Academic literature on the topic 'Argentina - Contemporary narrative. eng'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Argentina - Contemporary narrative. eng.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Argentina - Contemporary narrative. eng"
1
Castro, Andrea. "Borders, Writing and Nation in Contemporary Argentine Narrative about Tierra del Fuego." Anclajes 17, no. 1 (January 1, 2013): 21–38. http://dx.doi.org/10.19137/anclajes-2013-1712.
Full text
2
Sharman, Adam, and Elia Geoffrey Kantaris. "The Subversive Psyche: Contemporary Women's Narrative from Argentina and Uruguay." Modern Language Review 94, no. 3 (July 1999): 860. http://dx.doi.org/10.2307/3737071.
Full text
3
Mora, Gabriela, and Elia Geoffrey Kantaris. "The Subversive Psyche. Contemporary Women's Narrative from Argentina and Uruguay." Hispanic Review 65, no. 3 (1997): 368. http://dx.doi.org/10.2307/474972.
Full text
4
Lindstrom, Naomi, and Elia Geoffrey Kantaris. "The Subversive Psyche: Contemporary Women's Narrative from Argentina and Uruguay." World Literature Today 70, no. 4 (1996): 926. http://dx.doi.org/10.2307/40152357.
Full text
5
Tandeciarz, Silvia R. "Secrets, Trauma, and the Memory Market (or the return of the repressed in recent Argentine post-dictatorship cultural production)." CINEJ Cinema Journal 1, no. 2 (April 20, 2012): 62–71. http://dx.doi.org/10.5195/cinej.2012.43.
Full textAbstract:
Since the end of the last Argentine Dictatorship (1976-1983), a number of feature-length films have engaged in the public debate over the legacies of state terrorism. El secreto de sus ojos (2009), Argentina's most recent Oscar winner, is the latest to do so, exploring the effects of more than a decade of impunity on those who lost their loved ones. Suggesting that restoration of a justice system that works can lead to the restoration of full civic engagement in a healthy body politic, the film raises important questions about citizenship and belonging in a post-national era. This essay explores the film's phenomenal success in the global memory market to illuminate what remains at stake in contemporary narratives of reconciliation.
6
Cardoso Jr., Aroldo de Lara, and Liliana Liviano Wahba. "UM ENCONTRO ENTRE PSICODRAMA E PSICOLOGIA ANALÍTICA: RITUAL E MITOPOESE." 3 29, no. 3 (August 17, 2021): 237–49. http://dx.doi.org/10.15329/2318-0498.22161.
Full textAbstract:
The bridge between Jung and Moreno has been an object of study to many contemporary psychodramatists. This article performs a narrative review of proposals at the interface between psychodrama and analytical psychology with the objective of developing a proposal for bringing psychodrama and analytical psychology closer together. Authors were found in the following countries: Argentina, Brazil, Switzerland, Spain, Italy, Germany, France and the United States. Based on this review, two categories which were found to be representative of the bridge between Jung and Moreno were elaborated: ritual and mythopoesis. The symbol is proposed as a central concept for an encounter between psychodrama and analytical psychology carried out in phenomenological experience.
7
Battaglino, Jorge. "Threat Construction and Military Intervention in Internal Security: The Political Use of Terrorism and Drug Trafficking in Contemporary Argentina." Latin American Perspectives 46, no. 6 (June 23, 2019): 10–24. http://dx.doi.org/10.1177/0094582x19858680.
Full textAbstract:
Argentina has a deeply rooted tradition of rejecting participation by the military in internal security and legislation that prohibits such involvement. The current construction of a threat from drug trafficking and terrorism and the proposal of intervention by the armed forces to contend with them is the result of a narrative justifying the implementation of various government policies. Exploration of the mechanism of discursive threat construction, or securitization, from the critical perspective of the Copenhagen School demonstrates how security discourse and practices allow actors and institutions to mobilize resources, control agendas, and use violence with greater discretion. Argentina tiene una arraigada tradición de rechazo a la participación de los militares en temas de seguridad interna y posee, además, una legislación que prohíbe tal involucramiento. La construcción actual de la amenaza del narcotráfico y el terrorismo y la propuesta de intervención de las fuerzas armadas para enfrentarlas son el resultado de un discurso que es funcional a la implementación de distintas políticas por parte del gobierno. Una examinación de la dinámica de la construcción discursiva de la amenaza, o la securitización, a partir de la perspectiva crítica de la Escuela Copenhague evidencia cómo el discurso y las prácticas de la seguridad permiten a actores e instituciones movilizar recursos, controlar agendas y utilizar la violencia con mayor discrecionalidad.
8
Kirkpatrick, Gwen. "Prospero's Daughter: The Prose of Rosario Castellanos. Joanna O'ConnellThe Subversive Psyche: Contemporary Women's Narrative from Argentina and Uruguay. Elia Geoffrey KantarisGender, Politics, and Poetry in Twentieth-Century Argentina. Jill S. Kuhnheim." Signs: Journal of Women in Culture and Society 24, no. 1 (October 1998): 257–61. http://dx.doi.org/10.1086/495335.
Full text
9
Quílez Esteve, Laia. "Hacia una teoría de la posmemoria. Reflexiones en torno a las representaciones de la memoria generacional / Towards a Theory of Postmemory. Reflections on the Representations of Generational Memory." Historiografías, no. 8 (December 28, 2017): 57. http://dx.doi.org/10.26754/ojs_historiografias/hrht.201482417.
Full textAbstract:
This article attempts to address, from the theoretical field, the different approaches to “postmemory” that have emerged in Western culture since the 1990s. After mapping the genealogical origins of this term, paying attention to its transformations and to discussions that this category has prompted, we shall examine the formal issues that govern most of this kind of cultural productions. To this end we expose three examples that have been produced in very different artistic fields, periods, geographies, and traumatic pasts: Maus, a graphic novel by Art Spiegelman; Arqueología de la ausencia, a photographic project by the Argentinian Lucila Quieto; and Haciendo memoria, a short documentary by the Spanish Sandra Ruesga.Key WordsPostmemory, generational memory, memory mediatisation, traumatic past, audiovisual culture, contemporary narratives.ResumenEl presente artículo se propone abordar desde el ámbito teórico las distintas aproximaciones que desde los años noventa del pasado siglo se han hecho al concepto de la “posmemoria”. Tras este repaso genealógico por los orígenes, transformaciones y debates que ha suscitado dicha categoría, se delinean las cuestiones formales que rigen la mayor parte las producciones culturales inspiradas por la posmemoria. Para tal fin se han seleccionado tres ejemplos que abarcan ámbitos artísticos, épocas, geografías y pasados traumáticos muy diversos: Maus, la novela gráfica de Art Spiegelman; Arqueología de la ausencia, el proyecto fotográfico de la argentina Lucila Quieto; y Haciendo memoria, un cortometraje documental de la española Sandra RuesgaPalabras clavePosmemoria, memoria generacional, mediatización de la memoria, cultura audiovisual, pasado traumático, narrativa contemporánea.
10
Deleyto, Celestino. "The way of the dog: Truman through the cosmopolitan lens." Studies in Spanish & Latin-American Cinemas 17, no. 1 (March 1, 2020): 51–72. http://dx.doi.org/10.1386/slac_00011_1.
Full textAbstract:
This article examines Truman (Gay, 2015) as an example of a transnational co-production between Argentina and Spain within the wider context of contemporary co-productions in Latin American cinema. The article uses cultural-industrial analysis and cosmopolitan theory ‐ in particular, the notion of cosmopolitan performance and cosmopolitan spaces ‐ as a framework for the exploration of the symbolic-ideological space that the film creates out of the real places in which the action is set and out of the various journeys inscribed in the cinematic identities of its main authorial voices. The Madrid neighbourhood in which most of the narrative develops, Las Salesas, is transformed in the movie through the presence in its midst of transnational star Ricardo Darín and the urban sensibility contributed by Barcelona-based director Cesc Gay. As a consequence, Truman’s construction of space becomes part of a Hispanic American imaginary which, originating in industrial practices, financial motivations and a vaguely defined common cultural space, attempts to supersede colonial history within the logics of globalization, transnationalism and cosmopolitan sensibilities.
Dissertations / Theses on the topic "Argentina - Contemporary narrative. eng"
1
Milreu, Isis. "Literatura e história em "Plata quemada", de Ricardo Piglia /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/94116.
Full textAbstract:
Orientador: Antonio Roberto EstevesBanca: Ana Maria Carlos
Banca: Wellington Ricardo Fioruci
Resumo: Este trabalho analisa o romance Plata quemada, de Ricardo Piglia, no qual o escritor argentino recria a história de um grupo que assaltou um banco, em 1965. Essa história central é permeada pelo entrecruzamento de outros relatos, tais como a experiência com as drogas, a passagem por prisões e manicômios, a relação homossexual entre dois personagens e o processo de criação textual, representado pelo jornalista Emílio Renzi. A presença de várias histórias dentro do romance possibilita uma grande diversidade de interpretações para Plata quemada, que pode ser lido, entre outras formas, como um novo romance histórico e uma metaficção historiográfica. Assim, dentro das relações entre literatura e história, abordam-se os recursos narrativos utilizados por Piglia na construção de seu romance. Além disso, discute-se também a ligação dessa obra com as demais produções literárias do autor, bem como ressalta-se a relevância de Ricardo Piglia para a literatura argentina contemporânea. Ao apontar as várias possibilidades de leitura de Plata quemada, o trabalho demonstra que, por sua riqueza, essa obra pode ser incluída no âmbito do que vários setores da crítica, não sem polêmica, chamam de pós-modernidade.
Abstract: The research reported in this dissertation analyzes the novel Plata quemada, by Ricardo Piglia, in which the Argentinean writer recreates the story of a group that assaulted a bank, in 1965. This central story is permeated by crossing other reports, such as the experience with drugs, the passing through prisons and mental hospitals, the homosexual relation between two characters and the process of textual creation, represented the journalist Emilio Renzi. The presence of several stories in the novel makes possible a wide variety of interpretations to Plata quemada, which can be read, among others ways, as a new historical novel and as a historiographical metafiction. Thus, within the relations between literature and history, there is an approach of the narrative resources used by Piglia in the construction of his novel. Besides, the research also discusses the relation between this book and the other literary works of the author, as well as it stresses the relevance of Ricardo Piglia for Argentinean contemporary literature. By pointing the various possibilities of reading Plata quemada, the research shows that, by its wealth, this book can be included in the scope of what several sectors of criticism, not without controversy, call post-modernity.
Mestre
2
Milreu, Isis [UNESP]. "Literatura e história em Plata quemada, de Ricardo Piglia." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/94116.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0
Previous issue date: 2008-05-09Bitstream added on 2014-06-13T20:35:06Z : No. of bitstreams: 1
milreu_i_me_assis.pdf: 546073 bytes, checksum: 7c5057b14585a2d0a09daa55891ec0e9 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Secretaria da Educação
Este trabalho analisa o romance Plata quemada, de Ricardo Piglia, no qual o escritor argentino recria a história de um grupo que assaltou um banco, em 1965. Essa história central é permeada pelo entrecruzamento de outros relatos, tais como a experiência com as drogas, a passagem por prisões e manicômios, a relação homossexual entre dois personagens e o processo de criação textual, representado pelo jornalista Emílio Renzi. A presença de várias histórias dentro do romance possibilita uma grande diversidade de interpretações para Plata quemada, que pode ser lido, entre outras formas, como um novo romance histórico e uma metaficção historiográfica. Assim, dentro das relações entre literatura e história, abordam-se os recursos narrativos utilizados por Piglia na construção de seu romance. Além disso, discute-se também a ligação dessa obra com as demais produções literárias do autor, bem como ressalta-se a relevância de Ricardo Piglia para a literatura argentina contemporânea. Ao apontar as várias possibilidades de leitura de Plata quemada, o trabalho demonstra que, por sua riqueza, essa obra pode ser incluída no âmbito do que vários setores da crítica, não sem polêmica, chamam de pós-modernidade.
The research reported in this dissertation analyzes the novel Plata quemada, by Ricardo Piglia, in which the Argentinean writer recreates the story of a group that assaulted a bank, in 1965. This central story is permeated by crossing other reports, such as the experience with drugs, the passing through prisons and mental hospitals, the homosexual relation between two characters and the process of textual creation, represented the journalist Emilio Renzi. The presence of several stories in the novel makes possible a wide variety of interpretations to Plata quemada, which can be read, among others ways, as a new historical novel and as a historiographical metafiction. Thus, within the relations between literature and history, there is an approach of the narrative resources used by Piglia in the construction of his novel. Besides, the research also discusses the relation between this book and the other literary works of the author, as well as it stresses the relevance of Ricardo Piglia for Argentinean contemporary literature. By pointing the various possibilities of reading Plata quemada, the research shows that, by its wealth, this book can be included in the scope of what several sectors of criticism, not without controversy, call post-modernity.
3
Marcari, Maria de Fatima Alves de Oliveira. "A recriação do "siglo de oro" espanhol em "El Capitán Alatriste", de Arturo Pérez-Reverte /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/103664.
Full textAbstract:
Orientador: Antonio Roberto EstevesBanca: Heloisa Costa Milton
Banca: Maria Dolores Aybar Ramirez
Banca: Silvia Inês Cárcamo
Banca: Lygia Rodrigues Vianna Peres
Resumo: Este trabalho tem como objetivo analisar os seis romances que constituem a série El capitán Alatriste (1996-2006), do escritor espanhol Arturo Pérez-Reverte, com o intuito de comprovar a tese de que a reescritura do século XVII espanhol elaborada pela série tem a pretensão de veicular um conhecimento "objetivo e verdadeiro" da história, por meio de uma visão monológica dos fatos históricos ficcionalizados, reafirmando, assim, pressupostos da narrativa histórica clássica. Para tanto, apoiamos nossa análise na investigação do hibridismo formal, que se configura por meio da exploração simultânea de gêneros, tais como a narrativa histórica, as memórias, o romance de formação, o romance picaresco e o romance-folhetim, cujo paradigma é ditado pela obra de Alexandre Dumas. Na análise da releitura do folhetim, servimo-nos das teorizações de Umberto Eco (1964 e 1978) sobre a literatura de massa, procurando demonstrar que as narrativas assumem formas recorrentes, nas quais detectamos homologias entre as estruturas narrativas, o enredo e as proposições ideólogicas do autor No exame dos procedimentos narrativos, analisamos, dentre outros aspectos, as características do personagem-narrador, o qual funciona como intérprete autorizado dos acontecimentos históricos ficcionalizados, na medida em que se configura também como porta-voz do sistema de valores preconizado nos romances. Assim sendo, demonstramos que a revisitação da história espanhola proposta pelos romances tende a enaltecer as dimensões heróicas da história imperial espanhola.
Abstract: This research was carried out to analyze the six novels of the series El capitán Alatriste (1996- 2006), by the Spanish writer Arturo Pérez-Reverte, to prove the thesis that the rewriting of the Spanish 19th century organized by the series claims at spreading an "objective and true" knowledge of history, by means of a monological vision of historical facts turned into fiction, thus reaffirming the presuppositions of classical historical narrative. Therefore, our analysis is based on the investigation of the formal hybridism which is formed by means of the simultaneous exploitation of genres, such as the historical narrative, memoirs, the didactic novel, the picaresque novel and the serial novel whose paradigm is provided by Alexandre Dumas' works. In the analysis of serial rewriting, we made use of Umberto Eco's theorizations (1964 and 1978) about mass literature, trying to prove that narratives takes on recurrent forms, in which one may find out homologies between the narrative structures, the plot and the author's ideological propositions. In the examination of the narrative procedures, among other features we analyzed the characteristics of the character-narrator, who acts as an authorized interpreter of the historical events turned into fiction, to the extent that he also takes the shape of a spokesman of value system confirmed in the novels. In that case, we proved that the revisiting of the Spanish history proposed in novels tends to exalt the heroic dimensions of the Spanish imperial history.
Doutor
4
Paulino, Júnior José. "O cut-up em Naked Lunch de Willian Burroughs : a narrativa em estilhaços /." Assis : [s.n.], 2004. http://hdl.handle.net/11449/99161.
Full textAbstract:
Orientador: Cleide Antonia RapucciBanca: Thomas Bonnici
Banca: Antonio Roberto Esteves
Resumo: O principal assunto desta dissertação é a técnica narrativa cut-up, desenvolvida e empregada pela primeira vez no gênero romance em 1959, pelo escritor norte-americano William Burroughs, em sua obra-prima Naked Lunch. O processo da técnica consiste na sobreposição e justaposição de fragmentos textuais de diferentes teores. Esse processo é similar a alguns artifícios usados pelas Vanguardas, principalmente a "escrita automática" dos surrealistas. A intenção fundamental é conceder novos e inusitados significados às palavras e sentenças e, ao mesmo tempo, envolver o leitor num esforço cognitivo. Além disso, o escritor aponta a linguagem enquanto suporte ideológico, e assim revoga o sistema aristotélico presente nela. Os capítulos de abertura contêm uma exposição ampla a respeito da Beat Generation, um importante grupo literário surgido no período pós-guerra nos Estados Unidos. Os membros ligados à Geração militaram numa outra noção referente à vida intelectual e artística, e criaram obras guiadas nesse sentido. William Burroughs foi o mentor intelectual deles. A Beat Generation está incluída numa tradição literária norte-americana que começa com Thoreau e Whitman, uma tradição de enfrentamento social e estético.
Abstract: The main subject of this research is the narrative technique called "cut-up", developed and employed in the novel genre by American writer William Burroughs, for the first time in 1959, in his masterpiece Naked Lunch. The process of the technique consists in the superposition and juxtaposition of textual fragments with different purports. This process is similar to some artifices used by Vanguards, mainly the "automatic writing" by surrealists. The principal intention is to concede new and unusual meanings to the words and sentences, and, at the same time, to involve the reader in a cognitive effort. Besides, the writer notes the language while ideological bearer, and thus revokes the aristotelian system present in it. The opening chapters contain an ample exposition about the "Beat Generation", an important literary group that arose at post-war period in the United States of America. The members linked to the Generation were engaged in another notion concerning artistical and intellectual life, and they created works guided in this sense. William Burroughs was their intellectual mentor. The Beat Generation is included in a literary tradition, in the U.S.A., that starts with Thoreau and Whitman, a tradition of social and esthetical struggle.
Mestre
5
Alves, Wanderlan da Silva. "Romance e experimentação com a linguagem em Boquitas pintadas, de Manuel Puig, e Onde andará Dulce Veiga?, de Caio Fernando de Abreu /." São José do Rio Preto : [s.n.], 2011. http://hdl.handle.net/11449/99088.
Full textAbstract:
Orientador: Arnaldo Franco JuniorBanca: Ana Cecilia Arias Olmos
Banca: Orlando Nunes de Amorim
Resumo: Esta dissertação analisa o trabalho de experimentação formal com a linguagem dos mass media operada nos romances Boquitas pintadas (1969), do escritor argentino Manuel Puig, e Onde andará Dulce Veiga? (1990), do escritor brasileiro Caio Fernando Abreu. Tais romances se vinculam à trajetória de autoquestionamento da própria linguagem narrativa que, de certo modo, a literatura latinoamericana desenvolve desde os movimentos vanguardistas, nas primeiras décadas do século XX, e intensifica ao longo das fases de criação literária do boom de produção e de comercialização da narrativa latinoamericana, a partir dos anos 50-60 do século XX, aproximadamente (MONEGAL, 1968; RAMA, 2005). Pela mobilização consciente que ambos os romances fazem de procedimentos escriturais, textos, gêneros textuais e gêneros literários vinculados tanto à própria literatura quanto à linguagem dos mass media, que os agenciam com fins mercadológicos, suas narrativas se tornam representativas de dois momentos distintos da última fase de desenvolvimento do boom da literatura latinoamericana - o chamado pós-boom. Por meio de procedimentos escriturais que transpõem outras linguagens para o campo da escrita literária, as narrativas expressam uma concepção ampla do fazer literário, das contribuições formais que os mass media e sua linguagem podem oferecer à narrativa contemporânea e da função social que podem exercer na literatura latinoamericana: possibilidade de avaliação e questionamento dos códigos, símbolos e valores que constituem os mitos da sociedade de consumo, na América Latina. Boquitas pintadas e Onde andará Dulce Veiga? potencializam, então, no corpo de sua linguagem, uma leitura crítico-paródica (HUTCHEON, 1985; 1991) da história social a que sua produção literária se vincula, ao mesmo tempo em que recuperam linguagens (como a linguagem cinematográfica... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This dissertation examines the work of formal experimentation with the language of the mass media developed in the novels Boquitas pintadas (1969), by the Argentinian writer Manuel Puig and, Onde andará Dulce Veiga? (1990), by the Brazilian writer Caio Fernando Abreu. These novels are linked to the path of self-questioning in the narrative language itself, which somehow is carried out by Latin-American literature since the avant-garde movements in the early decades of the twentieth century, and it is intensified during the process of creative writing of the ―Boom‖ in Latin American narrative production and commercialization during the 1950s and 1960s, approximately (MONEGAL, 1968; RAMA, 2005). Considering, in both novels, the conscious mobilization of writing procedures, texts, text genres and literary genres, related to literature itself and to mass media language, which manage them with market purposes, their narratives become representatives of two distinct moments in the last phase of the development of the ―Boom‖ in Latin American literature - the so-called ―post- Boom‖. By means of writing procedures, which transpose other languages into the field of literary writing, the narratives express a broad conception of literature, formal contributions of the mass media and its language can offer to contemporary narrative and, the social function that they can represent for Latin American literature: the possibility of questioning and evaluation of codes, symbols and values which form the myths of consumer society in Latin America. Therefore, Boquitas pintadas and Onde andará Dulce Veiga? enhance a critical and parodic reading (HUTCHEON, 1985, 1991) of social history to which the literary production is attached to and, at the same time, they recover languages (as film language) and narrative genres (as feuilleton or serial novels) which are significant... (Complete abstract click electronic access below)
Mestre
6
Falquete, Solange Labbonia. "(Re)Iventando realidades : jogos espacio-temporais em três contos de Julio Cortázar /." São José do Rio Preto : [s.n.], 2007. http://hdl.handle.net/11449/99103.
Full textAbstract:
Orientador: Roxana Guadalupe Herrera AlvarezBanca: Sandra Regina Chaves Nunes
Banca: Cláudia Maria Ceneviva Nigro
Resumo: O objetivo desta pesquisa é estudar como a manipulação do tempo e do espaço na narrativa contribui para a construção do efeito fantástico e para o questionamento do que é realidade em três contos do autor argentino Julio Cortázar (1914-1984): "A noite de barriga para cima" (1971), "Todos os fogos o fogo" (1975) e "A porta incomunicável" (1971). Em cada texto há dois espaços e dois tempos (passado e presente), um representando a realidade e outro, a ficção. No primeiro conto, temos duas narrativas independentes uma da outra, apesar de terem alguns pontos em comum. No final do conto, há uma inversão do que se acreditava ser a representação da realidade para o que se acreditava ser a representação da ficção, por meio de um deslocamento do tempo. O presente do leitor é transformado em um mundo absurdo para o personagem. No conto "Todos os fogos o fogo", também podemos delimitar duas narrativas autônomas, constantemente intercaladas. Elas mantêm uma relação de analogias e isso proporciona uma sensação de simultaneidade, como se existissem dois mundos paralelos, ou seja, como se o passado e o presente, ambientados em dois espaços completamente distintos, estivessem acontecendo ao mesmo tempo. Portanto, os limites entre realidade e ficção vão atenuando-se mais, pois não se sabe qual dos ambientes representa uma ou outra. Já no conto "A porta incomunicável", os dois tempos estão justapostos em um mesmo espaço e o insólito surge no ambiente normal do personagem. Os dois primeiros contos estão mais próximos do que Jaime Alazraki (1994) chama de literatura neofantástica, enquanto o último conto se aproxima mais da estética da literatura fantástica tradicional, explicada por Todorov (2003). Implicitamente, nos três textos as "realidades" representadas são deturpadas, causando com isto estranhamento no leitor.
Abstract: This research aims to study how the narrative's manipulation of time and space contributes to the construction of the fantastic effect and to the questioning of what reality is in three short stories by the Argentinean author Julio Cortázar (1914-1984): "The night face up" (1967), "All fires the fire" (1973) e "Incommunicable door " (1967). In each of these texts there are two spaces and two times (past and present), one representing reality and the other, fiction. In the first short story, there are two independent narratives, with some common points been considered. In the end of the short story, there is an inversion of what was believed to be the representation of reality to what was believed to be the representation of fiction, by means of a time displacement. The readerþs present is transformed into an absurd world for the character of the story. In the short story "All fires the fire", we can also delimitate two autonomous narratives, constantly intercalated. They maintain an analogical relation that provides a feeling of concurrence, as if there were two parallel worlds or, in other words, as if past and present, placed in two completely different spaces, were happening at the same time. Therefore, the limits between reality and fiction be come weaker and weaker, because it is not known which of the spaces represent one or the other. Whereas in the short story "Incommunicable door", the two times are juxtaposed in the same space and the uncommon appears in the character's normal environment. The two first short stories are close to what Jaime Alazraki (1994) calls neofantastic literature, whereas the last short story is close to the traditional aesthetic of fantastic literature, explained by Todorov (2003). Implicitly, in the three texts, the represented realities are modified, causing a strangeness effect on the reader. narrative.
Mestre
7
Munhoz, Solange Chagas do Nascimento. "Narrar a vida à margem: o exílio em \'La casa y el viento\', de Héctor Tizón; \'En estado de memoria\', de Tununa Mercado; e \'Rabo de foguete - os anos de exílio\', de Ferreira Gullar." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-13082007-140216/.
Full textAbstract:
Este trabalho dedica-se à leitura comparada de três obras contemporâneas que versam sobre o tema do exílio: as argentinas La casa y el viento (1984), de Héctor Tizón, e En estado de memoria (1990), de Tununa Mercado; e a brasileira Rabo de foguete. Os anos de exílio (1998), de Ferreira Gullar. Nosso objetivo é delimitar a configuração de uma voz narrativa que conta uma experiência de exílio que, para tanto, move-se entre estratégias de autorepresentação vinculadas à autobiografia e, ainda, à ficção. Para levar a cabo nosso estudo, partimos de um breve panorama histórico das últimas ditaduras da Argentina e do Brasil que nos ajuda na aproximação ao tema do exílio explorado nas três obras, isto é, o exílio como uma experiência ligada aos processos políticos desses países que, na sua dimensão subjetiva, significa perdas, fissuras, identidades em crise. Logo, procuramos demonstrar que, nas três obras, a negatividade dessa experiência compromete a possibilidade de narrar os eventos de modo linear e estável, afetando, por um lado, a construção dos textos como relatos autobiográficos nos moldes canônicos, e, por outro, a construção fictícia dos acontecimentos, uma vez que a experiência está diretamente relacionada com a vida de Héctor Tizón, Tununa Mercado e Ferreira Gullar. Interessa-nos o percurso que realizam os narradores para contar sua história, marcado por uma zona de instabilidade da enunciação que se propaga por todas as categorias dos relatos (tempo, espaço e personagens) e questiona a definição de gênero.This work dedicates the comparative reading of three contemporary works which turn on the subject of the exile: the Argentine La casa y el viento (1984), of Héctor Tizón, and En estado de memoria (1990), of Tununa Mercado; and the Brazilian Rabo de foguete. Os anos de exílio (1998), of Ferreira Gullar. Our objective is to delimit the configuration of a narrative voice that counts an exile experience which, for in such a way, moves itself between entailed strategies of auto-representation related to the autobiography and, still, to the fiction. To take handle our study, we make initially of a brief historical panorama of the last dictatorships of Argentina and Brazil that help us approaching to the subject of the exile explored in the three workmanships, that is, the exile as an experience to the politicians processes of these countries that, in its subjective dimension, mean losses, fictions, identities in crisis. Soon, we try to demonstrate that, in the three workmanships, the negativities of this experience compromises the possibility to tell the events in linear and stable way, affecting, on the other hand, the construction of the texts as autobiographical stories in the canonic molds, and, for another one, the fictitious construction of the events, a time that the experience is directly related to the life of Héctor Tizón, Tununa Mercado and Ferreira Gullar. It interests us the passage that carries through the narrators to tell its history, marked for a zone of instability of the articulation that propagates for all the categories of the stories (time, space and personages) and questions the sort definition.
8
Fuks, Julián Miguel Barbero. "Juan José Saer e o paradoxo necessário ou uma poética da (i)mobilidade em Nadie nada nunca." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-05022010-135056/.
Full textAbstract:
Esta dissertação promove uma leitura da obra Nadie nada nunca (1980), do escritor argentino Juan José Saer, em função das hipóteses sobre a morte do romance e a impossibilidade de narrar. Tomando o paradoxo como elemento fundamental de qualquer romance contemporâneo, identifica o paradoxo específico dessa obra na alternância entre impossibilidade de movimento e revolução contínua da matéria. Cada um desses preceitos assumidos pelo livro resulta em uma poética própria poética da imobilidade e poética da mobilidade ambas aliando-se para converter a obra em uma seqüência de enigmas e interrogações, prenhe de auto-referências e ambigüidades. Um universo próprio que se basta em sua infinidade complexa e obscura, e que desse modo ganha status de objeto autônomo do mundo, propondo uma possível resposta ao impasse em que se encontram a narrativa e a representaçãoThis dissertation suggests an interpretation of the novel Nadie nada nunca (1980), written by the Argentine Juan José Saer, according to the multiple hypotheses about the death of the novel and the impossibility of narrative. Taking paradox as an essential element of any contemporary novel, the dissertation identifies the specific paradox of this work in the alternation between the impossibility of movement and the continuous revolution of matter. Each of these precepts assumed by the book results in a poetics a poetics of immobility and a poetics of mobility both of which combine in order to convert the novel into a sequence of enigmas and inquisitions, filled with selfreferences and ambiguities. A universe of its own that is self-sufficient in its complex and obscure infinity, and therefore achieves a status of an autonomous object of the world, offering a possible answer to the impasse confronted by narrative and representation
Books on the topic "Argentina - Contemporary narrative. eng"
1
The subversive psyche: Contemporary women's narrative from Argentina and Uruguay. Oxford: Clarendon Press, 1995.
Find full text
2
Kantaris, Elia Geoffrey. The Subversive Psyche: Contemporary Women's Narrative from Argentina and Uruguay (Oxford Hispanic Studies). Oxford University Press, USA, 1996.
Find full textBook chapters on the topic "Argentina - Contemporary narrative. eng"
1
González-Ruibal, Alfredo. "Ruins of the South." In Contemporary Archaeology and the City. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803607.003.0016.
Full textAbstract:
The ruins of modernity are inevitably the ruins of the North. Actual or imagined ruined cities (the real Detroit or a post-apocalyptic London) are always Euro-American industrial or post-industrial metropolises (Vergara 1999; Woodward 2002; Edensor 2005; Jorgensen and Keenan 2012). These ruins are receiving growing attention by researchers, who often see them as metaphors of a diverse kind—including of our cultural anxieties and fears, of colonialism, capitalism, of the end of master narratives (Hell and Schönle 2010; Dillon 2011; Stoler 2013). They are also scrutinized by cultural heritage managers and politicians who try to transform them into spaces of memory, of leisure and consumption, or both. The post-industrial ruins of the South have received much less attention in recent debates on ruination, decay, recovery, and gentrification, although there are a few significant exceptions, most notably the work of Gordillo (2009, 2014) in Argentina and also Rodríguez Torrent et al. (2011, 2012) and Vilches (et al. 2008, 2011) in Chile. This is due to several reasons: one of them is the fact that southern urbanization and industrialization are usually perceived as a recent process. They are too young to have generated ruins: after all, none of the diverse southern ‘miracles’ of which economists speak (South-east Asian, Brazilian, African, and so on) dates from before the 1960s. It is well known that when companies do outsourcing, it is the so-called emerging economies that benefit from it: new factories for the South, new ruins for the North. Another reason is that the long-term process of modernity is still very much associated with Euro-American history. The rest of the globe is seen as having a later, incomplete, or surrogate modernity, as post-colonial historians have abundantly criticized (Chakrabarty 2000). In addition, the cultural and political conditions of the North have enabled the emergence of popular engagements with ruins, such as urban exploring or video games, that have made their processes of metropolitan ruination more conspicuous at a global level (Garrett 2013; Pétursdóttir and Olsen 2014: 4).