Collector, artist, monster: The Duke of Bomarzo in María Negroni’s La Boca del Infierno
DOI:
https://doi.org/10.11606/issn.2317-9651.v0i17p301-324Keywords:
poetry, rewriting, collector, monster, radicant aestheticsAbstract
Considering the pronounced link between Manuel Mujica Láinez’s Bomarzo (1962) and María Negroni’s La Boca del Infierno (2009), this article proposes a reading centred in the updated significations carried out by Negroni’s rewriting operation. She has already performed this rewriting strategy of a certain zone of tradition in previous works, operation that allows the examination of the characters that defines a radicant aesthetics. This paper examines the correspondence of the speech subject in both books, remarking both the subject’s particular traces (orphan, collector, artist and “monster”) and some differences concerning his representation in each text. Thus, the mouth/grotto/crypt of hell created by Negroni opens up to the singularity/otherness tensions and proliferates from Bomarzo’s story propitiating new roots that develops a radicant poetics.
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