“当我去上班的时候……”:最近智利叙事背景下的面包师的身体和职业

Lorena Amaro
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引用次数: 0

摘要

在智利,“set the body to work”是一个流行的表达,它强调了在任何经济活动中投入的努力的重要性。这也是一个隐喻,引导我们反思最近叙事中的“身体缺失”,因为清晰的叙述者的声音和身体或手工交易的经历很少。本文讨论的是一个例外,尼古拉斯·梅内塞斯(Nicolas Meneses, 2018)的小说《面包师》(Panaderos),它详细描述了一个工薪家庭的日常生活:母亲(季节性农业工人),父亲(面包师),以及作为叙述者的长子在超市面包店的突然袭击。他们的生活围绕着需要手工技能和专门训练的活动。一方面,他们的职业将他们与风险和人身事故联系在一起。另一方面,他们处于缺乏同理心和正义的企业逻辑之下,这种制度受到最近智利社会起义的谴责。
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“Cuando voy al trabajo…”: Cuerpo y oficio de Panaderos en el contexto de la narrativa chilena reciente
In Chile, “set the body to work” is a popular expression that highlights the materiality of the effort invested in any economic activity. It is also a metaphor that leads us to reflect on the “absence of body” in recent narrative since accounts that articulate narrators’ voices and experiences of physical or manual trade are scarce. This article addresses an exception, the novel Panaderos (Bakers), by Nicolas Meneses (2018), that presents the everyday life of a working family in detail: the mother (a seasonal agricultural worker), the father (a baker), and the foray of the family’s eldest son, the narrator, in a supermarket’s bakery. Their lives revolve around activities that require manual skills and specialized training. On one end, their trade connects them to risk and physical accidents. On the other, they are under entrepreneurial logics devoid of empathy or justice, a system condemned by the recent Chilean social uprising.
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
31
审稿时长
40 weeks
期刊介绍: The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.
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