REV - RILCE - 2021, 37.3
Permanent URI for this collectionhttps://hdl.handle.net/10171/58795
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- «Todo es un cuento roto»: identidad fragmentada y estética fragmentaria en la obra de Carmen Martín Gaite(Servicio de Publicaciones de la Universidad de Navarra, 2021) Venzon, R. (Ruben)In Carmen Martín Gaite’s work, the broken mirror and the puzzle are complementary images which symbolize both the problematic scission of the subject and the consequential adoption of a fragmentary aesthetic. On the basis of Lacan’s psychoanalytic stade du miroir and its repercussions on the field of knowledge, this article explains Martín Gaite’s crisis of representation and subsequent search of alternative means of expression. To this purpose, firstly Cuadernos de todo, El cuento de nunca acabar and Visión de Nueva York are contemplated as examples of non-sequential writing apart from fiction. Thereafter, the importance of this unconventional attitude is verified through an analysis of the aforementioned metaphors in the narrative configuration of Nubosidad variable and La Reina de las Nieves.
- Escritura y oralidad en el fractal literario infantil(Servicio de Publicaciones de la Universidad de Navarra, 2021) Álvarez-Ramos, E. (Eva)This paper provides some examples of the presence of fractality in children’s literature, a fact that allows us to reflect on the changes that productions intended for children have undergone in recent decades and that have directly affected the conception and quality of this literature. The presence of the fractal, first, as a stronghold of orality (so closely related to childhood) and, secondly, as a structuring element of discourse in written manifestations, reinforces the claim of the literary as the main managing element of discourse, above the target audience.
- «En un delirio de esponja con cien ojos»: brevedad y fragmentariedad en la «autonovela» de Eduardo Berti(Servicio de Publicaciones de la Universidad de Navarra, 2021) Martínez-Deyros, M. (María)The present work aims at studying the fusion between the autofiction and the metafiction in Eduardo Berti’s autonovela. The paper focuses on the different strategies used by the Argentine writer in order to create the fragmentation, brevity and fractality in the narrative discourse. It concludes with the argument that fragmentary writing is the most convenient form of autofictional literature.
- La estrategia de Chopin: modos fractales, reticulares y fragmentarios de escritura narrativa en español de finales del XX y principios del XXI(Servicio de Publicaciones de la Universidad de Navarra, 2021) Mora, V.L. (Vicente Luis)The plethora of narrative works in Spanish in the last thirty years with fragmentary, reticular or “fractal” techniques, some of them written by some of the most important authors and novelists, forces us to find an explanation of this proliferation and diversity of literary strategies. Although fragmentary structure is not a novelty, but a tradition, it is obvious and demonstrable that the number of fragmentary works has increased exponentially in the last decades, and this fact requires analysis in depth. Criticized as a practice in the late 90’s by some noted peninsular critics, and with contemporary reluctant dissidents, after this analysis it will seem reasonable to argue that the number and importance of writers that used fragmentation –sporadically or consistently– invite to a more generous and stable validation of these narrative strategies.
- FM y los cuentos para el final del alfabeto: fragmentaciones identitarias en X, Y y Z(Servicio de Publicaciones de la Universidad de Navarra, 2021) Escandell-Montiel, D. (Daniel)The short story book Cuentos de X, Y y Z offers a series of short or very short stories in which the main characters are referred to exclusively with those letters. In the analysis of this compilation of stories, I analyze this resource through the fractal implications that derive from the recursion of some variables used as substitutes for the names of characters that are repeated in a systematic way. I submit that this element, in combination with the semionautic reception of the work, makes the reader look for new relationships and significant combinations, which directly influences the conceptualization of the characters throughout the reading process. This leads the conclusion that it is due to these two factors that a particular and individual perception of the identity of the characters that are used as the protagonist trio is produced.
- «Todas las madres del mundo», de Gustavo Martín Garzo: reconfigurar las maternidades en 59 microficciones(Servicio de Publicaciones de la Universidad de Navarra, 2021) Rodríguez, C. (Carmen)This article analyses of one of the few titles by Gustavo Martín Garzo corresponding to the microfiction genre: Todas las madres del mundo (previously published as Pequeño manual de las madres del mundo). Critics have paid little attention to this book, probably because its author is identified with the writing of novels, genre to which its most celebrates titles belong. However, as we try to demonstrate in the following pages, Todas las madres del mundo addresses a recurring theme in all Martín Garzo’s work: motherhood. For doing so, the author uses a brief, nodal writing, in which the concept of ‘book’ does not work as a simple compilation of stories or an editorial convention, but rather constitutes a pattern of relational and topological reading. The result is a thematic cycle of short narrative pieces, similar to a catalog or a bestiary, which is an ideal option to deal with the complexity of motherhood from unusual points of view –sometimes weird or dark, but with a hue of humour.
- El fragmentarismo en la novela modernista española: el «Diario de un enfermo» (1901) de Azorín(Servicio de Publicaciones de la Universidad de Navarra, 2021) Garrido-Ardila, J.A. (Juan Antonio)This article examines fragmentation in Azorín’s debut novel, titled Diario de un enfermo (1901). It will firstly underscore how fragmentation facilitates one of the main features of modernist novels –interiorisation. This paper will then deploy the categories of narrative fragments identified by Frank Kermode in order to undertake an analysis of fragmentation in Diario de un enfermo, focusing on the ways in which fragments interrupt the plot helping to intensify narrative interiorisation. The article will explain that the purpose of the novel, according to the narrator, is to offer a portrait of his soul and that the fragments are crucial to achieve this. Our analysis concludes that, not only does the use of fragments result in a fragmented novel, but fragments do also allow for a forceful exploration of the protagonist’s inner feelings and of his listless conception of life.
- «Autorretrato sin mí» de Fernando Aramburu en su esencia fractal(Servicio de Publicaciones de la Universidad de Navarra, 2021) Frattale, L. (Loretta)The essay refers to the existing accordance between the peculiar fractal structure of Autorretrato sin mí by Fernando Aramburu (2018) and the tendency towards fragmentation and the breaking-up of the frontiers among genres that characterised the Spanish narrative of the last few decades. Aramburus text is compared to other selfreferential writings (literary traditional self-portrait, autofiction, autonovela). The fractal structure of the text and the “posibilidades de lectura [...] de lo mismo y lo multiple” are given close attention. These were already fully taken into account by Zavala in relation to the short story cycles and the fragmented novels, that this special structure exhibits within a unitary narrative frame (specifically that of the literary self-portrait), even if this same structure is bound to multimedia and multifocal discoursive practices, due to its pictorial origins. The specific creative tension released by the “fractal structure” of Aramburu’s self-portrait is connected to the “fractal character” according to the theory of the philosopher Jean-Luc Nancy.
- Fragmentariedad del yo y semiótica del cuerpo en «Clavícula», de Marta Sanz(Servicio de Publicaciones de la Universidad de Navarra, 2021) Calvo-Revilla, A. (Ana)Starting from the fact that corporality constantly nourishes Marta Sanz’s narrative, we analyze the imaginary of the body as a socio-cultural semiotic space in Clavícula. After an autobiographical process of bodily pain exploration, the author conquers the territory of the body’s textuality through a fragmentary structure impregnated with generic hybridism, from which she reflects on the political power of language and claims some of the narrative imaginaries that structure her own imaginary: the sovereignty of corporality, anatomy as a form of language, the legitimacy of criticism, social discomfort, the vulnerability of women, etc.
- El yo en mil pedazos: heterónimos y fragmentación discursiva en la narrativa española contemporánea(Servicio de Publicaciones de la Universidad de Navarra, 2021) González-Pascual, G. (Guillermo)In this article, we seek to establish a connection between literary heternonyms and discourse fragmentation. We will try to find the origins of literary heteronyms in Western narrative, and their linkage with the notion of the Self in the Western philoshopy. In doing so, we will attempt to show the relationships between literary heteronyms and various figures of authorial voice displacement and multiplication, and other recent narrative literary trends (like autofiction), with some examples.