Estética y política en la primera poesía de Juan L. Ortiz (1936-1949) Aesthetics and Politics in the First Poetry of Juan L. Ortiz (1936-1949)

FERNANDEZGONZALEZ CARLOS 한국외국어대학교 중남미연구소 2016 중남미연구 Vol.35 No.1

This article presents a critical review of Juan L. Ortiz’s poetry, focused on the first period of his production (1936-1949), when the transformation of his poetry starts to manifest: a poetry that had emerged within the Mallarméan symbolism, modernism and the last Spanish romanticism, and which converged with the emergence of the social poetry and the willingness for experimentation and commitment of the European and American avant-garde. Taking into account the poetic evolution of Ortiz and his literary-historical context, with the theoretical support of Valéry, Blanchot, Deleuze, Adorno, María Zambrano and Alicia Genovese’s reflections, among others, and in dialogue with a critical drift still scarce, this analysis pursues to retrieve, make evident and update the relevance―often only partially highlighted―of politics in his poetry, as well as raise again the scope of its particular aesthetic-stylistic consequences.

El Otro Lado como Precursor Oscuro en la Poesía de Olga Orozco

FERNANDEZGONZALEZ CARLOS 한국라틴아메리카학회 2015 라틴아메리카연구 Vol.28 No.4

This article presents a critical analysis of Olga Orozco’s poetry, which could be characterized in general terms by the poet’s permanent and consistent search for otherness as creative impulse, carried out through the implementation of very specific textual strategies and the reiterated use of recognizable thematic and conceptual constants. More explicitly, taking into account the poetic evolution of Orozco and her literary-historical context that was marked by the influence of surrealism, late romantic symbolism and Borges, this article – theoretically supported by Delueze, Blanchot, Bachelard, Ricoeur and María Zambrano’s reflections on poetic language– analyzes how the poetic mechanism of repetition results in the proliferation of manifold and diverse manifestations of the other side, which we identify as dark precursor (Deleuze) in the poetry of Olga Orozco.

Autorreferencialidad, política y literatura en Blanco nocturno, de Ricardo Piglia

FERNANDEZGONZALEZ CARLOS 한국외국어대학교 중남미연구소 2013 중남미연구 Vol.32 No.1

Writing about the work of Ricardo Piglia is not only writing about one of the most well‐known fiction writers in Spanish language, but also writing about one of the brightest and most influent literary critics and theorists nowadays. All of Piglia’s fictions require a double reading: about the fiction itself and, at the same time, about the implicit reflection that makes its deployment possible. Throughout the reading of his latest novel, Blanco nocturno (2010), this paper analyzes some key aspects of the work of the Argentinean writer, such as self‐referentiality, literary tradition, the concept of paranoid fiction, of literary character, and the mixture of genres and narrative tenses. With such a purpose, we will resort to the theorizations of Piglia himself about the narrative as well as to his declarations in different interviews, through which the composition of Blanco nocturno is directly or indirectly revealed. The information provided by the author about his work contributes to the creation of a new text, and point out to the queries about the aesthetic and political possibilities of the fiction.

Un siglo de humor en la columna periodística de autores gallegos: hacia una columna lúdica de autor y personaje

FERNANDEZGONZALEZ CARLOS 한국스페인어문학회 2011 스페인어문학 Vol.0 No.61

El propósito de este artículo es analizar el humor como recurso estilístico, retórico y narrativo (es decir, literario) en la columna periodística. Para ello, se ha seleccionado a cuatro autores gallegos que cubren un periodo temporal cercano a un siglo, el transcurrido desde principios del siglo XX hasta la actualidad: Julio Camba, Ricardo Outeiriño, Wenceslao Fernández Flórez y Manuel Jabois. Más en concreto, el presente trabajo pretende examinar los resortes empleados por estos autores para presentar a sus lectores información, análisis y opinión en clave humorística, así como los diferentes grados de protagonismo del autor como personaje. Se procura definir, al mismo tiempo, la evolución general experimentada por el género proteico denominado columna (desde un esquema básico fácilmente reconocible: información-opinión-humor) y su tendencia actual hacia lo que se propone denominar columna lúdica, que otorga al humor relevancia definitiva y encuentra especificidad, además, en la presentación indisimulada de su autor como personaje protagonista. Para todo ello, se opta por una aproximación teórica transversal y ecléctica, integradora, articulada en torno a ideas, conceptos y propuestas para el análisis proporcionados por la teoría de los géneros literarios y de los géneros periodísticos, la narratología, la retórica y el análisis del discurso.

De Madrid a Buenos Aires: tiempo, espacio, lenguaje y experiencia urbana en Ha dejado de llover (2012), de Andrés Barba y Andrade (2012), de Alejandro García Schnetzer

FERNANDEZGONZALEZ CARLOS 서울대학교 라틴아메리카연구소 2013 이베로아메리카硏究 Vol.24 No.1

Desde el surgimiento de las sociedades modernas, el espacio urbano se ha convertido en objeto frecuente de representación literaria. Muy recientemente, Andrés Barba (Madrid, 1975) y Alejandro García Schnetzer (Buenos Aires, 1974), escritores jóvenes de última generación, han regresado a sus respectivas ciudades para explorarlas narrativamente, desde perspectivas múltiples, en Ha dejado de llover (Anagrama, 2012) y Andrade (Entropía, 2012). Este trabajo, que sigue la línea de los estudios sobre las relaciones entre ciudad y literatura de ambos lados del Atlántico, y que encuentra soporte teórico en las ideas de Bajtin, Barthes, Jakobson, García Canclini, Benjamin o Jameson, entre otros, plantea una lectura en paralelo de ambas obras mediante un recorrido crítico, de Madrid a Buenos Aires, entre los espacios urbanos y literarios que vuelven a recrearse bien entrado ya el siglo XXI. Since the emergence of modern societies, urban space has become a frequent subject of literary representation. Recently, Andrés Barba (Madrid, 1975) and Alejandro García Schnetzer (Buenos Aires, 1974), young writers of the new generation, have returned to their respective cities to explore them narratively and from multiple perspectives in Ha dejado de llover (Anagrama, 2012) and Andrade (Entropía, 2012). This paper, in line with current studies on the relationship between city and literature on both sides of the Atlantic, finds theoretical support in the ideas of Bakhtin, Barthes, Jakobson, García Canclini, Benjamin and Jameson, among others. It raises a parallel reading of the aforementioned works by means of a critical journey—from Madrid to Buenos Aires—between urban and literary spaces once again recreated well into the twenty-first century.

In(ter)venciones estéticas en Ema, la cautiva, de César Aira

FERNANDEZGONZALEZ CARLOS 고려대학교 스페인 라틴아메리카 연구소 2018 스페인라틴아메리카연구 Vol.11 No.2

This article analyzes the way in which César Aira intervenes in the 19th century Argentine literary metanarrative through the re-elaboration of one of its main themes: the peculiar culture generated by the encounter between the indigenous people and the occupying military outposts of the territory of Pampa. In Ema, la cautiva Aira uses this historical and narrative space to superimpose a writing that deliberately traverses the topics of civilization and barbarism. The narration is an aesthetic in(ter)vention in a border story, characterized by the introduction of a new language that establishes its own references. The anachronisms, the mixture of genres, the stylistic ruptures, the praise of frivolity, indifference, exoticism, and hedonism break with the canon and inscribe the novel in the most innovative contemporaneity of Argentine literature. Este artículo analiza el modo en que César Aira interviene en el metarrelato literario argentino del siglo XIX a través de la reelaboración de uno de sus temas principales: la cultura peculiar generada por el encuentro entre los pueblos indígenas y las avanzadas militares de ocupación del territorio de la Pampa. En Ema, la cautiva Aira usa este espacio histórico y narrativo para superponer una escritura que deliberadamente atraviesa los tópicos de civilización y barbarie. La narración es una in(ter)vención estética en una historia de frontera, caracterizada por la introducción de un nuevo lenguaje que establece sus propias referencias. Los anacronismos, la mixtura de géneros, las rupturas estilísticas, el elogio de la frivolidad, la indiferencia, el exotismo y el hedonismo rompen con el canon e inscriben la novela en la más novedosa contemporaneidad de la literatura argentina.

Los pichiciegos, de Fogwill: ficción contra ficciones y reparto de lo sensible en la guerra de las Malvinas

FERNANDEZGONZALEZ CARLOS 한국외국어대학교 중남미연구소 2018 중남미연구 Vol.37 No.1

The novel Los pichiciegos, by Rodolfo Enrique Fogwill, stages the testimony of an ex-combatant who, together with a group of comrades, is hiding in an underground cave to survive the Falklands War and his military superiors. Among the circumstances surrounding the writing of the novel, it stands out its simultaneity with the warlike conflict. This article proposes to reconstruct the production conditions of the novel and postulates that the text not only articulates with its present and as an “anticipation” of the future, but also tends networks towards the Argentine literary tradition. On the other hand, the present work intends to reconstruct the debate on Malvinas in the intellectual field to encourage the reading of Los pichiciegos as an intervention in that debate, which is linked to existing positions to which it will give a fictional form. Finally, this article provides a reading of Los pichiciegos as an aesthetic device that, taking the form and the intention of a counter-fiction, postulates a new “distribution of the sensible” (Jacques Rancière), that is, a new distribution in the order of the visible and the sayable in the debate on the Falklands War.

Disolución del yo, autoficción y campo intelectual en Doctor Pasavento, de Enrique Vila-Matas

FERNANDEZGONZALEZ CARLOS 고려대학교 스페인 라틴아메리카 연구소 2013 스페인라틴아메리카연구 Vol.6 No.1

Disolución del yo, autoficción y campo intelectual son tres conceptos asociados a la creación, la teoría y la crítica literarias y al pensamiento de la posmodernidad que contribuyen a la definición y a la comprensión de una poética/estética en Doctor Pasavento (2005), de Enrique Vila-Matas. La novela cuestiona el lugar del escritor en un campo intelectual (Bourdieu 2002) generado en torno a un juego de conocimiento, reconocimiento y desconocimiento de los miembros reales y/o ficticios que lo con-figuran, en paralelo especular a las ambivalentes relaciones que la posmodernidad occidental reserva para el sujeto, difuminado en la estructura social, por un lado, y objeto de culto como individuo, por otro. Los ecos de esta ambivalencia contemporánea ofrecen un marco estético adecuado a Pasavento, el personaje central de la novela, que se sirve de ella con el objetivo de fragmentar su identidad a partir de una autoficción convencionalmente compuesta por un sujeto quebrado en tres (autor, narrador y personaje), en un espacio también dislocado y por lo menos doble (el de la ficción y el del sujeto biográfico).

De Ret Marut a Bruno Traven: la identidad discursiva de un autor latinoamericano

FERNANDEZGONZALEZ CARLOS 부산외국어대학교 중남미지역원 2012 이베로아메리카 Vol.14 No.2

This paper analyzes the social thinking of Bruno Traven through the reading of his novel La Rosa Blanca (The White Rose). After defending the author’s inclusion into the Latin-American literary canon, we study the evolution from the political militancy of Ret Marut, one of the previous identities of the writer, to the social activism exhibited by Traven in his later Mexican production. In La Rosa Blanca, Traven makes an explicit refutation of his previous anarchist position, without forswearing the class struggle as his ultimate objective, in order to open up to other ideological views always ralated to the political left.