Inclination, Paraphilias and Artifice: the Image in Zaida González Ríos
PDF (Spanish)

Keywords

photography
inclination
paraphilias
Zaida González Ríos
                                        

How to Cite

Inclination, Paraphilias and Artifice: the Image in Zaida González Ríos. (2019). Cuadernos De Literatura, 23(46). https://doi.org/10.11144/Javeriana.cl23-46.ipaz

Abstract

The main objective of this article is the study of the visual work of Chilean photographer Zaida González Ríos from what I have called, here, the “inclined image”. This inclination implies a visual operation that tries to get out of the “straight” pose of the modern subject. In Zaida González Ríos’ work this visual operation is best described under the order of “paraphilias”. An order that is expressed in deviation and misunderstanding. Paraphilias, in their best known etymology, refer us to a word with two primary senses: distance and affection. That is why the inclined image is never defined in a unique or identity-related sense, but, on the contrary, in alteration and artifice.

PDF (Spanish)

Barthes, Roland. La Chambre claire. Note sur la photographie. Paris: Éditions de l’Étoile - Gallimard - Le Seuil, 1980. Impreso.

Benjamin, Walter. Das Kunswerk im Zeitalter seiner technischen Reproduzierbarbarkeit. Francfort a. M: Suhrkamp Verlag, 2003. Impreso.

Cavarero, Adriana. Inclinazioni. Critica della rettitudine. Milano: Raffaello Cortina Editore, 2013. Impreso.

Cixous, Hélène. “La risa de la medusa”. Deseo de Escritura. Trad. Luis Tigero. Barcelona: Ediciones Reverso, 2004. Impreso.

De Lauretis, Teresa. Technologies of Gender: Essays on Theory, Film, and Fiction. Bloomington: Indiana University Press, 2001. Impreso.

Deotte, Jean Louis. Qu’est-ce qu’un appareil? Benjamin, Lyotard, Rancière. Paris: L’harmattan, 2007. Impreso.

Ferenczi, Sándor. Thálassa. Una teoría de la genitalidad. Trad. Alcira Mariam Alizade. Buenos Aires: Ediciones Letra Viva, 1983. Impreso.

González Ríos, Zaida. De guarda. Santiago, Chile: Edición Independiente El gato de la Acequia, 2012. Impreso.

Rancière, Jacques. Le spectateur émancipé. Paris: La Fabrique Éditions, 2008. Impreso.

Cuadernos de Literatura is registered under a Creative Commons Attribution 4.0 International Public License. Thus, this work may be reproduced, distributed, and publicly shared in digital format, as long as the names of the authors and Pontificia Universidad Javeriana are acknowledged. Others are allowed to quote, adapt, transform, auto-archive, republish, and create based on this material, for any purpose (even commercial ones), provided the authorship is duly acknowledged, a link to the original work is provided, and it is specified if changes have been made. Pontificia Universidad Javeriana does not hold the rights of published works and the authors are solely responsible for the contents of their works; they keep the moral, intellectual, privacy, and publicity rights.

Approving the intervention of the work (review, copy-editing, translation, layout) and the following outreach, are granted through an use license and not through an assignment of rights. This means the journal and Pontificia Universidad Javeriana cannot be held responsible for any ethical malpractice by the authors. As a consequence of the protection granted by the use license, the journal is not required to publish recantations or modify information already published, unless the errata stems from the editorial management process. Publishing contents in this journal does not generate royalties for contributors.