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Objeto de versiones divergentes, el bombardeo de Gernika sigue hoy rodeado de contradicciones. En el presente artículo esbozamos las principales líneas de los discursos mediático, historiográfico y literario sobre el ataque, antes de analizar detenidamente diversos elementos que la narrativa retoma de la polémica con un objetivo testimonial y dramático. Entre ellos, estudiamos de qué manera dos novelas contemporáneas, El chico de Guernica (Luis Iriondo) y Le héron de Guernica (Antoine Choplin), tratan las temáticas siguientes: el alcance de la destrucción y el traumatismo de los vizcaínos, la responsabilidad del asalto, los motivos de la operación (a saber, si Gernika era un objetivo militar o no) y los diferentes aspectos que pueden llevar a una lectura simbólica del raid aéreo., Subject to diverging versions, the bombing of Gernika is, to date, surrounded by contradictions. In this essay, we draft the principal narratives of the mediatic, historiographic and literary discourses about the attack, before focussing on several elements that fiction borrows from the controversy with a testimonial or dramatic aim. Amongst said elements, we analyze how two contemporary novels, El chico de Guernica (Luis Iriondo) and Le héron de Guernica (Antoine Choplin) address the following topics: the destruction range and the inhabitants’ trauma, the responsability of the assault, the operation’s motives (whether Guernica was a military aim or not) and the different aspects that can trigger a symbolic Reading of the air raid., Objet de versions divergentes, le bombardement de Gernika est, aujourd’hui encore, entouré de contradictions. Dans cet article, nous ébauchons les lignes principales des discours médiatique, historiographique et littéraire traitant de l’attaque, avant de nous concentrer sur plusieurs éléments que la fiction emprunte à la polémique dans un but testimonial ou dramatique. Parmi lesdits éléments, nous analysons comment deux romans contemporains, El chico de Guernica (Luis Iriondo) et Le héron de Guernica (Antoine Choplin), abordent les thématiques suivantes : la portée de la destruction et le traumatisme des habitants, la responsabilité de l’assaut, les raisons de l’opération (à savoir si Guernica était un objectif militaire ou non) et les différents aspects qui peuvent motiver une lecture symbolique du raid aérien.

This brief critical narrative was structured to establish a comparative analysis between the film O labyrinth of the faun, by Guilherme Del Toro, and the narrative Space Invaders, by Nona Fernández, from different points of perception about female bodies crossed out by States. Authoritarian. In this critical path, he came across a discursive logic that reveals that both Francoist Spain and Pinochet's dictatorial Chile are the result of the same system of oppression: the colonial matrix of Modernity's power. In addition, it was also discovered that such a matrix of power uses in its project of colonization of knowledge certain aesthetic genres, such as science fiction, against which “local” stories resist., Esta breve narrativa crítica estruturou-se de modo a estabelecer uma análise comparada entre o filme O labirinto do fauno, de Guilherme Del Toro, e a narrativa Space Invaders, de Nona Fernández, a partir de diversos pontos de percepção sobre corpos femininos rasurados por Estados Autoritários. Nesse percurso crítico, deparou-se com uma lógica discursiva que revela serem, tanto a Espanha Franquista quanto o Chile ditatorial de Pinochet, frutos de um mesmo sistema de opressão: a matriz colonial de poder da Modernidade. Além disso, descobriu-se também que tal matriz de poder utiliza em seu projeto de colonização do saber determinados gêneros estéticos, tais como a ficção científica, contra os quais as histórias “locais” resistem.

This text analyzes the mutant processes of the protagonists of the novels The Animal on the Stone, by Daniela Tarazona, and Moho, by Paulette Jonguitud. From a hermeneutic reading, it is established how the transformation process makes it possible to get out of grieving, access parallel to human logics and leave a legacy that establishes the potential of inhabiting the mutant., En el presente texto se analizan los procesos mutantes de las protagonistas de las novelas El animal sobre la piedra, de Daniela Tarazona, y Moho, de Paulette Jonguitud. A partir de una lectura hermenéutica se establece cómo el proceso de transformación posibilita salir del duelo, acceder a lógicas paralelas a la humana y dejar un legado que asienta la potencialidad de habitar lo mutante.

[Resumen] Este Trabajo de Fin de Grado constituye un estudio de las novelas Hija del camino y El aroma de los mangos, obras de los autores Lucía Mbomío Rubio y Paulo Akam, respectivamente. El objetivo principal ha sido desarrollar las intersecciones de los constructos sociales de raza, etnia y género en el proceso de construcción identitaria de los protagonistas. En segundo lugar, he pretendido contextualizar las principales experiencias reflejadas dentro del discurso cultural internacional que rodea a la diáspora africana y a las producciones de los afrodescendientes. Por ello, he estructurado mi trabajo en cuatro apartados: una breve síntesis de la historia colonial entre Guinea Ecuatorial y España, con la que busco combatir el desconocimiento sobre este pasado reciente, y tres secciones temáticas basadas en la familia, el entorno español y el vínculo con África. Para la realización de este proyecto he empleado una metodología basada en el campo de los estudios poscoloniales, los estudios afroamericanos, la teoría de la interseccionalidad, acuñada por Kimberlé Crenshaw y el concepto del nuevo y la nueva mestiza de Gloria Anzaldúa. Las conclusiones alcanzadas como resultado de mi análisis revelan una discriminación multifacética que deja a los protagonistas en una situación de profundo desarraigo.

This article analyses the vision of women in highly successful novels on the national and international scene in recent years. Taking the analytical method of the Circuit of Culture (Paul du Gay et al., 1997), we explore the different agents of the publishing process, as well as the literary tendencies with more success at the present time; of which we will focus on the model of feminine identity that is shown by the protagonists of books like Millennium (Stieg Larsson), Fifty shades of Gray (E. L. James) or Twilight (Stephenie Meyer). Our main objective is to review the main alternatives that are being provided in this regard. The results show certain advances, especially in fantasy novels. However, heroin creation continues to be dependent on romantic love., El artículo analiza la visión de la mujer en novelas de gran éxito en el panorama nacional e internacional de los últimos años. Partiendo del método analítico del circuito de la cultura (Paul du Gay et al., 1997), exploramos los distintos agentes del proceso editorial, así como las tendencias literarias con más filón en la actualidad; deteniéndonos en el modelo de identidad femenina que reflejan las protagonistas de obras como Millennium (Stieg Larsson), Cincuenta sombras de Grey (E. L. James) o Crepúsculo (Stephenie Meyer). Nuestro principal objetivo es revisar las principales alternativas que se están aportando al respecto. Los resultados evidencian ciertos avances, sobre todo en la novela de fantasía; sin embargo, la creación de heroínas continúa estando supeditada  al amor romántico.

This article retrieves the work carried out by two research projects based in the “María Saleme de Burnichon” Research Center of the Faculty of Philosophy and Humanities, led by Dr. Pablo Heredia and Dr. Domingo Ighina respectively. These projects continue while redefining work logic that the Southern Cone Study Group has been developing since the early 1990s. For this reason, although the tour will focus on the tasks carried out in the last ten years (collective publications, organization of academic events, conformation of a research program, etc.), the common foundations of both teams will also be reviewed from the direction of Dr. Jorge Torres Roggero. Likewise, sections will be devoted to addressing, succinctly, the choices of the theoretical framework, the challenges, and complexities presented by the object of study and the collective and individual works registered in both research projects., El presente artículo recupera el trabajo realizado por dos proyectos de investigación radicados en el Centro de Investigaciones “María Saleme de Burnichon”, de la Facultad de Filosofía y Humanidades, dirigidos respectivamente por el Dr. Pablo Heredia y el Dr. Domingo Ighina. Estos proyectos continúan a la vez que redefinen una lógica de trabajo que el Grupo de Estudios del Cono Sur ha venido desarrollando desde principios de la década de 1990. Por este motivo, si bien el recorrido se centrará en las tareas llevadas a cabo durante los últimos diez años (publicaciones colectivas, organización de eventos académicos, conformación de un programa de investigación, etc.), también se revisarán los basamentos comunes a ambos equipos a partir de la dirección del Dr. Jorge Torres Roggero. Asimismo, se dedicarán apartados destinados a abordar, de manera sucinta, las elecciones del marco teórico, los desafíos y complejidades presentados por el objeto de estudio y los trabajos colectivos e individuales inscriptos en ambos proyectos de investigación.

This article analyses the vision of women in highly successful novels on the national and international scene in recent years. Taking the analytical method of the Circuit of Culture (Paul du Gay et al., 1997), we explore the different agents of the publishing process, as well as the literary tendencies with more success at the present time; of which we will focus on the model of feminine identity that is shown by the protagonists of books like Millennium (Stieg Larsson), Fifty shades of Gray (E. L. James) or Twilight (Stephenie Meyer). Our main objective is to review the main alternatives that are being provided in this regard. The results show certain advances, especially in fantasy novels. However, heroin creation continues to be dependent on romantic love., El artículo analiza la visión de la mujer en novelas de gran éxito en el panorama nacional e internacional de los últimos años. Partiendo del método analítico del circuito de la cultura (Paul du Gay et al., 1997), exploramos los distintos agentes del proceso editorial, así como las tendencias literarias con más filón en la actualidad; deteniéndonos en el modelo de identidad femenina que reflejan las protagonistas de obras como Millennium (Stieg Larsson), Cincuenta sombras de Grey (E. L. James) o Crepúsculo (Stephenie Meyer). Nuestro principal objetivo es revisar las principales alternativas que se están aportando al respecto. Los resultados evidencian ciertos avances, sobre todo en la novela de fantasía; sin embargo, la creación de heroínas continúa estando supeditada  al amor romántico.

Este artículo se centra en analizar la influencia del cine en la novela La noche de la Usina del escritor y guionista argentino Eduardo Sacheri. Tras exponer brevemente los mayores aportes en cuanto a las relaciones entre literatura y cine, comenzamos nuestro análisis mediante la comparación del prólogo de la novela y el tráiler cinematográfico, pues ambos funcionan como paratextos. Seguidamente, se analiza cómo es posible detectar la influencia de la escritura del guion en la construcción narrativa de la novela. Por último, estudiamos la presencia de los géneros cinematográficos del thrillery el westernen la obra, pues ambos ayudan a construir el lenguaje de los personajes y el desarrollo de la trama., This paper focuses on analyzing the influence of film in the novel La noche de la Usina by the Argentinian writer and scriptwriter Eduardo Sacheri. After a brief exposition of the most important contributions to Film and Literature Theory, our analysis begins by comparing the novel’s prologue to the cinematographic trailer, since both communicative instances function as paratexts. Consequently, we analyze how the influence of script writing can be observed in the narrative construction of the novel. Finally, we study how both the thriller and the western as cinematographic genres are present in the novel, helping to build the character’s language and the development of the story.

Este artículo se centra en analizar la influencia del cine en la novela La noche de la Usina del escritor y guionista argentino Eduardo Sacheri. Tras exponer brevemente los mayores aportes en cuanto a las relaciones entre literatura y cine, comenzamos nuestro análisis mediante la comparación del prólogo de la novela y el tráiler cinematográfico, pues ambos funcionan como paratextos. Seguidamente, se analiza cómo es posible detectar la influencia de la escritura del guion en la construcción narrativa de la novela. Por último, estudiamos la presencia de los géneros cinematográficos del thrillery el westernen la obra, pues ambos ayudan a construir el lenguaje de los personajes y el desarrollo de la trama., This paper focuses on analyzing the influence of film in the novel La noche de la Usina by the Argentinian writer and scriptwriter Eduardo Sacheri. After a brief exposition of the most important contributions to Film and Literature Theory, our analysis begins by comparing the novel’s prologue to the cinematographic trailer, since both communicative instances function as paratexts. Consequently, we analyze how the influence of script writing can be observed in the narrative construction of the novel. Finally, we study how both the thriller and the western as cinematographic genres are present in the novel, helping to build the character’s language and the development of the story.

Este artículo se centra en analizar la influencia del cine en la novela La noche de la Usina del escritor y guionista argentino Eduardo Sacheri. Tras exponer brevemente los mayores aportes en cuanto a las relaciones entre literatura y cine, comenzamos nuestro análisis mediante la comparación del prólogo de la novela y el tráiler cinematográfico, pues ambos funcionan como paratextos. Seguidamente, se analiza cómo es posible detectar la influencia de la escritura del guion en la construcción narrativa de la novela. Por último, estudiamos la presencia de los géneros cinematográficos del thrillery el westernen la obra, pues ambos ayudan a construir el lenguaje de los personajes y el desarrollo de la trama., This paper focuses on analyzing the influence of film in the novel La noche de la Usina by the Argentinian writer and scriptwriter Eduardo Sacheri. After a brief exposition of the most important contributions to Film and Literature Theory, our analysis begins by comparing the novel’s prologue to the cinematographic trailer, since both communicative instances function as paratexts. Consequently, we analyze how the influence of script writing can be observed in the narrative construction of the novel. Finally, we study how both the thriller and the western as cinematographic genres are present in the novel, helping to build the character’s language and the development of the story.

This article retrieves the work carried out by two research projects based in the “María Saleme de Burnichon” Research Center of the Faculty of Philosophy and Humanities, led by Dr. Pablo Heredia and Dr. Domingo Ighina respectively. These projects continue while redefining work logic that the Southern Cone Study Group has been developing since the early 1990s. For this reason, although the tour will focus on the tasks carried out in the last ten years (collective publications, organization of academic events, conformation of a research program, etc.), the common foundations of both teams will also be reviewed from the direction of Dr. Jorge Torres Roggero. Likewise, sections will be devoted to addressing, succinctly, the choices of the theoretical framework, the challenges, and complexities presented by the object of study and the collective and individual works registered in both research projects., El presente artículo recupera el trabajo realizado por dos proyectos de investigación radicados en el Centro de Investigaciones “María Saleme de Burnichon”, de la Facultad de Filosofía y Humanidades, dirigidos respectivamente por el Dr. Pablo Heredia y el Dr. Domingo Ighina. Estos proyectos continúan a la vez que redefinen una lógica de trabajo que el Grupo de Estudios del Cono Sur ha venido desarrollando desde principios de la década de 1990. Por este motivo, si bien el recorrido se centrará en las tareas llevadas a cabo durante los últimos diez años (publicaciones colectivas, organización de eventos académicos, conformación de un programa de investigación, etc.), también se revisarán los basamentos comunes a ambos equipos a partir de la dirección del Dr. Jorge Torres Roggero. Asimismo, se dedicarán apartados destinados a abordar, de manera sucinta, las elecciones del marco teórico, los desafíos y complejidades presentados por el objeto de estudio y los trabajos colectivos e individuales inscriptos en ambos proyectos de investigación.

I analyze how certain fantasies about story in literature are associated with writing, in contemporary narrative, through an investment towards structural indeterminations, wandering form and a sprawl of literary text as cognitive form. For that approach, the study dialogues with several Latin American narratives post-1990, focusing on Bellatin’s Shiki Nagaoka: una nariz de ficción, Bolaño’s 2666 and Faciolince’s El olvido que seremos., Neste trabalho analisamos como certas fantasias acerca do relato na literatura estão associadas à escritura na narrativa contemporânea, por meio do investimento nas indefinições estruturais, na forma errante e na expansão do literário como forma cognitiva. Para isso, dialogamos com diferentes narrativas latinoamericanas pós-1990, centrando-nos em Shiki Nagaoka: una nariz de ficción, de Bellatin, 2666, de Bolaño, e El olvido que seremos, de Faciolince.

The sense of sight has been established as the preferred cognitive model in our culture; however, ¿what happens when the visual order seems to be fallible?, ¿what implications and meanings acquires the presence of some eye diseases that generate defective views in the most recent narrative? This paper addresses, from the perspective of gender and cultural studies, the work of several Latin American female writers who have articulated in their narrative different optical disorders as myopia, strabismus or diplopia. From this approach, it is pretended to demonstrate that the repeated presence of eye diseases has configured a literary motive which is directly related to the emergence of a new aesthetic positioning. The deficient visions are discovered, nowadays, as the manifestation of a different look that was required from the female discourse to be against the ocularcentric and male regime., El sentido de la vista se ha implantado como el modelo cognitivo preferente en nuestra cultura; pero, ¿qué sucede cuando el orden visual se muestra falible?, ¿qué implicaciones y significados adquiere la presencia de un conjunto de enfermedades oculares que generan visiones defectuosas en la narrativa más reciente? En este trabajo se aborda, desde el paradigma de los estudios de género y de los estudios culturales, la obra de varias autoras latinoamericanas que han articulado en su narrativa diferentes desórdenes ópticos como la miopía, el estrabismo o la diplopía. Desde este planteamiento, se pretende demostrar que la presencia repetida de afecciones oculares ha configurado un motivo literario que se encuentra directamente relacionado con la emergencia de un nuevo posicionamiento estético. Las visiones deficientes se descubren, ahora, como la manifestación de ese mirar desde otro ángulo que precisaba el discurso femenino para oponerse a un régimen ocularcéntrico de raigambre masculina.

The topic discussed by two contemporary Latin-American writers, the Mexican Cristina Rivera Garza and the Guatemalan Rodrigo Rey Rosa, is violence, a recurrent phenomenon in both countries. The genres chosen to express this are: a miscellaneous text with poems, chronicles and essays in Dolerse. Textos desde un pais herido and a novel, a fictional work presented as a historical and autobiographical recount, in El material humano . Rivera Garza believes “writing is a process of production of what is real” and critics present her as an author of “transgressive writing”. Rey Rosa self-exiles from Guatemala for 15 years due to the “violence and social tension” that dominated that country. The author recognizes that his literature at the beginning was abstract, but from 2011 he starts writing about national scenarios with a certain “realistic goal”. The initial purpose of El material humano was an investigation about the fortuitous discovery of millions of documents of the Guatemalan Nacional Police Archive in 2005. The novel also has intertextual reflections, autobiographic information and an enigma to be solved. The historical, political and social violence is transformed into horror, during the war against drugs started in Mexico during Felipe Calderon’s presidency, as well as during the internal war that devastated Guatemala between 1960 and 1996, with the killing of indigenous populations and civilians in urban zones in the 80’s. Both texts show the power of resistance of literature, El tema abordado por dos escritores latinoamericanos contemporáneos, la mexicana Cristina Rivera Garza y el guatemalteco Rodrigo Rey Rosa, es la violencia imperante en ambos países. Los géneros elegidos para expresarla son un texto misceláneo con poemas, crónicas y ensayos titulado Dolerse. Textos desde un país herido y una novela, o sea, una obra de ficción, aunque se presente como testimonio histórico y autobiográfico, El material humano. Para Rivera Garza “la escritura es un proceso de producción de lo real” y los críticos la presentan como una autora de “escrituras transgresoras”. Rey Rosa se autoexilia de Guatemala durante quince años por el ambiente de “violencia y crispación” que imperaba. El escritor reconoce que su literatura en principio era abstracta, pero a partir de 2011 asume escenarios nacionales en un cierto “afán realista”. El propósito inicial de El material fue una investigación sobre el descubrimiento fortuito de millones de documentos del Archivo de la Policía Nacional de Guatemala en 2005. La novela presenta reflexiones intertextuales, datos autobiográficos y un enigma por resolver. La violencia histórica, social y política se transforma en horror tanto en la guerra contra el narcotráfico decretada en México durante el gobierno de Felipe Calderón como en la guerra interna que devastó Guatemala entre 1960 y 1996, con la matanza de poblaciones indígenas y de civiles en zonas urbanas en los ochenta. Ambos textos muestran el poder de resistencia de la literatura

In this paper we will analyse four narratives: Boca de lobo (2000) and by the Argentinean writer Sergio Chejfec, Menino oculto (2005) by the Brazilian writer Godofredo de Oliveira Neto, El Aleph engordado (2009) by the Argentinean writer Pablo Katchadjian, and Meshugá by the Brazilian writer Jacques Fux. The aim is to understand the dynamics and fragments of time which would constitute an understanding of the present time. These elements allow us to map the thematic and formal expressions of the present time in contemporary Latin American narrative.

There are works that carry in themselves the germ of writing; they can draw, in an almost metaliterary game, the theoretical framework and the poetics of the author. This article aims to analyze the evolution of the narrative writing of Mario Vargas Llosa starting from one of his first novels, Aunt Julia and the writer. Although very successful, it has been unfairly considered as a secondary novel within his vast production. The book, however, contains several autobiographical and theoretical elements which are the key to understand the writing process of the author and the idea of novel of the Peruvian-Hispanic writer.

This article proposes an interpretation of Ricardo Guilherme Dicke's Deus de Cain novel, whose investigation falls within the scope of contemporary romance studies, as distinct marks and present and past scenarios are established in the literary text. The readings of the plot are situated, as well as, it aims to present the representations of the feminine by analyzing the construction of a discourse that reveals itself in the textual continuity of the transgression, in the confrontation of the sacred texts, in the practice of resistance to the order established by the system of organization. Social. The narrative becomes human passions and follies as a form of catharsis of the author and his characters, with a disorderly and fulminating flow technically accurate demonstrating the tensions between civilization and barbarism., Este artigo propõe uma interpretação do romance Deus de Caim, de Ricardo Guilherme Dicke, cuja investigação se insere no âmbito dos estudos do romance contemporâneo, na medida em que se estabelecem marcas distintas e cenários presentes e passados, no texto literário. Situam-se as leituras do enredo, bem como, visa apresentar as representações do feminino ao analisar a construção de um discurso que se revela na continuidade textual da transgressão, no confronto dos textos sagrados, na prática de resistência à ordem estabelecida pelo sistema de organização social. A narrativa se converte em paixões e desatinos humanos como forma de catarse do autor e de seus personagens, com fluxo desordenado e fulminante tecnicamente apurado demonstrando as tensões entre civilização e a barbárie., Este artículo propone una interpretación de la novela Deus de Cain de Ricardo Guilherme Dicke, cuya investigación cae dentro del alcance de los estudios románticos contemporáneos, a medida que se establecen marcas distintas y escenarios presentes y pasados en el texto literario. Las lecturas de la trama se sitúan, así como, tiene como objetivo presentar las representaciones de lo femenino mediante el análisis de la construcción de un discurso que se revela en la continuidad textual de la transgresión, en la confrontación de los textos sagrados, en la práctica de la resistencia al orden establecido por el sistema de organización. social La narración se convierte en pasiones humanas y locuras como una forma de catarsis del autor y sus personajes, con un flujo desordenado y fulminante técnicamente exacto que demuestra las tensiones entre la civilización y la barbarie.

This article proposes an interpretation of Ricardo Guilherme Dicke's Deus de Cain novel, whose investigation falls within the scope of contemporary romance studies, as distinct marks and present and past scenarios are established in the literary text. The readings of the plot are situated, as well as, it aims to present the representations of the feminine by analyzing the construction of a discourse that reveals itself in the textual continuity of the transgression, in the confrontation of the sacred texts, in the practice of resistance to the order established by the system of organization. Social. The narrative becomes human passions and follies as a form of catharsis of the author and his characters, with a disorderly and fulminating flow technically accurate demonstrating the tensions between civilization and barbarism., Este artigo propõe uma interpretação do romance Deus de Caim, de Ricardo Guilherme Dicke, cuja investigação se insere no âmbito dos estudos do romance contemporâneo, na medida em que se estabelecem marcas distintas e cenários presentes e passados, no texto literário. Situam-se as leituras do enredo, bem como, visa apresentar as representações do feminino ao analisar a construção de um discurso que se revela na continuidade textual da transgressão, no confronto dos textos sagrados, na prática de resistência à ordem estabelecida pelo sistema de organização social. A narrativa se converte em paixões e desatinos humanos como forma de catarse do autor e de seus personagens, com fluxo desordenado e fulminante tecnicamente apurado demonstrando as tensões entre civilização e a barbárie., Este artículo propone una interpretación de la novela Deus de Cain de Ricardo Guilherme Dicke, cuya investigación cae dentro del alcance de los estudios románticos contemporáneos, a medida que se establecen marcas distintas y escenarios presentes y pasados en el texto literario. Las lecturas de la trama se sitúan, así como, tiene como objetivo presentar las representaciones de lo femenino mediante el análisis de la construcción de un discurso que se revela en la continuidad textual de la transgresión, en la confrontación de los textos sagrados, en la práctica de la resistencia al orden establecido por el sistema de organización. social La narración se convierte en pasiones humanas y locuras como una forma de catarsis del autor y sus personajes, con un flujo desordenado y fulminante técnicamente exacto que demuestra las tensiones entre la civilización y la barbarie.

This article proposes an interpretation of Ricardo Guilherme Dicke's Deus de Cain novel, whose investigation falls within the scope of contemporary romance studies, as distinct marks and present and past scenarios are established in the literary text. The readings of the plot are situated, as well as, it aims to present the representations of the feminine by analyzing the construction of a discourse that reveals itself in the textual continuity of the transgression, in the confrontation of the sacred texts, in the practice of resistance to the order established by the system of organization. Social. The narrative becomes human passions and follies as a form of catharsis of the author and his characters, with a disorderly and fulminating flow technically accurate demonstrating the tensions between civilization and barbarism., Este artigo propõe uma interpretação do romance Deus de Caim, de Ricardo Guilherme Dicke, cuja investigação se insere no âmbito dos estudos do romance contemporâneo, na medida em que se estabelecem marcas distintas e cenários presentes e passados, no texto literário. Situam-se as leituras do enredo, bem como, visa apresentar as representações do feminino ao analisar a construção de um discurso que se revela na continuidade textual da transgressão, no confronto dos textos sagrados, na prática de resistência à ordem estabelecida pelo sistema de organização social. A narrativa se converte em paixões e desatinos humanos como forma de catarse do autor e de seus personagens, com fluxo desordenado e fulminante tecnicamente apurado demonstrando as tensões entre civilização e a barbárie., Este artículo propone una interpretación de la novela Deus de Cain de Ricardo Guilherme Dicke, cuya investigación cae dentro del alcance de los estudios románticos contemporáneos, a medida que se establecen marcas distintas y escenarios presentes y pasados en el texto literario. Las lecturas de la trama se sitúan, así como, tiene como objetivo presentar las representaciones de lo femenino mediante el análisis de la construcción de un discurso que se revela en la continuidad textual de la transgresión, en la confrontación de los textos sagrados, en la práctica de la resistencia al orden establecido por el sistema de organización. social La narración se convierte en pasiones humanas y locuras como una forma de catarsis del autor y sus personajes, con un flujo desordenado y fulminante técnicamente exacto que demuestra las tensiones entre la civilización y la barbarie.

The sense of sight has been established as the preferred cognitive model in our culture; however, ¿what happens when the visual order seems to be fallible?, ¿what implications and meanings acquires the presence of some eye diseases that generate defective views in the most recent narrative? This paper addresses, from the perspective of gender and cultural studies, the work of several Latin American female writers who have articulated in their narrative different optical disorders as myopia, strabismus or diplopia. From this approach, it is pretended to demonstrate that the repeated presence of eye diseases has configured a literary motive which is directly related to the emergence of a new aesthetic positioning. The deficient visions are discovered, nowadays, as the manifestation of a different look that was required from the female discourse to be against the ocularcentric and male regime., El sentido de la vista se ha implantado como el modelo cognitivo preferente en nuestra cultura; pero, ¿qué sucede cuando el orden visual se muestra falible?, ¿qué implicaciones y significados adquiere la presencia de un conjunto de enfermedades oculares que generan visiones defectuosas en la narrativa más reciente? En este trabajo se aborda, desde el paradigma de los estudios de género y de los estudios culturales, la obra de varias autoras latinoamericanas que han articulado en su narrativa diferentes desórdenes ópticos como la miopía, el estrabismo o la diplopía. Desde este planteamiento, se pretende demostrar que la presencia repetida de afecciones oculares ha configurado un motivo literario que se encuentra directamente relacionado con la emergencia de un nuevo posicionamiento estético. Las visiones deficientes se descubren, ahora, como la manifestación de ese mirar desde otro ángulo que precisaba el discurso femenino para oponerse a un régimen ocularcéntrico de raigambre masculina.

I analyze how certain fantasies about story in literature are associated with writing, in contemporary narrative, through an investment towards structural indeterminations, wandering form and a sprawl of literary text as cognitive form. For that approach, the study dialogues with several Latin American narratives post-1990, focusing on Bellatin’s Shiki Nagaoka: una nariz de ficción, Bolaño’s 2666 and Faciolince’s El olvido que seremos., Neste trabalho analisamos como certas fantasias acerca do relato na literatura estão associadas à escritura na narrativa contemporânea, por meio do investimento nas indefinições estruturais, na forma errante e na expansão do literário como forma cognitiva. Para isso, dialogamos com diferentes narrativas latinoamericanas pós-1990, centrando-nos em Shiki Nagaoka: una nariz de ficción, de Bellatin, 2666, de Bolaño, e El olvido que seremos, de Faciolince.

The topic discussed by two contemporary Latin-American writers, the Mexican Cristina Rivera Garza and the Guatemalan Rodrigo Rey Rosa, is violence, a recurrent phenomenon in both countries. The genres chosen to express this are: a miscellaneous text with poems, chronicles and essays in Dolerse. Textos desde un pais herido and a novel, a fictional work presented as a historical and autobiographical recount, in El material humano . Rivera Garza believes “writing is a process of production of what is real” and critics present her as an author of “transgressive writing”. Rey Rosa self-exiles from Guatemala for 15 years due to the “violence and social tension” that dominated that country. The author recognizes that his literature at the beginning was abstract, but from 2011 he starts writing about national scenarios with a certain “realistic goal”. The initial purpose of El material humano was an investigation about the fortuitous discovery of millions of documents of the Guatemalan Nacional Police Archive in 2005. The novel also has intertextual reflections, autobiographic information and an enigma to be solved. The historical, political and social violence is transformed into horror, during the war against drugs started in Mexico during Felipe Calderon’s presidency, as well as during the internal war that devastated Guatemala between 1960 and 1996, with the killing of indigenous populations and civilians in urban zones in the 80’s. Both texts show the power of resistance of literature, El tema abordado por dos escritores latinoamericanos contemporáneos, la mexicana Cristina Rivera Garza y el guatemalteco Rodrigo Rey Rosa, es la violencia imperante en ambos países. Los géneros elegidos para expresarla son un texto misceláneo con poemas, crónicas y ensayos titulado Dolerse. Textos desde un país herido y una novela, o sea, una obra de ficción, aunque se presente como testimonio histórico y autobiográfico, El material humano. Para Rivera Garza “la escritura es un proceso de producción de lo real” y los críticos la presentan como una autora de “escrituras transgresoras”. Rey Rosa se autoexilia de Guatemala durante quince años por el ambiente de “violencia y crispación” que imperaba. El escritor reconoce que su literatura en principio era abstracta, pero a partir de 2011 asume escenarios nacionales en un cierto “afán realista”. El propósito inicial de El material fue una investigación sobre el descubrimiento fortuito de millones de documentos del Archivo de la Policía Nacional de Guatemala en 2005. La novela presenta reflexiones intertextuales, datos autobiográficos y un enigma por resolver. La violencia histórica, social y política se transforma en horror tanto en la guerra contra el narcotráfico decretada en México durante el gobierno de Felipe Calderón como en la guerra interna que devastó Guatemala entre 1960 y 1996, con la matanza de poblaciones indígenas y de civiles en zonas urbanas en los ochenta. Ambos textos muestran el poder de resistencia de la literatura

This article explores the deconstructive function of grotesque elements in contemporary Spanish and Ibero-American Literature. Starting with Tirano Banderas. Novela de Tierra Caliente (1926), a highlight in Valle-Inclan’s esperpento aesthetics, mocking what authors as Bakhtin or Foucault pointed out as “official truths”, both collective and individual. It is argued that grotesque representation establishes a subversive relation when confronted with epic or tragic modes, as established by aristotelic-horatian and dogmatic poetics. This may shed some light on the relation between grotesque structure and critical deconstruction, from the so-called Baroque era up until modernist and postmodernist essay, such as it is the case of one of the most thoroughly sophisticated contemporary writers in Brasil, Silviano Santiago, whose collection of essays O Cosmopolitismo do Pobre (2004) is the third pillar of our analysis.

This article explores the deconstructive function of grotesque elements in contemporary Spanish and Ibero-American Literature. Starting with Tirano Banderas. Novela de Tierra Caliente (1926), a highlight in Valle-Inclan’s esperpento aesthetics, mocking what authors as Bakhtin or Foucault pointed out as “official truths”, both collective and individual. It is argued that grotesque representation establishes a subversive relation when confronted with epic or tragic modes, as established by aristotelic-horatian and dogmatic poetics. This may shed some light on the relation between grotesque structure and critical deconstruction, from the so-called Baroque era up until modernist and postmodernist essay, such as it is the case of one of the most thoroughly sophisticated contemporary writers in Brasil, Silviano Santiago, whose collection of essays O Cosmopolitismo do Pobre (2004) is the third pillar of our analysis.

This paper analyses the novel Que cavalos são aqueles que fazem sombra no mar? (2009), by António Lobo Antunes, in order to understand how far his formal experimentation has gone, able to definitively dismantle the structure of the traditional narrative and the conventional reading protocols. Therefore, the theoretical foundations are based on the discussion of Umberto Eco about "open work" and "work in movement", Roland Barthes about "text of fruition", and Deleuze and Guattari about “book rhizoma”., O presente artigo debruça-se sobre um romance de António Lobo Antunes, Que cavalos são aqueles que fazem sombra no mar? (2009), no intuito de perceber até onde tem ido sua experimentação romanesca, capaz de desmontar, definitivamente, a estrutura da narrativa tradicional e abalar os protocolos de leitura convencionais. Para tanto, parte das discussões teóricas de Umberto Eco sobre “obra aberta” e “obra em movimento”, de Roland Barthes sobre “texto de fruição” e de Deleuze e Guattari sobre “livro rizoma”.

The conception of the novel Didn’t see you in Babylon yesterday, by António Lobo Antunes, subverts the classic models of narration and employs the use of resources as the multiples of the narrative points of view, which combine and reorder the testimony of characters on a continuous basis, making it impossible for the reader to rely on a single finished version of the facts. The elaboration of fictional time, in this perspective, although it is organized in a linear form, since the novel is structured in chapters which correspond to a specific time in the course of na indelible dawn, is operationalized, through the perception of the characters and mnemonic resources that use to disorganize your memories, the experience of eternity. The analysis of the temporal markers which, according to Ricoeur, are allied to the construction of an eternal and imperceptible time, constitutes our object of study, which turns to a writing that, with insistence, questions its own form, limits and purposes., A concepção do romance Ontem não te vi em Babilónia, de António Lobo Antunes, ao subverter os modelos clássicos de narração, instaura, em seu projeto de escrita, o emprego de recursos como os múltiplos pontos de vista narrativo, que combinam e (re)ordenam o testemunho das personagens de forma contínua, impossibilitando que o leitor se ampare em uma única e acabada versão dos fatos. A elaboração do tempo ficcional, nessa perspectiva, embora seja organizada de forma linear, uma vez que o romance se estrutura em capítulos que correspondem a uma hora específica no transcorrer de uma indelével madrugada, operacionaliza, por meio da percepção das personagens e dos recurso mnemônicos que utilizam para (des)organizar as suas lembranças, a experiência da eternidade. A análise dos marcadores temporais que, em conformidade com Paul Ricoeur, estão aliados à construção de um tempo eterno e inapreensível, constituI o nosso objeto de estudo, o qual se volta para uma escrita que, com insistência, questiona a sua própria forma, limites e finalidades.

in contemporary Brazilian society, there is a increase in violence in various ways, the racial prejudice is one of them. Its intensity widens when it is directed to the poor black woman. When verifying the necessity of the discussion on the violence practiced against the black woman, that it manifests in the urban context, the object of this study was chosen - the short story "Maria", published in Olhos D'Água (2015) by Conceição Evaristo. She is a renowned writer in the field of Afro-Brazilian Literature, she addresses the feminine condition based on the concept “escrevivência”, that is, the writing of the experiences of a black female body in the postcolonial context of Brazil. The perspectives of postcolonialism are theoretical basis, according to Homi Bhabha (1998) and Gayatri Spivak (2010), and the text is organized in two parts: in the first, Conceição Evaristo and her ideas on a Afro-Brazilian Literature are presented; in the second, the short story is analyzed, discussing the violence and racial prejudice suffered by the protagonist of the plot. The results reveal that Afro-Brazilian Literature is an important place of resistance that gives visibility to blacks and mestizos., Na sociedade brasileira contemporânea, é constatado diariamente o aumento da violência de diversas formas, sendo o preconceito racial uma delas. Vale ressaltar que sua intensidade se amplia quando é direcionada à mulher negra e pobre. Ao verificar a necessidade da discussão sobre o assunto violência contra a mulher negra, que tanto se manifesta no contexto urbano, foi escolhido o objeto deste estudo - o conto “Maria”, publicado em Olhos D´Água (2015) pela autora Conceição Evaristo. Trata-se de uma escritora de renome no campo da Literatura Afro-brasileira, a qual aborda especialmente a condição feminina a partir do conceito, por ela formulado, de escrevivência, isto é, a escrita das vivências de um corpo feminino negro no contexto pós-colonial do Brasil. Como embasamento teórico, utilizam-se as perspectivas do Pós-colonialismo, segundo Homi Bhabha (1998) e Gayatri Spivak (2010), e organiza-se o texto em duas partes: na primeira parte, apresenta-se Conceição Evaristo e suas ideias sobre a Literatura Afro-brasileira; e, na segunda parte, por sua vez, analisa-se o conto, discutindo a violência e o preconceito racial sofridos pela protagonista do enredo. Os resultados revelam a Literatura Afro-brasileira como um importante lugar de resistência que dá visibilidade aos negros e mestiços.

This paper analyses the novel Que cavalos são aqueles que fazem sombra no mar? (2009), by António Lobo Antunes, in order to understand how far his formal experimentation has gone, able to definitively dismantle the structure of the traditional narrative and the conventional reading protocols. Therefore, the theoretical foundations are based on the discussion of Umberto Eco about "open work" and "work in movement", Roland Barthes about "text of fruition", and Deleuze and Guattari about “book rhizoma”., O presente artigo debruça-se sobre um romance de António Lobo Antunes, Que cavalos são aqueles que fazem sombra no mar? (2009), no intuito de perceber até onde tem ido sua experimentação romanesca, capaz de desmontar, definitivamente, a estrutura da narrativa tradicional e abalar os protocolos de leitura convencionais. Para tanto, parte das discussões teóricas de Umberto Eco sobre “obra aberta” e “obra em movimento”, de Roland Barthes sobre “texto de fruição” e de Deleuze e Guattari sobre “livro rizoma”.

The conception of the novel Didn’t see you in Babylon yesterday, by António Lobo Antunes, subverts the classic models of narration and employs the use of resources as the multiples of the narrative points of view, which combine and reorder the testimony of characters on a continuous basis, making it impossible for the reader to rely on a single finished version of the facts. The elaboration of fictional time, in this perspective, although it is organized in a linear form, since the novel is structured in chapters which correspond to a specific time in the course of na indelible dawn, is operationalized, through the perception of the characters and mnemonic resources that use to disorganize your memories, the experience of eternity. The analysis of the temporal markers which, according to Ricoeur, are allied to the construction of an eternal and imperceptible time, constitutes our object of study, which turns to a writing that, with insistence, questions its own form, limits and purposes., A concepção do romance Ontem não te vi em Babilónia, de António Lobo Antunes, ao subverter os modelos clássicos de narração, instaura, em seu projeto de escrita, o emprego de recursos como os múltiplos pontos de vista narrativo, que combinam e (re)ordenam o testemunho das personagens de forma contínua, impossibilitando que o leitor se ampare em uma única e acabada versão dos fatos. A elaboração do tempo ficcional, nessa perspectiva, embora seja organizada de forma linear, uma vez que o romance se estrutura em capítulos que correspondem a uma hora específica no transcorrer de uma indelével madrugada, operacionaliza, por meio da percepção das personagens e dos recurso mnemônicos que utilizam para (des)organizar as suas lembranças, a experiência da eternidade. A análise dos marcadores temporais que, em conformidade com Paul Ricoeur, estão aliados à construção de um tempo eterno e inapreensível, constituI o nosso objeto de estudo, o qual se volta para uma escrita que, com insistência, questiona a sua própria forma, limites e finalidades.

in contemporary Brazilian society, there is a increase in violence in various ways, the racial prejudice is one of them. Its intensity widens when it is directed to the poor black woman. When verifying the necessity of the discussion on the violence practiced against the black woman, that it manifests in the urban context, the object of this study was chosen - the short story "Maria", published in Olhos D'Água (2015) by Conceição Evaristo. She is a renowned writer in the field of Afro-Brazilian Literature, she addresses the feminine condition based on the concept “escrevivência”, that is, the writing of the experiences of a black female body in the postcolonial context of Brazil. The perspectives of postcolonialism are theoretical basis, according to Homi Bhabha (1998) and Gayatri Spivak (2010), and the text is organized in two parts: in the first, Conceição Evaristo and her ideas on a Afro-Brazilian Literature are presented; in the second, the short story is analyzed, discussing the violence and racial prejudice suffered by the protagonist of the plot. The results reveal that Afro-Brazilian Literature is an important place of resistance that gives visibility to blacks and mestizos., Na sociedade brasileira contemporânea, é constatado diariamente o aumento da violência de diversas formas, sendo o preconceito racial uma delas. Vale ressaltar que sua intensidade se amplia quando é direcionada à mulher negra e pobre. Ao verificar a necessidade da discussão sobre o assunto violência contra a mulher negra, que tanto se manifesta no contexto urbano, foi escolhido o objeto deste estudo - o conto “Maria”, publicado em Olhos D´Água (2015) pela autora Conceição Evaristo. Trata-se de uma escritora de renome no campo da Literatura Afro-brasileira, a qual aborda especialmente a condição feminina a partir do conceito, por ela formulado, de escrevivência, isto é, a escrita das vivências de um corpo feminino negro no contexto pós-colonial do Brasil. Como embasamento teórico, utilizam-se as perspectivas do Pós-colonialismo, segundo Homi Bhabha (1998) e Gayatri Spivak (2010), e organiza-se o texto em duas partes: na primeira parte, apresenta-se Conceição Evaristo e suas ideias sobre a Literatura Afro-brasileira; e, na segunda parte, por sua vez, analisa-se o conto, discutindo a violência e o preconceito racial sofridos pela protagonista do enredo. Os resultados revelam a Literatura Afro-brasileira como um importante lugar de resistência que dá visibilidade aos negros e mestiços.

The contemporary global social landscape has fostered the construction of new fictional spaces, which have destabilized the binary structures that were previously used to approach Latin American literature. Whereas in the past, literary analysis was based on a cultural dichotomy between the countryside and urban spaces, the local and the foreign, civilization and barbarism, today it is almost impossible to determine where the boundaries between the local and the global are, because the literary imaginary has increasingly acquired international dimensions, in search of new horizons. Through the analysis of recent narrative works by Guillermo Fadanelli, Andrés Neuman and Lina Meruane, this article studies how contemporary Latin American literature understands time and space., El actual marco global ha determinado la construcción de nuevos espacios ficcionales que desestabilizan las estructuras binarias desde las cuales se enfocó la literatura latinoamericana. Si en otra época se trataba de una pugna cultural entre campo y ciudad, autóctono o extranjerizante, civilización o barbarie; hoy en día es casi imposible discernir dónde se encuentran las fronteras entre lo local y lo global, pues también el imaginario literario se ha expandido a escalas mundiales en busca de nuevos paisajes. A partir de obras narrativas recientes de Guillermo Fadanelli, Andrés Neuman y Lina Meruane este artículo indaga en las formas de entender el tiempo y el espacio en la literatura contemporánea de Latinoamérica.

The autodiegetic narrator of Richard Ford’s Frank Bascombe trilogy –The Sportswriter (1986), Independence Day (1995) and The Lay of the Land (2006)– has been labelled by critics and commentators as a US everyman. Likewise, the character itself self-fashions as a common person able to embody significant cultural ideals and myths associated with the culture and history of the United States. Based on these considerations, the present article discusses and questions the representative qualities of this epitome of a mainstream version of Americanness. Frank Bascombe is a white, male, heterosexual, middle-class citizen in a regionally, ethnically and culturally diverse nation. Therefore, his self-assigned role as a common person repeatedly clashes with the social reality of the United States and at the same time leaves him yearning for a strong personality of his own.

The autodiegetic narrator of Richard Ford’s Frank Bascombe trilogy –The Sportswriter (1986), Independence Day (1995) and The Lay of the Land (2006)– has been labelled by critics and commentators as a US everyman. Likewise, the character itself self-fashions as a common person able to embody significant cultural ideals and myths associated with the culture and history of the United States. Based on these considerations, the present article discusses and questions the representative qualities of this epitome of a mainstream version of Americanness. Frank Bascombe is a white, male, heterosexual, middle-class citizen in a regionally, ethnically and culturally diverse nation. Therefore, his self-assigned role as a common person repeatedly clashes with the social reality of the United States and at the same time leaves him yearning for a strong personality of his own.

The number of literary works dedicated to the Spanish Civil War has been growing recently to the extent that those tragic three years now represent one of the most frequent topics in contemporary literature. In 2009, the Spanish writer Susana Fortes published her novel Waiting for Robert Capa (Esperando a Robert Capa), contributing thus to the long list of titles dealing with the topic of war. Without resigning to a poetic license, the author created a fictitious literary reconstruction of key moments in the lives of two famous photographers, Gerda Taro and Robert Capa, whose snapshot collections are even today recognized as a valid and extensive testimony of everyday life in the period of the Spanish Civil War. This literary reconstruction of real historical events concerning both the lives of the photographers and the Civil War is based on a research into historical studies, texts, written documents and on graphic material in particular. It should be emphasized that in this novel, the photographs are very important. Throughout the story, the novelist constantly makes references to different snapshots taken by Robert Capa, Gerda Taro and other renowned photographers of that time. These references are so detailed that the identification of the alluded pictures is made easy. It is also interesting to analyze how methods normally used in graphic arts are applied on narrative processes, creating numerous visual images that form a background to all that is viewed, experienced or recorded by the protagonists of the novel.

The number of literary works dedicated to the Spanish Civil War has been growing recently to the extent that those tragic three years now represent one of the most frequent topics in contemporary literature. In 2009, the Spanish writer Susana Fortes published her novel Waiting for Robert Capa (Esperando a Robert Capa), contributing thus to the long list of titles dealing with the topic of war. Without resigning to a poetic license, the author created a fictitious literary reconstruction of key moments in the lives of two famous photographers, Gerda Taro and Robert Capa, whose snapshot collections are even today recognized as a valid and extensive testimony of everyday life in the period of the Spanish Civil War. This literary reconstruction of real historical events concerning both the lives of the photographers and the Civil War is based on a research into historical studies, texts, written documents and on graphic material in particular. It should be emphasized that in this novel, the photographs are very important. Throughout the story, the novelist constantly makes references to different snapshots taken by Robert Capa, Gerda Taro and other renowned photographers of that time. These references are so detailed that the identification of the alluded pictures is made easy. It is also interesting to analyze how methods normally used in graphic arts are applied on narrative processes, creating numerous visual images that form a background to all that is viewed, experienced or recorded by the protagonists of the novel.

Discussion of contemporary sense of crisis in the cultural and literary representations; themes of weakening of the forms of identification of the individual in the experience recognized as postmodern; problematization of subjectivity and the concept of the modern subject in literature, the study of works Brazilian fiction in dialogue with contemporary issues of society and art., Discussão do sentido contemporâneo de crise no âmbito da cultura e das representações literárias; tematização do enfraquecimento das formas de identificação do indivíduo na vivência reconhecida como pós-moderna; problematização da subjetividade e do conceito de sujeito moderno na literatura; estudo de obras da ficção brasileira contemporânea em diálogo com questões da sociedade e da arte.

Discussion of contemporary sense of crisis in the cultural and literary representations; themes of weakening of the forms of identification of the individual in the experience recognized as postmodern; problematization of subjectivity and the concept of the modern subject in literature, the study of works Brazilian fiction in dialogue with contemporary issues of society and art., Discussão do sentido contemporâneo de crise no âmbito da cultura e das representações literárias; tematização do enfraquecimento das formas de identificação do indivíduo na vivência reconhecida como pós-moderna; problematização da subjetividade e do conceito de sujeito moderno na literatura; estudo de obras da ficção brasileira contemporânea em diálogo com questões da sociedade e da arte.

El propósito principal de este trabajo es estudiar cómo se reproduce la técnica constructiva característica del lenguaje oral espontáneo, en la narrativa contemporánea. Para ello realizaremos un análisis contrastivo entre la estructura sintáctica de las conversaciones coloquiales auténticas, y la de los textos de algunos novelistas contemporáneos. Estos autores llevan a cabo una manipulación por la que prescinden del contexto propio del registro coloquial. En consecuencia, dicha mimesis de la oralidad no puede lograrse nunca con autenticidad plena. El grado más elevado de fidelidad se da cuando el autor consigue imitar la técnica de elaboración propia de la oralidad, de modo que no se note la eliminación de todo lo que entorpecería la lectura provocando el rechazo en el lector. Por tanto, el estudio de la sintaxis –mucho más que el de la pronunciación o el léxico– es lo que revelará el nivel de captación en este tipo de textos literarios, de los usos característicos del coloquio., The aim of this work is the study of how colloquial language is reproduced in the contemporary narrative. In order to this, we will conduct a comparative analysis between the syntactic structure of authentic conversations and those from texts of some contemporary novelists. These authors carry out a manipulation in which they disregard the context of the colloquial discourse. As a consequence, this mimesis of oral word can never be achieved in full authenticity. The elevated degree of fidelity is seen when the author is able to imitate the elaboration technique of the spoken word, so that one doesn´t notice the elimination of everything that disturbs the reading provoking rejection from the reader. Therefore, the study of syntax –much more than that of phonology or the lexicon used– is what will reveal the level of following the uses characteristic of spoken discourse.

El propósito principal de este trabajo es estudiar cómo se reproduce la técnica constructiva característica del lenguaje oral espontáneo, en la narrativa contemporánea. Para ello realizaremos un análisis contrastivo entre la estructura sintáctica de las conversaciones coloquiales auténticas, y la de los textos de algunos novelistas contemporáneos. Estos autores llevan a cabo una manipulación por la que prescinden del contexto propio del registro coloquial. En consecuencia, dicha mimesis de la oralidad no puede lograrse nunca con autenticidad plena. El grado más elevado de fidelidad se da cuando el autor consigue imitar la técnica de elaboración propia de la oralidad, de modo que no se note la eliminación de todo lo que entorpecería la lectura provocando el rechazo en el lector. Por tanto, el estudio de la sintaxis –mucho más que el de la pronunciación o el léxico– es lo que revelará el nivel de captación en este tipo de textos literarios, de los usos característicos del coloquio., The aim of this work is the study of how colloquial language is reproduced in the contemporary narrative. In order to this, we will conduct a comparative analysis between the syntactic structure of authentic conversations and those from texts of some contemporary novelists. These authors carry out a manipulation in which they disregard the context of the colloquial discourse. As a consequence, this mimesis of oral word can never be achieved in full authenticity. The elevated degree of fidelity is seen when the author is able to imitate the elaboration technique of the spoken word, so that one doesn´t notice the elimination of everything that disturbs the reading provoking rejection from the reader. Therefore, the study of syntax –much more than that of phonology or the lexicon used– is what will reveal the level of following the uses characteristic of spoken discourse.

El propósito principal de este trabajo es estudiar cómo se reproduce la técnica constructiva característica del lenguaje oral espontáneo, en la narrativa contemporánea. Para ello realizaremos un análisis contrastivo entre la estructura sintáctica de las conversaciones coloquiales auténticas, y la de los textos de algunos novelistas contemporáneos. Estos autores llevan a cabo una manipulación por la que prescinden del contexto propio del registro coloquial. En consecuencia, dicha mimesis de la oralidad no puede lograrse nunca con autenticidad plena. El grado más elevado de fidelidad se da cuando el autor consigue imitar la técnica de elaboración propia de la oralidad, de modo que no se note la eliminación de todo lo que entorpecería la lectura provocando el rechazo en el lector. Por tanto, el estudio de la sintaxis –mucho más que el de la pronunciación o el léxico– es lo que revelará el nivel de captación en este tipo de textos literarios, de los usos característicos del coloquio., The aim of this work is the study of how colloquial language is reproduced in the contemporary narrative. In order to this, we will conduct a comparative analysis between the syntactic structure of authentic conversations and those from texts of some contemporary novelists. These authors carry out a manipulation in which they disregard the context of the colloquial discourse. As a consequence, this mimesis of oral word can never be achieved in full authenticity. The elevated degree of fidelity is seen when the author is able to imitate the elaboration technique of the spoken word, so that one doesn´t notice the elimination of everything that disturbs the reading provoking rejection from the reader. Therefore, the study of syntax –much more than that of phonology or the lexicon used– is what will reveal the level of following the uses characteristic of spoken discourse.

El propósito principal de este trabajo es estudiar cómo se reproduce la técnica constructiva característica del lenguaje oral espontáneo, en la narrativa contemporánea. Para ello realizaremos un análisis contrastivo entre la estructura sintáctica de las conversaciones coloquiales auténticas, y la de los textos de algunos novelistas contemporáneos. Estos autores llevan a cabo una manipulación por la que prescinden del contexto propio del registro coloquial. En consecuencia, dicha mimesis de la oralidad no puede lograrse nunca con autenticidad plena. El grado más elevado de fidelidad se da cuando el autor consigue imitar la técnica de elaboración propia de la oralidad, de modo que no se note la eliminación de todo lo que entorpecería la lectura provocando el rechazo en el lector. Por tanto, el estudio de la sintaxis –mucho más que el de la pronunciación o el léxico– es lo que revelará el nivel de captación en este tipo de textos literarios, de los usos característicos del coloquio., The aim of this work is the study of how colloquial language is reproduced in the contemporary narrative. In order to this, we will conduct a comparative analysis between the syntactic structure of authentic conversations and those from texts of some contemporary novelists. These authors carry out a manipulation in which they disregard the context of the colloquial discourse. As a consequence, this mimesis of oral word can never be achieved in full authenticity. The elevated degree of fidelity is seen when the author is able to imitate the elaboration technique of the spoken word, so that one doesn´t notice the elimination of everything that disturbs the reading provoking rejection from the reader. Therefore, the study of syntax –much more than that of phonology or the lexicon used– is what will reveal the level of following the uses characteristic of spoken discourse.

« When an elder tells you something while you are a baby it becomes true. You have to be very careful with your words », confie une aînée de la région du Kivalliq. Pour cette aînée, comme plusieurs autres de la région, la naissance d’un nouveau-né est une période de transition empreinte d’instabilité et de fragilité. Les relations entre éponymes ont une influence certaine sur la personnalité, mais au-delà de ce qui est déterminé, une certaine latitude semble possible. Les actions, les gestes, les sentiments et les mots dits ou pensés revêtent un pouvoir particulier. Pour le meilleur ou pour le pire, ces pratiques « façonnent » l’Inuk et elles marqueront le fil de son existence., “When an elder tells you something while you are a baby it becomes true. You have to be very careful with your words”, says an elder from Kivalliq. Forher, and many other elders, the birth of a child is a period of transition marked by instability and fragility. Relations between the newborn and a namesake certainly influence the infant’s personality, but there exists a latitude beyond what seems to be determined. The acts, gestures, sentiments, words that are spoken or thought about a newborn have particular power. For better or for worst, these practices « shape » the Inuk and will have great impact on his/her life., « When an elder tells you something while you are a baby it becomes true. You have to be very careful with your words » (Kangiq&iniq 2004). Para esta anciana, como para muchos otros ancianos de la región de Kivalliq, el nacimiento de un recién nacido es un periodo de transición marcado por la inestabilidad y la fragilidad. Las relaciones entre epónimos tienen una influencia sobre la personalidad, pero más allá de lo que determinan, una cierta latitud parece posible. Las acciones, los gestos, los sentimientos y las palabras pronunciadas o pensadas revisten un poder particular. Para lo bueno y para lo malo, dichas practicas « fabrican » l’Inuk y marcarán el hilo de su existencia