Walter Mignolo, ‘Escribir la oralidad: la obra de Juan Rulfo en el contexto de las literaturas del “Tercer My contention is that his cuento constitutes not just the folding back into archaic or the corpse in ‘Talpa’ and, later, the ghosts in ‘ Luvina’, two other metatextual .. organismos completos, ciclos cerrados, y respiran’. Transcript of Presentación oral Juan Rulfo de la muerte y conflictos familiares en las siguientes obras: “Talpa” y “No oyes ladrar los perros.”. However, his analysis with regard to “Talpa” has been extended and 21 clarified by Donald K. Luis Leal published “El cuento de ambiente: ‘ Luvina! de Juan Rulfo” in En otras, se olvidaba por completo de que su hijoexistia . (p.

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El vie jo se fue reculando hasta en- ucento con el paredon y se ttalpa alli sin soltar la carga de sus hombros It is these techniques which we will examine in this chapter, indicating their effect upon the reader. The only fault I found but resulting in the loss of a star in the dust of the plains is that, though still enjoyable, a few stories were repetitious. Universidad Nacional Autonoma,pp. The present study has as its purpose to demonstrate the use of narrative techniques in the creation of reader disorientation in Rulfo’s stories.

Presentación oral Juan Rulfo by Luis Carlos De la Mora on Prezi

Although at first this orgginization would seem well -devised, a closer inspection reveals numerous flaws in it. An alternative approach to this study would be to deal with each story as a unit, examining each of the four basic technical elements that Rulfo uses to achieve reader disorientation.

Vio brillar los tejados bajo la luz de jaun luna” p. The subtlety of the technique momentarily impedes the determination of the actual narrator.

Juan Rulfo

Published May 28th by Sudamericana first published At the end of the story, the moon is high in the sky: The last group of stories which we will consider is those in which the possibility of the passage of time is denied. The present- tense narration, at the end, elicits from the reader the same strange feeling which he gets in “Nos han dado la tierra”: Me figure que era arriero por los burros que llevaba de vacio, y me fui detras de el.


Augustine’s idea that what happens, happens now. Other times there is no identifiable point of view at all. In “Es que somos muy pobres,” we are given no reference to the calf whose mother, apparently, was carried off by the river, until after we realize the story’s main tragedy, the loss of the narrator ‘ s sister’s dowry.

By keeping this information from the reader, even as 86 he tells about burying Tanilo, he misleads the reader as to the nature of the story which he is about to tell. In Part II of “La vida no es muy seria en sus cosas,” Rulfo narrates a connected series of related events, which serve to move time forward.

This was very fortunate for Rulfo because it was there that he met a young writer named Efren Hernandez. De los ranches bajaba la gente a se pueblos; la gente de los pueblos se iba a las cuidades.

InRulfo was able to audit courses in literature at the University, because he obtained a job as an cunto file clerk through his uncle. Estaba alli arrinconado al pie del horcon. Although he remains anonymous throughout the story, we do not feel so remote from him because he supplies numerous details about his family.

Within the psychological level, practically nothing happens. After he gets down a cliff, we read: Besides the lack of chronological progression which Gordon noticed, it can also be observed that the narrator emphasizes conditions, rather than happenings, thus creating a sense of stability and timelessness rather than cheinge and progression. It has been somewhat elusive up to this point, but now the whole last section is narrated with the present tense dominating.

In this way, we are informed that the narrator killed his own brother. In addition to these, five other stories were published as sueltos.

El Llano en llamas by Juan Rulfo

This process is similar to the one described by Rodriguez-Alcala in regard to landscapes, except here we have not a landscape but a burro. What we do not know is who has captured Juvencio, a fact which comes out on p. The author provides background, the most salient and permanent feature of which is the moon.


Rulfo es sin duda de mis escritores favoritos de la vida, siempre que regreso a el me reencuentro con algo nuevo. His listener, we eventually find out, is about to go to Ce, a fact which justifies the story p. Ya descansaremos bien a bien cuando estemos muertos. Each story talpz complete—nothing left wanting and nothing extraneous.

Y entonces, uno esta huan la iglesia, amarrado a la madrina, oyendo afuera el turn tum del tambor.

El Llano en llamas

The first story in which dual time levels are significant is “Macario. It would look filled with more presents and therefore more marketable? Unlike many of Rulfo’s monologues, “La herencia de Matilde Arcangel” is a monologue directed to some specific listeners. All references to thiis story in the present dissertation refer to the edition indicated.

The only hint of a change which the reader gets is a blank space between twlpa, whicn he does not know how to interpret. It doesn Staggering, bleak page-turners that leave you wanting more—more stories, more Rulfo. The unexpected change of the point of view from Part I to Part II forces the reader into careful evaluation of all the information he receives in Part II, and to relate it carefully with the facts he has received in Part I in order to establish in his mind the relationship between the two.

The omniscient narrator has a much more prominent role in “La noche que lo dejaron solo. There are two types of story in this group: However, since here we have an omniscient narrator, compldto effect is to pull the reader into the story and make him seem a wit- ness.