DOCSLIB.ORG

The Conquest in the Writings of Carlos Fuentes and Alejo Carpentier

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Literary Historicism: Conquest and Revolution in the Works of Carlos Fuentes (1928-2012) and Alejo Carpentier (1904-1980) Sandra Liliana Velásquez-Alford King’s College November 2017 This dissertation is submitted for the degree of Doctor of Philosophy THESIS TITLE Literary Historicism: Conquest and Revolution in the Works of Carlos Fuentes (1928-2012) and Alejo Carpentier (1904-1980) ABSTRACT This doctoral thesis analyses the depiction of the historical topics of Conquest and Revolution across the literary writings of Alejo Carpentier (1904-1980) and Carlos Fuentes (1928-2012). These historical tropes constitute core topics of reflection throughout their literary and critical works, stressing the interplay between literature and history. I propose the concept literary historicism to analyse their portrayal of historical topics and characterise the role of history in their poetics. This concept denotes the historical awareness that underpins the authors’ literary reinterpretations of historical events; their use of a historicist writing methodology; and the critical relationship established to historiographical sources and narratives. I argue that the authors’ deliberate historicism characterises their narratives, challenges disciplinary boundaries and posits literature as an alternative medium for the production of historical interpretation. This comparative study focuses on a corpus of fifteen fictional works from both authors that depict Conquest and Revolution. The first section analyses the authors’ literary portrayal of the Conquest of Mexico (1521) and stresses the relationship established to the historical sources consulted and their literary reinterpretation of this historical event. An assessment of the reflections and symbolisms embodied by their literary-historical figures elucidates the authors’ understanding of the Conquest. Thus, this section demonstrates the defining character of these authors’ literary historicism in their writing methodology and semantic interpretation when addressing historical tropes. The second section explores Fuentes’s and Carpentier’s depiction of historical Revolutions including the French, Mexican, Haitian and Cuban Revolutions. This section comprises a transversal and diachronic analysis of their Revolution cycles to demonstrate recurrent narrative, thematic and stylistic patterns in Fuentes’s and Carpentier’s literary portrayals of this historical phenomenon. I highlight the further meaning that these patterns acquire in their works, articulating a critical assessment of these historical revolutions. This thesis adds to the scholarship on these authors from an interdisciplinary perspective that re- centres attention on History. Through the concept of Literary Historicism, I demonstrate the existence of a central concern in their oeuvres to critically reassess the Latin American past and its historical interpretations from literary discourse. This study contributes to the understanding of history and literature in Latin America, for it analyses the interactions between these branches of written culture. ACKNOWLEDGEMENTS A PhD thesis is the end result of a long personal and academic journey, and perhaps the start of another one. I have been very fortunate to come across many people that have enriched mine and helped me grow personally and academically in the last few years. In fact, this research would not have been possible without the direct and, often indirect, support of my colleagues, friends and family. For this reason, I would like to thank the people that have contributed, in one way or another, to the development of this thesis. I want to express my deepest gratitude to my supervisor Professor Steven Boldy for all his advice, support and patience during the development of this research and, in general, throughout these years. As always, I include a warm-hearted thanks to Sergio Mejía without whom I would not be where I am today. I extend my regards to The Cambridge Trusts for giving me the opportunity to pursue my PhD at Cambridge. I would also like to thank King’s College, the Department of Spanish and Portuguese and the Centre of Latin American Studies for their support in the last few years and for the creation of spaces of dialogue and collaboration across the University. Julie Coimbra, Coral Neale, Chriselia de Vries and James Clements probably do not realise how important they have been for the completion of this research project, and indeed many others. Special thanks should be given to André Ribeiro, Shachi Amdekar and Rachell Sánchez-Rivera for their love, time and help from the start. Finally, I thank my family for their encouragement throughout my life and studies. This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text It does not exceed the prescribed word limit for the relevant Degree Committee. The number of words in this dissertation is 79, 448 Sandra Liliana Velásquez Alford Cambridge 29th November 2017 Table of Contents 1. Introduction ................................................................................................................................... 3 1. 1. Theoretical Framework........................................................................................................... 5 1. 2. On Literary Historicism ........................................................................................................ 10 1. 3. Literature Review ................................................................................................................. 12 1. 4. Carlos Fuentes and ‘La edad del Tiempo’ ............................................................................ 15 1. 5. Alejo Carpentier Between Lo Real Maravilloso and El Barroco Americano ....................... 17 1. 6. Methodology ......................................................................................................................... 20 1. 7. Structure ............................................................................................................................... 21 First Section: The Conquest in the Writings of Carlos Fuentes and Alejo Carpentier ................ 24 2. Colonial, Republican and Post-Revolutionary Historiography on the Conquest ................. 24 2. 1. 1. Colonial Historiography (1492-1810): Political Rhetoric of the Conquest ..................... 25 2. 1. 2. Republican Historiography (1810-1910): the Intensification of the Black Legend .......... 27 2. 1. 3. The Influence of the Mexican Revolution in Twentieth-Century Histories (1910-1960) 28 2. 2. The Method of Literary Historicism in Carlos Fuentes’s Depiction of the Conquest ...... 29 2. 2. 1. The Historical Substratum of El naranjo and Todos los gatos son pardos ..................... 32 2. 2. 2. The Vision of the Vanquished in Todos los gatos son pardos ........................................ 37 2. 2. 3. Polyphony and Heteroglossia in ‘Los hijos del conquistador’ ........................................ 41 2. 2. 4. La Recuperación de la Palabra: Convergence and Divergence from Sources .................. 47 2. 3. The Semantic Aspects of Carlos Fuentes’s Literary Historicism: Characters and Symbolism in El naranjo and Todos los gatos son pardos. ........................................................... 49 2. 3. 1. The ‘Tongues’: Jerónimo de Aguilar, Marina and the Power of Language .................... 50 2. 3. 2. Hernando Cortés and Doña Marina: a New Foundational Myth for Modern Mexico..... 54 2. 3. 3. Martín Cortés or The First Generation of Mexicans ....................................................... 59 2. 3. 4. Hispanic and Indigenous Heritage in Mexico ................................................................. 61 3. Alejo Carpentier’s Literary Historicism in La aprendiz de bruja and El arpa y la sombra .. 63 3. 1. 1. Deviation from the Sources in La aprendiz ..................................................................... 72 3. 1. 2. Carpentier’s Literary Historicism in El arpa y la sombra ............................................... 74 3. 2. Carpentier’s Semantic Historicism: Reassessing Historical Characters .......................... 80 3. 2. 1. Christopher Columbus: the Conquistador-Descubierto and Descubridor-Conquistado .. 80 3. 2. 2. Marina and Aguilar: Translation as Acculturation in La aprendiz de bruja.................... 85 3. 2. 3. Cortés and Marina: the Strategist and the Victim ............................................................ 87 3. 2. 4. The American Baroque: a Reassesment of Latin American Identity .............................. 92 3. 3 Further Considerations: the Conquest in the Works of Carlos Fuentes and Alejo Carpentier........................................................................................................................................ 93 1 Second Section: Critical Literary Interpretations
Recommended publications
  • Cuba: a Reading List

    Cuba: a Reading List

    Cuba: A Reading List “Before Night Falls” by Reinaldo Arenas Mr. Arenas was persecuted in Cuba for his writings and for being gay, and eventually fled to the United States. He committed suicide in New York in 1990, at 47. “Before Night Falls,” his autobiography, was later made into a film starring Javier Bardem. In The New York Times Book Review, Roberto González Echevarría wrote: “Anyone who feels the temptation to be lenient in judging Castro’s government should first read this passionate and beautifully written book.” “Dreaming in Cuban” by Cristina García Ms. García’s first novel tells the story of three generations of women in one family, and how staying in Cuba or fleeing the country affects their lives. Reviewing the book in The Times, Michiko Kakutani said that Ms. García had “produced a work that possesses both the intimacy of a Chekhov story and the hallucinatory magic of a novel by Gabriel García Márquez.” “Paradiso” by José Lezama Lima This novel by Mr. Lima, a major Cuban poet, is about a boy’s coming of age and his search for his dead father. In the Book Review, Edmund White wrote that Mr. Lima “not only has the power to create absorbing and memorable images, he has also placed these images into a vast network of philosophical and mythical significance.” “Three Trapped Tigers” by Guillermo Cabrera Infante In the Book Review, Charles Wilson wrote that Mr. Infante’s most celebrated novel “borrows from the playfulness and form of James Joyce’s ‘Ulysses’ and ‘Finnegans Wake’ as it describes the decadent life of young people who explore Havana’s cabaret society during the Batista era.” “Explosion in a Cathedral” by Alejo Carpentier Set in Cuba and elsewhere, Mr.
  • San Martín: Argentine Patriot, American Liberator

    San Martín: Argentine Patriot, American Liberator

    UNIVERSITY OF LONDON INSTITUTE OF LATIN AMERICAN STUDIES OCCASIONAL PAPERS No. 25 San Martín: Argentine Patriot, American Liberator John Lynch SAN MARTíN: ARGENTINE PATRIOT, AMERICAN LIBERATOR John Lynch Institute of Latin American Studies 31 Tavistock Square London WC1H 9HA The Institute of Latin American Studies publishes as Occasional Papers selected seminar and conference papers and public lectures delivered at the Institute or by scholars associated with the work of the Institute. John Lynch is Emeritus Professor of Latin American History in the University of London, where he has spent most of his academic career, first at University College, then from 1974 to 1987 as Director of the Institute of Latin American Studies. The main focus of his work has been Spanish America in the period 1750–1850. Occasional Papers, New Series 1992– ISSN 0953 6825 © Institute of Latin American Studies University of London, 2001 San Martín: Argentine Patriot, American Liberator 1 José de San Martín, one of the founding fathers of Latin America, comparable in his military and political achievements with Simón Bolívar, and arguably incomparable as a model of disinterested leadership, is known to history as the hombre necesario of the American revolution. There are those, it is true, who question the importance of his career and reject the cult of the hero. For them the meaning of liberation is to be found in the study of economic struc- tures, social classes and the international conjuncture, not in military actions and the lives of liberators. In this view Carlyle’s discourse on heroes is a mu- seum piece and his elevation of heroes as the prime subject of history a misconception.
  • Constructing the "New World" in the Works of Carlos Fuentes

    Constructing the "New World" in the Works of Carlos Fuentes

    Comparative Civilizations Review Volume 12 Number 12 Spring 1985 Article 5 4-1-1985 Constructing the "New World" in the Works of Carlos Fuentes Ann McBride-Limaye University of Wisconsin-Madison Follow this and additional works at: https://scholarsarchive.byu.edu/ccr Recommended Citation McBride-Limaye, Ann (1985) "Constructing the "New World" in the Works of Carlos Fuentes," Comparative Civilizations Review: Vol. 12 : No. 12 , Article 5. Available at: https://scholarsarchive.byu.edu/ccr/vol12/iss12/5 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Comparative Civilizations Review by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. McBride-Limaye: Constructing the "New World" in the Works of Carlos Fuentes 44 CONSTRUCTING THE "NEW WORLD" IN THE WORKS OF CARLOS FUENTES ANN McBRIDE-LiMAYE The development of Mexican culture was a cross-civilizational proc­ ess. Through her sixteenth-century conquests in the western hemisphere, Spain imposed history on the New World, and in effect she created the New World. Of course it is well to remember that there were two Old Worlds, indigenous and European, two different forms of hegemony, two displaced orders which would combine to produce a colonial mestizo culture, a mixed-blood culture born of the forcible cross between indi­ genous Aztec and Spanish civilizations . Mestizaje (miscegenation) is the central fact in the New World, a fact which calls up an inevitable chain: the Spanish conquest of the Americas recalls the Spanish reconquest of the Iberian peninsula and the resulting expUlsion of the Moors and the Jews.
  • Juan E. De Castro. Mario Vargas Llosa. Public Intellectual in Neoliberal Latin America

    Juan E. De Castro. Mario Vargas Llosa. Public Intellectual in Neoliberal Latin America

    Juan E. De Castro. Mario Vargas Llosa. Public Intellectual in Neoliberal Latin America. Tucson: University of Arizona Press, 2011. Print. 179 Pp. ──────────────────────────────── CARLOS AGUIRRE UNIVERSITY OF OREGON Mario Vargas Llosa, one of Latin America’s most important writers and intellectuals and the recipient of, among numerous other awards, the 2010 Nobel Prize in literature, is not only the author of an admirable corpus of novels, theater plays, and essays on literary criticism, but also somebody that has been at the center on countless political and literary controversies ever since he came into the literary and political spotlight in 1962 when he won the Biblioteca Breve award for his novel Time of the Hero at the age of twenty-six: the novel was received with great hostility in his home country, Peru, where prominent members of the military accused him of being a Communist and a traitor; in 1967, when he won the Rómulo Gallegos prize for his novel The Green House, he engaged in a dispute (at that time private) with Cuban officials such as Haydeé Santamaría who allegedly wanted him to make a fake donation of the cash prize to Che Guevara’s guerrilla movements; in 1971, he publicly and loudly denounced the Cuban government after the imprisonment and public recounting of Heberto Padilla and other writers accused of counter-revolutionary activities; in 1974, he criticized the confiscation of media in Peru by a military regime that he had hitherto supported and became the subject of a fierce polemic in his country; in 1976, he was
  • Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980

    Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980

    ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization.
  • The Hispanic Literary Canon in U.S. Universities

    The Hispanic Literary Canon in U.S. Universities

    ISSN 2373–874X (online) 026-12/2016EN The Hispanic Literary Canon in U.S. Universities Winston R. Groman 1 Topic: Hispanic Literary Canon in the United States Universities Summary: This report analyzes the state of the canon of Spanish-language literature in U.S. universities through the reading lists provided to students by graduate programs in Spanish literature, as well as exploring its evolution since Brown and Johnson’s study about it in 1998. Keywords: Literary Canon, Spanish Literature, Latin-American Literature, United States, University, Readings © Winston R. Groman The Hispanic Literary Canon in U.S. Universities Informes del Observatorio / Observatorio Reports. 026-12/2016EN ISSN: 2373-874X (print) doi: 10.15427/OR026-12/2016EN Instituto Cervantes at FAS - Harvard University © Instituto Cervantes at the Faculty of Arts and Sciences of Harvard University 0. Introduction Dating back to the Ancient Library of Alexandria, the concept of the literary canon has proven to be a durable one. In its over two millennia of existence, literary canons have served purposes religious and secular, promoted agendas political and personal, and have worked to define and redefine the status of both the traditional cultural elite and, most recently, to reflect upon the role played by traditionally underrepresented minority cultures in the discussion of which texts are considered as definitive. By the 20th Century, the assessment of literary canonicity had become almost the exclusive domain of higher education, especially in the United States, binding
  • Catálogo 2011

    Catálogo 2011

    www.incaa.gov.ar AutoridAdes del iNCAA El cine argentino habla de nosotros, de nuestras realidades, de nuestras inquietudes y de nuestras fantasías. Es nuestro embajador más genuino. PrESIdENCIA SRA. LILIANA MAZURE Nuestros largometrajes, documentales y cortometrajes encuentran un lugar destacado en prestigiosos festivales internacionales, en los que son aplaudidos y reciben numerosos VICEPrESIdENCIA premios. En el pasado 2010 incluso, el cine argentino se ha hecho acreedor del Oscar de SRA. CAROLINA SILVESTRE la Academia de Hollywood por “El Secreto de sus Ojos” de Juan José Campanella. Película Liliana Mazure GErENCIA GENErAL Presidenta que se ha convertido además en el mayor suceso del cine nacional de los últimos 35 años, INSTITUTO NACIONAL dE SR. RÓMULO PULLOL CINE y ArTES AUdIOVISUALES con dos millones y medio de espectadores en las salas de todo el país y un enorme éxito en España, Francia, EEUU, Brasil y Uruguay. GErENCIA dE ASUNTOS INTErNACIONALES SR. BERNARDO BERGERET Con las 110 películas estrenadas en 2010, y ocupando los primeros puestos de la taquilla, nuestro cine se atreve a experimentar nuevos caminos con aquella seguridad que es GErENCIA dE FOMENTO resultado de sumar experiencia y juventud, con imágenes, palabras y mensajes necesarios LIC. ALBERTO URTHIAGUE para formarnos, nutrirnos y mostrarnos. Es un cine que hace reír y llorar, que denuncia, que GErENCIA dE AdMINISTrACIÓN se renueva porque está vivo. Un cine que propone historias detrás de las que hay nombres DR. RAÚL A. SEGUí y apellidos, consagrados y nuevos, técnicos y actores de primerísimo nivel que consiguen recrear universos muy diferentes entre si. Lo logran cada vez que se encuentran con su GErENCIA dE FISCALIZACIÓN público y con el del resto del mundo que aplaude esas propuestas que por pintar su aldea PROF.
  • Dr. Germán D. Carrillo Associate Professor of Spanish

    Dr. Germán D. Carrillo Associate Professor of Spanish

    DR. GERMÁN D. CARRILLO ASSOCIATE PROFESSOR OF SPANISH SPECIAL FIELDS: The Latin American Contemporary Novel and Short Story Latin American Colonial Literature 2 Specific Studies on the Latin American Literary Scene of the 60’s, 70’s, and 80’s, 90’s and the new millennium 20th Century Latin American Poetry 20th Century Peninsular Literature: Prose, Theater & Poetry Spanish for the Professions: International Business and Medical Fields EDUCATION: B.A.Universidad Pedagógica y Tecnológica de Colombia M.A (1): Instituto Caro y Cuervo, Bogotá, Colombia M.A (2): University of Rochester (NY) and U. of Illinois Ph.D. University of Illinois-Urbana/Champaign ACADEMIC EXPERIENCE: Teaching Assistant, University of Illinois NDEA Institute; Purdue University Visiting Instructor, Lakehead University Ontario, Canada; Visiting Instructor; Assumption College, Worcester, MA Instructor, Brown University Assistant Professor, Brown University Visiting Instructor, University of Rhode Island Assistant Professor, Marquette University Associate Professor, Marquette University Visiting Professor, Middlebury Graduate School; I. PUBLICATIONS: A. BOOKS: 1975 La narrativa de Gabriel García Márquez: Ensayos de interpretación; Ediciones de Arte y Bibliofilia; Castalia Distribuidores; Madrid; 170 pages. 1992 Realismo e irrealidad en la narrativa hispanoamericana; Ediciones Punto Exe Ltda.; Santafé de Bogotá; 127 pages © B. CHAPTERS IN BOOKS: 1972 “Emociones y fragmentaciones: ‘Todos los fuegos el fuego;”Homenaje a Julio Cortázar: variaciones interpretativas en torno a su obra; edited by Helmy Giacoman; Las Americas Publishing Company; New York, NY; 489; 315-325. © 1976 “Mito bíblico y experiencia humana en Cien años de soledad;” Explicación de textos; Porrata y Avendaño editores; University of California-Sacramento; Añejo I; vol. IV; pp.398; 79-100.
  • Gonzalo Torrente Ballester, La Saga/Fuga De JB, and The

    Gonzalo Torrente Ballester, La Saga/Fuga De JB, and The

    Beyond Borders: Gonzalo Torrente Ballester, La saga/fuga de J.B., and the Construction of Literary Fields by Michael L. Martínez, Jr., B.A., M.A. A Dissertation In Spanish Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Approved Dr. Carmen Pereira-Muro Chair of Committee Dr. Sara Guengerich Dr. Susan Larson Mark Sheridan Dean of the Graduate School May, 2018 Copyright 2018, Michael L. Martínez, Jr. Texas Tech University, Michael L. Martínez, Jr., May 2018 For those professors—Carmen, Sara, and Susan—who, through their dedication and kindness, taught me about the kind of person I want to be… And for my biggest fans: Dad & Grandma. ii Texas Tech University, Michael L. Martínez, Jr., May 2018 TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................... ii ABSTRACT ....................................................................................................... v LIST OF TABLES ............................................................................................ vi INTRODUCTION ............................................................................................. 1 I. BOURDIEU AND THE GENERAL SCIENCE OF PRACTICES ............ 16 I. Subjectivist and Objectivist Modes of Knowledge .................................... 17 II. Sociological Modes of Knowledge .......................................................... 21 III. Habitus .................................................................................................
  • Krause's Carlos Fuentes: Toward the Creation of a Myth Alfonso

    Krause's Carlos Fuentes: Toward the Creation of a Myth Alfonso

    Krause's Carlos Fuentes: Toward the Creation of a Myth Alfonso Gonzalez, California State University, L.A. According to a recent article written by Enrique Krause, a Mexican biographer, and published simultaneously in English and Spanish as "The Guerrilla Dandy," and "La comedia mexicana de Carlos Fuentes," Fuentes is not a Mexican writer but an American actor: "The United States produces actors for movies, for television, for politics. Now and then it produces actors for literature, too. Carlos Fuentes is one of them."1 This article also talks about Fuentes's fiction: "Fuentes writes works without a center: vast confused, formless, and oppressive literary happenings . ." (33). The shock of these affirmations was felt on both sides of the border, as evidenced by the number of responses condemning them.2 The purpose of this article is to put Mr. Krause's allegations into perspective and suggest they give a distorted view of the writer. Krause's commentaries, contradictory to the generally held belief that Fuentes is an outstanding Mexican writer, give us a new image of the writer. Independent of any merit of Fuentes's life or writings, they create the image of Carlos Fuentes, the myth. Enrique Krause bases his characterization of Fuentes on: (1) a recent autobiographical account, Myself and Others; (2) hearsay from some of the author's acquaintances; (3) the introduction to the first and only volume of Fuentes's Obras Complétas (Complete Works, 1973) and (4) a few well-known characteristics of Fuentes's writings. We are told that the writer is an American: "He was a gringo child of Mexican origin, born in Panama" (28).
  • Claves De La Tradición Clásica En Aura De Carlos Fuentes* Keys of the Classical Tradition in Aura by Carlos Fuentes

    Claves De La Tradición Clásica En Aura De Carlos Fuentes* Keys of the Classical Tradition in Aura by Carlos Fuentes

    Claves de la tradición clásica en Aura de Carlos Fuentes* Keys of the Classical Tradition in Aura by Carlos Fuentes David GARCÍA PÉREZ Centro de Estudios Clásicos, Instituto de Investigaciones Filológicas, UNAM [email protected] RESUMEN : En este artículo se expone una comparación de los tópicos litera- rios que definen el relato de terror en la carta XXVII del libro 7 de Plinio el Joven y Aura de Carlos Fuentes, considerando algunos relatos intermedios que se entrecruzan hasta llegar a la novela breve del escritor mexicano, con el fin de analizar las relaciones literarias complejas en la recepción y recreación narrativas que se desarrollan en el marco de la Tradición clásica. ABSTRACT : This article exposes a comparison of literary topics that define the horror story in the letter XXVII of Book 7 by Pliny the Younger and Aura by Carlos Fuentes, considering some intermediate stories that intertwine to reach the short novel of the Mexican writer, in order to analyze complex literary relations at the reception and recreation narrative given in the framework of the Classical Tradition. PALABRAS CLAVE : Carlos Fuentes; Plinio el Joven; terror; Tradición clásica; recepción. KEYWORDS : Carlos Fuentes; Pliny the Younger; Horror; Classical Tradition; Reception. RECIBIDO : 7 de abril de 2017 • ACE P TADO : 23 de junio de 2017. DOI: 10.19130/iifl.nt.2017.35.1.763 La perspectiva de la Tradición clásica se ha perfilado en muchos sentidos de modo simple: la recepción de una obra literaria del contexto A que es objeto de recreación en el contexto
  • Music and Literature in Alejo Carpentier's Novel Baroque Concerto

    Music and Literature in Alejo Carpentier's Novel Baroque Concerto

    Theory in Action, Vol. 13, No. 3, July (© 2020) DOI:10.3798/tia.1937-0237.2039 Music and Literature in Alejo Carpentier’s Novel Baroque Concerto Rodica Grigore1 Even after his original theory concerning the marvellous real became famous, once his novel El reino de este mundo (The Kingdom of This World) was published in 1949, the Cuban writer Alejo Carpentier continued to be preoccupied with certain aspects concerning different problems of magical realist discourse, relating it to the aesthetic domain of music and painting. The novelist tries thus to prove that the Latin American identity is perfectly expressed by those works of art and by those exquisite artists capable to catch the true nature of “The New World”. Therefore, in his novel Concierto barroco (Baroque Concerto, 1974) he imagines a miraculous musical encounter bringing together composers and interpreters from different epochs and cultural spaces, in order to utter the ultimate truth about the individuality of a continent rather unknown to “The Old World” of Europe, but perfectly able to compete with its old values and artistic achievements. [Article copies available for a fee from The Transformative Studies Institute. E-mail address: [email protected] Website: http://www.transformativestudies.org ©2020 by The Transformative Studies Institute. All rights reserved.] KEYWORDS: Latin American Novel, Music, Painting, Marvellous Real, Magical Realist Discourse. 1 Rodica Grigore, Ph.D., is senior lecturer in Comparative Literature at “Lucian Blaga” University of Sibiu, Romania. She is the author of several critical studies, such as: Despre cărţi şi alţi demoni [Of Books and Other Demons, 2002], Retorica măştilor în proza interbelică românească [The Rhetoric of Masks in Romanian Modern Fiction, 2005], Lecturi in labirint [Readings in the Labyrinth, 2007], Măşti, caligrafie, literatură [Masks, Calligraphy, Literature, 2011], În oglinda literaturii [In the Mirror of Literature, 2011], Meridianele prozei [Fiction’s Meridians, 2013], Realismul magic în proza latino- americană a secolului XX.