Las piedras sobre el borde del círculo : Disquisiciones sobre La cámara lúcida de Roland Barthes y sus posibles vínculos con Fotos tuyas de Inés Ulanovsky

Detalles Bibliográficos
Publicado en:	Estudios de teoría literaria. Vol. 9 No. 19 (2020),155-167 9. Mar del Plata : Universidad Nacional de Mar del Plata. Facultad de Humanidades. Departamento de Letras, 2020 Artículos
Autor Principal:	Crisorio, Bruno
Otros autores o Colaboradores:	Sánchez, Silvina
Formato:	Artículo
Temas:	Fotografía Barthes Punctum Memoria Photography Memory
Acceso en línea:	https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.14316/pr.14316.pdf http://sedici.unlp.edu.ar/handle/10915/111160 https://fh.mdp.edu.ar/revistas/index.php/etl/article/view/3442 https://ri.conicet.gov.ar/handle/11336/155249
Resumen:	En los estudios sobre imagen y fotografía, La cámara lúcida de Roland Barthes suele considerarse un hito, no solo por la apropiación de algunas nociones sino por las reacciones y críticas que suscitó. El artículo se propone reconstruir aquellos conceptos considerados "centrales" -como el esto ha sido o la distinción entre punctum y studium- así como recuperar otras zonas del texto, generalmente menos transitadas, con la finalidad de establecer vinculaciones entre estos aportes de Barthes y la serie de fotografías Fotos tuyas de Inés Ulanovsky (2006). El trabajo analiza cómo los conceptos considerados se construyen más por deslizamiento que por fijación y luego realiza un ejercicio de desvío al leer La cámara lúcida donde no ha sido glosada: la distinción entre operator, spectator y spectrum, la teorización sobre el spectrum, la noción de "aire". Finalmente, se postula que la operación central de Fotos tuyas es una puesta en abismo donde el spectrum se superpone con el spectator, es decir: el sujeto mirado es un sujeto mirante. Al mismo tiempo, el espectador puede tender un lazo de empatía con el spectrum, observar junto a él las fotografías de los familiares, sentirse punzado por la ausencia, construir una comunidad de experiencia. In the studies on image and photography, Camera lucida of Roland Barthes is usually considered a milestone, not only for the appropriation of some notions but for the reactions and criticisms that it provoked. The article proposes to reconstruct those concepts considered "central" -as the that-has-been or the distinction between punctum and studium- as well as to recover other areas of the text, generally less traveled, with the purpose of establishing links between these contributions of Barthes and the series of photographs Fotos tuyas by Inés Ulanovsky (2006). The work analyzes how the considered concepts are constructed more by sliding than by fixing and then performs a deviation exercise when reading Camera lucida where it has not been glossed: the distinction between operator, spectator and spectrum, theorization on the spectrum, the notion of "air". Finally, it is postulated that the central operation of Fotos tuyas is a mise en abyme where the spectrum is superimposed with the spectator, that is to say: the observed subject is a looking subject. At the same time, the viewer can build a bond of empathy with the spectrum, observe along with him family photographs, feel punished by the absence, build a community of experience.
Descripción Física:	p.155-167
ISSN:	ISSN 2313-9676

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Las piedras sobre el borde del círculo : Disquisiciones sobre La cámara lúcida de Roland Barthes y sus posibles vínculos con Fotos tuyas de Inés Ulanovsky

https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.14316/pr.14316.pdf

http://sedici.unlp.edu.ar/handle/10915/111160

https://fh.mdp.edu.ar/revistas/index.php/etl/article/view/3442

https://ri.conicet.gov.ar/handle/11336/155249

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