{"id":11529,"date":"2022-01-04T17:40:33","date_gmt":"2022-01-04T16:40:33","guid":{"rendered":"https:\/\/www.imex-revista.com\/xxi-decimo-infierno-giardinelli\/"},"modified":"2022-01-14T18:19:07","modified_gmt":"2022-01-14T17:19:07","slug":"xxi-decimo-infierno-giardinelli","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xxi-decimo-infierno-giardinelli\/","title":{"rendered":"XXI. Beatrice Schuchardt \u2013 El d\u00e9cimo infierno de Mempo Giardinelli"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/11416\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Edici\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/11409\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Art\u00edculo<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; text_align=&#8221;left&#8221;][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text]\n<h3 style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\"><em>El d\u00e9cimo infierno<\/em> de Mempo Giardinelli: sujetos de rendimiento, topolog\u00eda de la violencia y topograf\u00eda infernal en una novela posdetective (pp. 84-98; DOI: 10.23692\/iMex.21.7)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F6_BS_El-decimo-infierno_iMex21.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/6_BS_El-decimo-infierno_iMex21.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Dr. Beatrice Schuchardt<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-11432 size-full alignleft\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Beatrice-Schuchardt_iMex21.jpg\" alt=\"\" width=\"220\" height=\"150\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Beatrice Schuchardt is Associate Professor in the Institute of Ibero-Hispanic Literary Studies at the University of M\u00fcnster (Germany). Her fields of research include crime fiction studies and its links with trauma, the representations of medial icons on the Internet (such as Frida Kahlo), female Francophone writings from the Maghreb, and migration in Francophone writings from Canada. Other areas of study are the theories and economic protagonists in the Spanish eighteenth-century theater (subject of her habilitation book, which will be published in 2022), and the staging of Spanish-American and Maghrebi immigration in Spanish migration cinema.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">\u00a0<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;50&#8243;][tabbed_section style=&#8221;default&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1580125134478-01b8e-4fbb&#8221; tab_id=&#8221;1641313926574-9&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">This article analyzes the novel El decimo infierno (1997) by the Argentine writer and theorist of crime novels Mempo Giardinelli as a &#8216;post-detective&#8217; novel, a subgenre of Spanish-American crime fiction that emerged in the late nineties of the twentieth century in which criminals instead of the detective or private investigator act as protagonists. The present article suggests examining the topoi of hell and heat from a new angle, which is Byung-Chul Han\u2019s philosophical essay on the Topology of Violence (2018) (Topologie der Gewalt, 2011) as a theoretical basis. Within this topology, Han locates the performance subject, victim of a modern form of violence less visible and spectacular than the premodern one, and which, instead of afflicting the subject from the outside, resides in the individual him-\/herself and makes him\/her exploit him-\/herself to the point of being scorched, leaving him\/her with a disposition for psychic illnesses. Taking that the protagonists of the novel, Alfredo and Griselda, represent two gendered types of the performance subject, and historically relating their being so to Menemism, this study investigates the &#8216;dialectic of violence&#8217; staged by Giardinelli, vacillating between the centripetal, i.e., self-destructive violence, and the centrifugal, a notion that refers to an explosive form of violence. This dialectic is analyzed with regard to its location within a Dantesque topography of hell, an imagery which forms a counterpoint to the real-historical references the novel offers.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1580125134518-11b8e-4fbb&#8221; tab_id=&#8221;1641313926587-4&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">En el presente art\u00edculo se analiza la novela <em>D\u00e9cimo infierno <\/em>(1997) del escritor argentino y te\u00f3rico de novelas negras Mempo Giardinelli en tanto que \u2018posdetective\u2019, un subg\u00e9nero de la novela negra hispanoamericana que surge a fines de los a\u00f1os noventa del siglo pasado, que protagonizan los delincuentes en vez del detective o investigador privado. Se propone examinar los topoi del infierno y del calor desde un \u00e1ngulo nuevo, o sea en base a la <em>Topolog\u00eda de la violencia <\/em>(2018) desarrollada por del fil\u00f3sofo alem\u00e1n Byung-Chul Han. Dentro de esa topolog\u00eda, Han localiza el \u2018sujeto de rendimiento\u2019, v\u00edctima de una nueva forma de violencia menos visible y espectacular que la premoderna. Tal violencia, en vez de afligir al sujeto desde fuera, reside en su interior y le hace explotarse a s\u00ed mismo hasta quedar abrasado, dej\u00e1ndole con una predisposici\u00f3n para enfermedades ps\u00edquicas. Partiendo de la idea de que los dos protagonistas de la novela, Alfredo y Griselda representan dos tipos distintos del sujeto de rendimiento diferenciables por su sexo, e hist\u00f3ricamente relacionando este hecho con la sociedad menemista, el estudio investiga la \u2018dial\u00e9ctica de la violencia\u2019 escenificada por Giardinelli, din\u00e1mica en la que la violencia oscila entre lo centr\u00edpeto, es decir, de una violencia autodestructiva, y lo centr\u00edfugo, noci\u00f3n que se refiere a una violencia explosiva. Esta dial\u00e9ctica se analiza con respecto a su ubicaci\u00f3n dentro de una topograf\u00eda dantesca del infierno, un imaginario que constituye un contrapunto a las referencias hist\u00f3rico-reales de esa novela posdetective.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b021 | Narrativa Criminal&#8221; id=&#8221;1580125134563-41b8e-4fbb&#8221; tab_id=&#8221;1641313926605-7&#8243;][vc_column_text]<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-editorial\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Hern\u00e1n Maltz \/ Yasmin Temelli \u2013 Editorial <\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-estimulo\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Sandra Lorenzano \u2013 Impression<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-formato-antologico\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. H\u00e9ctor Fernando Vizcarra \u2013 El formato antol\u00f3gico del cuento policial<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-genealogias-nacionales\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Martina Guevara \u2013 Genealog\u00edas nacionales para el policial latinoamericano<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-western-argentino-mexicano\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Rom\u00e1n Setton \u2013 Variaciones en el western argentino y mexicano<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-miedo-estereotipos\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Kristine Vanden Berghe \u2013 El miedo a los estereotipos en Mempo Giardinelli<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-decimo-infierno-giardinelli\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Beatrice Schuchardt \u2013 El d\u00e9cimo infierno de Mempo Giardinelli<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-policial-no-ficcion\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Roberta Bassi \u2013 Lo policial en la no-ficci\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-novelas-laurini\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Annegret Thiem \u2013 Releer las novelas de Myriam Laurini<\/span><i class=\"icon-button-arrow\"><\/i><\/a>[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text] [\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221;&#8230;<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[580,2319],"tags":[2323,2296,2295],"class_list":["post-11529","post","type-post","status-publish","format-standard","category-issues","category-xxi-narrativa-criminal-en","tag-beatrice-schuchardt-en","tag-sujeto-de-rendimiento","tag-topologia-de-la-violencia"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>XXI. 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