Beyond the Limits of Representation: The Use of Humor and the Unusual Narrator in Max Aub's Manuscrito Cuervo
Beyond the Limits of Representation: The Use of Humor and the Unusual Narrator in Max Aub's Manuscrito Cuervo
| dc.creator | Dickey, Eric | |
| dc.date | 2018-01-19 | |
| dc.date.accessioned | 2022-11-04T15:41:29Z | |
| dc.date.available | 2022-11-04T15:41:29Z | |
| dc.identifier | https://revistas.upr.edu/index.php/reh/article/view/12187 | |
| dc.identifier.uri | https://repositorioslatinoamericanos.uchile.cl/handle/2250/5126589 | |
| dc.description | In his famous declaration in 1949 that "[t]o write poetry after Auschwitz is barbaric," Theodor Adorno addresses the problematic of representing and coming to terms with an extreme historical event through literature. While his contention has received much criticism, it has also suggested the need for new forms of literary representation that no longer fit the pre-Holocaust models. The after-Auschwitz model forces a reconceptualization and transformation of language to meet the needs of a traumatic discourse that falls outside of "everyday" language. It also forces one to recognize that the familiar categories and frameworks available during the pre-Holocaust period are insufficient to express an event that cannot be explained nor visualized. In the wake of postmodernism and its deconstruction of the "real" and the ensuing debate between history/fiction, traumatic writing has adopted unconventional narrative forms to address issues of absence or loss. This essay examines the concept of aphasia in Spanish writer Max Aub's short story Manuscrito Cuervo. This creative work represents a prime example of Max Aub's use of the Spanish Avant-garde as a narrative strategy employed to represent the reality of the French concentration camp of Le Vernet. Aub breaks away from traditional literary conventions and turns to new, artistic and aesthetic forms such as estrangement, humor and the unusual narrator in an effort to representa reality that goes beyond any conventional form of representation. | en-US |
| dc.description | La frase famosa que Theodor Adorno profirió en 1949: "escribir poesía después de Auschwitz es bárbaro" trata la problemática de representar y comprender un evento histórico y extremo a través de la literatura. Mientras que esa declaración ha generado mucha controversia, también ha sugerido la necesidad de crear nuevas formas de representaciones literarias que ya no encajan dentro del modelo pre-holocausto. Este modelo post-Auschwitz también provoca una reconceptualización y transformación de la lengua para cumplir las necesidades de un discurso traumático que va más allá del lenguaje cotidiano. También obliga a uno a reconocer que las categorías y marcos disponibles durante el período del pre-holocausto son insuficientes para expresar un evento imposible de explicar o visualizar. Tras el posmodemismo y su deconstrucción de "lo real" y el subsiguiente debate entre la historia/ficción, la escritura traumática ha adoptado formas narrativas poco convencionales para tratar cuestiones de ausencia y pérdida. Este ensayo examina el concepto de afasia en el cuento Manuscrito Cuervo del escritor español Max Aub. Esta obra creativa representa un ejemplo excelente del uso de Max Aub de estrategias narrativas de vanguardia para representar la realidad del campo de concentración de Le Vemet. Aub se distancia de las convenciones literarias tradicionales y recurre a nuevas formas artísticas y estéticas como el distanciamiento, el humor y el narrador insólito a fin de representar una realidad que va más allá de cualquier forma convencional de representación. | es-ES |
| dc.format | application/pdf | |
| dc.language | eng | |
| dc.publisher | University of Puerto Rico, Río Piedras Campus | es-ES |
| dc.relation | https://revistas.upr.edu/index.php/reh/article/view/12187/9974 | |
| dc.rights | Derechos de autor 2018 Revista de Estudios Hispánicos (Etapa I) | es-ES |
| dc.source | Revista de Estudios Hispánicos; Nueva Época, Año II, No. 1, 2015; 83-100 | en-US |
| dc.source | Revista de Estudios Hispánicos; Nueva Época, Año II, No. 1, 2015; 83-100 | es-ES |
| dc.source | 2638-471X | |
| dc.source | 0378-7974 | |
| dc.subject | Max Aub | en-US |
| dc.subject | French concentration camps | en-US |
| dc.subject | Spanish exile | en-US |
| dc.subject | Holocaust | en-US |
| dc.subject | Spanish Civil War | en-US |
| dc.subject | trauma | en-US |
| dc.subject | Max Aub | es-ES |
| dc.subject | campos de concentración franceses | es-ES |
| dc.subject | exilio español | es-ES |
| dc.subject | Holocausto | es-ES |
| dc.subject | Guerra Civil Española | es-ES |
| dc.subject | trauma | es-ES |
| dc.title | Beyond the Limits of Representation: The Use of Humor and the Unusual Narrator in Max Aub's Manuscrito Cuervo | en-US |
| dc.title | Beyond the Limits of Representation: The Use of Humor and the Unusual Narrator in Max Aub's Manuscrito Cuervo | es-ES |
| dc.type | info:eu-repo/semantics/article | |
| dc.type | info:eu-repo/semantics/publishedVersion | |
| dc.type | Peer-reviewed Article | en-US |
| dc.type | Artículos arbitrados | es-ES |