Esta pesquisa propõe ler La ciudad ausente (1992) do escritor argentino Ricardo Piglia (1940) como uma obra que, a partir de uma máquina de narrar como metáfora de escritor, constrói e executa uma poética em consonância com a forma de encarar a literatura e o ato de escrita de seu autor. A primeira parte do trabalho está dedicada a três temas que serão levados em conta durante todo o texto: os nódulos brancos como elementos geradores de línguas e narrativas, o Estado como instância que também narra e a perda como origem da máquina e de histórias. A poética da máquina é tratada na segunda parte, na qual me detenho em sua formação como narradora. Partindo da proposta de um de seus inventores, identifico e divido sua programação / poética em três fases: tradução, criação por núcleos narrativos e captação do que ocorre na sociedade. Dialogando diretamente com a tradição literária argentina, proponho que a primeira fase tem como modelo o escritor Jorge Luis Borges e, seguindo as pistas de outros textos de Piglia, que a máquina insere-se em uma tradição argentina de escritores que tem a tradução como procedimento de escrita. Ainda no interior desta etapa analiso o Stephen Stevensen, tradução da máquina para o William Wilson de Edgar Allan Poe e o porquê de sua escolha. Nos capítulos dedicados à segunda fase de sua poética, verifico como a máquina desmembra o núcleo narrativo de origem do romance, o da perda, em quatro diferentes histórias: El gaucho invisible, Una mujer, Primer amor e La nena e como sua atuação resgata um papel antes atribuído aos antigos narradores. Em seguida, parto para a análise de espaços de representações dentro no romance, em especial o museu-biblioteca. Do museu à cidade, a leitura prossegue em direção à terceira fase da programação da máquina, na qual são analisadas as narrativas La grabación, Los nudos blancos e La isla, construídas a partir do que a máquina captou na sociedade e que refletiria a leitura que Piglia faz do narrador benjaminiano e da obra de escritores como Franz Kafka, Roberto Arlt e Rodolfo Walsh. Na última parte demonstro como todo o texto de La ciudad ausente pode ser lido também como uma produção da máquina de relatos e como essa ficção dentro da ficção dialoga com a visão de Macedonio Fernández e de Piglia de como devem ser encaradas as relações entre ficção, verdade e real empírico. A hipótese que norteia esta pesquisa baseia-se em ver em La ciudad ausente a reconstrução de um universo de escrita coerente com o restante da obra de Ricardo Piglia e com as leituras que ele faz de uma determinada tradição literária argentina formada especialmente por Jorge Luis Borges, Roberto Arlt e Macedonio Fernández e da obra de autores exteriores a ela, tais como Edgar Allan Poe, Antón Tchecov, Bertold Brecht, Franz Kafka e James Joyce. / This research proposes reading La ciudad ausente (1992) by Argentinean writer Ricardo Piglia (1940) as a literary work that, beginning with a narrating machine as a metaphor of writer, constructs and implements a poetic in line with the authors way of facing literature and the act of writing. The first part of the work is dedicated to three issues to be taken into account during the whole text: the white nodes as the generators of languages and narratives, the State as instance that also narrates and the loss as the origin of the machine and stories. The machines poetic is treated in the second part, in which I focus its formation as a narrator. On the basis of the proposal of one of its inventors, I identify and split its programming / poetic in three stages: translation, the creation by narrative nuclei and apperception of what occurs in society. Dialoguing directly with the Argentinean literary tradition, I propose that the first stage has as a model the writer Jorge Luis Borges and, following the lines of other texts of Piglia, that the machinery is inserted in an Argentinean tradition of writers which has the translation as written procedure. Even within this stage I analyze the \"Stephen Stevensen\", translation of the machine for the Edgar Allan Poes \"William Wilson\" and why this choice. In chapters dedicated to the second phase of his poetic, I see how the machine dismembers the initial nucleus of the novels narrative , the loss, in four different histories: \"El gaucho invisible\", \"Una mujer\", \"Primer amor\" and \"La nena\" and as its playacting recovers a role before attributed to the ancient storytellers. Then, I start the analysis of Spaces of Representation inside the novel, especially the museum-library. From the museum to the city, the reading continues towards the third stage of machines programming, moment that are analyzed the narratives \"La grabación\", \"Los nudos blancos\" and \"La isla\", built up from what the machine has grasped in society and that would reflect the reading Piglia makes of the benjaminian narrator and the work of writers such as Franz Kafka, Roberto Arlt and Rudolf Walsh. In the last part demonstrate how the whole text de La ciudad ausente may be read also as a production of the machine of reports and how this fiction within the fiction dialogues with the vision of Macedonio Fernandez and Piglia of how should be faced the relations between fiction, truth and empirical real. The hypothesis that guides this search is based in observing in La ciudad ausente the reconstruction of an universe of writing that is coherent with other pieces of Ricardo Piglias work and with the reading he has of a determined Argentinean literary tradition formed especially by Jorge Luis Borges, Roberto Arlt and Macedonia Fernandez and the oeuvre of authors outside it, such as Edgar Allan Poe, Anton Tchecov, Bertold Brecht, Franz Kafka and James Joyce.

Neste trabalho analisamos a representação do intelectual elaborada por Ricardo Piglia em seu romance La ciudad ausente tendo em vista como a concepção desenvolvida pelo autor se mostra fundamental para entendermos a profunda relação desta obra com o momento de sua escritura. Nosso trabalho se desenvolveu em três eixos estreitamente conectados: a maneira como Piglia se apropria da trajetória da intelligentsia no contexto argentino e ocidental, dado que se percebe em alguns dos seus personagens; a análise dos diálogos intertextuais que compõem este romance, apontando para o fato de que a eleição de antecedentes indica alguns dos critérios de leitura do autor e para um estreito vínculo entre a posição marginal e o papel do escritor; por fim a maneira como o tempo é elaborado dentro do romance, que nos leva a acreditar que a relação entre história e ficção se dê de maneira profunda no mesmo. Como anexo, foi incluída uma entrevista feita com o autor em 2012, momento em que foi possível interpela-lo sobre diversas questões que atravessam o conjunto de sua obra. / This study analyzes the representation of intellectual elaborated by Ricardo Piglia in his novel La ciudad ausente, seeking to understand how this conception is crucial to explore the relation of this work to the time of its writing. Our work was developed in three areas closely connected: how Piglia appropriates the trajectory of the intelligentsia in the argentine context and occidental, fact that one perceives in some of his characters; analysis of intertextual dialogues that make up this novel, given that the election background indicates the criteria for author reading and a close link between the marginal position and role of the writer; finally how the time is established in the novel, which leads us to believe that the link between history and fiction takes place in a profound way in this work In 2012 we did an interview with Ricardo Piglia, when it was possible to question the author about various features of his work. This meeting was included as an appendix to our research.

Orientador: Antônio Fernando da Conceição Passos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T06:44:53Z (GMT). No. of bitstreams: 1 Barrenha_NataliaChristofoletti_M.pdf: 1204741 bytes, checksum: 1826123bc7cb568b652caf7a72b426b2 (MD5) Previous issue date: 2011 / Resumo: Nesta pesquisa, abordamos a obra da cineasta argentina Lucrecia Martel, entrelaçando sua trajetória como cineasta e suas opções estéticas, além de procurarmos nos aproximar da compreensão de seu processo criativo. Entre as singularidades mais notáveis da obra de Lucrecia encontra-se o uso que ela faz do som, responsável por estabelecer atmosferas que acabam por guiar os filmes - muito mais que suas próprias tramas. Assim, o som ganhará destaque nessa abordagem, conduzindo as análises dos três longas da cineasta - O Pântano (2001), A Menina Santa (2004) e A Mulher Sem Cabeça (2008) / Abstract: In this research, we approach the work of the Argentine filmmaker Lucrecia Martel, going through her career as a filmmaker and her aesthetics choices, and seeking to bring us closer to understanding her creative process. The sound is one of the striking peculiarities of Lucrecia's work, because it creates atmospheres that guide the movies much more than their own narratives. Thus, the sound will lead us in the analysis of the three films of the filmmaker -The swamp (2001), The holy girl (2004) and The headless woman (2008) / Mestrado / Multimeios / Mestre em Multimeios

[pt] A tese apresenta um painel crítico acerca da obra ficcional e ensaística do escritor argentino Ricardo Piglia (1940), tendo como perspectiva a noção de literatura como laboratório da escrita. Para o autor, um escritor escreve para saber o que é a literatura, e essa é a proposição que percorre a tese. A escrita como espaço de construção utópico, laboratório onde a tradição é a memória da biblioteca pessoal que serve a cada escritor e que é determinada por suas leituras e por sua capacidade de associá-las. O resultado é uma literatura em processo permanente de reescritura, que apropria e desapropria os textos que formam sua biblioteca-memória pessoal e trabalha incessamente com os limites entre o real e o fictício, o falso e o verdadeiro, a crítica e a ficção. / [en] The dissertation presents a critical panel over the fictional and essayistic work of Argentinean writer Ricardo Piglia (1940) having as its perspective the notion of literature as a laboratory of writing. To the author a writer writes to know what literature is, and this is the proposition that traverses the Thesis. The writing as a space of utopist construction, a laboratory where tradition is the memory of the personal library which serves each writer and is determined by his/her readings and capacity of associate them. The result is a literature in permanent process of rewrite, which appropriates and expropriates the texts that constitute its personal library-memory and works unceasingly with the limits between real and fictitious, false and true, critic and fiction.

L’Argentine a suivi au XIXème siècle un modèle de construction de nation inspiré des modèles européens. De nombreux débats ont accompagné ce processus, dans lequel l’organisation du système éducatif a été l’une des préoccupations du pouvoir politique. Dans ce travail, on a principalement étudié la participation progressive de l’Etat dans l’organisation du système éducatif national à travers l’analyse des discours concernant l’importance des langues et leur rôle dans le processus de consolidation nationale.La problématique a été construite autour de trois axes. Le premier concerne l’évolution des enseignements des langues étrangères dans deux domaines (public et privé); le deuxième traite de l'interaction entre la langue nationale et les autres langues, au niveau éducatif et social. Le dernier axe analyse l’impact de l’immigration européenne dans la société, notamment du point de vue des transformations linguistiques, éducatives et culturelles. Sur le plan méthodologique, la recherche a été organisée autour de l'analyse des discours contemporains présentant l'utilité, voire la nécessité de l'enseignement des langues dans un pays qui se voulait moderne et ouvert sur l’étranger. Les appréciations et les jugements de valeur, les spécificités attribués à chaque langue ont été relevés afin de saisir les enjeux cachés derrière les débats. Les résultats obtenus ont permis de déterminer l'influence des discours sur les langues dans le processus de transformation de la société argentine.Cette thèse veut apporter un autre regard sur les problèmes d'ordre linguistique et identitaire dans une période de forts changements politiques, sociaux et culturels (1810-1910) et ouvrir la voie à de nouvelles recherches dans le domaine de l'histoire de l'enseignement des langues en Argentine. / During the 19th century, Argentina followed a model of nation inspired in European ones. This process, together with numerous debates and the organization404of the educational system was one of the worries of the political power. In this thesis, we studied principally the progressive participation of the State during the creation and organization of the National Education System through the analysis of discourses connected to the relevance of languages and their role in the process of national consolidation.This issue is built around three axes (main points). The first axis is related evolution of foreign languages teaching in both state and private settings; the second one focuses on the interaction between a national language (Spanish) and other languages, in the educational and social area. The last one to analyse is the impact of European immigration in society, particularly from the point of view of linguistic, cultural and educational transformations, principally because Argentina is the only country that received, during the analysed period, a larger number of immigrants than the native population.Within methodological area, in this thesis, we analysed the contemporary discourses that present the utility, better, the necessity of teaching languages in the building of a country that was meant to be modern and open to the outside. Appreciations and judgements, as well as stereotypes and specifications attributed to each language have been analysed with the aim of perceiving what was at stake behind linguistic and didactic debates.The results obtained allowed to determinate the influence of the language discourses in the process of transformation of Argentina’s society. On the other hand, the study plans and the programs analysed made it possible to verify the concrete changes operated in the educational system and to thus establish the interrelation between discourses of the most powerful part of society that show its desire of being able to inscribe Argentina in the concert of the most powerful nations and the concrete actions taken/ put into practice.This thesis wants to offer another look to the linguistic and identity problems, on a period of deep changes, political, social and cultural and to open the way to the new researches in the language learning history in Argentina.

La Constitution argentine de 1853, comme toutes les constitutions de l'Amérique latine du XIXe siècle, a établi un rôle central du président dans le système politique. Mais ce système, bien que potentiellement démocratique, limitait la participation populaire. Les constituants de 1853 croyaient que la démocratisation du régime se produirait par le Congrès, ayant le pouvoir de représentation. Mais ce qui est arrivé était différent: la présidence étant le centre du système, lorsque les réformes démocratiques du XXe siècle se produisent, une relation entre le président et le public a été institué. Et donc, la présidence a été transformée en quelque chose de très différent de ce que les fondateurs des institutions argentines avaient envisagé. Le président moderne, ou populiste, a un pouvoir électoral incontesté et est devenu le sujet de la représentation populaire. Et en conséquence, le président est devenu aussi l'agent principal du changement dans les politiques publiques. Dans cette thèse, nous proposons de conceptualiser la relation entre le président et le public, appelé «présidentialisme populiste» comme l'un des trois dimensions institutionnelles du pouvoir présidentiel. Cette transformation structurelle de la présidence a également impliqué un certain nombre de changements dans le système politique. La centralité électorale de l'exécutif, en particulier la présidence, a fait que des processus institutionnels comme les élections législatives, les stratégies de nouveaux partis politiques ou les interprétations de l'opinion publique soient trop orientées vers la présidence. La centralité de la présidence est donc en augmentation. La conclusion de cette thèse, qui ouvre un programme de recherche, c'est que le système présidentiel ne doit pas être abandonné, mais que le législateur devrait envisager des mécanismes pour réglementer et équilibrer les effets du présidentialisme populiste. / The Argentine Constitution of 1853, like most Latin American constitutions of the nineteenth century, established a central role of the president in the political system. But this system, although potentially democratic, was limiting popular participation. The framers of 1853 believed that the democratization of the regime would occur by Congress, which was designed with representational powers. But what actually happened was different: being the presidency the center of the system, when the democratic reforms of the XXth century took place, a new relationship between the president and the public was established. And so, the presidency has been transformed into something very different from what the founders of Argentine institutions might have thought. The modern, or populist, president has an undisputed electoral power and became the subject of popular representation. And as a result, the president has also become the main agent of change in public policy. In this thesis, we propose to conceptualize the relationship between the president and the public, called "populist presidentialism" as one of the three institutional dimensions of presidential power. This structural transformation of the presidency has also involved a number of changes in the political system. The electoral centrality of the executive power, mainly the presidency, that some institutional processes such as elections, the strategies of new political parties or public opinion beliefs are too oriented towards the presidency, and therefore its centrality is still increasing. The conclusion of this thesis, which opens a research agenda on presidential powers in Latin America, is that the presidential system should not be abandoned, but that the legislator should consider mechanisms to regulate and balance the effects of the populist presidentialism.

Cette recherche explore l’articulation entre les « nouvelles gauches » révolutionnaires et les mobilisations argentines pour les droits de l’Homme à partir des années 1970. Mobilisant archives et entretiens, elle se situe entre sociologie politique et histoire des idées politiques pour reconstruire la trajectoire militante d’un collectif informel d’acteurs et en analyser les répertoires discursifs. La première partie met en évidence le rôle pionnier joué par les nouvelles gauches dans l’émergence des droits de l’Homme comme référence du discours militant en Argentine au début des années 1970. On assiste alors à un processus d’hybridation discursive mêlant radicalité politique et recours à un lexique juridique, dans un contexte de dictature. La deuxième partie montre comment, malgré la domination d’une conception libérale des droits de l’Homme, la spécificité de ce discours radical se préserve suite au retour à l’État de droit à partir des années 1980. Il se précise alors via une série de mises à l’épreuve (procès des juntes, incrimination du militantisme révolutionnaire, attaque d’un régiment militaire par un groupe de gauche armée). La troisième partie, enfin, souligne le fait que l’usage actuel de certaines notions (« génocide », « 30 000 disparus ») relatives au récit de la dictature ne peut être compris que s’il est réinscrit dans les trajectoires étudiées au préalable, lesquelles produisent des significations sui generis. Le répertoire discursif contemporain des droits de l’Homme révolutionnaires est en ce sens tributaire d’une longue évolution, qui rend compte de la fondation d’un nouveau sens commun radical démocrate au sein de la gauche argentine. / This research explores the relationship between the Argentinean revolutionary « New Lefts » and human rights mobilizations since the 1970s. Drawing on both archival work and interviews, it combines approaches from political sociology and the history of political ideas to reconstruct the trajectories of political activism of an informal group of actors, and proposes an analysis of their discursive repertoires. The first part shows that the New Lefts were pioneers in the emergence of human rights as a political discourse in Argentina in the early 1970s. This provided the basis for a hybridization process, in which political radicalness and the use of a juridical vocabulary were intertwined in a context of dictatorship. The second part shows how, although a liberal conception of human rights prevailed in the 1980s, this original radical discourse survived after the reestablishment of the rule of law. It developed and became more precise through a series of tests (trial of the juntas, incrimination of revolutionary activism, attack of a military unit by an armed left-wing group). The third part, lastly, underlines the fact that current uses of certain terms for describing and discussing the period of dictatorship (“genocide”, “30 000 disappeared”) can only be understood in line with the previously studied trajectories, which give them a sui generis meaning. In that perspective, the contemporary discursive repertoire of revolutionary human rights is the result of a long evolution and can only be understood in light of that evolution. Moreover, understanding this history sheds fresh light on how a new radical democratic common sense was established among the Argentinean left.

Depuis la fin des années 90, poussés par la crise et l’effondrement de l’économie nationale (19 et 20 décembre 2001), des milliers de travailleurs argentins se sont mis à occuper puis à récupérer leur entreprise. Après une lutte souvent ardue, l’extrême majorité de ces récupérations s’est constituée en coopérative de travail. Loin d’être une nouveauté, les coopératives en question ont toutefois une forte particularité : la population qui les compose témoigne d’une différence considérable avec les expériences connues par le passé, puisque elle se caractérise souvent par des salariés zélés et proches du patron. De fait, la mise en place des coopératives se fait tardivement ; on peut même dire qu’elle s’impose à ces salariés, qui n’ont qu’un seul véritable souhait : sauver leur emploi. Dans ce contexte, il est alors intéressant de se pencher autant sur les origines de cette mobilisation que sur l’autogestion qui s’instaure au lendemain de la récupération de l’entreprise : Quelles sont les raisons qui poussent ces ouvriers modèles à se révolter contre leur employeur ? Comment mènent-ils leur lutte ? Enfin, comment ces salariés, hier proches du patron et de ses politiques d’entreprise, vont-ils s’organiser, coopérer et mettre à profit leur coopérative ? Quelles difficultés vont-ils rencontrer ? A partir d’un travail de terrain de dix-huit mois mêlant entretiens et observations, notamment participante, au sein des usines Brukman et la Nueva Esperanza (l’une textile, l’autre de ballons de baudruche), cette thèse invite à repenser la place du travail ainsi que les cultures ouvrières que ce dernier produit, à partir de la proposition théorique « des appropriations du travail ». / Since the 1990s in Argentina, both the crisis and the collapse of the national economy (December 19th and 20th 2001) led thousands of workers to take over their company and turn it into their own. Though the strife was tough at times, most takes did become work cooperatives. The striking point about these specific upturns resides in the composition of their members: they highly differ from well-known past experiments of the kind for the new associates were zealously and closely linked to their employer. Indeed, the creation of the cooperatives was often delayed. We may even add that these employees had no other choice in order to reach their only goal which was to keep their work at all cost. In this light, it is of paramount interest to focus on the origins of the mobilization; the way they organized themselves is mainly relevant: on the one hand, what were the reasons that motivated model employees to turn against their employer? On the other hand, how did they struggle? Meanwhile they agreed with their former administration's politics, we may wonder how they eventually managed to gather their strengths and cooperate to make the best of their cooperative? What were the issues they had to overcome? Based on an eighteen months-long field work combining interviews as well as times of both neutral and participant observation in the heart of two industries, Brukman (clothing business) and La Nueva Esperanza (helium balloons), this thesis aims at questioning the status of work and its derived blue-collar cultures through the theoretical stance labeled “the appropriations of work”.

Le refus de l’écrivain argentin Andrés Rivera (1928) de considérer certains de ses romans comme historiques est le point de départ de notre réflexion. Nous abordons dans ce travail les relations entre histoire et fiction, les évolutions de l’historiographie ainsi que celles du roman historique. La prolifération de romans historiques en Amérique latine dans les années 80 et 90 et les évolutions dans le style et les thèmes de ces romans ont amené de nombreux critiques à se pencher sur le phénomène et à étudier ce qui caractérisaient ce qu’ils ont appelé le « nouveau roman historique », « le roman historique contemporain » ou encore « le roman historique postmoderne ». Nous avons constitué notre corpus de romans ou courts romans de Rivera en nous appuyant sur la définition de Seymour Menton selon laquelle un roman est historique si son action se déroule de manière prédominante dans un passé non vécu par l’auteur. Nous avons donc choisi les fictions dont la diégèse se situe entre le XIXe siècle et le début du XXe siècle, ce qui correspond à certaines périodes clés de l’histoire argentine : la Révolution de Mai (La revolución es un sueño eterno), les guerres civiles et l’époque de Rosas (En esta dulce tierra, El farmer et Esemanco Paz), l’essor de la bourgeoisie rurale dans les années 80 du XIXe siècle (El amigo de Baudelaire et Lasierva), les années 20 du XXe siècle (El profundo Sur et Hay que matar). Nous proposons d’analyser, dans ce corpus, la lecture de l’histoire argentine que propose Rivera, la conception de l’histoire qui s’en dégage et la réécriture de l’histoire qu’il propose à partir de la fiction. / Argentinean writer Andrés Rivera’s refusal to consider some of his novels as being historical is the starting point of our reflection. In this work we approach the relations between history and fiction, the evolutions of historiography as well as those of the historical novel. The proliferation of historical novels in Latin America in the 1980’s and the 1990’s in particular, and the evolutions in the style and the themes of these novels have brought many critics to look into the phenomenon and to study the characteristics of what they have called the « new historical novel », « the contemporary historical novel » or more « the post-modern historical novel ». The formation of our corpus of novels or short stories by Rivera is based on Seymour Menton’s definition ; a novel is historical if the action takes place in a past that the author did not live. Thus, we chose the fictions in which the diegesis takes place between the 19th century and the beginning of the 20th century, which matches key periods of the Argentinean history : the May Revolution (« La revolución es un sueño eterno »), the civil wars and the period of Rosas (« En esta dulcetierra », « El farmer » and « Ese manco Paz »), the rise of the rural middle classes in the 1880's (« El amigo de Baudelaire » and « La sierva »), the 1920's (« Elprofundo Sur » and « Hay que matar »). Through this corpus, we intend to analyze the reading of the Argentinean history offered by Rivera, the notion of history drawn from it and the rewriting of history based on fiction he proposes

La critique a cru percevoir une incompatibilité entre Victoria Ocampo et Witold Gombrowicz, entreune « conservatrice » et un « avant-gardiste » aux oeuvres littéraires trop différentes pour être misescôte à côte. Pourtant, ils partagent un point commun important : chez ces deux écrivains, l’origine declasse se détache de la biographie pour planter ses racines dans les travaux littéraires. Pour Ocampo etGombrowicz, l’aristocratie est le point de jonction entre la vie et l’oeuvre. Tous deux écrivent des viesaristocratiques, et ce dans deux sens du terme : d’un côté, ils font le récit de leur héritage privilégié –patricien pour l’Argentine et hobereau pour le Polonais – et essayent d’intégrer leur milieu familial etsocial dans leurs oeuvres ; de l’autre, ils rompent avec toute aristocratie sociale existante etconstruisent une vision fantasmatique de ce que serait une vie élitaire idéale, éminemment liée à lalittérature. Si Ocampo revendique ouvertement sa généalogie, Gombrowicz le fait de manière oblique,à force de contradictions et de transgressions. Alors que la première essaye de construire une figured’elle-même pérenne comme une statue afin d’entrer dans l’histoire, le second ne veut pas que lasienne se fige et souhaite au contraire, tel un aristocrate décadent, multiplier les grimaces.L’observation de ce Janus un peu particulier permet de mieux comprendre chacun des deux auteursmais aussi de renouveler les réflexions sur les écritures du Je, le cosmopolitisme périphérique et latraduction en Argentine. / The idea of an incompatibility between Victoria Ocampo and Witold Gombrowicz has been a recurring theme in literary criticism, which has consistently perceived a clash between a “conservative lady” and an “avant-garde man” with two oeuvres too different to be put side by side. However, both authors share an important common ground: the social class which they hail from detaches itself from their biography and roots itself in their literary works. For both Ocampo and Gombrowicz, aristocracy is the junction between life and work. Both write about their aristocratic lives, and do so in a double sense: their texts not only create the narrative of their own privileged heritage but also build up a phantasmatic vision of an ideal elitist life. On the one hand, they attempt to integrate their family and social milieu into their works – whether a patrician in the case of the Argentine or a country-nobleman in the case of the Pole. On the other hand, they both break from the existing social aristocracy by constructing ideals that are eminently linked to literature. While Ocampo openly vindicates her genealogy, Gombrowicz dons an oblique manner for his aristocratic claim, made of contradictions and transgressions. As Ocampo essays the construction of a perennial visage for herself, curated like a statue aimed to penetrate history, Gombrowicz wants nothing but to deform his own face: like a decadent aristocrat, he prefers the multiplication of grimaces and the degradation of forms. The peculiar Janus figure that arises from the juxtaposition of these two authors not only allows us to gain a better understanding of both of their oeuvres, but also generates new insights on many important broader themes: writings of the self, peripheral cosmopolitanism, and translation in Argentina.