Published: Чт, Ноября 23, 2017
World | By Tasha Manning

Violent looking: rebellion and exorcism in the work of Evelio Rosero [eScholarship]


This dissertation explores the work of Colombian writer Evelio Rosero (1958), whose work-like many of his nation's generation, but with a radically new aesthetic and ethic proposal- focuses on violence and on the disappearance of people in Despite having a long and consistent literary career that began in the early eighties and having received prestigious awards, Rosero continues to be almost unknown both.

Nationally and internationally. My dissertation contends that such lack of recognition is serious and that current conversations about Colombian literature and the representation of violence more broadly can not be done without taking into account his disruptive work. Through a careful analysis of Rosero's most representative novels -Lord who does not know the moon, In the lejero and the Armies- I examine the literary techniques the author uses to produce a space -both literary and political-that neither justifies nor exacerbates violence. / P>

Based on the concept of the spectral put forth by Jacques Derrida in Specters of Marx, on Mieke Bal's position on political art and on Jean-Luc Nancy's construction of rebellion in Noli me tangere, I show how Rosero's novels The dissertation is divided into three chapters.

The dissertation is divided into three chapters. Chronologically organized, each one examines one of Rosero's most representative novels.

The first chapter test Lord who does not know the moon. I argue that by dressing and dressing the nudes due to their dual genitalia, Rosero shows the artificiality and arbitrariness of our social constructions and highlights how they are used to infringe extreme violence to a particular group of people. I contend that in the unregulated circulation of erotic desire Rosero finds a way out of this structure of abjection.

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The second chapter deals with the radical "spectralization" that takes place in the lejero. I take the position that Rosero's emphasis on the difficulty of identifying people and spaces, and his refusal to stabilize meaning effective tools in dismantling the system of oppression and violence while opening the space for agency and solidarity.

The Third and last chapter studies Rosero's most famous novel, The Armies. I read the novel's contrast between moments of intense visibility and instances of extreme obscurity and confusion as to how to underscore the violent nature of certain ways of looking at things and people. Rosero's insistence on our bonds with, and responsibility towards, what can no longer, not yet, be seen or heard is key to create a space for the political that is not based on violence and exclusion.

To conclude , I argue that through Jacques Derrida's "impure impure history of ghosts" Rosero develops an aesthetically astonishing and politically crucial way of re-counting and accounting for the violence that prolongs the state of warfare to (re) produces in Latin America. P>

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