Mariano siskindLeer Sylvia molloy sobre wilde.

p.3In Latin America (as in other global peripheries), critical and aesthetic cosmopolitan discourses shared a common epistemological structure that I call deseo de mundo, desire for the world

The opposition between country of origin and his times signifies his preference for the [Empires] crisis of representation, to the detriment of his young countrys search for national identity). Nabuco admits that, despite their national significance, local politics bore him (33) He conceives of himself as a spectator, a world-historical witness, only to a aco do drama contemporneo universal (the

p.6 I believe that one should read the differential affirmation of a cosmopolitan and disruptive aesthetic identity not in terms of a particularistic cultural politics but as a strategic literary practice that forces its way into the realm of universality, denouncing both the hegemonic structures of Eurocentric forms of exclusion and nationalistic patterns of self marginalization.Cosmopolitan Desires reads Latin American literary modernity as a global relation, a set of aestheticprocedures that mediate a broadened transcultural network of uneven cultural exchanges. It traces world making discourses and physical displecements witin comparative, translational and displaced frames of legibility.2p.7 In fact, the two-part structure of this book corresponds to the attempt to reconceptualize, in two different directions, the meaning of world literature in relation to the marginal specificity of the Latin American literary fieldp. 9 The contradiction between the desire for universality and the marginal conditions of enunciation points to the anxiety and frustration of a split subject whose impossible longing affirms [itself] as the limit of satisfaction. (butler 187) But while these universal desires can never be satisfied, Latin American cosmopolitans can still constitute their intellectual identity through the omnipotent and voluntaristic representation of their imagined universality. LaclauThe universal is the symbol of a missing fullness () The universal emerges out of a particular not as some principle underlying and explaining it, but as an incomplete horizon suturing a dislocated particular identity (28)

p10 the world does not exist, or rather, it does not preexist the acts of imagining it, naming it, and acknowledging the ways in which it constitutes my cosmopolitism. p.15Regardless of the signifiers that name it, the obsession with the world as a way to overcome national determinations of literary signification has a long historyp.18This book analyzes Latin Americas place in the production of a global modernity shaped by an actually existing field of transcultural exchanges that supports the critical practices, aesthetic imaginaries, and universalizing fantasies of world literature.p.1I define world literature as a process of global expansion, retraction, and dislocation of cultural and aesthetic institutions, practices, and values that determine the meaning of the world as a totality of meaning,8

action of contemporary universal drama) that takes place beyond the the national stage

p.

From this goethan perspective, world literature gives aesthetic form to the cosmopolitan desire to overcome the restrictions and limitations of our own particular cultre and our claustrophobic experience of it and to affirm the necessarily universal nature of the promise of cultural emancipation of the planet p.55

In other words, magical realism should not be considered an aesthetic form that can be forged anywhere, under sociocultural conditions, but rather as a discourse that emerges from cultural formations marked by the perception of a lack (in the Lacanian sense) and the registration of emancipatory desires that dislocate and reconfigure hegemonic mappings of world literature p.84

YO (LAURA) creo que pasa lo contrario a lo que marti postula: With his surprise and subtly expressed outrage, Mart names the anti-identitarian desire to negate oneself, to be another, to be one with the world that he sees as a universal cosmopolitan urge (esa ansia de salir de s, y esa noble inconformidad con ser lo que es). P.109

World literature is an outward move, a reaching out to the world instead of a translation of it into our terms. It is reading the world in order to inscribe ourselves in it ()When Mart, Daro, Gutirrez Njera, Gmez Carrillo and Sann Cano channeled this desire to perform a world literary task, they were actually trying to produce a world from Latin America in order to inscribe themselves in it, rather than crafting a Latin American identity using odds and ends from the world p.121Sylvia Molloy has characterized this poetic subject a un yo voraz que al proyectarse en lugares y personas los deposja de sus caracteristicas propias para transformarlos en aspectos de ese yo. Molloy does not link the voracious eagerness of this poetic I to local or global objects and places, but her conceptualizations opens up the possibility of metapjorizing cosmopolitan desire in the figure of hunger for the world.

Agilarinalmente, la politicidad de estos textos surge de su capacidad de haberse mantenido en el dominio de la esttica para investigar all las potencialidades de la modernidad en curso.Lo que importa es el sealamiento de los momentos en los cuales la cultura no se decide (o se decide de tal modo que resulta un salto en una direccin imprevisible) en la tensin cosmopolitismo/ nacionalismo sino en relacin con la inscripcin de lo universalenlo particular (o, por el contrario de lo particularenlo universal), es decir en la produccin de singularidades crticas (Rubn Daro, Jorge Borges, Victoria Ocampo lo son)."No se trata", aclara Aguilar en la meditada "Introduccin", "y espero dejarlo claro a lo largo del libro, de una apelacin a la autonoma del arte sino a una mediacin de la forma, que si se beneficia transitoriamente de una apelacin a la autonoma que nunca se vuelve efectiva, lo que hace en realidad es cuestionar las funciones asignandas y compartimentadas y dilatar los mbitos de la imaginacin y la percepcin y de lo que es considerado poltico" (pg. 32).