El aprovechamiento de la conversación en tres obras de narrativa actual

La conversación coloquial es un género discursivo que la narrativa viene aprovechando ininterrumpidamente, aunque con diferentes propósitos, desde mediados del siglo XIX. Aunque el fervor experimentativo de la novela lingüística los años 60. Parece hoy atenuado, múltiples obras narrativas de lengua española siguen integrando grandes porciones de discurso inspirado en los modelos orales. El articulo analiza el tratamiento narrativo de la conversación coloquial en el marco de tres monólogos autonómos representativos para la prosa literaria actual (Jaime Bayly, Roberto Bolaño, Roger Wolfe). Se revisan las formas de citación lingüísticas y literarias, observando la representación de lo implícito, normalmente silenciado en los intercambios verbales. Los diálogos analizados resultan ser, en su mayoría, “contiendas” verbales, que, en vez de comunicar, separan a los interlocutores.Since 19th century narrative, colloquial conversation has been used with different purposes. Even though widely experimental insertions, as in the 60s, have been attenuated in present works, there are still a large number of novels profiting from oral texts. This paper focuses on the narrative treatment of colloquial conversation used in three monologues representative of curren prose (Jaime Bayly, Roberto Bolano, Roger Wolfe). Forms of linguistic and literary citations are reviewed, especially heeding the implicit, usually silenced, content of verbal exchanges. The dialogues analysed are actual verbal battles, tending to separate rather than communicate.peerReviewe

Lay mysticism in the counetrculture era : Edward Stachura and Julio Cortázar

When checking the psychology of the protagonists in the fiction of two writers from the same period of the sixties and seventies of the 20th century - the Polish writer Edward Stachura and the Argentinian Julio Cortázar, it comes out that they both writers share the eagerness to reach a transcendental sphere of happiness, where life is more authentic than by the middle class standards. They are both inspired by the first Avant-Garde movements, as well as by the countercultural tendencies of their times. Their protagonists dream about symbolical places - "like the kibbutz of desire" in Cortázar's "Hospscotch" - where the man could eventually feel free from middle class morals and submission imposed by the capitalist system.Al cotejar la narrativa de dos autores que afianzaron su renombre en los años 60 del siglo XX, el argentino Julio Cortázar y el polaco Edward Stachura, resulta significativo que los protagonistas ficticios de ambos comparten el anhelo de alcanzar un ámbito de una vida más auténtica que el que ofrecían las sociedades burguesas occidentales de la posguerra. Continuando, por un lado, las inspiraciones de las primeras vanguardias y sensibles, por otro lado, a los nuevos aires contestatarios - que desembocarían en las revoluciones contraculturales entre los años 60 y 70 del s. XX - los autores postulan una serie de espacios simbólicos y trascendentes (p. ej. el "kibbutz del deseo" en "Rayuela" de Cortázar), donde el hombre se vería libre de la sumisión impuesta por el capitalismo y la moral burguesa

Lo indecible : el motivo del libro, texto y relato en la narrativa de Ricardo Piglia

Las siguientes líneas son un acercamiento interpretativo a los aspectos de lo imposible e indecible en el tratamiento del motivo autotemático del texto en la obra del argentino Ricardo Piglia. La recurrencia del motivo del texto perseguido y codiciado en la literatura contemporanea, española y la literatura de otras lenguas, sería un signum temporis? No es sin duda una invención de nuestra época; menos en la literatura española desde El Quijote (...

La narrativa policial posmoderna y el cuestionamiento del compromiso: el caso de Edmundo Paz Soldán

The classic detective literary convention had been transformed several times before the detective-fiction genre was created by the end of the 19th century. It presented the adventures of individuals that entwined criminal mysteries. It is undeniable that its prestige in the literary world has risen, especially since the middle of the 20th century, when there appeared such literary genres as the metaphysical detective story that endowed plot elements with a philosophical meaning.In Spanish America, since the turbulent times of various political and social problems of the second half of the 20th century, writers have developed many ways of depicting the social and political crime scene thanks to modifying diverse literary conventions of the detective story. A good example is the creation of the Bolivian author Edmundo Paz Soldán (1967) who merged the metaphysical detective story with critical perspective: it describes contemporary Bolivians, citizens of the global village who are still preoccupied with the “premodern” social and political issues in their country.El relato detectivesco ha experimentado numerosas transformaciones desde que a finales del siglo XIX se forjara como un género literario. Las narraciones sobre individuos singularmente dotados (perspicaces, valientes) que se empeñaban en resolver enigmas criminales fueron al principio consideradas como literatura popular. Es innegable que su prestigio en el mundo literario ha ido en aumento, sobre todo desde mediados del siglo XX, cuando surgieron modalidades tan sofisticadas como el relato detectivesco metafísico, con su tendencia a alegorizar los elementos de la trama e investirlos de significados filosóficos.En Hispanoamérica, desde la época de las trágicas turbulencias políticas y sociales de la segunda mitad del siglo XX, la narrativa ha sabido modificar las diversas convenciones criminales para tratar temas vinculados con la delincuencia en el ámbito público. En este sentido, un caso significativo lo constituye la obra narrativa del boliviano Edmundo Paz Soldán (1967), autor que conjuga el relato detectivesco metafísico con una representación crítica y más cercana del realismo de la vida en su país. Sus protagonistas son ciudadanos de la aldea global, pero al mismo tiempo están atentos a los persistentes problemas “premodernos” de su país

La autoimagen de los narradores hispanoamericanos contemporáneos en sus comentarios y críticas del estado actual de la literatura de su continente: posboom, McOndo y cra

The self image of contemporary Spanish-American prose writers in their commentaries and critique of the state of literature of their continent: posboom, McOndo and crackSpanish-American authors of narrative forms who debuted within the last three decades set their own works in the context of the global mass culture. They try, however, to relate to literary tradition of previous generations. Most often they declare their dislike of trivialization of magical and irrational threads, which were significant for Spanish-American prose from the 1930’s on. On the other hand, they stress that they are heirs of artistic quests in the field of narration of the great writers of the boom period. Although it does not oblige them to take up certain American “great subjects”, such as social criticism or the influence of primitive religions of the continent on the mass mentality.The self image of contemporary Spanish-American prose writers in their commentaries and critique of the state of literature of their continent: posboom, McOndo and crackSpanish-American authors of narrative forms who debuted within the last three decades set their own works in the context of the global mass culture. They try, however, to relate to literary tradition of previous generations. Most often they declare their dislike of trivialization of magical and irrational threads, which were significant for Spanish-American prose from the 1930’s on. On the other hand, they stress that they are heirs of artistic quests in the field of narration of the great writers of the boom period. Although it does not oblige them to take up certain American “great subjects”, such as social criticism or the influence of primitive religions of the continent on the mass mentality

“Hacia qué patrias del silencio”. El patriotismo no ortodoxo de Juan José Saer.

Juan José Saer´s first novels and short stories were initially classified, in the beginnig of 1960s, as tipical for the so called regional fiction, distant to Buenos Aires cultural athmosphere. (along with Héctor Tizón, Haroldo Conti or Daniel Moyano´s work). This article shows, nevertheless, how Saer´s fiction transforms emotional allegiance to the homeland into an attitude which goes far beyond the traditional patriotism. His protagonists transfer their early experience of perceiving local geography to the whole univers. To prove this, the article refers to historical and philosophical explanations of patriotism, as well as to literary and cultural criticism focused on the question of space and emigration. La prosa de Juan José Saer fue inicialmente, a principios de los años 60. del s. XX, recibida por la crítica argentina como representativa para una corriente literaria surgida en la regiones del interior de este país y distanciada de los ambientes bonaerenses. Este artículo muestra cómo en la narrativa de Saer, escrita en su mayoría en la emigración, la lealtad emotiva hacia la región natal se hace premisa de una actitud que va más allá del regionalismo y  patriotismo tradicional.  Los personajes saerianos extienden sus experiencias primeras de percibir, captar y habitar el mundo, vinculadas con el paisaje natal, al universo entero. En el artículo se alegan conceptualizaciones del patriotismo acuñadas tanto por historiadores y filósofos, como por los teóricos que estudian el estatus “viajero” de la cultura, para llegar a una reformulación literaria, saeriana, del sentimiento patrio.  

Miedos y modos de ver. Sobre la representación del miedo en la narrativa hispanoamericana actual

This paper aims at analyzing figures and functions of fear in a significant part of Spanish American fiction at the turn of 21st century. Both as a literary motif that organizes the plot in various kinds of criminal fiction and as a state of mind that seems to be rooted specially in postcolonial societies, the fear and a sense of foreboding is overhelming in fictional universes of Roberto Bolaño, Horacio Castellanos Moya, Juan Villoro, Daniel Sada, Cristina Rivera Garza and many others. A traumatic recent past in the region (military dictatorships, civil wars, drug wars in many countries) partially accounts for this, but this tendency can also be explained by the world democracy crisis and the global growth of insecurity in the beginning of 21st century. The article also takes into consideration the aspects of style, composition and narrative techniques that perpetuate the atmosphere of fear and the notion of an unpunished crime. Key words: Spanish American contemporary fiction, images of fear, detective novel, open-ended fictio

Nazism in the light of recent spanish american novels

The exchange of ideas and cultural influences between postcolonial countries of both Americas and the mother countries, has never been limited to one-sided imitation of European patterns. Since the 21th century or even since the colonial period, European theories rooted locally giving original fruits (i.e. magical realism, the Latin American version of world’s primitivisme from the first half of the 20th century). Within the broadly defined transatlantic studies, the particular aim of this paper is to explore motives related to fascism and nazism present in the modern Spanish American prose (Roberto Bolaño, Ignacio Padilla, Jorge Volpi). Firstly, I draw the cultural context in which racist and esoteric ideas of renewing the world infiltrated to Latin America. In the second part I analyse ways to adapt fascist plots in modern novels. Among them the predominating tendencies are to parody the totalitarian ideas or to see them as an incarnation of the intangible evil