Reclaiming the Author: Figures and Fictions from Spanish AmericaDuke University Press, 1992 - 228 pagina's The recent fiction of Spanish America has been widely acclaimed for its experimental and revolutionary qualities. In Reclaiming the Author, Lucille Kerr studies the sources of power of this newly emergent literature in her detailed examination of the critical concept of "the author." Kerr considers how Spanish American narratives raise questions about authorial identity and activity through the different figures of the author they propose. These author-figures, she maintains, both complement and contradict notions of authority that exist outside of the world of fiction. By focusing on works by well-known Spanish American authors--Cortazar, Donoso, Fuentes, Poniatowska, Puig, and Vargas Llosa--Kerr shows how the Spanish Americans have formed a radical poetics of the author. Her readings demonstrate how exemplary Spanish American texts, such as Rayuela, Terra nostra, and El hablador, call into question the author as a unitary or uniform, and therefore unproblematical, figure. Individually and together, Kerr's readings reclaim "the author" as a complex critical concept encompassing diverse, conflicting, even competitive roles. |
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Reclaiming the Author: Figures and Fictions from Spanish America Lucille Kerr Gedeeltelijke weergave - 1992 |
Veelvoorkomende woorden en zinsdelen
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Populaire passages
Pagina xiii - This chapter is based on a research project that was assisted by a grant from the Joint Committee on Latin American Studies of the Social Science Research Council and the American Council of Learned Societies with funds provided by the Andrew W.
Pagina 175 - In a literary context, the term auctor denoted someone who was at once a writer and an authority, someone not merely to be read but also to be respected and believed5. According to medieval grammarians, the term derived its meaning from four main sources: auctor was supposed to be related to the Latin verbs agere 'to act or perform', augere 'to grow' and auieo 'to tie', and to the Greek noun autentim 'authority'6.
Pagina 191 - Now, the study of this microphysics presupposes that the power exercised on the body is conceived not as a property, but as a strategy; that its effects of domination are attributed not to "appropriation...
Pagina 191 - ... appropriation', but to dispositions, manoeuvres, tactics, techniques, functionings; that one should decipher in it a network of relations, constantly in tension, in activity, rather than a privilege that one might possess; that one should take as its model a perpetual battle rather than a contract regulating a transaction or the conquest of a territory. In short this power is exercised rather than possessed; it is not the 'privilege...
Pagina 19 - Poetry is the overflow, utterance, or projection of the thought and feelings of the poet; or else (in the chief variant formulation) poetry is defined in terms of the imaginative process which modifies and synthesizes the images, thoughts, and feelings of the poet.
Pagina 195 - Maldiddn eterna a quien lea estas pdginas [Eternal Curse on the Reader of These Pages] (1980), Sangre de amor correspondido [Blood of Requited Love] (1982), and Cae la noche tropical [Tropical Night Falling] (1988).
Pagina 8 - It would seem that the author's name, unlike other proper names, does not pass from the interior of a discourse to the real and exterior individual who produced it...
Pagina 50 - Es verdad, estamos aquí de a mentiras: lo que cuentan en el radio son mentiras, mentiras las que dicen los vecinos y mentira que me va a sentir. Si ya no le sirvo para nada, ¿qué carajos va a extrañar? Y en el taller tampoco. ¿Quién quiere usted que me extrañe si ni adioses voy a mandar?
Pagina 7 - A certain number of notions that are intended to replace the privileged position of the author actually seem to preserve that privilege and suppress the real meaning of his disappearance.
Pagina 6 - Thus is revealed the total existence of writing: a text is made of multiple writings, drawn from many cultures and entering into mutual relations of dialogue, parody, contestation, but there is one place where this multiplicity is focused and that place is the reader, not, as was hitherto said, the author.