Space, Time and Inner Journey in the narrative 'Porteño-Nortina' by Salvador Reyes
This study analyzes a part of the narrative work of the Chilean writer Salvador Reyes (1899-1970). The corpus was built according to the foundations of the research project FONDECYT Nº1120614: Literary cartography of the great north. Then, according to these fundamentals, it was located in two speci...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2014 |
| País: | Chile |
| OAI Identifier: | oai:repositorio.anid.cl:10533/249949 |
| Acceso en línea: | https://hdl.handle.net/10533/249949 |
| Access Level: | acceso abierto |
| Palabra clave: | Humanidades Lenguage y Literatura Literatura específica |
| Sumario: | This study analyzes a part of the narrative work of the Chilean writer Salvador Reyes (1899-1970). The corpus was built according to the foundations of the research project FONDECYT Nº1120614: Literary cartography of the great north. Then, according to these fundamentals, it was located in two specific spaces within the map of the Great North: Taltal and Antofagasta, spaces that allow to apprehend a northern vision of the world. It should be noted that the author's work is quite extensive and includes poems, short stories, short and extensive novels, chronicles, testimonial stories and essays, so the selection process investigated very exhaustively throughout his work to achieve the proposed purposes and analyze his work from the determination of these two spaces. The figure of Salvador Reyes is of great importance for national letters, because he was a writer who generated controversy for the character of his stories, marked by the innovation of a new narrative scenario and also by characters who were outside the Chilean letters. From his first narrative publication entitled The Last Pirate (1925) causes a great impact and will begin a series of approaches to his work in post of a classification: realism, criollismo, imaginism, avant-garde, suprerealism; they are the labels that his work has received. After this study that comprises only a part of his creation we can say that the vision of art projected by the writer leads him to create a work that transcends classifications and allows varied interpretations. However, the corpus analyzed presents features of the generation of 27 in terms of the use of a multiple narrator, the effect of derealization that is achieved through the reminiscences of the characters (not of the invention) these reminiscences are achieved by the inner journey that these characters undertake. Therefore a process of reconstruction of the past through affective memory (la durèe). In this area, it is worth noting the intimate relationship of the author between life and art because he was born and inhabited the spaces analyzed, however this fact does not determine an autobiographical narrative, because the characters are a fictional equivalent to the biographical subject. It is also proposed that the texts analyzed present an incipient existentialism generated by the break between human being and present world, which causes an emptying of the future (historical hyperbaton). The inner journey that the characters make towards the happy past, the childhood and youth lived in the context of the nitrate boom, is achieved from two scenarios: home and public space. In the chapter that unifies the texts in the category of innominates, the reminiscences arise from their habitat, their home, their intimacy, in the same way the stories that are grouped in the second chapter (Taltal as a space of resistance to modernity), however in the third chapter that predominates as a physical space Antofagasta the inner journey is made through the journey through the public space of an individualized but not personalized character , who gets lost in the entropy of the port, this wandering generates pleasure in all its senses (flaneur erotology). On the other hand, the characters of the entire analyzed corpus feel jaded when returning from their inner journey, the present reality generates in them melancholy and is presented as absurd. In addition, the construction of heterotopias and heterochronies was analyzed, these localizable places, which are built through memories, hence the relationship that another space gives rise to another time. As well as the evolution that the characters experience. Finally, the work of Salvador Reyes that we have studied incorporates the space of the Norte Grande (desert and sea) to Chilean letters, not only as a merely physical space, but as an interior space. This narrative space entails new themes, characters, motifs, adventures, worldviews; but, above all, a different sensibility, close to the avant-garde. The corpus analyzed –only a part of his work- reflects the constant effort of Salvador Reyes to universalize the contingency of the northern nitrate port space, as an old cosmopolitan center. The study of the interiority of the narrative subject constitutes, therefore, the basis of this study, interiority that becomes determined by time and the physical space (port) in which the characters transit. Then it becomes necessary the presence that finds in the outer city its interiority, because it (the city) is the space that allows it to remember. In this way, through heterotopias and heterochronies, the internal chronotope predominates in Reyes' accounts over external realities. The story is based on the reminiscences of the characters: childhood and youth. In addition, as the story told is the one lived in 'illo tempore', the present and future are diluted, absorbed by the memories. As a consequence, his gaze will always be on the past, while his current condition is debated in an existential void, where continuity represents the useless, the meaningless. In this way, Reyes' narrative anticipates in Chilean literature the presence of an incipient existentialism. |
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