Problemas de la “negatividad” en Respiración artificial de Ricardo Piglia

Abstract

This article attempts to recover the theory about the link of Piglia’s work to the
“negative aesthetics” presented by Sandra Contreras in Las vueltas de César Aira (2002)
with the purpose of question it. The dominant component of critique literature about
Piglia that may justify its apparent correlation with the negative aesthetics –though it’s
never mentioned in this terms- may be the relating to the value given to the reflexive
character of his work, that applied to the national historical coordinates of the
dictatorship period, may explain the regression of mimetic aesthetics, caused by a new
class of political fiction, seemingly anti-representative. Read unanimously as an
experimental-political novel, the obligatory question to the contemporary critique,
unconnected with the reception horizon of its time, it’s if the allegorical sense and the
fragmentary figuration of history such as it may be conceived in Respiración artificial are
sufficient to transform the work in autonomous.