Formas de la episteme romántica en Severo Sarduy

Detalles Bibliográficos
Publicado en:	Orbis Tertius. Vol. 28 No. 38 (2023),e277 28. Ensenada : Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Centro de Estudios de Teoría y Crítica Literaria, 2023 Artículos
Autor Principal:	Martínez, Luciana
Formato:	Artículo
Temas:	Severo Sarduy Romanticismo Estética Episteme Retombeé Romanticism Aesthetics
Acceso en línea:	https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.17108/pr.17108.pdf https://www.orbistertius.unlp.edu.ar/article/view/13427 10.24215/18517811e277
Resumen:	Esa figura anfibia que fue Severo Sarduy (escritor de ficción y poesía, pensador ensayista, artífice de una columna radial sobre ciencia, becario del gobierno cubano para estudiar pintura en Francia) propone en varios de sus ensayos, principalmente en Barroco (1974) y en Nueva inestabilidad (1987), que toda episteme de época es construida conjuntamente por ideas o imágenes de mundo afines que eclosionan en un determinado momento histórico tanto en la ciencia como en el arte. El acervo de nociones artísticas y científicas que a partir del siglo XX entran en esa sintonía no concertada a la que Sarduy llama retombée, funciona paralelamente en sus ficciones (en especial en Cobra, Colibrí y Cocuyo) en el trazado de ontologías subjetivas no binarias. En su concepción, la postulación de una estética que sea al mismo tiempo una episteme reactualiza la propuesta medular de la matriz del romanticismo, cuya motivación central en sus albores fue asimismo el cuestionamiento de los binarismos y la distribución compartimental que inauguraba el modelo atomista de la ciencia materialista clásica en el contexto de la Modernidad. Severo Sarduy's versatile figure -fiction and poetry writer, essayist, radio columnist on science topics, recipient of Cuban scholarship to study painting in France- proposes in several of his essays, mainly in Baroque (1974) and in New Instability (1987), that every episteme of the time is jointly constructed by similar world ideas or images that hatch at a certain historical moment in both science and art. The collection of artistic and scientific notions that from the 20th century enter into that non-concerted harmony that Sarduy calls retombée works in parallel within his fictions (especially in Cobra, Colibrí and Cocuyo) in the layout of non-binary subjective ontologies. In its conception, the postulation of an aesthetic that is at the same time an episteme updates the core proposal of Romanticism matrix, whose central motivation in its beginnings was also the questioning of both binarisms and the compartmental distribution that started the atomistic model of classical materialist science in the context of Modernity.
Descripción Física:	p.e277
ISSN:	ISSN 1851-7811

MARC


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520	3		\|a Esa figura anfibia que fue Severo Sarduy (escritor de ficción y poesía, pensador ensayista, artífice de una columna radial sobre ciencia, becario del gobierno cubano para estudiar pintura en Francia) propone en varios de sus ensayos, principalmente en Barroco (1974) y en Nueva inestabilidad (1987), que toda episteme de época es construida conjuntamente por ideas o imágenes de mundo afines que eclosionan en un determinado momento histórico tanto en la ciencia como en el arte. El acervo de nociones artísticas y científicas que a partir del siglo XX entran en esa sintonía no concertada a la que Sarduy llama retombée, funciona paralelamente en sus ficciones (en especial en Cobra, Colibrí y Cocuyo) en el trazado de ontologías subjetivas no binarias. En su concepción, la postulación de una estética que sea al mismo tiempo una episteme reactualiza la propuesta medular de la matriz del romanticismo, cuya motivación central en sus albores fue asimismo el cuestionamiento de los binarismos y la distribución compartimental que inauguraba el modelo atomista de la ciencia materialista clásica en el contexto de la Modernidad.
653			\|a Severo Sarduy
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520	3		\|a Severo Sarduy's versatile figure -fiction and poetry writer, essayist, radio columnist on science topics, recipient of Cuban scholarship to study painting in France- proposes in several of his essays, mainly in Baroque (1974) and in New Instability (1987), that every episteme of the time is jointly constructed by similar world ideas or images that hatch at a certain historical moment in both science and art. The collection of artistic and scientific notions that from the 20th century enter into that non-concerted harmony that Sarduy calls retombée works in parallel within his fictions (especially in Cobra, Colibrí and Cocuyo) in the layout of non-binary subjective ontologies. In its conception, the postulation of an aesthetic that is at the same time an episteme updates the core proposal of Romanticism matrix, whose central motivation in its beginnings was also the questioning of both binarisms and the compartmental distribution that started the atomistic model of classical materialist science in the context of Modernity.
653			\|a Severo Sarduy
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952			\|u https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.17108/pr.17108.pdf \|a MEMORIA ACADEMICA \|b MEMORIA ACADEMICA
856	4	1	\|u https://www.orbistertius.unlp.edu.ar/article/view/13427
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542	1		\|f Esta obra está bajo una licencia Creative Commons Atribución-NoComercial-CompartirIgual 4.0 Internacional \|u https://creativecommons.org/licenses/by-nc-sa/4.0/

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Formas de la episteme romántica en Severo Sarduy

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