|Monday May 20, 2013|
With Ingaramo’s project we are exploring not only a narrative domain but also the consequences and characteristics of a writing work that was never published. We are trying to analyse the notion of authorship attached to this condition and how, the unpublished condition, affected the act of writing itself. To face this task we have been working in four different areas. The first one dedicated to the biographical and autobiographical narrations, using some of the theories already established in The Manufacture of an Author (2000). The second area is focusing on the essays, on the writings of speculative nature and on the notion of narration in general. The third area is dedicated to the notion of fiction and, more specifically, to the way fictional construction works in Ingaramo’s writings. Finally, the four areas, is an attempt to explore the intellectual evolution (groups, communities, other authors, etc.) of which Ingaramo was part of.
Ingaramo left a number of manuscripts and works that are only partially organized. Here is a list of what has been determined up to date:
Finally, here are the four areas of the project:
Recent / Current Projects
The Construction of an Authorship
During his life time Ingaramo only published two works, and always as a request of friends. Ingaramo's sense of authorship posed him a number of conflicts regarding the public dimension of a written work, to such an extension that he died completely unknown as an author. The first work published was a collection of notes and articles which appeared as a very rudimentary ‘book’ in Rosario in 1992 under the Borgesian title of Turbios purgatorios. The second published work was a short novel published in London in an underground academic editorial in 1994 and under the title of Constitución.
The Construction of an Imaginary Homeland
Ingaramo, as many other members of the ‘Falansterio del Tulipan’, considered that the manual and intellectual activities of the individuals should mainly contribute to the construction of a local domain and environment. This ‘diasporic’ attitude towards art and speculative matters was a regular element on Ingaramo’s works. The public dimension of the written work was for Ingaramo related to its efficacy as a tool for producing a local dimension and space, which should be physical as well as imaginary.
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