir, pensar e sentir do existente em geral: o animal, o vegetal e o mineral não mais taxonomizados em reinos, senão que misturados no “compost” intransigível, ingovernável e fértil que poderia ser o “deserto” argentino. Assim, como reescrita de Martín Fierro, um texto considerado fundacional da identidade nacional argentina, o romance de Cabezón Cámara poderia ser a fabulação de uma “matria” queer e holoentica que abriga criaturas de múltiplas espécies e reinos.
In this paper we provide a reading of Gabriela Cabezón Cámara’s Las aventuras de la China Iron (2017) from a post-human materialistic aesthetic perspective, a line of research which considers that, in our post-anthropocentric and post-natural context, it has become essential to revisit the various logics of existence that populate the Earth. In other words, we attempt to think about the post/in-human space that opens up with the interaction, hybridization and co-emergence of everything that exists, a space in which human actors are present but instead of being the center of action inhabit a mix of diverse agencies. From this particular point of view we focus on two issues. Insofar as the narrator is a human animal, on the one hand the novel is understood as a horizontal and non-hierarchical description of the place of “humanity” on the planet, on the other hand, as the exploration of mutually contaminated powers of acting, thinking and feeling of what exists in general. According to this, the animal, the vegetable, and the mineral are no longer taxonomized in kingdoms but mixed in the unwired, ungovernable and fertile “compost” that the Argentinian “desert” could be. Considered as a rewriting of Martín Fierro, a foundational book of Argentina’s national identity, Cabezón Cámara’s novel can be read as the fable of a queer and holoentic “matria” that is the home to multiple species and kingdoms creatures.
Fil: Fleisner, Paula. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Filosofía "Dr. Alejandro Korn"; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Departamento de Filosofía; Argentina
description In this paper we provide a reading of Gabriela Cabezón Cámara´s Las aventuras de la China Iron (2017) from a post-human materialistic aesthetic perspective, a line of research which considers that, in our post-anthropocentric and post-natural context, it has become essential to revisit the various logics of existence that populate the Earth. In other words, we attempt to think about the post/in-human space that opens up with the interaction, hybridization and co-emergence of everything that exists, a space in which human actors are present but instead of being the center of action inhabit a mix of diverse agencies. From this particular point of view we focus on two issues. Insofar as the narrator is a human animal, on the one hand the novel is understood as a horizontal and non-hierarchical description of the place of humanity on the planet, on the other hand, as the exploration of mutually contaminated powers of acting, thinking and feeling of what exists in general. According to this, the animal, the vegetable, and the mineral are no longer taxonomized in kingdoms but mixed in the unwired, ungovernable and fertile compost that the Argentinian desert could be. Considered as a rewriting of Martín Fierro, a foundational book of Argentina´s national identity, Cabezón Cámara´s novel can be read as the fable of a queer and holoentic "matria" that is the home to multiple species and kingdoms creatures.
publishDate 2020
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Fleisner, Paula; El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara; Pontifícia Universidade Católica do Rio Grande do Sul; Veritas; 65; 2; 8-2020; 1-13
0042-3955
1984-6746
CONICET Digital
CONICET
url http://hdl.handle.net/11336/170418
identifier_str_mv Fleisner, Paula; El desierto era parecido a un paraíso: Aventuras posthumanas en una novela de G. Cabezón Cámara; Pontifícia Universidade Católica do Rio Grande do Sul; Veritas; 65; 2; 8-2020; 1-13
0042-3955
1984-6746
CONICET Digital
CONICET
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dc.publisher.none.fl_str_mv Pontifícia Universidade Católica do Rio Grande do Sul
publisher.none.fl_str_mv Pontifícia Universidade Católica do Rio Grande do Sul
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