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Journal articles on the topic 'Vargas Llosa, Mario, Peru'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Merino, Ximena Antonia Díaz. "REFLEXÕES SOBRE MARIO VARGAS LLOSA E A CONSTRUÇÃO DISCURSIVA DA AMAZÔNIA PERUANA EM EL HABLADOR." Nova Revista Amazônica 6, no. 4 (December 6, 2018): 39. http://dx.doi.org/10.18542/nra.v6i4.6495.

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A Amazônia tem uma dimensão discursiva e sua representatividade se constitui a partir das criações simbólico-literárias que por meio dos romances contribuem para a configuração imagética dessa região. Destaca-se neste estudo a narrativa etnográfica de Mario Vargas Llosa em sua obra El Hablador (1987). Nela é descrito um grupo indígena da Amazônia peruana a partir de duas visões, a do indígena e a de um jovem escritor do Peru que se encontra em Florença. Esta reflexão objetiva a análise das duas perspectivas apresentadas por Vargas Llosa com o intuito de ler a obra como enunciação sobre a Selva Amazônica peruana relacionada ao homem local, ao espaço geográfico, às tradições culturais e à natureza. El Hablador pode ser considerada uma narrativa de cunho etnográfico pois revela uma representação do indígena construída a partir dos procedimentos etnográficos de observação, recolecção e registro de dados.

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2

Netto de Moraes, Rita Mara. "SEMELHANÇAS E DESSEMELHANÇAS ENTRE 'LA GRANDA KALDRONO' E 'LA CASA VERDE'." Revista X 15, no. 6 (December 12, 2020): 765. http://dx.doi.org/10.5380/rvx.v15i6.76897.

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O presente artigo apresenta um estudo comparativo entre os romances La granda kaldrono (“O grande caldeirão”), obra originalmente escrita em Esperanto, do escritor escocês John Islay Francis, e La casa verde, do escritor peruano Mario Vargas Llosa. Objetiva-se comparar o universo temático dos dois romances, desvelar a estrutura similar presente neles, as técnicas utilizadas pelos autores para apresentar os temas escolhidos e o uso do tempo. Em relação ao tema, Francis e Vargas Llosa seguem caminhos diferentes que, ao final, chegam a uma perspectiva semelhante. O primeiro elege como tema a guerra e suas consequências na vida do homem comum. O segundo elege tema relacionado ao Peru, mas que nos leva a refletir sobre a América Latina, explorada por aqueles que a conquistaram, que destruíram seu modo de vida originário e deixaram nela um sentimento de desamparo e de falta de identidade. Os dois romances exigem do leitor muita reflexão e concentração para ligar todos os fios magistralmente tecidos pelos autores, que entrecruzam duas gerações, duas histórias cujas personagens por vezes parecem caminhar lado a lado, dialogando e vivendo conflitos semelhantes.

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3

Calderón Bentin, Sebastián. "The Politics of Illusion: The Collapse of the Fujimori Regime in Peru." Theatre Survey 59, no. 1 (January 2018): 84–107. http://dx.doi.org/10.1017/s0040557417000503.

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Peru approached the twenty-first century a polarized country. In the year 2000, with increased authoritarian control over the legislative and judicial branches along with constitutional reforms paving the way for his re-reelection, President Alberto Fujimori campaigned for a third term in office. His main electoral opponent, Alejandro Toledo, along with opposition leaders, spearheaded massive demonstrations in Lima accusing the government of repression, corruption, drug trafficking, and electoral fraud. Opposition figures were joined by grassroots social movements, unions, students, and human rights activists who opposed the regime's repressive and corrupt practices, which included by now reports of torture and extrajudicial killings. When Fujimori first became president a decade earlier he had inherited a country ravaged by widespread poverty, hyperinflation, nearly depleted foreign reserves, a growing narcotics trade, and two armed terrorist groups: the MRTA (Tupac Amarú Revolutionary Movement) and the Shining Path (Sendero Luminoso). Both were on the offensive across the country, the Shining Path most prominently, planting car bombs in the capital, kidnapping and killing civilians, and besieging towns and villages across the country. Looking for a way out of economic and terrorist violence, Peruvians were faced with two options in 1990: Alberto Fujimori, an ex-university president and agricultural engineer of Japanese descent, and Mario Vargas Llosa, a white, upper-middle-class novelist and liberal intellectual. Though Fujimori was less well-known, many Peruvians saw Vargas Llosa's center-right coalition as a repackaged version of the same traditional political groups that had lead the country into crisis. Fujimori would appear much like Hugo Chávez later in Venezuela, a populist outsider ready to challenge the traditional party system. Many saw Fujimori's succinct rhetoric as refreshing when contrasted with Vargas Llosa's elaborate speeches, especially since the former president, Alan García, who fled the country in 1992 on corruption charges, was also well-known for his loquacious disposition.

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4

Olarte, Efraín Gonzales de. "Economic Stabilization and Structural Adjustment Under Fujimori." Journal of Interamerican Studies and World Affairs 35, no. 2 (1993): 51–80. http://dx.doi.org/10.2307/165944.

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When Alberto Fujimori campaigned for president of Peru W i n 1990, he ran on a platform in which he promised to institute a moderate program of gradual economic stabilization, including the privatization of certain state-owned enterprises. These promises were instrumental in his scoring an upset victory over writer Mario Vargas Llosa, who had been the odds-on favorite to win just three months earlier — and, thus, to become Peru's third popularly elected president in his country's ten years of continuous democracy.Nevertheless, soon after Alán García relinquished the presidential office, in July 1990, to the newly-elected president, those election promises underwent a dramatic reversal. On the grounds that he had inherited a bankrupt country which left him no alternative (no habia otra cosa que hacef), the new president moved quickly to establish a stabilization program of classic orthodoxy in August 1990 (Fujimori, 1990).

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5

González Prada, Manuel, Cathleen Carris, and Thomas Ward. "The Slaves of the Church." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 765–77. http://dx.doi.org/10.1632/pmla.2013.128.3.765.

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Manuel GonzÁlez prada (1844-1918), like inca garcilaso de la vega, César vallejo, josé marÍa arguedas, and mario vargas llosa, ranks among the top Peruvian literary figures, but only in Peru, where his work is hotly debated by literati, social scientists, historians, politicians, and journalists. Outside Peru he rates no more than the inclusion in anthologies of one of his poems; his most famous essay, “Nuestros indios” (“Our Indians”); or the occasional critical article on his work. However, with the Cuban José Martí (1853-95), González Prada is a founder of Latin American modernism, a movement that critics generally accept as running roughly from the publication of Rubén Darío's Azul, in 1888, to Darío's death, in 1916. Gordon Brotherston notes that Darío coined the term modernismo the same year he published Azul (vii). There are many reasons there has been less interest in González Prada than in Martí and other modernists. To begin with, Darío, in an 1888 visit to Peru, met with Ricardo Palma but not González Prada (Castro). Palma, writing in a more traditional style—even though he invented a genre, tradiciones—was the establishment's literary darling, while González Prada, always the innovator in style and an agitator in subject matter, remained largely unknown outside his native land. Thus, it made perfect sense that the maker of literary movements would visit the internationally known Palma but not González Prada, who could not add to his fame and expanding literary networks. Furthermore, when Darío later went to New York he turned his epistolary relationship with Martí into a personal friendship (Henríquez Ureña 93). In the United States there is much more interest in Martí, who lived here, than in González Prada, who did not. Hispanic modernism is typically understood to include the like-minded people whom Darío knew personally, such as Martí, Julián del Casal (Cuba), Manuel Gutiérrez Nájera (Mexico), Ricardo Jaimes Freyre (Bolivia), and Juan Ramón Jiménez (Spain), and to exclude those whom he did not, such as Adela Zamudio (Bolivia) and González Prada. Finally, González Prada's anarchism, his feminism, and his tell-it-like-it-is essays did not endear him to many people.

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6

Oviedo, Jose Miguel, and Raymond Leslie Williams. "Mario Vargas Llosa." Hispanic Review 56, no. 3 (1988): 399. http://dx.doi.org/10.2307/474044.

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7

Gerdes, Dick, and Raymond Leslie Williams. "Mario Vargas Llosa." Hispania 71, no. 2 (May 1988): 308. http://dx.doi.org/10.2307/343062.

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8

Millington, M. I., and Dick Gerdes. "Mario Vargas Llosa." Modern Language Review 83, no. 1 (January 1988): 229. http://dx.doi.org/10.2307/3728628.

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9

Williams, Raymond Leslie, and Dick Gerdes. "Mario Vargas Llosa." World Literature Today 61, no. 3 (1987): 429. http://dx.doi.org/10.2307/40143358.

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10

Berg, Mary G., and Sara Castro-Klarén. "Understanding Mario Vargas Llosa." Chasqui 20, no. 2 (1991): 141. http://dx.doi.org/10.2307/29740389.

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11

McMurray, George R., and Sara Castro-Klarén. "Understanding Mario Vargas Llosa." World Literature Today 65, no. 2 (1991): 277. http://dx.doi.org/10.2307/40147144.

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12

Wilson, Pamela McNab, and Sara Castro-Klaren. "Understanding Mario Vargas Llosa." Modern Language Review 87, no. 4 (October 1992): 1019. http://dx.doi.org/10.2307/3731531.

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13

Moya, Juan Carlos. "Vargas Llosa." Textos y Contextos (segunda época), no. 15 (September 24, 2014): 69–71. http://dx.doi.org/10.29166/tyc.vi15.741.

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Cuando estreche la diestra de don Mario Vargas Llosa —esa mafiana opaca de un afio feliz y casi olvidado— dude de la fuerza de los cinco nudillos, del peso de la carne de su mano que al tacto era blanda y suave, y que, ahora, el tiempo había manchado con unas pecas que se movían sobre la piel como pequeños lagos de arena. "Buenos días, es un placer", dijo con su mirada todavía viva y llameante, como la de un joven limeno dispuesto a encarar el dialogo, la arremetida inesperada de un extralio, sacudiendo con suavidad el brazo para que el saludo pase breve, pero cortes, seco pero firme, distante pero dispuesto a ser generoso.

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14

Perales Contreras, Jaime. "Entrevista con Mario Vargas Llosa." Estudios: filosofía, historia, letras 11, no. 38 (1994): 7. http://dx.doi.org/10.5347/01856383.0038.000172732.

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15

V., Miguel Angel Huamán. "Mario Vargas Llosa: Análisis Introductorio." Revista de Crítica Literaria Latinoamericana 15, no. 29 (1989): 337. http://dx.doi.org/10.2307/4530441.

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16

Pearson, Lon, and Efraín Kristal. "Review Essay: Vargas Llosa, Mario." Chasqui 30, no. 2 (2001): 138. http://dx.doi.org/10.2307/29741692.

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17

Moran, Dominic. "Interview with Mario Vargas Llosa." Hispanic Research Journal 7, no. 3 (September 2006): 259–73. http://dx.doi.org/10.1179/174582006x119718.

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18

Campos Plaza, Nicolás A. "EL SILENCIO Y LA PALABRA. ESTUDIOS SOBRE LA CIUDAD Y LOS PERROS, DE MARIO VARGAS LLOSA." Entreculturas. Revista de traducción y comunicación intercultural, no. 5 (January 23, 2013): 147–49. http://dx.doi.org/10.24310/entreculturasertci.vi5.11584.

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Coincidiendo con la publicación en 2012 por parte de la Real Academia Española, en colaboración con la Asociación de Academias de la Lengua Española de la obra de Mario Vargas Llosa: La ciudad y los perros (edición conmemorativa del cincuentenario), la cátedra Mario Vargas Llosa de la Universidad de Málaga ha publicado, en este mismo año, una monografía colectiva titulada: El silencio y la palabra. Estudios sobre La ciudad y los perros de Mario Vargas Llosa.

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19

Forgues, Roland. "Revisitando a Ricardo Palma en el centésimo aniversario de su muerte." Aula Palma, no. 18 (December 31, 2019): 361–71. http://dx.doi.org/10.31381/ap.v0i18.2618.

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ResumenEn este artículo se revisa el concepto de disidencia en la obra de Ricardo Palma. Utilizamos el término «disidencia» en el sentido que desarrollara Mario Vargas Llosa (1971). Revelamos aquí, brevemente, cómo la disidencia en Palma se enmascara de un aparente conformismo social y cultural destinado a cuestionar soterradamente las estructuras del poder colonial y patriarcal y su supervivencia en el Perú republicano.Palabras Clave: Tradiciones peruanas, disidencia, Mario Vargas Llosa, discurso subyacente, transgresión, formación de país. AbstractThis article reviews the concept of dissent in Ricardo Palma's work. We use the term "dissent" in the sense that Mario Vargas Llosa (1971) developed. Briefly, we reveal here how the dissent in Palma is masked by an apparent social and cultural conformism destined to subtly question the structures of colonial and patriarchal power and its survival in the Peruvian republic.Keywords: Peruvian traditions, dissent, Mario Vargas Llosa, underlying discourse, transgression, country formation.

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20

Adam, Alfred Mac, and Myron I. Lichtblau. "Mario Vargas Llosa: A Writer's Reality." Hispanic Review 61, no. 3 (1993): 454. http://dx.doi.org/10.2307/475097.

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21

Martínez Mendoza, Sarelly, José Martínez Torres, and Antonio Durán Ruiz. "Los Periodistas de Mario Vargas Llosa." Revista Espacio I+D Innovación más Desarrollo 8, no. 19 (February 1, 2019): 92–112. http://dx.doi.org/10.31644/imasd.19.2019.a06.

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22

Perales Contreras, Jaime. "Mario Vargas Llosa, Cinco esquinas: [reseña]." Estudios: filosofía, historia, letras 15, no. 123 (2017): 179. http://dx.doi.org/10.5347/01856383.0123.000280284.

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23

Castro-Klarén, Sara. "Mario Vargas Llosa: A Retrospective Look." MLN 131, no. 2 (2016): 536–50. http://dx.doi.org/10.1353/mln.2016.0021.

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24

Wyngaard, Amy S. "A Writer's Reality: Mario Vargas Llosa." Symposium: A Quarterly Journal in Modern Literatures 66, no. 2 (April 2012): 63. http://dx.doi.org/10.1080/00397709.2012.677354.

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25

Llosa, Mario Vargas, and Elzbieta Sklodowska. "An Interview with Mario Vargas Llosa." Missouri Review 16, no. 3 (1993): 113–36. http://dx.doi.org/10.1353/mis.1993.0030.

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26

Lamarque, María Fernández. "Cinco esquinas by Mario Vargas Llosa." Hispania 100, no. 3 (2017): 501–2. http://dx.doi.org/10.1353/hpn.2017.0092.

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27

Kovačević-Petrović, Bojana. "True lies of Mario Vargas Llosa." Kultura, no. 150 (2016): 59–75. http://dx.doi.org/10.5937/kultura1650059k.

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28

Villafranca Quinto, Alfredo. "Mario Vargas Llosa, Tiempos recios: [reseña]." Estudios: filosofía, historia, letras 19, no. 137 (2021): 168. http://dx.doi.org/10.5347/01856383.0137.000299751.

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29

Wiseman, David P. "Mario Vargas Llosa: La novela como literatura / Mario Vargas Llosa: The Novel as Literature (review)." Hispania 95, no. 4 (2012): 767–68. http://dx.doi.org/10.1353/hpn.2012.0123.

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30

Schulte, Rainer, Inger Enkvist, and Linda Schenck. "On Translating Mario Vargas Llosa: The Novels of Mario Vargas Llosa in English, French and Swedish Translation." World Literature Today 69, no. 1 (1995): 112. http://dx.doi.org/10.2307/40150909.

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31

Carrillo Mauriz, Sonia Luz. "El maestro Raúl Porras en el recuerdo de sus alumnos Carlos Eduardo Zavaleta y Mario Vargas Llosa." Tradición, segunda época, no. 19 (December 31, 2019): 17–21. http://dx.doi.org/10.31381/tradicion.v0i19.2609.

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ResumenEl legado del maestro Raúl Porras Barrenechea en la voz de su alumno, el narrador peruano y profesor sanmarquino, Carlos Eduardo Zavaleta, con importantes menciones a lo expresado por Mario Vargas Llosa, también discípulo del maestro, es el motivo del presente artículo. Datos valiosos y testimonios se entrelazan con el relato de vivencias y certeras apreciaciones de Porras como fino escritor y se constituyen en señalamiento de las tareas pendientes para una más amplia difusión de las obras del maestro Porras Barrenechea. Palabras clave: Raúl Porras Barrenechea, Carlos Eduardo Zavaleta, Mario Vargas Llosa, Historia, Literatura. AbstratThe purpose of this paper is the legacy of the master Raúl Porras Barrenechea in the voice of his student – the peruvian narrator and professor of the National University of San Marcos, Carlos Eduardo Zavaleta – with important mentions to what was expressed by Mario Vargas Llosa, also a disciple of the teacher. Valuable data and testimonies are intertwined with the story of experiences and certain assessments of Porras as a fine writer, it is constituted pointing out the outstanding tasks for a wider dissemination of the works of the master Porras Barrenechea. Keywords: Raúl Porras Barrenechea, Carlos Eduardo Zavaleta, Mario Vargas Llosa, History, Literature

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32

Weitzdörfer, Ewald. "Mario VARGAS LLOSA. El sueño del celta." Alpha (Osorno), no. 32 (July 2011): 258–59. http://dx.doi.org/10.4067/s0718-22012011000100019.

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33

Ingenschay, Dieter. "MARIO VARGAS LLOSA Y EL 'PECADO NEFANDO." Revista chilena de literatura, no. 80 (November 2011): 51–63. http://dx.doi.org/10.4067/s0718-22952011000300003.

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34

Castaneda, Belen S. "Mario Vargas Llosa: El novelista como critico." Hispanic Review 58, no. 3 (1990): 347. http://dx.doi.org/10.2307/473811.

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35

Huamán Villavicencio, Miguel Ángel. "La escritura utópica de Mario Vargas Llosa." Letras (Lima) 81, no. 116 (December 2, 2010): 45–56. http://dx.doi.org/10.30920/letras.81.116.3.

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Uno de los efectos más recurrentes de la escritura literaria es el asombro que se produce en el lector frente a la revelación de la dimensión estética. A partir de esa experiencia, el usuario intenta descifrar o comprender la peculiar naturaleza de la creación verbal. Entonces, en el afán por entender el secreto de la palabra poética, la primera alternativa consiste en indagar en el autor o escritor al respecto, porque se supone que quién ha concretado una obra que genera tal reacción, debe de saber en qué consiste su arte, su destreza, su particular habilidad creativa. En este sentido, la intención de este artículo es realizar una rápida revisión del “arte poética” del autor de La casa verde, con el objeto de clarificar la continuidad de sus convicciones básicas y observar cómo la aparente adscripción de su postura a una opción esteticista, que algunos han considerado homóloga a su postura ideológica a favor del liberalismo, ha sido modificada, de conformidad con sus últimas reflexiones. Ello acerca su obra a la del otro gran narrador peruano del siglo XX: José María Arguedas.

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36

Gladieu, Marie-Madeleine. "Mario Vargas Llosa et le modèle chevaleresque." America 34, no. 1 (2006): 211–17. http://dx.doi.org/10.3406/ameri.2006.1762.

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37

Franken K., Clemens. "Mario Vargas Llosa y sus detectives frustrados." Literatura y Lingüística, no. 19 (August 14, 2018): 65. http://dx.doi.org/10.29344/0717621x.19.1574.

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Luego de exponer los antecedentes bio-bibliográficos más relevantes, lavisión de la sociedad y el concepto de la literatura y del lector del escritorperuano Mario Vargas Llosa se analiza en forma detallada su novela conformato policial ¿Quién mató a Palomino Molero? (1986), señalando rasgoscaracterísticos de los detectives, su forma de pensar, su perfil psicológico ysu modo de investigar, los motivos sociales y culturales del crimen y la críticaa la sociedad peruana. Especial énfasis se pone en destacar la hibridez inter eintragenérica presente en esta obra literaria, es decir, la mezcla de diferentesgéneros literarios y subgéneros policiales.

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38

Cisternas, Daniela. "Vargas Llosa, Mario. La Civilización del Espectáculo." Universum (Talca) 28, no. 2 (2013): 255–59. http://dx.doi.org/10.4067/s0718-23762013000200014.

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39

Vargas Llosa, Mario, and Antoine Compagnon. "Mario Vargas Llosa, conversation avec Antoine Compagnon." La lettre du Collège de France, no. 44 (March 1, 2019): 34–35. http://dx.doi.org/10.4000/lettre-cdf.4351.

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40

Vargas Llosa, Mario. "Mario Vargas Llosa parle de son livre." America 14, no. 1 (1994): 205–10. http://dx.doi.org/10.3406/ameri.1994.1163.

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41

Wilkinson, Marta. "De Flora Tristan à Mario Vargas Llosa." Romanic Review 98, no. 1 (January 1, 2007): 109–11. http://dx.doi.org/10.1215/26885220-98.1.109.

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42

García, Mara L. "Mario Vargas Llosa habla sobre su teatro." Latin American Theatre Review 40, no. 2 (2007): 127–34. http://dx.doi.org/10.1353/ltr.2007.0035.

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43

Fernández-Lamarque, María. "El héroe discreto by Mario Vargas Llosa." Hispania 99, no. 2 (2016): 363–64. http://dx.doi.org/10.1353/hpn.2016.0059.

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44

Martí-Peña, Guadalupe. "The Power of Imagination: Mario Vargas Llosa." Romance Notes 49, no. 1 (2009): 101–9. http://dx.doi.org/10.1353/rmc.2009.0020.

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45

Alvarado Teodorika, Tatiana. "Mario Vargas Llosa, La civilización del espectáculo." Bulletin hispanique, no. 115-2 (December 28, 2013): 786–91. http://dx.doi.org/10.4000/bulletinhispanique.2951.

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46

Béjar, Eduardo. "La Fuga Erotica De Mario Vargas Llosa." Symposium: A Quarterly Journal in Modern Literatures 46, no. 4 (January 1993): 243–56. http://dx.doi.org/10.1080/00397709.1993.10113443.

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47

Schlickers, Sabine. "Das literarische Werk von Mario Vargas Llosa." Revista de Crítica Literaria Latinoamericana 27, no. 53 (2001): 215. http://dx.doi.org/10.2307/4531165.

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48

Castañeda, Belén S., and R. A. Kerr. "Mario Vargas Llosa: Critical Essays on Characterization." Chasqui 21, no. 2 (1992): 71. http://dx.doi.org/10.2307/29740489.

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49

Martínez, José M. "Mario Vargas Llosa, La civilización del espectáculo." Christianity & Literature 64, no. 4 (August 7, 2015): 494–98. http://dx.doi.org/10.1177/0148333115574636.

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50

Filer, Malva E. "The Cambridge Companion to Mario Vargas Llosa." Review: Literature and Arts of the Americas 46, no. 2 (November 2013): 300–301. http://dx.doi.org/10.1080/08905762.2013.840186.

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