Dimensión mítica y ritual en las representaciones literarias del narco (original) (raw)

Narraciones míticas en México y Panamá. El duende como personaje

2016

We have approached two Spanish American women narrators through an exercise in comparative literature, thanks to a short story and a story. They are Rosa Quiros – Panamanian – and Elena Garro – Mexican –, who share their penchant for folk, through myth and superstition that, in various areas of the world, consider the figure of the trolls. We approach mythology using psychoanalysis and anthropology, axis of both narrative pieces. This applied to The troll by Elena Garro and The castle of the troll by Rosa Quiros.

La dictadura como sistema mítico-ritual en la novela latinoamericana

Prace Naukowe Uniwersytetu Śląskiego Romanica Silesiana, vol. 9, str. 227-236, 2014

The aim of this paper is to show that the novels El Señor Presidente (1946) by Asturias, El otoño del patriarca (1975) by García Márquez and La fiesta del Chivo (2000) by Vargas Llosa represent dictatorship as a mythical-ritual system. The discourses the autocratic power creates and promotes reveal mythological characteristics: atemporality, cult of personality and a manichaean genealogic narrative, all subjugated to the functional explanation-legitimization axis. The latter should be understood – rather than in rational terms – as a performative action, that takes place via a ritual system, constantly re-actualizing the original mythical narrative. The modalities of ritual we distinguish in the three texts are: tortures, national holiday and sexuality. All these activities – indistinctly if performed by the dictator himself or by his institutional machinery – reveal common characteristics, among which we stress the condition of ‘excess’ regarding their hypothetical pragmatic role.

Función y vigencia de las narrativas míticas

2016

In this essay we will reflect on concepts and methodologies of myth and mythology have, from antiquity to the presentday. However, it is clear that the perspective of this text is not an historical analysis of myth per se, nor transiting through traditional methods (interpretation of certain myths, to trace the origin of a particular myth or make an explanatory analysis same) the mythical analysis, but to approach theories resume prospects imagination theory, literary theory, the myth criticism and some other linguistic grounds and reception. The study of myth is seen here as a complex, multiple, confronted in opposite dynamic embodied, noun subjects, which expresse a general, but specific mythic narrative for each lifetime of a myth.

El narcotraficante, entre la literatura, el cine y la mitología popular

ACTIO NOVA: Revista de Teoría de la Literatura y Literatura Comparada

En la civilización del espectáculo donde solo impera lo que el mercado marca como éxito, los valores sociales se han visto afectados. Solo se cuenta la repercusión mediática que tiene una acción o persona para valorarla como modelo social. En la actualidad, los narcotraficantes se han convertido en unos iconos populares con gran influencia social debido a la imagen que se vende de ellos en las diferentes producciones cinematográficas y periodísticas. El presente artículo busca mostrar cómo se presenta a los narcotraficantes en diferentes series y películas a través de un caso concreto, el de Joaquín el «Chapo» Guzmán, el narcotraficante más mediático de los últimos tiempos y quien se está convirtiendo en el arquetipo del narcotraficante gracias a sus llamativa vida.

La sicaresca colombiana: la corriente narco como relectura del cánon literario

The narrative of the narco trend that, in the recent decades, have surged in the literary production in Columbia and Mexico, apart from awaking controversy of the ethical and aesthetic nature, is often considered a literary fashion, a passing phenomenon or, at best, a minor genre. By analysing selected novels of the narco trend, the article aims to present its relations — whether in form of an intertextual game or a dialogue — with the major works of the Latin American and world literature. The central theme of the presented analysis is the convergence between the so called sicaresca colombiana and the picaresque novels of the Spanish Golden Age.

"Narciso" de Max Aub: tradición y actualidad de un tema mítico-literario

A. López- A. Pociña (eds.), En recuerdo de Beatriz Rabaza. Comedias, tragedias y leyendas grecorromanas en el teatro del siglo XX, Granada: Editorial Universidad de Granada, 2009, pp. 45-61., 2009

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“Noción de gasto y estética de precariedad en las representaciones literarias del narcotráfico”.

In the last decades the narco-trafficking industry has grown in its economic, social, and political global impact. Nevertheless, the distribution of wealth of this industry does not follow the traditional approach of capital accumulation, especially due to the precarious environment involved in this illegal activity. As result of this circumstance, the transitory protagonists of the narco-business have developed an extravagant attitude in which economic expenditure ultimately means a violent and tragic defiance to the sovereign state. In a social and legal order where their lives are considered worthless, they expend money in a manner inversely proportional to their life expectancy. The foundational rise of the so-called narco-narrative in Mexico and Colombia in the early 90s began to deal with the topic beyond the condemning approach in official discourse. Furthermore, the narco-literature exposes the deep crisis some countries and social sectors are immersed in due to the hegemony of late capitalism, which has allowed the conditions for this industry to continue to flourish.

Representaciones del narcotráfico en la narrativa actual: entre realidad y cliché

Historia y cultura de Espana y America Latina en las fuentes literarias, documentales y artisticas, 2014

El artículo analiza las representaciones del narcotráfico en cuatro novelas colombianas. Se fija en los aspectos y puntos de vista muy variados que convierten el nefasto fenómeno en materia literaria y, sobre todo, muestra la frontera permeable entre representaciones de la realidad y clichés y estereotipos del mundo narco.