Tecnologías de poder y expresionismo: leyendo a Demetrio Aguilera Malta en clave de ciencia ficción (Crítica)
Starting from the idea that all technologies of power, according to Michel Foucault, determine the behavior of individuals, objectifying them, and, also considering the position that the Ecuadorian writer Demetrio Aguilera Malta adopts, in the context of expressionism, an aesthetic that exposes and...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Ecuador |
| Institución: | Universidad Andina Simón Bolivar |
| Repositorio: | Repositorio Universidad Andina Simón Bolivar |
| Idioma: | español |
| OAI Identifier: | oai:repositorio.uasb.edu.ec:10644/9120 |
| Acceso en línea: | http://hdl.handle.net/10644/9120 |
| Access Level: | acceso abierto |
| Palabra clave: | LITERATURA ECUATORIANA AGUILERA MALTA, DEMETRIO, 1909-1981 CIENCIA FICCIÓN CRÍTICA LITERARIA EXPRESIONISM |
| Sumario: | Starting from the idea that all technologies of power, according to Michel Foucault, determine the behavior of individuals, objectifying them, and, also considering the position that the Ecuadorian writer Demetrio Aguilera Malta adopts, in the context of expressionism, an aesthetic that exposes and appeals to the sensitive in conflict with what the being lives before its dehumanization, a group of his works is analyzed from the perspective of science fiction. Indeed, Aguilera Malta is an author who, hybridizing narrative genres, is the one who ventures to introduce elements of science fiction in certain works, some theatrical and others novel, in order to expose his concerns about the middle of the century, when the human being has witnessed a techno-scientific degradation whose culminating point is the detonation of the atomic bomb. The article places the pessimistic or disenchanted speech of Todos los átomos (1955), by Muerte S.A. (1970) and Infierno negro (1970), as founders of the Ecuadorian science fiction theater; and he contrasts them with the novels El secuestro del general (1973) and Réquiem para el diablo (1978) which denote his concern about how power technologies serve to subdue. |
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