The dialectic of expression in the Raphael´s version: The Baudrillard simulation.

Karl Xavier Al-Bharez
Post-Lacanian Institute of Buenavista del Norte (Campus of Wisconsin). 69 Silly Street, Vancouver-Ohio, (North Carolina del Sur)

1. Surrealism and Baudrillardist simulation

The characteristic theme of the works of Eco is a dialectic paradox. An abundance of discourses concerning not, in fact, semanticism, but subsemanticism may be discovered. Adamo´s “las miré de reojo” is a good example. However, the premise of Baudrillardist simulation suggests that the significance of the artist (RAPHAEL) is social comment (“podré besar a mi amor”)

The within/without distinction depicted in Eco’s The Limits of Interpretation (Advances in Semiotics) is also evident in The Name of the Rose. Thus, the subject is interpolated into a cultural paradigm of discourse that includes language as a whole. “Ya son las tres…” (Adamo) as a symbol of the pass of time, and “hoy saldré por la noche” in Raphael (see the brilliant paper by Moses Betan in this same blog about the time “El tiempo: lo tenemos o nos tiene”).

Lacan promotes the use of Baudrillardist simulation to modify and deconstruct sexual identity. “Las chicas…” are converted in “palomas” and Adamo himself in “cazador y amo del Palomar”. However, several discourses concerning the neopatriarchialist paradigm of discourse exist (“aguantar a papá”). This is not present in Raphael´s version. There, “al despertar ya mi vida  sabrá algo que no conoce” implies a deep return to dreams and archeotypical visions. Foucault suggests the use of cultural postsemanticist theory to analyse and deconstruct thruth. However, the "CHIKIPÁN" main expression in the song by Raphael clearly denote a symbol and should be analyed by pre-semantic theory.