Salvador Elizondo Alcalá (Mexico City, December 19, - March 29, ) was a Mexican He is also known for El grafógrafo () which is a series of short texts based on . Create a book · Download as PDF · Printable version. musicmarkup.info Uploaded by. Yasmín C. Moreno · Regímenes Escopicos de Martin JAY. Uploaded by. Rebeca Barquera · El grafógrafo. Uploaded by. “Sistema de babel.” El grafógrafo. Mexico City . Bucknell UP.,. Print. This content is only available as a PDF. PDF LinkPDF.
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Agüero,Víctorio G. “El discurso grafocéntrico en El grafógrafo de Salvador Elizondo. __ida_y_vuelta__joyce_y_conrad,musicmarkup.info 1 Salvador Elizondo, El grafógrafo (Mexico City: Joaquín Mortiz,. ), pp. 2 Max Beerbohm, “Enoch Soames: A Memory of the Eighteen- nineties” (New . 10 A similar idea but on a lighter tone, can be found in El grafógrafo, where Elizondo maintains that in order to attain new levels of expressivity, one needs to .
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Google Scholar Elizondo, Salvador. Colegio Nacional website. Narda o el verano. Narrativa completa. Mexico City: Alfaguara, Pasado anterior. Google Scholar Fiddian, Robin. Google Scholar Graniela, Magda. Club Cultura website. Google Scholar Hutcheon, Linda. Narcissistic Narrative.
Waterloo: Wilfrid Laurier UP, Google Scholar Joyce, James. Robert Scholes and A. Walton Litz. New York: Penguin, Finnegans Wake. Cornwall: Houyhnhnm, A Portrait of the Artist as a Young Man.
Hans Gabler. New York: Vintage, Google Scholar Martin, Gerald. London: Verso, Google Scholar Paz, Octavio. Google Scholar Poniatowska, Elena. New York: New Directions Pub. Google Scholar Price, Brian L. Salvador Elizondo. Mexico City: Ed. Aldus, Plural 6 Mar. Google Scholar Romero, Rolando J.
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Google Scholar Waisman, Sergio. Nine times you enter the dark chamber or camera obscura, and nine times the shutter cuts the light flow of your life to preserve an image imprinted in a photographic silver plate, inverting opposites: light into shadow, pain into pleasure, Yang into Yin. While you, in your very last moment, desperately seek to take apart signs from scrawls, scribbles, doodles, scrabbles and squiggles, those same signs are being severed from their signifiers through oblivion.
Farabeuf, in that sense, is a simulation of cinema and of the physical myths—retinal persistence of vision in particular—that would allow film to offer the illusion of time, of movement, of reality.
Scientific gaze kills the object of study through reification, and the narrative strategy reverses the image, presenting perpetrators as saviors, and torture as an act of love. Jean-Pierre Oudart uses a medical metaphor to construct his influential concept of cinematic souture: the completion of one shot with another that reveals the place from where the first was taken.
Souture reassures our voyeuristic desire, confirming that our body is absent, that we do not form part of the spectacle, that our experience is therefore free from consequences. Elizondo refuses the reader the safeguard of souture: Farabeuf is an unsettling experiment of textual scrutiny, and not a vehicle of communication and pleasure. It is used as representation of mandalic circumferences in Feng Shui rituals of geomancy —the act of divination through marks on the ground or patterns formed by tossed handfuls of sand, rocks, or soil—.
The Lo Shu is connected graphically and numerologically with the eight trigrams that can be superimposed to correspond to the eight outer cells, following a circular trigram diagram. The numbers 1 and 9 beginning and completion are the most auspicious, while the number 5 at the center represents totality and balance between the two extremes.
Chinese literature dating from as early as BC recalls a great flood.
As King Yu tried to channel the water out to the sea, a turtle emerged with a curious pattern on its shell: circular dots of numbers that were arranged in a three by three grid pattern such that the sum of the numbers in each row, column and diagonal was the same: Fifteen being the number of days in each of the 24 cycles of the Chinese solar year, Lo Shu magic square helped communicate, understand, and control river cycles. Figure 1.
The book allows you to access the game from nine different points of entry, each of which leads you to a scene where a precise combination of characters and elements interact with you. The game turns to horror as you realize all combinations and points of entry lead inevitably to the same result: your ritual vivisection and death. I am the materialization of something that is about to vanish; a memory about to be forgotten. We could be, on the other hand, the conjunction of dreams that are being dreamt by different people in separate places around the world.
We are the dream of another.
Why not? Or a lie. Some of us are real and the rest are their hallucination. O una mentira.
Each number inside is associated by Elizondo to one character, and series of numbers and dates in the book correspond to series in the square. However, the Magic Square is not a game to which the reader can be invited like hopscotch, and neither can it pass for a game like Nim. The Lo Shu Square has been made into a mathematical puzzle with which we are familiar today thanks to Sudoku, but it needs an additional element to become a game.
Spheres are carved one at a time inside the ivory ball, through the holes that are progressively made by the artisan. One of the oldest versions of Nim, is the Chinese Jianshisi, in which stones are picked in turns. In , Charles L. Bouton proved that the game for which he also coined the occidental name of Nim was not a game but a mathematical strategy—a ritual one could also say—because the first to play will always win if he is familiar with the combinatorial theory of it.
The xiang ya qiu is, in theory, a toy, and the puzzle-game consists of carefully moving the balls using a pointed stick to line up all or some of the holes. In the most complicated xiang ya qiu only some or one of the cone-shaped holes would go all the way to the smallest ball, and some would go only part of the way.
Of course, the game Elizondo proposes is impossible to carry out literally and it is but a metaphor of the successive layers of the body of the victim that are progressively exposed during a ritual of anthropomancy. Figure 3. Chinese ivory puzzle balls, circa Private collection. Courtesy of David Wyatt. Finally, the ritual of anthropomancy I have been mentioning throughout this reflection is a practice that has been documented in Egypt, Greece, Rome, and amongst the Celtic druids.
It is also mentioned in both Old and New Testaments, as Elaine Scarry has shown,19 and it has been described as relatively frequent in pre-Columbian America as well. However, none of these historical accounts forms part of Farabeuf.
Instead, Elizondo decides to follow the steps of a French doctor as he documents, reproduces, and perfects in France the techniques of human vivisection that he observed in China. This choice is not casual: Elizondo carefully selects the narrow window of time in which modern technology clashes with obsolete institutions, and is first recorded in print; a moment that fascinated Spanish-American writers because it corresponds with the birth of Latin-American republics torn between European modern monstrosity and Indigenous atavic barbarism.
This chapter instructs the reader to continue on chapter or In the former, we learn about the capital punishment of a prisoner at San Quentin ; and in the latter, about the execution of minors by hanging or on the stakes, when it was proven that they could tell right from wrong.
Similar to Rayuela, in Farabeuf the oriental execution and torture is equated with western forms of torture, especially by doctors and psychoanalysts. Consider, for example, the fictional account of a conversation between Jean Jacques Matignon author of Dix ans du Pays du Dragon and Louis Hubert Farabeuf: Doctor Matignon, a doctor of the Legation, a former resident of China, explained to me the origins and the procedure in all its details.
I must say that the procedure is completely devoid of subtlety. The execution was witnessed at close range by a number of observers, and photographed by two or three cameras, none of which were operated by Louis Carpeaux, who was not present at the execution despite his claims. Debo decir que el procedimiento carece por completo de sutileza. During this period of less than 5 years, over a hundred photographs were shot. The short and accidental meeting between a modern camera and an obsolete punishment generated a surprisingly lasting image.
In it, are circumscribed not only the technical, military, and political, but also the aesthetic, and scientific discourses of Farabeuf.
He duplicates the physiological tone of Dumas , and also imitates the medical-aesthetics and metaphysics of Louis Hubert With Georges Soulie de Morant , amongst others, he additionally shares the technique of mixing historical with imaginary facts. Elizondo is thus not a hallowed sage lost in signs and ancient glyphs, oblivious of world politics; but neither is he an agent for colonial murky plans of world domination. The crucial distinction to be made is awareness.
While Harfeld believed he was reporting an objective account of facts see for example the epistolary exchange over his book with Maspero in , Elizondo is deliberately bringing to central stage the manipulative nature of discourse to denounce how the occidental notion of self-righteousness is a construct. It is not a Verfremdungseffekt either, as he does not conceive art as a tool for social change.
He does not seek to justify appropriation, or to instigate social revolution,26 but to seize the forbidden fruit of knowledge and self-awareness. To construct Farabeuf, Elizondo draws indistinctly from European and Chinese systems of assemblage, and the narrative voices are descriptive and do not posit themselves as better or superior than the other, but as equally perverse. Even when the narrator stands next to the executioner and observes, he helps; if you play the game, it will only be to realize in horror that it ends in the ritual vivisection of you, an androgynous being; or in the realization execution was meted out.
The gaze of the problematic self In Orientalism , Edward Said argues that the political and academic discourse in the United Kingdom, France and the United States referring to Arabs, Islam and the Middle East, has been an instrument for, and a reflection of European colonialism. According to Said, the characterization in which the subaltern is not allowed to present his case, but is voiced by an authoritative voice posed as benevolent, cannot be an innocent misrepresentation.
It is a calculated strategy identifying otherness with inferiority to legitimize political and economic subjugation Orientalism Latin-American descriptions of the Far East cannot be Orientalism in strictu sensu, as there is no cross-national military, political, or economic dominion to legitimize over the Orient. The continent has been the locus of American and European colonial interests for the past three and a half centuries, which places it in a position comparable to the Orient, or even East to it, as Richard Rodriguez, Kushigian, and Romero argue.
The symptoms Dr.