Publication: "Un montón de imágenes rotas”: Estudio comparativo de "Respiración artificial", de Ricardo Piglia, y "Ansay o Los infortunios de la gloria", de Martín Caparrós
Authors
Snoey, Christian
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/cartaphilus.459561
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info:eu-repo/semantics/article
Description
Abstract
El objetivo de este trabajo es reflexionar sobre las cercanías que existen entre Respiración artificial(1980), de Ricardo Piglia, y Ansay o los infortunios de la gloria(1984), de Martín Caparrós. Ambas novelas parten de la misma pregunta: cómo narrar la historia; por tanto, me centro en analizar la manera en que cada una da respuesta narrativa a este interrogante. Para ello, me detengo en cuatro aspectos: la relectura que ambos autores efectúan con ánimo desmitificador del legado del siglo XIX, el recurso al pasado para decir el presente, la elección de personajes periféricos para crear una contrahistoria y la manera en que cada autor adapta y expande el legado de Borges. El fin último es reflexionar sobre un gesto común: el de intentar recuperar la historia.
The objective of this work is to study the closeness that exists between Respiración artificial(1980), by Ricardo Piglia, and Ansay o los infortunios de la gloria(1984), by Martín Caparrós. Both novels start from the same question: how to tell the history. Therefore, I focus on analyzing how each author gives a narrative answer to this question. To do this, I focus on four aspects: the rereading that both authors do with a demystifying spirit of the legacy of the 19th century, the use of the past to say the present, the choice of peripherical characters to create a counter-history and how each author adapts and expands Borges’s legacy. The ultimate goal is to reflect on a common gesture: the intention to recover history.
The objective of this work is to study the closeness that exists between Respiración artificial(1980), by Ricardo Piglia, and Ansay o los infortunios de la gloria(1984), by Martín Caparrós. Both novels start from the same question: how to tell the history. Therefore, I focus on analyzing how each author gives a narrative answer to this question. To do this, I focus on four aspects: the rereading that both authors do with a demystifying spirit of the legacy of the 19th century, the use of the past to say the present, the choice of peripherical characters to create a counter-history and how each author adapts and expands Borges’s legacy. The ultimate goal is to reflect on a common gesture: the intention to recover history.
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