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The purpose of this article is to think about the suppression of linear time in 'Tetralogy of the Four Seasons' by Leonardo Padura, in the light of notions such as 'chronotope' and 'ouroboros'. The first of the neo-crime novels by Padura gathered in the above-mentioned tetralogy, are not adjusted to the archetypal, sequential chronological sequence of the classic crime and noir novel genre. On the contrary, they participate in the tension between the circular succession of history and the utopian disillusionment of a detective who pins his scant hopes on the future. The overlap of these times, in a skilfully worked narrative, allows the plotting of interpretative lines from which it will be possible to characterise the neo-crime style of Padura. [ABSTRACT FROM AUTHOR]

Se establece aquí un paralelo entre la vida de Mijail Bajtin y Pablo Neruda. Se toman luego las categorías bajtinianas de monologismo y dialogismo como fuerzas que polarizan la poesía de Neruda. En seguida, se estudian los cronotopos que arqui-texturan esta poesía y finalmente, se aplican las cuatro categorías de la historia de la novela de Bajtin a la compleja sucesión de la escritura del poeta.This article begins with a parallel between Mijail Bajtin and Pablo Neruda's lives and proceeds with a discussion of bajtinian categories of monologism and dialogism, which are viewed as forces that tension Neruda's poetry. Finally, Bajtin’s four categories of the history of the novel are applied to the complex succession of the poet's writing.

This article begins with a parallel between Mijail Bajtin and Pablo Neruda's lives and proceeds with a discussion of bajtinian categories of monologism and dialogism, which are viewed as forces that tension Neruda's poetry. Finally, Bajtin's four categories of the history of the novel are applied to the complex succession of the poet's writing. [ABSTRACT FROM AUTHOR]