Autor/es
Descripción
ver mas
Colaborador
Steimberg, Oscar
Soto, Marita
Idioma
spa
Extent
222 p.
Derechos
info:eu-repo/semantics/openAccess
Atribución-NoComercial-SinDerivadas 2.0 Genérica (CC BY-NC-ND 2.0)
Formato
application/pdf
Identificador
Abstract
In this thesis, which is the product of a twenty-year didactic experience with students of Communication Sciences (UBA) in front of a writing workshop, we propose a "poetics of objects and things" as an analysis of the fictional story. We start from the premise from Wolfgang Iser (Iser, 1997: 63) that fictionalization is a way of investigating, of constructing a hypothesis about the real.
While in literature, unlike other arts such as cinema, painting, theater, dance, the world that is "seen" or "perceived" is the one built by narration, it is the world of things and of the objects the one that promotes the narrativity of a story.
The concept of narrativity is a key term in postclassic narratology. Also called "cognitive" narratology, as it studies the cognitive process that underlies the construction of narrative worlds, postclassic narratology integrates into the analysis proposed by Gérard Genette the aspects related to the interaction between the text and a "model" reader. Our proposal is integrated into this pragmatic perspective of rhetorical orientation and is specifically focused on the production process of the narrative text.
Unlike a conception of narrativity that, based on the properties that a text presents, which allows to characterized it as more or less narrative text, so postclassical narratology maintains, we frame in this concept the elements that we consider generate a narrative of greater effectiveness. By effectiveness we understand what produces - as a reception hypothesis - an "effect" on the reader, that is, an emotional commitment and an immersion in the fictional world or storyworld, in terms of David Herman (2007). Reading immersion is correlated, according to Renata Brosch, with the construction of images in the mental representation. Objects (manufactured) and things (elements of nature, as well as parts of the human body if the work gives it the character of "thingness") that make up the material, concrete world, contribute significantly to this process. They promote the process of visualization, a concept currently central to contemporary narrative constructions, not only in the literary narrative but also in the cinema, the comic strip, the graphic novel and, currently, in interactive virtual reality games.
The analysis that we provide of the functionality that objects and things fulfill in relation to temporality, intrigue, space and meaning in the novels of Betina González, Anibal Jarkowski and Eugenia Almeida, allows us to show how the descriptive tools inherited from formalism, can be thought in a different way, that is, as decisions and choices that the writer takes in order to promote cognitive and emotional engagement with the reader.
This is explained by Antonino Sorci who, although he refers to the Tel Aviv school, describes our own point of view: The studies carried out by researchers at this institute (The Tel Aviv School) focus especially on the compositional strategies chosen by the author of the text at the time of the creation of the literary work. The fictional text is therefore conceived as a reservoir of complex functions that will produce, in the reader, a precise series of effects. The narrative work, insofar as it is crossed and inspired by the intention to produce these effects, is functionally related to the reader's cognitive and emotional response. (Sorci, 2016: 263)
While in literature, unlike other arts such as cinema, painting, theater, dance, the world that is "seen" or "perceived" is the one built by narration, it is the world of things and of the objects the one that promotes the narrativity of a story.
The concept of narrativity is a key term in postclassic narratology. Also called "cognitive" narratology, as it studies the cognitive process that underlies the construction of narrative worlds, postclassic narratology integrates into the analysis proposed by Gérard Genette the aspects related to the interaction between the text and a "model" reader. Our proposal is integrated into this pragmatic perspective of rhetorical orientation and is specifically focused on the production process of the narrative text.
Unlike a conception of narrativity that, based on the properties that a text presents, which allows to characterized it as more or less narrative text, so postclassical narratology maintains, we frame in this concept the elements that we consider generate a narrative of greater effectiveness. By effectiveness we understand what produces - as a reception hypothesis - an "effect" on the reader, that is, an emotional commitment and an immersion in the fictional world or storyworld, in terms of David Herman (2007). Reading immersion is correlated, according to Renata Brosch, with the construction of images in the mental representation. Objects (manufactured) and things (elements of nature, as well as parts of the human body if the work gives it the character of "thingness") that make up the material, concrete world, contribute significantly to this process. They promote the process of visualization, a concept currently central to contemporary narrative constructions, not only in the literary narrative but also in the cinema, the comic strip, the graphic novel and, currently, in interactive virtual reality games.
The analysis that we provide of the functionality that objects and things fulfill in relation to temporality, intrigue, space and meaning in the novels of Betina González, Anibal Jarkowski and Eugenia Almeida, allows us to show how the descriptive tools inherited from formalism, can be thought in a different way, that is, as decisions and choices that the writer takes in order to promote cognitive and emotional engagement with the reader.
This is explained by Antonino Sorci who, although he refers to the Tel Aviv school, describes our own point of view: The studies carried out by researchers at this institute (The Tel Aviv School) focus especially on the compositional strategies chosen by the author of the text at the time of the creation of the literary work. The fictional text is therefore conceived as a reservoir of complex functions that will produce, in the reader, a precise series of effects. The narrative work, insofar as it is crossed and inspired by the intention to produce these effects, is functionally related to the reader's cognitive and emotional response. (Sorci, 2016: 263)
Título obtenido
Doctora de la Universidad de Buenos Aires en Ciencias Sociales
Institución otorgante
Universidad de Buenos Aires. Facultad de Ciencias Sociales