Acceso usuarios
Nancy J. Gates Madsen
Drawing upon Linda Hutcheon's concept of irony's "edge" and Rosi Braidotti's analysis of posthuman subjectivity, this article demonstrates how Herrera's multifaceted and deliberate narrative strategies-what I term locura semántica-intentionally disrupt the existing dualistic framework of migration. While an analysis of Makina as a "nomadic posthuman subject" lies outside the scope of this article, Herrera's construction of migrant subjectivity as complicated and relational aligns with posthuman thought, and this intentional rejection of binary conceptualization represents the framework of locura semántica.7 If posthuman thought provides the structure for locura semántica, its communicative process is what Linda Hutcheon terms the "cutting edge" of irony. In her seminal work Irony's Edge: The Theory and Politics of Irony, Hutcheon explains the "complex, inclusive, relational and differential nature of ironic meaning," which serves exclusively to "complexify" rather than "disambiguate" (13). Of particular importance for an analysis of Señales, irony resists binary categorizations, for its meaning is never either/or (e.g. literal or ironic), but both/and (58); its ability to operate on multiple levels simultaneously is its signature characteristic.
