En plancton, en plasma, en placenta, en Hiroshima, en nada: eco-ensamblar a partir de las interrupciones de figuración antropomorfa del soneto LCXVI de Luis de Góngora y la película "Body Snatchers" de Abel Ferrara.

Abstract

In our paper ‘In Plancton, in Plasma, in Placenta, in Hiroshima, in Nothingness: eco-assemblage along the interruptions of antropomorphic figuration included in the sonnet LCXVI by Luis de Góngora and the film Body Snatchers by Abel Ferrara’ we have put the respective releasing of social forces and nature-materialities, that these interrupting processes entail, to help us delineate new parameters for a humankind in the frame of sustainable development. This pragmatic goal, in the line of the theories of Deleuze and Guattari, has helped us to deal, beyond the epidermic levels of narrative, referential, and phylosphical-hermeneutical concern, with an specific anthropocentric cultural context that comes into play, in the figuration of the soneto –by way of the pictorial-social renaissance procedures of albertian fragmentation– and accordingly, in the film –interacting with the narrative structures that deal ecophobically by a cohesion of the visual materialities on the verge of the snatching of human bodies. Thus, an intense intertwining of these processes has helped us to promote a genesis for a relevant ecocritical frame: the quest of a humanity beyond human-nature dichotomies, that is, into relational intensities towards its environment, but this time by means of a renewal of its cultural heritage in the light of an ever-changing interrelating pattern of productive eco-assembling differences.