UDTR — Radar mondial des droits de la Nature

La genealogía de la heterología de las culturas prehispánicas al Barroco hispanoamericano: el cuerpo acéfalo como experiencia interior

Identification

Clé publique

doi:10.22201/ceiich.24485705e.2026.40.95981

Auteurs

Paula Eugenia Reyes Núñez

Année déclarée

2026

Langue déclarée

en

Type source

article

Première détection

2026-11-09T19:12:16.966190+00:00

Dernière observation des métadonnées

2026-11-09T19:12:16.966190+00:00

Dernière vérification HTTP

Non effectuée

Institutions déclarées par la source

Centro de Investigaciones Interdisciplinarias en Ciencias y Humanidades · Universidad Nacional Autónoma de México

Résumé documentaire — langue originale

In the thought of Georges Bataille, heterology is considered the (impossible) science of the other (heterogeneous) and the discarded: on the one hand, the most marginal and profane; on the other, the most sacred and celestial. The study of heterogeneity manifests itself in diverse and ambiguous forms. This article begins broadly (from semantic to semiotic analysis) with the (in)distinction between metaphor as a trope and parody as a material and theatrical representation of diversity, both of senses and signs that transgress discursive language, such as myth. Simultaneously, other concomitant ambiguities arise, to the previous rhetorical figures, which we will relate to the idea of metamorphosis, a process that is not only manifested in the rational, but also transcends the areas considered from heterology as marginal or base. These heterogeneous activities include ecstasy, laughter, tears, inner experience, celebrations, play, crimes, sacrifices, and other forms of expression. Like these, heterological studies have appeared in diverse cultures and across different time periods. An example of this is the figure of the headless body, which will be explored in depth through an interdisciplinary study such as heterology. This will begin with a brief analysis of the sacred sacrifices and myths of the Mexica Coyolxauhqui, as well as the figure of the dismembered body in the Greek myth of Orpheus to continue with an exposition of the Hispanic Baroque and its pictorial and theatrical representations of the biblical passage of Salome. It will conclude with Latin American Neo-Baroque and the diverse artistic manifestations (literature, poetry, theater and performance).

Identifiants

OPENALEX

W7204568509

DOI

10.22201/ceiich.24485705e.2026.40.95981

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Types déclarés par les sources

article

Les mentions d’entités ne constituent pas une preuve de reconnaissance juridique. La juridiction étudiée est distincte du pays d’affiliation des auteurs.

Sources

OpenAlex · Document 1 · Document 2

• DOI · https://doi.org/10.22201/ceiich.24485705e.2026.40.95981
• OpenAlex · https://openalex.org/W7204568509

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• openalex:w3212158156 · CITES

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