Published online by Cambridge University Press: 05 September 2022
Este artículo analiza el humor, la conflictividad social y el lenguaje en la literatura y el proyecto editorial de Washington Cucurto en consonancia con la poscrisis argentina del año 2001, un período de inestabilidad y cuestionamiento de la configuración sociopolítica, económica y cultural del país. Su humor se encarna en la combinación del habla oral con sintagmas que no son propios de la oralidad, abriendo el espacio a la parodia y la tragedia. Este estilo —al que el autor denomina realismo atolondrado—introduce una “extrañeza inquietante” en prácticas sociales automatizadas en las que se naturaliza la violencia, el racismo y la xenofobia social hacia los inmigrantes externos e internos del gran Buenos Aires. El realismo atolondrado está asimismo presente en su proyecto editorial Eloísa Cartonera, el cual construido a partir de lo que la sociedad deshecha mantiene una relación de familiar extrañeza con el curso de la industria cultural global y con el curso de la cultura de las artes en general.
This article analyzes social conflict, humor, and language in Washington Cucurto's literature and in the production of the publishing house Eloísa Cartonera. It emphasizes the relation of Cucurto's work to the Argentinean crisis of 2001—a period of instability in which sociopolitical, economic, and cultural configurations were originally questioned by social and artistic collectives. Cucurto's humor combines oral speech with phrases that do not belong to it but to poetry, opening the space for the satire and tragedy of Argentinean social reality at the end of the millennium. This genre, which Cucurto dubs realismo atolondrado (scatterbrained realism), introduces a “disturbing strangeness” within the automatized social practices by which the violence, the racism, and the xenophobia directed toward local and foreign immigrants are naturalized.
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