摘要：Different studies focusing on the importance of perception in Juan José Saer’s literature, have underlined the recurrence of “awakening scenes” in which the narration of the passage between sleep and awakeness stresses the question around perception. In these episodes the critical function of Saer's literature is supposed to be revealed, as an exploration and problematization of the act of perceiving as well as its representation. This article analyzes the problem of perception in the Saerian narrative from the exploration of the interruptive power of imagination. We revise Hegel's considerations regarding perception and imagination, emphasizing the distinction between Schlaf and Traum, in order to propose a critical reading of three central scenes of Saer's literature. In these scenes, the act of perceiving at the moment of awakening is described in detail: the nightmare of Gato Garay and the revelation of the lifegard in Nadie nada nunca, and the scene in El limonero real in which the speech and consciousness of Wenceslao decompose under the effects of the sun. We believe that these episodes can be read as Traum scenes, following the recent contributions of Germán Prósperi regarding Traum in the Hegelian system, which is defined as suspension of dialectical breathing, the extra-time of Being, a dimension open to the Monstra, the extra-human of the human.
其他摘要：Different studies focusing on the importance of perception in Juan José Saer’s literature, have underlined the recurrence of “awakening scenes” in which the narration of the passage between sleep and awakeness stresses the question around perception. In these episodes the critical function of Saer's literature is supposed to be revealed, as an exploration and problematization of the act of perceiving as well as its representation. This article analyzes the problem of perception in the Saerian narrative from the exploration of the interruptive power of imagination. We revise Hegel's considerations regarding perception and imagination, emphasizing the distinction between Schlaf and Traum, in order to propose a critical reading of three central scenes of Saer's literature. In these scenes, the act of perceiving at the moment of awakening is described in detail: the nightmare of Gato Garay and the revelation of the lifegard in Nadie nada nunca, and the scene in El limonero real in which the speech and consciousness of Wenceslao decompose under the effects of the sun. We believe that these episodes can be read as Traum scenes, following the recent contributions of Germán Prósperi regarding Traum in the Hegelian system, which is defined as suspension of dialectical breathing, the extra-time of Being, a dimension open to the Monstra, the extra-human of the human.
