"Ecce Corpus": from the Artist's Body to the Total Work of Art
DOI:
https://doi.org/10.24029/lejana.2017.10.169Keywords:
self-representation, generic hybridity, scale change, Virgilio Pinera, Raúl ZuritaAbstract
In 1975, Raúl Zurita burns his face, and the image of his scar will appear in 1979 on the cover of his Purgatorio (Purgatory). Virgilio Piñera publishes Cuentos fríos (Cold tales) with a well-known lack on its cover: the lack of the photo of his nude body. In this paper I will analyze different phases of a literary genre’s hybridity: the transformation of the image—the artist’s self-representation, the personal photography— in documentation, in performance or in fiction. At the same time I will analyze how the semantic fields of both artworks are increasing in order to encompass in the end the totality of the creation by the presence and totality of the emptiness, and by its absence.
References
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