Duelo y ficción en la posguerra peruana (Crítica)
The narrative of internal wars in Peru is molded in discourses of various cultural traditions. Some of these “criollo” works have come to be renowned in a time thirsty of “past present” (Huyssen). The imagery is nurtured by testimonial narrative, which is the building principle in fictional works. M...
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| Materyal Türü: | article |
| Dil: | spa |
| Baskı/Yayın Bilgisi: |
2014
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| Online Erişim: | http://hdl.handle.net/10644/5089 |
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Etiketle
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Etiketle | Özet: | The narrative of internal wars in Peru is molded in discourses of various cultural traditions. Some of these “criollo” works have come to be renowned in a time thirsty of “past present” (Huyssen). The imagery is nurtured by testimonial narrative, which is the building principle in fictional works. My purpose is to contrast the figures of mourning in two works: Iván Thays novel Un lugar llamado Oreja de Perro, and Claudia Llosa’s film La teta asustada. In Thays’s work, the main character dives himself in the world of the dead, where he frees himself of the gloom brought by his personal ghosts. Fausta, in contrast, must rid herself of her mother’s body and in the journey she meets the open. |
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