2,022 research outputs found
Coddou, Marcelo. “Lugar común la muerte, de Tomás Eloy Martínez: una invención a manera de la realidad”
No full textCoddou, Marcelo. "Lugar común la muerte, de Tomás Eloy Martínez: una invención a manera de la realidad", Aisthesis [Pontificia Universidad Católica de Chile] 47 (2010): 204-215
Photo from \u3cem\u3eINTI\u3c/em\u3e No. 10-11, Otoño-Primavera 1979-1980, p. 8
No full textPictured from left to right: Mirella Servodidio, co-director of the Cortázar Symposium at Barnard and co-editor of this special edition of Inti with Marcelo Coddou (also pictured). Julio Cortázar, Argentinian author and poet, credited as one of the principal writers to spark the Latin American literary boom in the 1950s and 1960s. This issue of Inti presents Cortázar’s keynote speech as Visiting Gildersleeve Lecturer at Barnard College in 1980 as well as the work of several Cortázar scholars who attended the symposium at Barnard. Miriam Coddou, co-director of the Cortázar Symposium at Barnard, and Marcelo Coddou, co-editor of this special edition of Inti with Mirella Servodidio (also pictured).https://digitalcommons.providence.edu/inti_gallery/1028/thumbnail.jp
Photo from \u3cem\u3eINTI\u3c/em\u3e No. 10-11, Otoño-Primavera 1979-1980, p. 8
No full textPictured from left to right: Mirella Servodidio, co-director of the Cortázar Symposium at Barnard and co-editor of this special edition of Inti with Marcelo Coddou (also pictured). Julio Cortázar, Argentinian author and poet, credited as one of the principal writers to spark the Latin American literary boom in the 1950s and 1960s. This issue of Inti presents Cortázar’s keynote speech as Visiting Gildersleeve Lecturer at Barnard College in 1980 as well as the work of several Cortázar scholars who attended the symposium at Barnard. Miriam Coddou, co-director of the Cortázar Symposium at Barnard, and Marcelo Coddou, co-editor of this special edition of Inti with Mirella Servodidio (also pictured).https://digitalcommons.providence.edu/inti_gallery/1028/thumbnail.jp
La mano del amo de Tomás Eloy Martínez, novela lírica.
No full textResumen:
A partir de un detenido análisis se busca justificar el apelativo de novela lírica con que se debe calificar La mano del amo de Tomás Eloy Martínez. Se demuestra que ésta es una novela marcada por la afirmación de la subjetividad y por una innovación fundamental en el tratamiento del tiempo. Se propone que con ella Tomás Eloy Martínez se atreve a desafiar esa especie de obligación que el público lector parece imponer a un escritor reconocido de que debe mantenerse en una definida modalidad de escritura.
Palabras clave: novela lírica, arte: “conocimiento negativo del mundo real”, fragmentarismo, anti-héroe, metanarración.
Abstract:
Based on a detailed analysis of the text, the author seeks to justify the use of the term “lyric novel” to refer to La mano del amo by Tomás Eloy Martínez. The article shows that this novel is a narration marked by the affirmation of subjectivity and a fundamental innovation in the treatment of time. The author argues that in the text Tomás Eloy Martínez challenged the “obligation” to limit one’s work to a specific mode of writing that the reader seems to impose on well known writers.
Keywords: lyric novel, arts: “negative knowledge of the real world”, fragmentarism, ante-hero- metanarration.
Keywords: lyric novel, arts: “negative knowledge of the real world”, fragmentarism, ante-hero- metanarration
La mano del amo de Tomás Eloy Martínez, novela lírica.
No full textResumen:
A partir de un detenido análisis se busca justificar el apelativo de novela lírica con que se debe calificar La mano del amo de Tomás Eloy Martínez. Se demuestra que ésta es una novela marcada por la afirmación de la subjetividad y por una innovación fundamental en el tratamiento del tiempo. Se propone que con ella Tomás Eloy Martínez se atreve a desafiar esa especie de obligación que el público lector parece imponer a un escritor reconocido de que debe mantenerse en una definida modalidad de escritura.
Palabras clave: novela lírica, arte: “conocimiento negativo del mundo real”, fragmentarismo, anti-héroe, metanarración.
Abstract:
Based on a detailed analysis of the text, the author seeks to justify the use of the term “lyric novel” to refer to La mano del amo by Tomás Eloy Martínez. The article shows that this novel is a narration marked by the affirmation of subjectivity and a fundamental innovation in the treatment of time. The author argues that in the text Tomás Eloy Martínez challenged the “obligation” to limit one’s work to a specific mode of writing that the reader seems to impose on well known writers.
Keywords: lyric novel, arts: “negative knowledge of the real world”, fragmentarism, ante-hero- metanarration.
Keywords: lyric novel, arts: “negative knowledge of the real world”, fragmentarism, ante-hero- metanarration
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