More post-modernist textual analysis SOUTH of the BORDER
(so finish your Margarita and put on your progressive academic sombrero).
I must get this stuff out of my system before we move on to Ethiopia & Wisdom Literature…
In this next Muneclips analysis we discern clearly the bio-eliminative motif in “Hola Amiguitos”, a clarion call to feminine empowerment and an unrestrained attack on patriarchal privilege, in the context of child-literacy and bodily cleanliness. The narrator participates in her awareness of social marginalization with the schoolchildren she addresses. The toilet is introduced as an archetypal beacon of hope and a call for the economically marginalized to throw off their oppression through the constructive praxis of self-awareness in metacognition. The repeated affirmation siempre uso el jabon [“I always use soap”] may be seen on multiple levels; not only as an act of resistance to the strategies of the patriarchal oppression-machine but also as an autonomous act of rupture with the unwashed (read: un-empowered) status quo. The paradigmatic sign emblazoned on the chest of the narrator affirms this liberation of the hearer as a member of the potentially disruptive forces who are able to fabricate new radicalized identities through conscious elimination of both external and internal uncleanness. The text then moves beyond the toilet to exalt the matriarchal order and call the other/the child to a new order of shared awareness in solidarity. The recurring symbolism of the toilet must be understood as simultaneously both a tool of statist striated regimentation but also as nomadic technology to be acquired by the disenfranchised other as a means to negotiated consensus through power-sharing.
Also – I would like the side of guacamole and some more chips with my order por favor…
Today’s textual deconstruction features Pato patito, a revolutionary text when properly interpreted as a call to dislocation and abandonment of rigidified, striated civil/state space for the nomadic production of new identities.
Here we see the narrator as feminine change-agent celebrating an amphibious disjuncture: a duck in the desert (who is actually a human syntagmatically representing the amorphous concept “Duck” as commodified fabrication) dancing to a cumbia. The narrative supersedes linguistic ontology by transcending norms of codification [“quar-a-qua-quack / quar-a-qua-quack“] and expanding the linguistic prototype into pure glossolalia, bringing the orthoglossic/heteroglossic antithesis to a new level of possibility. This polylectic paradigm embedded in meta-linguistic narrative is juxtaposed to the worn-out wagon, a symbol of the obsolete orthodoxies which now lie abandoned in the cultural hinterlands – that is to say, in the defunct and abandoned social-control strategies of the patriarchal state which once reigned unquestioned. Ultra as well as trans sexual politics are affirmed and simultaneously rendered ridiculous in the duck-protagonist’s reverse codpiece, clearly symbolizing sexual synthesis as well as a booty-call to decentralized polymorphous perversity. More to follow when I get my doctorate…
In the Pre-Columbian and pre-patriarchal text below, the “Tía” clearly plays a radicalizing role in the context of narco-anarchy on the frontier. There is an intensification of the polarizing dynamic between striated regimentation in the person of the narrator who attempts to name, itemize, and commodify garments and the Tía herself who, as an empowered change agent, uses her radical femininity to challenge the patriarchy and the dominant hegemony of machismo within the outlaw context of narcotrafficking.
See Chandler on Barthes and the garment system:
1. She selects signs from three paradigms (i.e. sets of possible signs – upper body garments, lower body garments, and footwear). Each paradigm contains a possible set of pieces from which she can choose only one. From the upper-body-garment paradigm (including blouses, tee-shirts, tunics, sweaters), she selects one. These items share a similar structure, function, and/or other attribute with others in the set: they are related to one another on the basis of similarity. She further selects items related by similarity from the lower-body-garment and footwear paradigms. A socially defined, shared classification system or code shapes her selections.
2. She combines the selected signs through rules (i.e., tee-shirts go with sandals, not high heels), sending a message through the ensemble – the syntagm. Selection requires her to perceive similarity and opposition among signs within the set (the paradigm), classifying them as items having the same function or structure, only one of which she needs. She can substitute, or select, a blouse for the tee-shirt – conveying a different message.
Um… yeah – sort of.