| Titre | La muerte del autor en Adán Buenosayres de Leopoldo Marechal | |
|---|---|---|
| Auteur | Claudia Hammerschmidt | |
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Revue | Amerika |
| Numéro | No 12, 2015 La mort : imaginaires et sociétés | |
| Rubrique / Thématique | Mélanges |
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| Résumé anglais |
Ever since its release in 1948, Adán Buenosayres has been critiqued for the inequality of its different parts, i.e. the stylistic oppositions and logical incoherence between the first books which are narrated by L.M. and the last books which are narrated by Adán. Grounding my analysis on the novel's chronological disorder and starting from its supposed structural heterogeneity, the article sets out to demonstrate that the novel enacts a dispute between two ideologies, namely one that is based on the plurality of voices, and another one that seeks to return to a univocal, closed order. This dispute, which is embodied by the different models of authors who present the novel, turns into a battle of life and death between the author and his character thus staging the ‘Death of the author' twenty years prior to its theoretical proclamation. By means of a complex interweaving of the different books and the alternation of narrative voices, Adán, the victim of his own oeuvre, becomes an allegory which L.M. utilizes to illustrate the very process of signification which always kills that which it represents. The novel thus turns into a simultaneous enactment of two diverging, apparently mutually exclusive conceptions of both language, ideology and authorship, so that it stages, in an implicit battle, the death of any of the two poles so that the other might survive and secure its functioning. Source : Éditeur (via OpenEdition Journals) |
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| Article en ligne | http://amerika.revues.org/5884 |
