Relevant bibliographies by topics / Julio Cortázar

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Julio Cortázar'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 July 2024

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Journal articles on the topic "Julio Cortázar"

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Schmidt, Donald L., and Terry J. Peavler. "Julio Cortázar." Chasqui 20, no. 1 (1991): 148. http://dx.doi.org/10.2307/29740354.

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Bartelle, Liane Broilo, and Gilberto Broilo Neto. "Julio Cortázar." Tematicas 27, no. 54 (December 5, 2019): 103–18. http://dx.doi.org/10.20396/tematicas.v27i54.12347.

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Este artigo apresenta, primeiramente, uma breve explanação sobre características do conto fantástico latino-americano em relação à estética modernista, tendo como arcabouço teórico os autores Arrigucci Junior (1998), Bessière (2012), Coutinho (2003), Piglia (1994), Roas (2010), Todorov (1979), dentre outros. Em seguida, analisa o conto “A autoestrada do sul”, do escritor argentino de Julio Cortázar, na sua caracterização fantástica de um congestionamento.
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Moran, Dominic. "Julio Cortázar." Hispanic Research Journal 4, no. 2 (June 2003): 185–86. http://dx.doi.org/10.1179/hrj.2003.4.2.185.

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Lichtblau, Myron I., and Terry J. Peavler. "Julio Cortázar." Hispania 74, no. 3 (September 1991): 688. http://dx.doi.org/10.2307/344223.

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Lindstrom, Naomi, and Karine Berriot. "Julio Cortázar, l'enchanteur." World Literature Today 64, no. 1 (1990): 82. http://dx.doi.org/10.2307/40145837.

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Wendorff, Anna. "El motivo de la transformación en el cuento Axolotl de Julio Cortázar." Sztuka Ameryki Łacińskiej 11, no. 1 (January 31, 2021): 137–49. http://dx.doi.org/10.15804/sal202105.

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The motif of transformation in Julio Cortazar’s short story Axolotl This paper aims to briefly tackle the issue of the alter ego and the metamorphosis in Latin American literature. For this reason, we shall take the story by Julio Cortázar entitled Axolotl as a reference point and evaluate the various interpretations of the myth and transformation in Cortázar’s work. Since we are not the very expression and measure of our thoughts (e.g. Julio Cortázar), our other self is always among us. The various existential relationships that we establish daily to confirm that we live our lives fulfilled by certainty and conviction, and that – staying in a permanent conflict with the world engulfed in an antagonistic relationship between the real and the unreal – they are a potent metaphor through which Cortázar evoques Thomas Mann or Franz Kafka, among others. Thus, the axolotl shall not be the only reason to analyze the story. We shall also see how this metaphor is rendered in literature.
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Gordon, Samuel. "Rayuela de Julio Cortázar." Revista Iberoamericana 58, no. 159 (June 10, 1992): 711–16. http://dx.doi.org/10.5195/reviberoamer.1992.5069.

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McMurray, George R., and Carlos J. Alonso. "Julio Cortázar: New Readings." Hispania 82, no. 3 (September 1999): 493. http://dx.doi.org/10.2307/346297.

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Adam, Alfred Mac. "Julio Cortázar and music." Review: Literature and Arts of the Americas 34, no. 63 (January 2001): 43–50. http://dx.doi.org/10.1080/08905760108594672.

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Mac Adam, Alfred. "Julio Cortázar 1914–1984." Review: Literature and Arts of the Americas 48, no. 2 (July 3, 2015): 239–43. http://dx.doi.org/10.1080/08905762.2015.1083299.

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Dissertations / Theses on the topic "Julio Cortázar"

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Ávila, Roberta Vieira da Cunha. "Julio Cortázar e René Magritte." reponame:Repositório Institucional da UFSC, 2017. https://repositorio.ufsc.br/xmlui/handle/123456789/182800.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2017.
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Essa dissertação é uma proposta de leitura comparada de Julio Cortázar e René Magritte. Para realizar essa análise, foram destacados, principalmente, os contos de Cortázar ?Circe? publicado em Bestiário, de 1951, e ?Axolote?, publicado em Final de Jogo, de 1956. As obras de Magritte selecionadas foram L´invention collective, de 1934, Le mal du pays (1940) e La bataille de l´Argonne (1964). O objetivo da dissertação é realizar uma leitura que ressalte a proximidade teórica e a intertextualidade entre os dois autores, que tinham raízes no surrealismo e exploraram temas relacionados ao mito.
Abstract : This dissertation is a comparative reading proposal of Julio Cortázar and René Magritte. To carry out this analysis, the short stories of Cortázar "Circe" published in Bestiário (1951) and "Axolote", published in Final of Game (1956) were highlighted. The works of Magritte selected were ?L'invention collective?, 1934, ?Le mal du pays? (1940), and ?La bataille de l'Argonne? (1964). The objective of the dissertation is to carry out a reading that emphasizes the theoretical proximity and the intertextuality between the two authors, who had roots in the surrealism and explored subjects related to the myth.
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Scos, Acacio. "Uma possível leitura de Julio Cortázar." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/28961.

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Resumo: Esta dissertação objetiva investigar o desenvolvimento conceitual da arte da performance na obra do escritor argentino Julio Cortázar. Para isso, realizamos um recorte de sua obra selecionando romance, conto, poemas e inclusive dois tangos. Para proceder às análises, valemo-nos das reflexões de autores que abordam a performance e escritura. Em um primeiro momento, apresentamos um breve mapeamento histórico e de características da arte performática. Alinhavado a isso estudamos os conceitos de escritura e jogo. Finalizamos com as análises que levam em consideração os graus de performance propostos por Paul Zumthor (2005). Portanto, propomos o performático como chave para realizar as leituras das obras de Cortázar, que junto com a sua escritura atingirá o leitor em distintos planos, no do pensamento e do corporal, já que um texto para ser considerado performático exige a presença do corpo em ação, para recuperar uma forma textual com a utilização da voz ou com os dois em parceria.
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Santoro, Cristina Rosa. "Julio Cortázar: de pontes e duplos." Programa de Pós-Graduação em Letras e Linguística da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/10955.

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Em quase toda a obra de Julio Cortázar percebe-se uma particularidade: o duplo. Paris x Buenos Aires, o rio de La Plata x o rio Sena, as pontes, um lado e outro das margens dos rios e do oceano que separam lugares de vivência do autor e que se tornam as chamadas dos orillas. O duplo, em Cortázar, adota diversas manifestações – espelhos, reflexos, imagens, visões – e o tema do desdobramento deriva de vivências do autor. O duplo, figura central de nossas reflexões, temática presente nos estudos literários e nas abordagens psicanalíticas rankianas, freudianas e lacanianas, pode ser aplicado ao ato tradutório, na medida em que muitos esperam do texto traduzido a construção de uma imagem apenas especular, esquecendo o duplo que todo ser (texto) carrega na sua essência mais profunda: um duplo que precede. Outros, no entanto entendem a tradução como ponte entre línguas e linguagens: de um ser para um outro, de uma margem para a outra, de um texto de partida (o ‘original’) para o seu texto duplo, o texto traduzido. A analogia ‛ser-texto’ nos abrirá as portas para esse jogo da amarelinha onde a primeira pedra será jogada a partir do texto de partida, para vivenciar a angústia na passagem, mimese, identificação e repulsa diante do outro – o duplo – na tentativa de atingir o Céu: o texto de chegada.
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Bolson, Kátia Mabilia. "Contos de Cortázar : aspectos do fantástico." reponame:Repositório Institucional da UCS, 2011. https://repositorio.ucs.br/handle/11338/764.

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A presente dissertação tem como objetivo analisar contos da literatura hispano-americana, especificamente, alguns contos da obra do escritor argentino Julio Cortázar. Em seus contos, são examinadas questões pertinentes ao fantástico, real maravilhoso, realismo mágico e ao duplo. Julio Cortázar criou obras bem dimensionadas e arquitetadas usando o monólogo interior e demais técnicas contemporâneas inerentes à pós-vanguarda, conseguindo, portanto, desestabilizar o leitor, levando-o além do possível, transportando-o ao mundo irreal e, assim, descobrindo também outras significações, muito mais profundas do que a trama contida nos contos.
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La presente disertación tiene como objectivo analisar cuentos de literatura hispanoamericana, especificamente cuentos del escritor argentino Julio Cortázar. En sus cuentos san analisadas las cuestiones concernientes al fantástico, real maravilloso, realismo mágico y el doble. Julio Cortázar he creado obras muy bien dimensionadas y arquitectadas, usando el monólogo interior y demás técnicas contemporáneas concernientes a la post-vanguardia, haciendo posible para desestabilizar el lector, siendo que lo toma más allá de lo posible, transladando el mismo en el mundo irreal. También descubre otros significados mucho más profundos que la parcela contenida en sus cuentos.
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Lawrence, Janis. "Alienation and observation: four stories from Julio Cortázar." Thesis, Boston University, 2001. https://hdl.handle.net/2144/27702.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
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Fank, Julie. "A Cortázar, a palavra." Universidade Estadual do Oeste do Parana, 2013. http://tede.unioeste.br:8080/tede/handle/tede/2337.

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The aspects of compromise and playfulness of Julio Cortázar (1914-1984) gravitated weighing in Latin American literature of the twentieth century. Coexist in the writer inseparable critic and intellectual figures who cross the writers of the Latin American Boom called, publishing phenomenon occurred on par with Europe - a continentshelter Latin American exiles in the 60s and 70s. The evidence taken by the Belgian- Argentine-French writer among the peers appear so disparate: the positive and plural character of his experimental work, through which recognizes a strong surrealist influence and dual-critical writer a reinvention of genres; negative by (not suffered alone) contempt intellectuals who opted for intellectual escapism, or not to leave the country. In this paradoxical scenario, it is evident Cortázar as a writer, critic and intellectual who writes a book guillotined in 1969, and has called Último Round in 2009, his writings gathered in a non-descript posthumously by his biographer: Papéis Inesperados. Under the eyes of the theories of David Arirgucci Jr. (1995), Linda Hutcheon (1991), Roland Barthes (1953, 1966), Leyla Perrone-Moisés (1990, 1998, 2005) and Silviano Santiago (1982, 2002, 2004), the aim if, through the analysis of the two works, giving greater clarity to the silhouette of Julio Cortázar deed within the Latin American comparative literature, fixing a time of hybrid scriptures.
Os aspectos, aparentemente diversos, como comprometimento e ludicidade na obra de Julio Cortázar (1914-1984) gravitaram com peso na literatura latino-americana do século XX. Coexistem no escritor as indissociáveis figuras de crítico e intelectual que atravessam os protagonistas do chamado Boom Latino-Americano, fenômeno editorial ocorrido em par com a Europa continente-abrigo dos exilados latinoamericanos nas décadas de 60 e 70 do século passado. A evidência assumida pelo escritor belga-argentino-francês em meio aos colegas de profissão aparece de maneira díspar: positiva pelo caráter experimental e plural de sua obra, por meio da qual reconhece-se uma forte influência surrealista e a característica do duplo críticoescritor e do escritor-crítico numa reinvenção dos gêneros; negativa pelo (não sofrido isoladamente) rechaçamento dos intelectuais que optaram ou pelo escapismo intelectual, ou por não sair da pátria. Nesse cenário paradoxal, evidenciase Cortázar como escritor, intelectual e crítico que escreve um livro guilhotinado em 1969, chamado Último Round e tem, em 2009, seus escritos inclassificáveis reunidos em uma obra póstuma por seu biógrafo: Papéis Inesperados. Com base nos pressupostos teóricos de Davi Arrigucci Jr. (1995), Linda Hutcheon (1991), Roland Barthes (1953, 1966), Leyla Perrone-Moisés (1990, 1998, 2005), Silviano Santiago (1982, 2002, 2004), Zilá Bernd (1998) pretende-se, realizar uma leitura crítico-interpretativa das obras Último Round e Papéis Inesperados, a fim de verificar em que medida, estas obras potencializam a figura do escritor, do crítico e do intelectual latino-americano contemporâneo, na figura de Cortázar, marcado pela imagem de uma escritura de cronópios e, igualmente, marcando um tempo de escrituras híbridas.
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Elphick, Latorre Lilian. "Ríos temporales en "El perseguidor" de Julio Cortázar." Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/110128.

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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Lingüística.
Muchas palabras han corrido bajo los puentes de la investigación literaria acerca de El Perseguidor (y no sólo de éste, sino de la obra completa de Julio Cortázar); múltiples ensayos y tesis han intentando desentrañar sus simbolismos más profundos, su problemática existencial, en donde se busca lo que todo ser humano siempre ha buscado: la expansión de la conciencia. El Perseguidor, que vio la luz editorial en 1959, sigue siendo, cuarenta y cuatro años después, no sólo objeto de estudio, sino de culto. Este trabajo es un intento de acercamiento al transcurso del tiempo en el texto de Cortázar, y un tributo a la persistencia de esta gran obra en nuestra memoria colectiva.
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Andrade, Bianka Teixeira de. "Literatura para brincar: Ultimo round, de Julio Cortázar." Universidade Federal de Minas Gerais, 2015. http://hdl.handle.net/1843/ECAP-9U5J49.

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In this dissertation, the idea of the ludic in Friedrich Schiller, Johan Huizinga, Hans-Georg Gadamer and Roger Caillois will interact to each other and to Julio Cortázar's book Último Round playing a game of reflexes and reflections. By this game, we will raise a discussion about the importance of the ludic for culture, for arts and especially for literature.
Nesta dissertação, as propostas de lúdico de Friedrich Schiller, Johan Huizinga, Hans-Georg Gadamer e Roger Caillois promoverão um jogo de reflexos e reflexões, entre si e com a obra 'Último Round', de Julio Cortázar. Por meio desse jogo, nosso intento é fomentar uma discussão sobre a importância da noção de lúdico para a cultura, as artes e, principalmente, a literatura.
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Dulou, Jérôme. "Julio Cortázar et Roger Caillois : du rêve au fantastique." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL082.

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En 1957, Julio Cortázar rédigea une lettre à Roger Caillois encore inédite à ce jour. Il y fait l’analyse critique de L’incertitude qui vient des rêves, essai de Caillois publié en 1956. L’objet de cette thèse est de contextualiser la rédaction de cette lettre ainsi que la théorie onirique qui y est exposée par Cortázar. Adoptant une méthodologie génétique et intertextuelle, on propose une première analyse de ce document, qui peut être défini comme une « lettre-essai », afin de lui accorder la place qui doit être la sienne au sein de l’œuvre cortazarienne. On démontre ensuite que cette lettre peut être lue comme la synthèse d’une théorie et d’une pratique des rêves clés dans les premiers textes cortazariens, notamment à travers le personnage alter ego et récurrent de Gabriel Medrano, et qu’elle est l’avant-texte d’un rêve de ce personnage dans Los premios. La mise au jour de points de convergence et de passages parallèles entre la « lettre-essai » et ces premiers textes révèle que le complexe onirique cortazarien s’associe à un complexe de l’Autre, à travers les images de la main tendue et du double nocturne. Enfin, le désaccord qui oppose Cortázar à Caillois sur la question des rêves est replacé au sein d’une relation personnelle et professionnelle complexe et dans le contexte d’une opposition intellectuelle plus large autour des concepts de raison, de fantastique et de langage. On se demandera ainsi dans quelle mesure l’œuvre de Cortázar a pu se construire à l’épreuve du dissentiment qui l’opposa à Caillois sur ces différents sujets
In 1957, Julio Cortázar wrote to Roger Caillois a letter still unpublished to date. He conducts a critical review of L’incertitude qui vient des rêves, an essay by Caillois published in 1956. The subject of this thesis is to contextualise the writing of this letter as well as the oneiric theory which is exposed by Cortázar in this letter. An initial analysis of this document, which can be defined as a “letter-essay”, is proposed by adopting a genetic and intertextual methodology, in order to give this letter its rightful place in Cortázar’s works. It is then demonstrated that this letter can be read as the synthesis of a theory and a practice of the key dreams in the first cortazarian texts, particularly through Gabriel Medrano's alter ego and recurrent character, and that it constitutes the “avant-texte” of a dream of this character in Los premios. The coming to light of areas of convergence and parallel passage between the “letter-essay” and these first texts reveals that the cortazarian oneiric complex echoes a complex of the Other through the figures of the helping hand and of the nocturnal alter. Finally, the disagreement between Cortázar and Caillois over the issue of dreams is placed within the context of a personal, professional and complex relationship, and of a larger intellectual opposition about the concepts of reason, fantastic and language. It will then be pondered to which extent Cortázar’s works was built in the test of the dissent between him and Caillois over these different issues
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Protin, Sylvie. "Traduire la lecture : aux sources de "Rayuela" : Julio Cortázar, traducteur." Lyon 2, 2003. http://theses.univ-lyon2.fr/documents/lyon2/2003/protin_s.

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L'enjeu de cette thèse est en quelque sorte de partir du méconnu pour aboutir à une révision du connu dans l'oeuvre de l'écrivain argentin Julio Cortazar (1914-1984). Nous souhaitons ainsi mettre en lumière le Cotazar traducteur : ses traductions littéraires, de l'anglais et du français, valent en tant que textes, en tant que démarche et en tant que formation littéraire. Nous proposons ensuite une problématisation de son oeuvre propre vis-à-vis de la traduction : cette dernière est intimement liée au processus de l'écriture. Enfin, à cette lumière, nous revenons vers un objet plus familier : l'activité si particulière du lecteur dans Rayuela, que nous envisageons hors des représentations classiques du "lecteur complice". Nous essayons de montrer que cette activité du lecteur est plutôt à penser en continuité avec la pratique de la traduction littéraire par Cortazar
The aim of this thesis is to start from the forgotten or undervalued to end up in a revision of the famous parts in the work of Julio Cortazar (1914-1984) the Argentinian writer. We hope to highlight Cortazar the translator : his literary translations, from English and French, are valuable as texts, for his reasoning process, and for his literary education. Then, we suggest to question his works proper in relation to translation, which is intimately connected to the process of writing. Finally, in the light of this aspect, we come back to more familiar: the peculiar state of activity of the reader in Rayuela, that we consider out of the classical approach of "the reader of complicity" ("lector complice"). We try to show that this reader's activity should be viewed as a continuity of Cortazar's experience of literary translation
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Books on the topic "Julio Cortázar"

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Harold, Bloom, ed. Julio Cortázar. Philadelphia: Chelsea House Publishers, 2004.

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Harold, Bloom. Julio Cortázar. Philadelphia: Chelsea House Publishers, 2004.

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Harold, Bloom. Julio Cortázar. Philadelphia: Chelsea House Publishers, 2004.

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Julio, Cortázar, ed. Julio Cortázar. Barcelona, España: Océano, 2001.

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Facio, Sara. Julio Cortázar. Buenos Aires: La Azotea, Editorial Fotográfica, 2004.

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Goloboff, Gerardo Mario. Julio Cortázar: La biografía. México, D.F: Editorial Planeta Mexicana, 1998.

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Martyniuk, Claudio Eduardo. Imagen de Julio Cortázar. Buenos Aires: Prometeo Libros, 2004.

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Dos ciudades en Julio Cortázar. Barcelona: Ronsel, 2006.

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Julio, Cortázar, and Maturo Graciela 1928-, eds. Julio Cortázar: Razón y revelación. Buenos Aires: Editorial Biblos, 2014.

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Espina, Luisa Fernanda. Rayuela, Julio Cortázar: Estudio literario. Bogotá: Panamericana Editorial, 2001.

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Book chapters on the topic "Julio Cortázar"

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Wild, Gerhard. "Cortázar, Julio." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3250-1.

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Cooper-Clark, Diana. "Julio Cortázar." In Interviews with Contemporary Novelists, 256–89. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-08109-7_13.

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Rössner, Michael. "Cortázar, Julio: Rayuela." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3254-1.

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Spiller, Roland. "Cortázar, Julio: Die Erzählungen." In Kindlers Literatur Lexikon (KLL), 1–4. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3251-1.

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Wild, Gerhard. "Cortázar, Julio: Los premios." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3252-1.

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Anderson, Vaughn. "Julio Cortázar in Paris." In The Palgrave Encyclopedia of Urban Literary Studies, 1095–101. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-62419-8_209.

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Anderson, Vaughn. "Julio Cortázar in Paris." In The Palgrave Encyclopedia of Urban Literary Studies, 1–7. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-62592-8_209-1.

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8

Corbatta, Jorgelina. "Julio Cortázar and I." In Psychoanalysis and Narrative, 73–83. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781032726908-8.

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Graf-Riemann, Elisabeth. "Cortázar, Julio: Libro de Manuel." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3257-1.

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Gentz, Anna. "Cortázar, Julio: 62 / Modelo para armar." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3255-1.

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Conference papers on the topic "Julio Cortázar"

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Klein, Paula. "Documenter le présent, une forme d’activisme artistique : Livre de Manuel (1973) de Julio Cortázar." In Les écritures des archives : littérature, discipline littéraire et archives. Fabula, 2019. http://dx.doi.org/10.58282/colloques.6332.

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D'Aprile, Marianela. "A City Divided: “Fragmented” Urban and Literary Space in 20th-Century Buenos Aires." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.22.

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Abstract:
When analyzing the state of Latin American cities, particularly large ones like Buenos Aires, São Paolo and Riode Janeiro, scholars of urbanism and sociology often lean heavily on the term “fragmentation.” Through the 1980s and 1990s, the term was quickly and widely adopted to describe the widespread state of abutment between seemingly disparate urban conditions that purportedly prevented Latin American cities from developing into cohesive wholes and instead produced cities in pieces, fragments. This term, “fragmentation,” along with the idea of a city composed of mismatching parts, was central to the conception of Buenos Aires by its citizens and immortalized by the fiction of Esteban Echeverría, Julio Cortázar and César Aira. The idea that Buenos Aires is composed of discrete parts has been used throughout its history to either proactively enable or retroactively justify planning decisions by governments on both ends of the political spectrum. The 1950s and 60s saw a series of governments whose priorities lay in controlling the many newcomers to the city via large housing projects. Aided by the perception of the city as fragmented, they were able to build monster-scale developments in the parts of the city that were seen as “apart.” Later, as neoliberal democracy replaced socialist and populist leadership, commercial centers in the center of the city were built as shrines to an idealized Parisian downtown, separate from the rest of the city. The observations by scholars of the city that Buenos Aires is composed of multiple discrete parts, whether they be physical, economic or social, is accurate. However, the issue here lies not in the accuracy of the assessment but in the word chosen to describe it. The word fragmentation implies that there was a “whole” at once point, a complete entity that could be then broken into pieces, fragments. Its current usage also implies that this is a natural process, out of the hands of both planners and inhabitants. Leaning on the work of Adrián Gorelik, Pedro Pírez and Marie-France Prévôt-Schapira, and utilizing popular fiction to supplement an understanding of the urban experience, I argue that fragmentation, more than a naturally occurring phenomenon, is a fabricated concept that has been used throughout the twentieth century and through today to make all kinds of urban planning projects possible.
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