The slum through the mirror. César Aira’s La villa as an optical device

César Aira’s La villa appears in the emblematic year of 2001. This oeuvre works as an optical device that allows to visualize certain contusions of the social and its effects, thanks to the residual as content and as material. The residual materializes in the novel in three levels. At the level of t...

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Main Author: Agustina Jazmín Pérez
Format: Article
Language:Spanish
Published: Universidad Nacional de Mar del Plata 2020-03-01
Series:Estudios de Teoría Literaria
Subjects:
Online Access:http://fh.mdp.edu.ar/revistas/index.php/etl/article/view/3331
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author Agustina Jazmín Pérez
author_facet Agustina Jazmín Pérez
author_sort Agustina Jazmín Pérez
collection DOAJ
description César Aira’s La villa appears in the emblematic year of 2001. This oeuvre works as an optical device that allows to visualize certain contusions of the social and its effects, thanks to the residual as content and as material. The residual materializes in the novel in three levels. At the level of the plot, La villa has as space the landfill of the city, inhabited by supernumerary and anodyne characters who, nevertheless, keep a disturbing potential. At the formal level, Aira employs worn generic matrices, such as detective novels, fairy tale, and TV shows. At the level of the imaginary, the oeuvre works with the privileged commonplaces of the middle class. These three inflections of the residual are superimposed forming a small fresco, a bunch of stories that are interwoven by the magical and implacable logic of fiction.
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spelling doaj.art-5404bce7057240a1bd590db136cb126e2022-12-22T01:23:56ZspaUniversidad Nacional de Mar del PlataEstudios de Teoría Literaria2313-96762020-03-019181922052796The slum through the mirror. César Aira’s La villa as an optical deviceAgustina Jazmín Pérez0Instituto de Investigación en Arte y Cultura Dr. Norberto Griffa, Universidad Nacional Tres de FebreroCésar Aira’s La villa appears in the emblematic year of 2001. This oeuvre works as an optical device that allows to visualize certain contusions of the social and its effects, thanks to the residual as content and as material. The residual materializes in the novel in three levels. At the level of the plot, La villa has as space the landfill of the city, inhabited by supernumerary and anodyne characters who, nevertheless, keep a disturbing potential. At the formal level, Aira employs worn generic matrices, such as detective novels, fairy tale, and TV shows. At the level of the imaginary, the oeuvre works with the privileged commonplaces of the middle class. These three inflections of the residual are superimposed forming a small fresco, a bunch of stories that are interwoven by the magical and implacable logic of fiction.http://fh.mdp.edu.ar/revistas/index.php/etl/article/view/3331césar airaresidualidadla villadispositivo óptico
spellingShingle Agustina Jazmín Pérez
The slum through the mirror. César Aira’s La villa as an optical device
Estudios de Teoría Literaria
césar aira
residualidad
la villa
dispositivo óptico
title The slum through the mirror. César Aira’s La villa as an optical device
title_full The slum through the mirror. César Aira’s La villa as an optical device
title_fullStr The slum through the mirror. César Aira’s La villa as an optical device
title_full_unstemmed The slum through the mirror. César Aira’s La villa as an optical device
title_short The slum through the mirror. César Aira’s La villa as an optical device
title_sort slum through the mirror cesar aira s la villa as an optical device
topic césar aira
residualidad
la villa
dispositivo óptico
url http://fh.mdp.edu.ar/revistas/index.php/etl/article/view/3331
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