Abstract
This article addresses the novel Nefando, by Mónica Ojeda, based on the experience of pain as a supplement, from the theoretical paradigm of Jacques Derrida, since its enunciation functions as a sign of a sign, which does not properly represent affect, rather, it generates a false representative that makes the sign itself present only by its absence. Consequently, the enunciation of affect is articulated as difference insofar as it configures a series of possible disseminated and deferred meanings that put into play the limits of meaning by pointing out its original lack. Thus, the (re)signification of pain makes the production of an original discourse impossible, since it produces other modes of signification that call into question the fixity of the discourse and show the de-centering of the textual structure.
Highlights
CATEDRAL TOMADA: Revista de crítica literaria latinoamericana / Journal of Latin American Literary Criticism (Re)significaciones suplementarias del dolor en Nefando, de Mónica Ojeda
Impossible, since it produces other modes of signification that call into question the fixity of the discourse and show the de-centering of the textual structure
El significado no está presente en sí mismo, sino que está inscrito en una cadena de significantes que remiten a otros por medio de la diferencia, la cual hace que el sentido del signo com-parezca a partir de la transitividad de la marca como exceso del significante: la herida en la pared-cuerpo comunica, dentro de la estructura descentrada, en la medida en que la enunciación de cada una de las subjetividades se encuentra expuesta en la aparición del entre como valor de exposición y no de yuxtaposición
Summary
CATEDRAL TOMADA: Revista de crítica literaria latinoamericana / Journal of Latin American Literary Criticism (Re)significaciones suplementarias del dolor en Nefando, de Mónica Ojeda.
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