873 research outputs found
The Characters of the Novel The Time of the Hero by Mario Vargas Llosa
No full textBakalářská práce se zabývá literárním rozborem díla Město a psi (La ciudad y los perros 1963) od peruánského spisovatele Maria Varga Llosy. Bakalářská práce obsahuje analýzu některých hlavních postav a to protagonistů Básníka, Otroka, Terezy, poručíka Gamboy a Hroznýše. Dále se bakalářská práce soustředí na autobiografické prvky, které se v románu vyskytují. K tomuto výzkumu se využívá biografií Maria Varga Llosy, dokumentu o jeho životě, které jsou porovnány s úryvky z knihy Město a psi i také knih obsahující rozbory děl Maria Varga Llosy.The bachelor thesis deals with the literary analysis of the book The Time of the Hero (La ciudad y los perros 1963) by Peruvian writer Mario Vargas Llosa. It analyses the main characters the Poet, the Slave, Teresa, Lieutenant Gamboa and the Boa. It focuses on the autobiographical elements of the author Mario Vargas Llosa which are found in the novel The Time of the Hero. The main sources of this bachelor thesis are the books including the literary analyses of the works by Mario Vargas Llosa as well as the biographies and the document about the life of Mario Vargas Llosa which are compared to the extracts of The Time of the Hero
Cervantes y Vargas Llosa. Dos arquitecturas literarias
No full textFrom the development of Literature Theory wich based on the analogy with Architecture the author analyze the relationships between Cervantes and Vargas Llosa works. Research on Cervantes reception in Latin America it is a work to keep doing. In Peru Vargas Llosa has received Cervantes works in a peculiar way. This paper tries to clarify what are the structural relations between these two literary architectureFrom the development of Literature Theory wich based on the analogy with Architecture the author analyze the relationships between Cervantes and Vargas Llosa works. Research on Cervantes reception in Latin America it is a work to keep doing. In Peru Vargas Llosa has received Cervantes works in a peculiar way. This paper tries to clarify what are the structural relations between these two literary architectur
Learning about Monetary Policy Rules when the Cost Channel Matters
No full textWe study how the stability of rational expectations equilibrium may be affected by monetary policy when agents learn using adaptive learning (E-stability concept) and the cost channel of monetary policy matters. We focus on both instrumental taylor-type rules and optimal rules. We show, analytically, that standard instrument rules -contemporaneous and forecast based rules - can easily induce indeterminacy and expectational instability when the cost channel is present. Overall, a naive application of the Taylor principle in this setting could be misleading. Regarding optimal rules, we find that "expectational-based" rules, under discretion and commitment, do not always induce determinate and E-stable equilibrium. This result stands in contrast to the findings of Evans and Honkapohja (2003) for for the baseline “New Keynessian" model.Monetary Policy Rules, Cost Channel, Indeterminacy
Intertextualidad con la narrativa clásica: Odiseo y Penélope en la última etapa del teatro de Vargas Llosa
No full textEl artículo propone una segmentación de la producción teatral
de Mario Vargas Llosa a partir de tres etapas. De ellas,
destaca la tercera y última, en la que se han publicado las
obras Odiseo y Penélope (2007), Las mil noches y una noche
(2010) y Los cuentos de la peste (2015). Es evidente que el
autor trabaja estas tres obras dramáticas de manera intertextual
con narraciones clásicas. De tal forma que la propuesta
fundamental de Vargas Llosa en esta etapa es relacionar
aspectos dramáticos con narrativos. El presente artículo
revisa este punto a partir del análisis de la pieza Odiseo y
Penélope con referencias a las otras dos como parte de una
exploración del terreno donde convergen las técnicas narrativas
de Vargas Llosa y su afición por el teatro.This paper proposes a three-stage-segmentation of Mario
Vargas Llosa’s theater. The third — and last — stage contains
his remarkable published works Odysseus and Penelope
(2007), The thousand nights and one night (2010) and Tales
of the plague (2015). Evidently, the author has worked these
dramatic plays intertextually with classical narratives. Thus, the
fundamental proposal of Vargas Llosa in this stage consists on
linking drama to narrative. This paper studies this factor based
on the analysis of Odysseus and Penelope making reference to
the other two works as part of an exploration in a land where
the narrative techniques of Vargas Llosa and his fondness for
theater converge
Euclides segundo Vargas Llosa
No full textStudying Vargas Llosa’s oeuvre, The war of the end of the world, the author of the present paper states that the Peruvian writer went beyond the reverence to Euclides da Cunha classical work, Os sertões, and transformed the Canudos drama in a metonymy of South American history. Moreover, Llosa’s fiction revealsautobiographic traces.Estudando a obra de Vargas Llosa, A guerra do fim do mundo, a autora sustenta que o escritor peruano ultrapassou a reverência a Os sertões, obra clássica de Euclides da Cunha, e transformou o drama de Canudos numa metonímia da história do continente sul-americano. Além disso, a ficção de Vargas Llosa revela traços autobiográficos
Cervantes y Vargas Llosa. Dos arquitecturas literarias
No full textFrom the development of Literature Theory wich based on the analogy with Architecture the author analyze the relationships between Cervantes and Vargas Llosa works. Research on Cervantes reception in Latin America it is a work to keep doing. In Peru Vargas Llosa has received Cervantes works in a peculiar way. This paper tries to clarify what are the structural relations between these two literary architectur
Libertarian utopias and dreams of equality: Mario Vargas Llosa and Flora Tristán
No full textEste artículo analiza la reconstrucción ficcional que Mario Vargas Llosa realiza de Flora Tristán, tomando en cuenta diversas rearticulaciones histórico-literarias de los siglos XIX y XX. A diferencia de otras escrituras con respecto a la famosa escritora franco-peruana, la de Vargas Llosa en El paraíso en la otra esquina (2003) articula un mundo posible y coherente desde una perspectiva alternativa y disidente, sin la religiosidad, el fervor nacionalista o la actitud paternalista que hallamos en otros trabajos sobre Flora Tristán, la intelectual que luchó por alcanzar una utopía socialista de igualdad para las mujeres y los obreros oprimidos. Para realizar este análisis de reconstrucción histórica, el crítico analiza el ensamblaje feminista de Flora Tristán en la novela de Vargas Llosa, a la luz de varios de sus ensayos con respecto al mundo de la ficción y el poder político de la literatura.This article analyzes Mario Vargas Llosa’s fictional reconstruction of Flora Tristán, taking into account a variety of 19th –and 20th– century historical and literary rearticulations. Unlike other writings on the famous Franco-Peruvian author, Vargas Llosa’s El paraíso en la otra esquina (2003) articulates a possible and coherent world from an alternative and dissident perspective, without the religiosity, nationalist passion, and paternalistic attitude that we find in other works on Flora Tristán, the intellectual who fought for a socialist utopia of equality for women and the oppressed workers. In order to carry out this historical reconstruction, the critic analyzes Flora Tristán’s feminist fabrication in Vargas Llosa’s novel, in view of his own essays in regards to the world of fiction and the political power of literature
Parricidio simbólico y resurrección del autor en La señorita de Tacna (1981) de Mario Vargas Llosa
No full textParricidio simbólico y resurrección del autor en La señorita de Tacna (1981)
de Mario Vargas Llosa
La conexión entre la biografía de Mario Vargas Llosa y sus obras de ficción se hace patente, una vez más, en La señorita de Tacna (1981). Contrariamente a lo que plantea Roland Barthes en cuanto que la generación del significado emana principalmente de la interacción entre el lector y el texto (“La muerte del autor”, 1968), en el caso en particular de La señorita de Tacna la información biográfica de Vargas Llosa de que disponga el lector lo ayudará a una mejor comprensión de la pieza dramática. En ese sentido, la contribución del referido conocimiento en el proceso de significación puede ser interpretada, metafóricamente, como la resurrección del autor.
Symbolic parricide and the author resurrection in The Young Lady from Tacna (1981)
by Mario Vargas Llosa
The connection between Mario Vargas Llosa\u27s biography and his fictional works becomes evidence, once again, in The Young Lady from Tacna (1981). Contrary to Roland Barthes\u27 allegation that meaning arises mainly from the interaction between the reader and the text ( The Death of The Author , 1968), in the particular case of The Young Lady from Tacna the information the reader may have on Vargas Llosa\u27s biography will help him/her better understand this play. In this sense, the contribution of such knowledge to the meaning-making process may be metaphorically interpreted as the resurrection of the author
Love and Sex in Mario Vargas Llosa\u27s \u27Quien mato a Palomino Molero?\u27
No full textMario Vargas Llosa\u27s murder mystery Quien mato a Palomino Molero? , while certainly as entertaining an example of its genre as one would expect from an author of such universally acknowledged narrative skill, is ultimately less a tale of complicated sleuthing than it is a commentary on collective corruption, social injustice and base human nature. Against a sharply defined backdrop of the class system in his native Peru, Vargas Llosa registers in this novel the socio-political reality that oppresses the individual by limiting his opportunities, both personal and professional, and dooming to failure any attempt to escape the mandates of systemic social stratification. The author achieves his bleak portrayal of Peruvian society in a number of ways, but primary among them is his presentation of the theme of forbidden love and his use of coarse sexual imagery and counterpoint. It is through thematic considerations associated with problematic love and sex that Vargas Llosa creates a scenario in Quien mato a Palomino Molero
Review Of A Storyteller: Mario Vargas Llosa Between Civilization And Barbarism By Braulio Muñoz
No full textMuñoz examines the numerous contradictions he finds in Vargas Llosa, the famous storyteller and former presidential candidate of Peru, and suggests that those who follow the voice of Vargas Llosa\u27s implied author throughout his impressive corpus will be struck by a series of moral ambiguities long since addressed by Western social theorists. Recognizing that Vargas Llosa would agree in general that notions of good and evil are historically contingent, Munoz argues that his writing manifests disdain for those who fall victim to this relativism. Yet Muñoz sees an underlying relativistic ingredient in everything Vargas Llosa writes. Because of these contradictions, Vargas Llosa, according to Muñoz, fails to offer his reader a unified moral system and distances himself from the great 19th-century European writers whom he has admired. Vargas Llosa\u27s interest in such diverse thinkers as Sartre, Camus, Popper, and Friedman reflect his eclectic approach to morality: within such eclecticism contradiction reigns, and Muñoz argues that Vargas Llosa has forfeited all claim to the traditional role of the Latin American storyteller whose primary function is to offer the public an insightful glimpse into a meaningful universe. Instead, he offers readers only the conviction that chaos is the ultimate arbiter in people\u27s lives. An invaluable addition to the literature. All collections
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