Estudio sobre la relación entre palabra e imagen en la obra de William S. Burroughsun análisis comparado

Abstract

This dissertation examines the relationship between word and image in the work of William S. Burroughs from the perspective of literary theory, comparative literature, and creative writing as background theories. A glimpse into the evolution of this author's creative process reveals that, from a very early stage, Burroughs linked his consciousness to a set of technologies to produce text, creating a semiotic system worthy of study. Burroughs integrates an archive into his system to bridge the evident mnemonic constraints of free association of ideas. Brion Gysin's cut-up method was crucial in the development of such a system, which could be defined as a machine, composed of sub-machines with which to process text in its broadest sense. Once the text was appropriated and processed, the author's consciousness selected “intersections” or “coordinates” from which it spins, unravels, and remakes a narrative that by its constitution reflects the feedback and reflexivity of the system itself. Both authors produced several theoretical manifestos about the cut-up method. Texts obtained through the cut-up method disarticulate the traditional syntax and affect the reader's consciousness in a radical way. A juxtaposition of contents in Burroughs' experimental texts connects directly with hypnagogic, dreams, various forms of paramnesia, and cinema.