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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This information is not revealed until the very end of the story: Es que somos muy pobres.

Archived from the original on Archived from the original on 16 December He believes that they appear in the sequence He organizes his thesis around six modes of narration which he perceives in the stories: Rulfo’s ability to focus on details opens worlds in short spaces.

Eh esta negacion total de los tiempos, “Luvina” es el eintecedente directo de la esplendida novela que es Pedro Paramo.

Pero al verte varie de opinion. The time level associated with el hombre is characterized by a lack of chronogical order, which is one of the key factors used in maintaining reader disorientation.

This is true of most of the gu-ticles which deal commpleto Rulfo’s stories. As the flood was in progress, the narrator and his sister went up the cliff from the river to hear what people were saying, because the noise down below was too loud to hear what was going on. There is a time flow in the story, from the time we see Juvencio tied up awaiting execution, to immediately after his execution, when his son comes to take him home for burial.


We are told about his murder of Lupe Terreros some thirty-five years earlier, which is somehow connected with the fact that now Juvencio is going to be killed.

Full text of “Narrative techniques in the short stories of Juan Rulfo.”

The identification is actually made by the omniscient narrator of Part II. Y se volvio a dormir. There is another instance in the same story where the indirect interior monologue seems to be used but is not.

In Part I, Juvencio pleads with his son to intercede for him with the colonel who he knows is about to execute him. This unit is broken by ruulfo intervention of a psychological time level, cuenyo which time does not flow. From the beginning of the story till the end of the introductory section p.

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

Habia que “encumbrar, com;leto la meseta y luego bajar. He notes “the author’s psychological entry into Juvencio’s mind” and states that “what Rulfo accomplishes is more than mere narrative description: We shall then consider the category with the most stories, those in which there is a partial stopping of time. Then Juvencio takes up Part III, the omniscient author having disappeared, and continues the events of the narrative in sequence.

The dialogue which begins p. The part which the omniscient narrator plays in this has been previously discussed. There is cuentl flow of time toward anything, no ordering of events: This is achieved essentially by the process described by Blanco Aguinaga: Therefore it would be natural to expect to find a similar treatment of time in both works.

Ya descansaremos bien a bien cuando estemos muertos. 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. Rulfo has bared the land where almost nothing can grow.


Another and perhaps more significant talpz of that approach is that one can easily lose sight of the technique itself while becoming absorbed in its application in a story. The first of these is plural rather than singular ckento, which is used almost exclusively until the last part of the story pp.

The chaotic nature of the world of the story also explains the passage in which is described the narrator’s first meeting with the muleteer.

El Llano en llamas

Edmundo Valades also speaks of nonexistent time in El llano en llamasbut the examples which he uses to support this theory do not come from a. Thus it can be seen that part of Meliton’ s function in this story is to keep bringing the ex- terior level into the psychological level, dividing it into sections and providing flux.

The shepherd’s alttitude in the judge’s presence is apologetic, a fact which is clarified by the following: Llegara la noche y nos pondremos a descansar. Point of view in Rulfo is basically unstable, and this instability is what produces the effect of misleading and confusing the cuenyo.

Y me fui otra vez al corral, a eortar arrayanes. Rulfo spends the first two parts setting the stage eind introducing Estebain and his cows. Ni siquiera los desperto.