Este estudo consiste na análise do romance Lenta biografía (2007), do escritor argentino Sergio Chejfec. Nosso trabalho propõe uma leitura reflexiva acerca de como a ficção coloca em cena a possibilidade e, ao mesmo tempo, a impossibilidade do relato autobiográfico. A escrita do romance apresenta-se como evocação e deslinde ao pacto autobiográfico uma vez que o narrador escreve sua história de forma especulativa. Portanto, Lenta biografía desestabiliza a categoria de autobiografia tradicional. A evocação e as estratégias narrativas adotadas na tessitura do texto tornam difusa a enunciação do narrador e indeterminam as categorias de tempo e espaço. Estas condições de escrita da narrativa e a escassez de informações sobre o passado destacam o caráter entrópico do romance e a rarefação do relato. Além disso, a fragmentação do texto compromete a possibilidade de narrar os eventos de forma linear e rompe com um tipo de arte ilusionista. O sentido alegórico atribuído à história do fugitivo judeu, no contexto da narrativa, é o mote para expandir a história do pai e de seus convidados na relação com o passado e a memória. / This study analyzed the novel Slow biography (2007), the Argentine writer Sergio Chejfec. Our work proposes a reflective reading about how fiction puts into play the possibility and at the same time, the impossibility of autobiography. The writing of the novel presents itself as an evocation and disentangling the \"autobiographical pact\" because the narrator writes his story speculatively. So Slow biography destabilizes the category of traditional autobiography. The evocation and the narrative strategies adopted in the fabric of the text become diffuse the enunciation of the narrator and indeterminate categories of time and space. These conditions of narrative writing and the lack of information about the past highlight the entropic character of the novel and the thinning of the story. Furthermore, the fragmentation of the text undermines the possibility of narrating the events in a linear fashion and breaks with a kind of art illusionist. The allegorical meaning assigned to the story of a fugitive Jew, in the context of the narrative, is the reason to expand the story of the father and their guests in relation to the past and memory.

Este estudo consiste na análise do romance Lenta biografía (2007), do escritor argentino Sergio Chejfec. Nosso trabalho propõe uma leitura reflexiva acerca de como a ficção coloca em cena a possibilidade e, ao mesmo tempo, a impossibilidade do relato autobiográfico. A escrita do romance apresenta-se como evocação e deslinde ao pacto autobiográfico uma vez que o narrador escreve sua história de forma especulativa. Portanto, Lenta biografía desestabiliza a categoria de autobiografia tradicional. A evocação e as estratégias narrativas adotadas na tessitura do texto tornam difusa a enunciação do narrador e indeterminam as categorias de tempo e espaço. Estas condições de escrita da narrativa e a escassez de informações sobre o passado destacam o caráter entrópico do romance e a rarefação do relato. Além disso, a fragmentação do texto compromete a possibilidade de narrar os eventos de forma linear e rompe com um tipo de arte ilusionista. O sentido alegórico atribuído à história do fugitivo judeu, no contexto da narrativa, é o mote para expandir a história do pai e de seus convidados na relação com o passado e a memória. / This study analyzed the novel Slow biography (2007), the Argentine writer Sergio Chejfec. Our work proposes a reflective reading about how fiction puts into play the possibility and at the same time, the impossibility of autobiography. The writing of the novel presents itself as an evocation and disentangling the \"autobiographical pact\" because the narrator writes his story speculatively. So Slow biography destabilizes the category of traditional autobiography. The evocation and the narrative strategies adopted in the fabric of the text become diffuse the enunciation of the narrator and indeterminate categories of time and space. These conditions of narrative writing and the lack of information about the past highlight the entropic character of the novel and the thinning of the story. Furthermore, the fragmentation of the text undermines the possibility of narrating the events in a linear fashion and breaks with a kind of art illusionist. The allegorical meaning assigned to the story of a fugitive Jew, in the context of the narrative, is the reason to expand the story of the father and their guests in relation to the past and memory.

El movimiento #NiUnaMenos en contra del femicidio iniciado en el 2015, las protestas de pañuelos verdes por la sanción de la ley de interrupción voluntaria del embarazo, así como las intervenciones del colectivo LGTBIQ en Argentina han hecho uso del lenguaje inclusivo no binario como una herramienta más en la lucha por la igualdad de derechos de la mujer y de otras minorías. Estos nuevos usos del lenguaje que desafían las normas y estructuras establecidas al intentar incluir identidades históricamente marginalizadas alterando la gramática de la lengua también se manifiestan en un corpus emergente de la literatura argentina contemporánea vinculado con dichos movimientos sociales.En este estudio situamos los usos y funciones de este lenguaje inclusivo en la literatura y en el corriente debate cultural que ha despertado tal gesto literario en la Argentina y, en particular, en el interrogante que plantea tal debate acerca del potencial del lenguaje inclusivo en la literatura para articular nuevas subjetividades más amplias y transformar las sensibilidades (Andruetto, 2019; Sarlo y Kalinowski, 2019). Para examinar este interrogante, en el presente estudio analizamos el uso del lenguaje inclusivo en relación con la articulación de nuevas subjetividades tras dicha ola de movimientos, protestas e intervenciones en un corpus de la literatura argentina contemporánea compuesto por dos poemas extraídos del compilado colectivo Martes Verde (2018) y la novela Vikinga Bonsái (2019) de Ana Ojeda. A partir de un análisis de las obras selectas desde teorías feministas provenientes tanto del contexto anglosajón (Irigaray, 1985, 1992; Butler, 2002) como de los feminismos latinoamericanos (Colanzi, 2019), así como  de la definición de subjetividad en las literaturas postautónomas (Ludmer, 2009, 2012), investigamos la configuración de una nueva subjetividad inclusiva no binaria que surge a través del uso literario del lenguaje inclusivo. En la primera parte del análisis nos concentramos en el poema “La pija de Hegel” del colectivo Máquina de Lavar publicado en Martes verde, donde examinamos cómo el uso inclusivo del lenguaje en paralelo a usos deconstructivos de la tradición filosófica occidental que excluyen a la mujer, construyen una subjetividad de la diferencia (Irigaray, 1985, 1992) respecto de la resignificación de la idea del sexo débil históricamente vinculada a la mujer. En la primera segunda parte del análisis, estudiamos el poema sin título de María Insúa también incluido en Martes verde, donde examinamos cómo el uso inclusivo del lenguaje en relación con una retórica del cuerpo en este poema problematiza la construcción del género en la repetición performativa de actos (Butler, 2002) y la marca que dicha reconstrucción imprime en los cuerpos femeninos. Finalmente abordamos la novela Vikinga Bonsái donde analizamos cómo el lenguaje inclusivo en esta novela plantea un colectivo inclusivo de sororidad cuya sensación de pertenencia e identificación entrelaza el colectivo femenino y LGTBIQ junto con otras identidades marginalizadas que se representan en la novela a partir de lenguajes rurales, locales, digitales e inventados y una polifonía de voces de diversos personajes cuya reunión en comunión potencia su diferencia (Irigaray, 1985, 1992), rompe los actos repetidos que construyen la identidad femenina (Butler, 2002) pero también producen un acto de desobediencia pública rompiendo normas como la familia, y proyectando una subjetividad que traspasa los límites del sujeto individual (Colanzi, 2019). Entre los resultados más sobresalientes, encontramos que, a pesar de las singularidades de cada texto y de los géneros a los que pertenecen (novela, poesía) en los textos literarios estudiados, el lenguaje inclusivo se relaciona predominantemente con escenarios urbanos. Sin embargo, el uso literario de este lenguaje construye una subjetividad más amplia que surge a partir de su interconexión con los movimientos sociales feministas contemporáneos, lo que nos permite proponer que las obras estudiadas acompañan la lucha por la igualdad de derechos sociales. / The #NiUnaMenos movement against femicide in 2015, the green scarf protests for the sanction of the pregnancy voluntary termination law as well as the interventions of the LGTBIQ collective in Argentina have made use of non-binary inclusive language as another tool in the fight for equal rights for women and other minorities. These new language uses that challenge established norms and structures by attempting to include historically marginalized identities by altering the grammar of the language are also manifested in an emerging corpus of contemporary Argentine literature linked to these social movements. In this study we situate the uses and functions of this inclusive language in literature in the current cultural debate in Argentina that has aroused such literary gesture and in the question raised by such debate about the potential of inclusive language in literature to articulate new, broader subjectivities, thus  transforming sensibilities (Andruetto, 2019; Sarlo & Kalinowski, 2019). To examine this question, in this study we analyze the use of inclusive language in relation to the articulation of new subjectivities after the mentioned wave of movements, protests and interventions in a corpus of contemporary Argentine literature composed of two poems included in the collective poetry book Martes Verde (2018) and the novel Vikinga Bonsái (2019) by Ana Ojeda. Based on an analysis of the selected literary works drawing on feminist theories both, from the Anglo-Saxon context (Irigaray, 1985, 1992; Butler, 2002) and Latin American feminisms (Colanzi, 2019) and the definition of subjectivity in post autonomous literatures (Ludmer, 2009, 2012), we investigate the configuration of a new inclusive non-binary subjectivity that arises through the literary use of inclusive language.  In the first part of the analysis, we focus on the poem "La pija de Hegel" by the Máquina de Lavar collective included in Martes verde, where we examine how the inclusive use of language in parallel to deconstructive uses of the philosophical tradition that excludes women, configures a subjectivity of difference (Irigaray, 1985, 1992,) regarding the resignification of the idea of the weaker sex historically linked to women. In the first second part of the analysis, we study the untitled poem by María Insúa also included in Martes verde, where we examine how the inclusive use of language in this poem in relation to a body rhetoric problematizes the construction of gender and the violence that construction imprints on female bodies. Finally, we address the novel Vikinga Bonsái where we analyze how inclusive language in this novel poses an inclusive group of sisterhood whose sense of belonging and identification that interweaves women and LGTBIQ collectives with other marginalized groups represented in the novel by rural, workers, digital and invented languages and a polyphony of voices of various characters whose interaction in communion enhances their difference (Irigaray, 1985, 1992), breaks the repeated acts that build female identity (Butler, 2002) but also produces an act of public disobedience, breaking norms such as the family, and projecting a subjectivity that transcends the limits of the individual subject (Colanzi, 2019). Among the most outstanding results, we found that, despite the singularities of each text and the genres to which they belong (novels, poetry) in the literary texts studied, inclusive language is predominantly related to urban settings. However, the literary use of this language builds a broader subjectivity that arises from its interconnections with the current feminist social movements, which allows us to propose that the works studied accompany the struggle for equal social rights.