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Secreto y simulacro en 2666 de Roberto Bola?o
Espinosa H,Patricia;
Estudios filológicos , 2006, DOI: 10.4067/S0071-17132006000100006
Abstract: 2666, roberto bola?o′s last novel consists of five parts that may be read in an independent way, separately or interconnected -not necessarily in a linear way- in terms of group. each part refers to santa teresa, a bordering mexican city, where assassination of women are committed. each part also refers to the writer disappearence, the evil and the secret as topics. the novel proposes infinite clues the reader must follow in search of his origin, which are always false in its origin. he plays with the metaphysical tradition of the ungraspable, the secret inside the writing, the unreachable aura, with our desperate anxiety of references
República de expósitos, genealogías de la orfandad en 2666 de Roberto Bola?o
Bejarano,Alberto;
Nómadas , 2010,
Abstract: a new approach to the concept of republic as "free" political body in latin america is constructed on the basis of a philosophical re-reading of roberto bola?o?s novel 2666 (2004), particularly going through the character of lalo cura, a policeman descendant of a family history of five generations of women successively raped since 1865 and who represents orphanage. in the analysis the republic appears as a regime of orphanage. in conclusion, fiction power resides on permanently re-write the history, giving us different study perspectives.
TODOS LOS MALES EL MAL: LA "ESTéTICA DE LA ANIQUILACIóN" EN LA NARRATIVA DE ROBERTO BOLA?O
Candia Cáceres,Alexis;
Revista chilena de literatura , 2010, DOI: 10.4067/S0718-22952010000100003
Abstract: this article proposes the study of the manifestations of evil in roberto bola?o's novels, all of which have in common the presence of annihilation, that is, that force which leads to the destruction of human beings. for this purpose, the author analyzes all the novels published by roberto bola?o, from consejos de un discípulo de morrison a un fanático de joyce (1984) to 2666 (2004). in his novels, bola?o creates an "aesthetics of annihilation" which registers the many forms of devastation of women admen; this procedure allows the transformation of a significant portion of his novels in a "tour" of that violence and horror which have shaken western culture during the last century.
TODOS LOS MALES EL MAL: LA "ESTéTICA DE LA ANIQUILACIóN" EN LA NARRATIVA DE ROBERTO BOLA O  [cached]
Alexis Candia Cáceres
Revista Chilena de Literatura , 2010,
Abstract: En este artículo se realiza un estudio de las manifestaciones del mal en las novelas de Roberto Bola o, las que tienen como denominador común la presencia de la aniquilación, es decir, de aquella fuerza que tiende a destruir a los seres humanos. Para esto, se analizan todas las novelas de Roberto Bola o, desde Consejos de un discípulo de Morrison a un fanático de Joyce (1984) hasta 2666 (2004). Bola o genera en sus novelas una "Estética de la Aniquilación" que fija las múltiples formas de devastación de mujeres y hombres, lo que lleva a convertir parte importante de sus novelas en un recorrido por la violencia y el horror que ha sacudido a la cultura occidental en el último siglo. This article proposes the study of the manifestations of evil in Roberto Bola o's novels, all of which have in common the presence of annihilation, that is, that force which leads to the destruction of human beings. For this purpose, the author analyzes all the novels published by Roberto Bola o, from Consejos de un discípulo de Morrison a un fanático de Joyce (1984) to 2666 (2004). In his novels, Bola o creates an "Aesthetics of annihilation" which registers the many forms of devastation of women admen; this procedure allows the transformation of a significant portion of his novels in a "tour" of that violence and horror which have shaken Western culture during the last century.
Roberto Bola o: Elegía y alegría  [cached]
Chris Andrews
Revista Observaciones Filosóficas , 2010,
Abstract: Roberto Bola o's narrative is singular, even his harshest critics admit it. Indeed, in less than ten years, the uniqueness of Bola o has been imposed in the field of American literature. Rather than take an existing position, has created a new position, as Pierre Bourdieu would say, by the fact and content qualities traditionally reconcile opposites: lyricism and narrative tension, intensity and extent, elegy and joy.
Ricardo Piglia y Roberto Bola o: tradición y narratividad  [cached]
AndreaTorres Perdigón
Perífrasis : Revista de Literatura, Teoría y Crítica , 2012,
Abstract: Este artículo indaga por las relaciones entre la noción de poder y la tradición literaria en las poéticas de Ricardo Piglia y Roberto Bola o a partir de sus lecturas críticas. Se analiza en primer lugar en qué sentido se ha estudiado este tema en ambos autores, para luego aludir a la tradición literaria como una circulación de formas en la que actúa un tipo de poder. Después se estudia la valoración crítica de figuras como Roberto Arlt y Jorge Luis Borges dentro de los ensayos de Bola o y Piglia. Finalmente se muestra cómo estas valoraciones críticas de la tradición revelan aspectos fundamentales de la concepción literaria de los autores y de una forma literaria tradicional que ambos han retomado y desarrollado: la narratividad secuencial.This article investigates the relationship between a concept of power and the literary tradition, as it is conceived by Ricardo Piglia and Roberto Bola o in their critical essays. We analyze in the first place in what sense this subject has already been studied regarding Bola o and Piglia, in order to question how one can speak of literary tradition as a form of power. Then we study the critical judgment of figures such as Roberto Arlt and Jorge Luis Borges within the critical texts of Piglia and Bola o. At the end we show how this critical approaches to the tradition point out fundamental characteristics of their idea of literature and of a literary form developed by both of them: sequential narrativity.
Metaliteratura e identidad : Roberto Bola o  [cached]
Luis Veres
Amerika : Mémoires, Identités, Territoires , 2010, DOI: 10.4000/amerika.1644
Abstract: Uno de los rasgos más característicos de la postmodernidad ha sido la crisis de los grandes relatos. A partir de la decadencia del lenguaje, de la historia y en general de todas las disciplinas teóricas y de los discursos redentores, la credibilidad se ha trasladado a los medios de comunicación. Ya ángel Rama o Jean Franco se alaron que su influencia es inmensa en la sociedad actual y es determinante en la estructura y contenido de las nuevas novelas. Surgen así discursos fragmentarios en donde lo auto-referencial resulta muy importante y en donde la anécdota de la historia, de la tradición adquiere una función lúdica y ejemplarizante en un mundo en donde prima el malestar y en donde las identidades parecen borradas. La metaliteratura se erige así en obras de Piglia, Pauls, Roncagliolo, Fresán en un medio de reflexión sobre la propia identidad. Este trabajo trata de reflexionar sobre estos aspectos en la obra de Roberto Bola o. Un des traits les plus caractéristiques de la post-modernité a été la crise des grands récits. Après la décadence du langage, de l'histoire et en général de toutes les disciplines théoriques et des discours rédempteurs, la crédibilité a été transférée aux médias. ángel Rama ou Jean Franco ont déjà indiqué que son influence est immense dans la société actuelle et qu’elle est déterminante dans la structure et le contenu des nouveaux romans. Apparaissent ainsi des discours fragmentaires où ce qui est autoréférentiel s’avère très important et où l'anecdote de l'histoire et de la tradition acquiert une fonction ludique et exemplaire dans un monde où le malaise domine et où les identités semblent s’effacer. La métalittérature est ainsi érigée dans des oeuvres de Piglia, Pauls, Roncagliolo, comme un moyen de réflexion sur l'identité elle-même. Ce travail propose une réflexion autour de ces aspects dans l'oeuvre de Robert Bola o. One of the characteristics of postmodernity has been the crisis of the great stories. From the decay of the language, of the history and in general of all the theoretical disciplines and the redentores speeches, the credibility has been transferred to mass media. Or Angel Rama or Jean Franco indicated that its influence is immense in the present society and is determining in the structure and content of new novels. Thus fragmentary speeches arise in where the self-reference is very important and in where the anecdote of history, of the tradition acquires a playful and exemplary function in a world in where prime the malaise and where the identities seem erased. The metaliterature is elevated thus in works of Pi
Odeim y Oido en Nocturno de Chile de Roberto Bola o Odeim and Oido in Nocturno de Chile by Roberto Bola o  [cached]
Karim Benmiloud
Aisthesis , 2010,
Abstract: El artículo se propone estudiar el funcionamiento del dúo Odeim-Oido en la novela Nocturno de Chile de Roberto Bola o, como protagonistas y enigmas lingüísticos que hay que descifrar. Si toda la crítica coincide en descodificar la pareja en Miedo/Odio, se trata de ver cómo la misma novela programa la descodificación mediante una serie de indicios y variantes léxico-semánticas muy elaboradas. El análisis también propone una descodificación de los códigos culturales que informan al dúo (película policial, cuento de hadas, mitología escandinava, etc.). La reflexión concluye con un análisis sicoanalítico de los dobles (externos e internos) en la novela. The following article will study how the couple Odeim-Oido works in the novel Nocturno de Chile by Roberto Bola o, considering them as protagonists as well as linguistic enigmas to be decoded. If the critical approach manages to decode the couple in Miedo/Odio (Fear/Hate in Spanish), it will have to see how the novel programs the decoding process through a number of elaborated signs and lexical-semantic variants. The essay will also try to decode de cultural signs that lead us to this couple (detective films, fairy tales, Scandinavian mythology, etc.). The article will end with a psychoanalytical analysis of doubles (inner doubles and external ones) present in this novel.
Cortes estratigráficos en la crítica y en la obra de Roberto Bola o Stratigraphic samples in the critique and work of Roberto Bola o  [cached]
Alejandra Oyarce Orrego
Acta Literaria , 2012,
Abstract: En este artículo, mediante cortes estratigráficos, a través de una revisión crítica acotada y desde la estética figural de Jean-Fran ois Lyotard, reiteramos la inclusión de la figura y de la obra de Roberto Bola o en la literatura chilena, relacionando Los detectives salvajes con La nueva novela de Juan Luis Martínez. In this article, using stratigraphic samples, through a critical review and specific revision and from the figural aesthetic of Jean-Fran ois Lyotard we reiterate the inclusion of the figure and of the work of Roberto Bola o in the chilean literature, linking Los detectives salvajes with La nueva novela by Juan Luis Martínez.
Simulacro e negatividade: a intertextualidade de Em Busca de Curitiba Perdida, de Dalton Trevisan = Simulacrum and negativity: the intertextuality on Dalton Trevisan’s Em Busca de Curitiba Perdida (Searching for Lost Curitiba )  [cached]
Marcio Renato Pinheiro da Silva
Acta Scientiarum : Human and Social Sciences , 2006,
Abstract: Os fen menos culturais contemporaneos/pós -modernos caracterizam-se, freqüentemente, pelo diálogo ir nico e lúdico (intertextualidade) com a cultura passada e presente e pela problematiza o de proje es em rela o ao futuro. Tais caracteres, n o raro, configuram simulacros e/ou hiper-realidades, representa es despojadas de referencialidadecujos temas s o, muitas vezes, relativos às próprias representa es. Nesse sentido, é notável o conto Em Busca de Curitiba Perdida , do paranaense Dalton Trevisan: por meio da intertextualidade com o roman-fleuve Em Busca do Tempo Perdido (à La Recherche du Temps Perdu ), dofrancês Marcel Proust, o texto de Trevisan coloca em xeque a utopia proustiana de uni o entre arte e vida, criando um simulacro cuja viabilidade se dá, paradoxalmente, por meio de sua própria impotência. The contemporary/postmodern cultural phenomena are usually characterized by the ironic and playful relationship (intertextuality) with the past and present cultures and by denying future planning. These aspects configure simulacra/hyper -realities, representations free from referential reality whose themes are, many times, linked to repres entation itself. On such aspects, the short story Em Busca de Curitiba Perdida (Searching of Lost Curitiba ), by the Brazilian writer Dalton Trevisan , is notable: by means of its intertextuality with the romanfleuve à La Recherche du Temps Perdu (Searching for Lost Time), by the French writer Marcel Proust, Trevisan’s text questions Proust’s utopist union between art and life, creating a simulacrum whose base is, paradoxically, its own i mpotence.
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