Claroscuro #3. (2013)

What is a speaking image? If answered —in a rush— Sidone Csillag, we might catch a glimpse of an answer that must be much broader and complex. Primarily, we should think the consequences that this becoming-image, becoming-voice without own word, in this complex network, that crosses and holds a close distance between terror and sex.This tension, so esential toSidonie’s “biography”, between her hidden/censured speech and the enunciation of her from the others that speak over and across her textual body. Here, as remarked by the author, we are before a mausoleum-biography that allows other discourses to take the statue of the petrified body of Csillag to make their own speech. So, grasped between the death of the self-story and the commitment of the unveiling of her own secret (her own extasis), Sidone revels, falls and as it drops, she turns the paradox, and makes of the observer, the observed. Csillag opens—agilely but by second order—a chance to allow us to think about our positioning as readers; as how we take her body, and the site of her saying in regards to herself. It’s necessary to ask ourselves: Are we hearing the words of Sidone Csillag, or what was made of her body? Csillags bursts into the scene and her biography echoes and forces us to look into ourselves and ask of our way of hearing. Do we hear the words of the subject or are we hearing what various theoretical discourses made of its corpse?

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