La existencia dolorosa del héroe trágico. Reflexiones sobre Arturo Borda
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Rev Cien Cult
Abstract
El autor explora el dilema moral que confronta el hombre agobiado por su sensibilidad de artista, ante una sociedad incapaz de ver su propia miseria. El artista, o se ajusta a los cánones estéticos convencionales o retrata su sociedad sin que ésta se percate, vaciando la significación convencional del lenguaje y recuperando su originalidad inocente. Renunciar al sentido común y salirse de lo general es una rebelión contra el Padre, señala Freud, y es el recorrido del héroe. Pero desde Lacan, Borda se rebela contra la significación del Otro del Padre, para restituir el poder de la palabra plena. El héroe, despojado de su yo imaginario y del sentido común, toma conciencia de su infinitud. En ese momento, según Kierkegaard, o abraza esa conciencia infinita y hace de ella todo su amor (es el movimiento de la fe) o, al percibir el absurdo de la dolorosa existencia humana y la indolencia de un Dios-Padre incognoscible, mata a ese Padre y asume para sí el dolor del prójimo. Es la elección del héroe trágico.
The author explores the moral dilemma confronting man overwhelmed by his artist's sensibility, faced with the misery of a society unable to see his own misery. The artist either conforms to conventional aesthetic canons or, portrays his society without noticing, emptying the conventional meaning of language and regaining its innocent originality. Renouncing common sense and getting out of the general is a rebellion against the Father, Freud points out and is the hero's journey. But from Lacan, Borda reveals himself against the significance of the Other of the Father, to restore the power of the full word. The hero stripped of his imaginary self and common sense, becomes aware of his infinity. At that time, according to Kierkegaard, or embraces that infinite consciousness and makes it all his love (it is the movement of faith) or; by perceiving the absurdity of the painful human existence and the indolence of an unknowable God-Father, he kills that Father and assumes for himself the pain of others. It is the choice of the tragic hero.
The author explores the moral dilemma confronting man overwhelmed by his artist's sensibility, faced with the misery of a society unable to see his own misery. The artist either conforms to conventional aesthetic canons or, portrays his society without noticing, emptying the conventional meaning of language and regaining its innocent originality. Renouncing common sense and getting out of the general is a rebellion against the Father, Freud points out and is the hero's journey. But from Lacan, Borda reveals himself against the significance of the Other of the Father, to restore the power of the full word. The hero stripped of his imaginary self and common sense, becomes aware of his infinity. At that time, according to Kierkegaard, or embraces that infinite consciousness and makes it all his love (it is the movement of faith) or; by perceiving the absurdity of the painful human existence and the indolence of an unknowable God-Father, he kills that Father and assumes for himself the pain of others. It is the choice of the tragic hero.
Description
Vol. 23, No. 43