The grotesque body is wielded within a cultural
imprint in comparison with a modern body
divided, atomized; because it imposes itself on the
advertising strategies of a current world which
goes to the maximum expression of the bodymerchandise,
an exuberant and exotic body that
personalities of the “world of entertainment”
exhibit on social networks like Instagram. The
current text identifies the problematic interstice
“the ass,” part of the body where the back loses
its name and whose objective is the convergence
between that grotesque modern body in Bajtin and,
the contemporary body inscribed in the aesthetic
and capitalist market. The hermeneutic-qualitative
exercise does not escape from this special period
between the bodies of these two contexts and is
clarified in the analysis of the social networks of
those celebrities who expose their backside as the
end of eroticism and perfect body. The cult to the
“ass” has a cultural framework that is wrapped in
the physical and dietary work of hypermodernity
where the end of the back and its exemplification
or stereotype of the female body in postmodernity
is worshipped.
