Mariano siskind

Leer Sylvia molloy sobre wilde.

p.3
In Latin America (as in other global peripheries), critical and aesthetic cosmopolitan discourses shared a
common epistemological structure that I call deseo de mundo, desire for the world

The opposition between country of origin and his
times signifies his preference for the *Empires+ crisis of representation,
to the detriment of his young countrys search for national identity).
Nabuco admits that, despite their national significance, local politics
bore him (33) He conceives of himself as a spectator, a world-historical
witness, only to a aco do drama contemporneo universal (the

p.6 I believe that one should read the differential affirmation of a cosmopolitan and disruptive aesthetic
identity not in terms of a particularistic cultural politics but as a strategic literary practice that forces its
way into the realm of universality, denouncing both the hegemonic structures of Eurocentric forms of
exclusion and nationalistic patterns of self marginalization.
Cosmopolitan Desires reads Latin American literary modernity as a
global relation, a set of aestheticprocedures that mediate a broadened transcultural network of uneven
cultural exchanges. It traces world making discourses and physical displecements witin comparative,
translational and displaced frames of legibility.
2
p.7 In fact, the two-part structure of this book corresponds to the
attempt to reconceptualize, in two different directions, the meaning
of world literature in relation to the marginal specificity of the Latin
American literary field
p. 9 The contradiction between the desire for universality and the marginal conditions of enunciation
points to the anxiety and frustration of a split subject whose impossible longing affirms [itself] as the
limit of satisfaction. (butler 187) But while these universal desires can never be satisfied, Latin American
cosmopolitans can still constitute their intellectual identity through the omnipotent and voluntaristic
representation of their imagined universality. LaclauThe universal is the symbol of a missing fullness
() The universal emerges out of a particular not as some principle underlying and explaining it, but as
an incomplete horizon suturing a dislocated particular identity (28)

p10 the world does not exist, or rather,
it does not preexist the acts of imagining it, naming it, and acknowledging the ways in which it
constitutes my cosmopolitism.
p.15
Regardless of the signifiers that name it, the obsession with the world
as a way to overcome national determinations of literary signification has
a long history
p.18
This book analyzes
Latin Americas place in the production of a global modernity shaped
by an actually existing field of transcultural exchanges that supports the
critical practices, aesthetic imaginaries, and universalizing fantasies of
world literature.
p.1I define world literature as a
process of global expansion, retraction, and dislocation of cultural and
aesthetic institutions, practices, and values that determine the meaning
of the world as a totality of meaning,8


action of contemporary universal drama) that takes place beyond the the national stage

p.

From this goethan perspective, world literature gives aesthetic form to the cosmopolitan desire to
overcome the restrictions and limitations of our own particular cultre and our claustrophobic experience
of it and to affirm the necessarily universal nature of the promise of cultural emancipation of the planet
p.55

In other words, magical realism should not be considered an aesthetic form that can be forged
anywhere, under sociocultural conditions, but rather as a discourse that emerges from cultural
formations marked by the perception of a lack (in the Lacanian sense) and the registration of
emancipatory desires that dislocate and reconfigure hegemonic mappings of world literature p.84

YO (LAURA) creo que pasa lo contrario a lo que marti postula: With his surprise and subtly expressed
outrage, Mart names the
anti-identitarian desire to negate oneself, to be another, to be one with
the world that he sees as a universal cosmopolitan urge (esa ansia de
salir de s, y esa noble inconformidad con ser lo que es). P.109

World literature is an outward move, a reaching out to
the world instead of a translation of it into our terms. It is reading
the world in order to inscribe ourselves in it ()When Mart,
Daro, Gutirrez Njera, Gmez Carrillo and Sann Cano channeled
this desire to perform a world literary task, they were actually trying to
produce a world from Latin America in order to inscribe themselves in
it, rather than crafting a Latin American identity using odds and ends
from the world p.121
Sylvia Molloy has characterized this poetic subject a un yo voraz que al proyectarse en lugares y
personas los deposja de sus caracteristicas propias para transformarlos en aspectos de ese yo. Molloy
does not link the voracious eagerness of this poetic I to local or global objects and places, but her
conceptualizations opens up the possibility of metapjorizing cosmopolitan desire in the figure of hunger
for the world.

Agilar
inalmente, la politicidad de estos textos surge de su capaci-
dad de haberse mantenido en el dominio de la esttica para in-
vestigar all las potencialidades de la modernidad en curso.
Lo que importa es el sealamiento de los momentos en los cuales la cultura no se decide (o se
decide de tal modo que resulta un salto en una direccin imprevisible) en la tensin
cosmopolitismo/ nacionalismo sino en relacin con la inscripcin de lo universal en lo particular
(o, por el contrario de lo particular en lo universal), es decir en la produccin de singularidades
crticas (Rubn Daro, Jorge Borges, Victoria Ocampo lo son).
"No se trata", aclara Aguilar en la meditada "Introduccin", "y espero dejarlo claro a lo largo del
libro, de una apelacin a la autonoma del arte sino a una mediacin de la forma, que si se
beneficia transitoriamente de una apelacin a la autonoma que nunca se vuelve efectiva, lo que
hace en realidad es cuestionar las funciones asignandas y compartimentadas y dilatar los mbitos
de la imaginacin y la percepcin y de lo que es considerado poltico" (pg. 32).