This article intends to answer certain questions related to the poetics of the fiction of Ricardo Palma: What did he think about fiction as an act of imagination and fantasy? What implications did he consider fiction as an instrument that linked him to the documentary record and the past? What did Palma show in hisTraditions regarding the relationship between fiction, history, and memory? The poetics of the fiction of Palma and its popular character are emphasized. We use as a theoretical framework the proposals of Ana María Amar Sánchez in her book "El relato de los hechos".

In this article, we analyze the strategies of desacralization present in the tradition “El padre Pata” by Ricardo Palma. For this purpose, we use, as a theoretical framework, the contributions of Mircea Eliade and Emilio Durkheim regarding the sacred and its forms of social manifestation. We also use the contributions of Irving Copi to analyze the fallacies used in the text to produce such desacralization. Keywords: Tradiciones peruanas, El padre Pata, Ricardo Palma, narrative of the Independence.

El propósito de este artículo es analizar el modo en que son subjetivadas las llamadas marcas de historicidad propias del discurso histórico en la tradición “Un litigio original” de Ricardo Palma. Defendemos la idea de que Palma, al subjetivar estas marcas, a través del humor, la ironía y el empleo de un registro lingüístico coloquial, logra desmontar la oficialidad del patrón discursivo histórico y su pretendida hegemonía durante el siglo XIX. Se emplea como marco teórico las propuestas de Pomian sobre el discurso histórico y las llamadas marcas de historicidad trabajadas en su libro Sobre la historia.

En este artículo se estudia el modo en que la estética naturalista es proyectada por López Albújar en el cuento “Ushanan Jampi”, así como las consecuencias que este hecho tiene en las posibilidades de que elcuento establezca una verdadera filiación indigenista. Utilizamos el método semiótico narratológico para realizar una aproximación al texto con el objetivo de describir el esquema narrativo central. Postulamosque es necesario comprender los presupuestos estéticos que alientan el proyecto narrativo del autor, ya que puede darnos las pautas para entender y problematizar, a la vez, aquello que la crítica ha designado como un momento importante en la narrativa peruana.

ResumenEste artículo se propone responder a ciertas preguntas relacionadas con la poética de la ficción palmiana: ¿Qué pensaba Ricardo Palma de la ficción como acto de la imaginación y la fantasía? ¿Qué implicancias tenía el que considerara a la ficción como un instrumento que lo vinculaba al registro documental y al pasado? ¿Qué ponía en evidencia Palma en sus Tradiciones con respecto a la relación entre ficción, historia y memoria? Se incide en la poética de la ficción palmiana y en su carácter popular. Utilizamos como marco teórico las propuestas de Ana María Amar Sánchez en su libro El relato de los hechos.Palabras claves: Ricardo Palma, Ficción, Poética, Tradiciones peruanas.AbstractThis article intends to answer certain questions related to the poetics of the fiction of Ricardo Palma: What did he think about fict...

Este artículo busca establecer la relación entre el realismo joyceano, plasmado en su libro Dublineses, publicado en 1914, y la producción narrativa de los escritores neorrealistas peruanos de los años 50. El análisis emplea como marco teórico la poética del realismo naturalista y se centra en la descripción narratológica del tiempo y del narrador en algunos de los cuentos de Joyce y de narradores peruanos como Ribeyro.

n this article, the novel Canto de sirena by peruvian writer Gregorio Martínez (1942-2017) is analyzed based on the aesthetics that nurtured postboom writers. Our purpose is to observe the use of certain assumptions, principles and strategies that were generated for the new novelist in response to the aesthetics of the “boom” and the project of the total novel that became his novelistic ideal. We use the theoretical framework and the ideas put forward by Ángel Rama (1981) and Antonio Skármeta (1984) around the new generation of Latin American narrators.

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An approach to the universe of servants in A world for Julius by Alfredo Bryce Echenique shows that the dynamics of domination depicted in the novel can be better understood if we can prove that the universe from which these references causing exclusion and differentiation from the other are generated, is the universe of the own Dominator, who thus can only build that one who is different from himself with elements that are essential and that is why he is so configured. In this way the subaltern subject is known and visualized (stereotyped), and is marked through strategies such as stigmatization. In this article we try to identify how these two discursive procedures occur, and how their role in the novel has as a purpose to configure a universe marked by the degradation and the underestimation of the other.

In this article we study the complex relationships between certain Decadent components, typical characteristics of the modernist inheritance, and those of criollista poetry, both present in «Los ojos de Judas» by Abraham Valdelomar. We postulate that, in the case of this story, it is possible to identify a heterogeneous narrative to aim to be national from the local reinvindication; but, in turn, does not abandon the characteristics of Decadent modernism such as exploration of the evil, disease, and the questioning of Christian values. An analysis of this story from the comparison of the decadent and criollismo poetry is performed, in addition, to an approach of the text that relies on the analysis of the narrative programme and the intertextual relationships that are set in the story.

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The term «marks of historicity» was coined by Krzysztof Pomian to establish the non-fictionality of the historical text. The traditional historical novel appropriates these «marks of historicity» to give its discourse the appearance of being historical. On the other hand, the New Latin American Historical Novel, a term popularized by Seymour Menton, not only appropriates these «marks» by imitating them in form but also subverts them by applying the characteristics assigned by Menton. This is the objective of the present article. To achieve this, the methodology used was the analysis of the literary discourse present in the paratext of I the Supreme by Roa Bastos. It was primarily concluded that the New Latin American Historical Novel differs from the traditional one in that it subverts the «marks of historicity» and that it imitates them, that to subvert them resorts to parody, t...