Genre Originality of Novel by M. Vargas Llosa “Green House”

The genre nature of the novel “Green House” by the Peruvian writer Mario Vargas Llosa is analyzed in the article. Special attention is paid to three approaches to the definition of the genre: “Green House” as a total novel, as a chivalric novel and as an Indianist novel. Definitions of each genre under consideration are given. The relevance of the study is due to the fact that the prevailing approaches to defining the genre of the “Green House” in contemporary Latin American studies is analyzed in the paper. In the course of the work seven stable characteristics of the total novel are distinguished: a radically realistic author’s intention, a clear structural organization of the text, compositional and semantic unity, the consciousness of the infinity of language, the comprehensiveness of the novel, nonlinearity of narration, and the use of dialogue as a structure-forming device. The question of the presence in the novel “Green House” of signs of a chivalric romance is considered. The results of a comparative analysis of the “Green House” and the Catalan novel “Tyrant White” are presented. A comparison of the structure of the “Green House” and the generalized structure of the Indianist novel is given, the key features of this genre are analyzed. It is concluded that in the case of the “Green House” it is impossible to come to genre definiteness. The authors dwell on the fact that “Green House” is a work of fiction that combines elements of different genres, without any other restrictions in interpretations, except for those directly rejected by the text.

Adolescentes en la ciudad: rebeldía y conformismo en la narrativa peruana moderna

Este trabajo examina dos textos narrativos editados en el Perú durante la década de los años sesenta: Los inocentes. Relatos de collera ([1961] 2011) de Oswaldo Reynoso (1932-2016) y Los cachorros (1967) de Mario Vargas Llosa. El análisis se centra en la construcción de las identidades de los sujetos adolescentes que los protagonizan, tomando en cuenta una serie de factores (clase, generación, género, territorialización, lenguaje, entre otros) como parte de la emergencia de las llamadas “culturas juveniles” en las sociedades occidentales a partir de la década de los cincuenta. Se reconocen, asimismo, diferencias entre estas narrativas en la representación de esas culturas, en particular, con respecto a la relación que los sujetos adolescentes establecen con la cultura hegemónica.

Spectacle of musealization and literaturization of the world in post/postmodern society

This article discusses current issues in the evolution of museums worldwide, influenced by global phenomena. The globalization of culture, on the one hand, and the musealization of the world, on the other hand, become the plays of a spectacle of the contemporary world. The museum cultural model becomes dominant in today’s society, influencing all spheres and finding representation in the world’s literatures. Among the various approached theories, the concepts of musealization of the modelled world as a cultural spectacle, “the world as a museum”, imaginary museum, the literaturization of the museum and the musealization of literature. From this perspective, the theses of the Nobel laureates in literature Mario Vargas Llosa and Orhan Pamuk are analysed. In Pamuk’s novel The Museum of Innocence, the museum is the structuring narratological axis of the novel, its theme and compositional nucleus.

Censorship in Franco´s Spain about the novel of Mario Vargas Llosa "The City and the Dogs"

"The City and the Dogs" is the first novel by the famous Peruvian writer, Nobel Laureate Mario Vargas Llosa, which was published in the author's youth. In 1963, at the time of the novel's publication, the author was 27 years old. It is known that Mario Vargas Llosa had to overcome many difficulties on the way to publishing the work. After reading the manuscript of the novel, the Catalan editor and founder of the publisher ¨Seix Barral¨, Carlos Barral aimed to publish the work by his publishing house. Barral has been in lengthy negotiations with Spanish censorship. In these negotiations were also involved general director of information agency, Robles Piquer, representative of cenorship and from the side of author, a friend of Robles Piquer, a professor at the University of Barcelona, ​​Jose Maria Valverde, which was the jury member of ¨Biblioteca Breve¨ award. He wrote the preface for the first editions of the novel. Mario Vargas Llosa's sympathies for the Communist Party and the Cuban Revolution in the 1950s and 1960s are well known. The novel clearly shows the author's leftist positions, his criticism and cynical attitude towards the Peruvian military system and education system. To express the prejudices, racial and class inequalities, corruption and injustice in a society living under a dictatorial regime, the author does not shy away from using the vulgar language of adults and describing sexual scenes, that allow the reader to perceive and imagine the novel realistically.It was the novel's anti-militaristic tone, rude language, and sexual episodes that presented a kind of "embarrassment" to Franco´s censorship, which was much more lighted in the 1960s than in previous years. The novel did not satisfy censorship criterias, cause it included, offensive themes of religion (the episode of the priest), sexuality-related topics, inappropriate and provocative language, and thoughts against the regime (criticism of the military system) which was unacceptable to Spanish censors.As a result of negotiations conducted by Carlos Barral, censorship allowed the author to publish his first novel, in Franco´s Spain, led by the rightists. In this article, we will discuss the negotiation process for publishing a novel. Despite the novel's anti-militaristic attitude, under the Spanish censorship it was published whith a minimal changes, unlike from the Soviet Union, where, as Vargas Llosa noted, the novel was "amputated." In the article we will discuss also why Spanish censorship allowed the publication of a novel and with minor modifications that was considered as an allegory of anti-Francoism.

Gabriel García Márquez and the Remaking of the World Canon

Given the central role played by One Hundred Years of Solitude in determining what today is understood as postcolonial literature, it may surprise readers of his memoirs or, for that matter, of his early journalism, to discover that Gabriel García Márquez’s literary role models were almost exclusively European or North American. For the young García Márquez, authors who today constitute the core of the modernist canon, in particular Franz Kafka, James Joyce, Virginia Woolf, and William Faulkner, shaped his vision of what narrative should be like. However, in this admiration and appropriation of modernism, García Márquez was not alone. For instance, his younger contemporary Mario Vargas Llosa has also acknowledged the central influence of Faulkner on his works. As Pascale Casanova has noted, both García Márquez and Vargas Llosa belong to the myriad of twentieth-century novelists who found in modernist writers and, in particular, Faulkner, a “temporal accelerator” that made their novels seem contemporaneous to those produced in Europe and North America and therefore understandable by critics and general readers in those countries. However, in a twist that serves as proof of García Márquez’s literary success, his particular reinterpretation of Faulkner’s and other modernists’ writings in turn served as a model for many other writers from the so-called Global South. This article studies the manner in which García Márquez’s “magical realism,” derived from his readings of the modernist canon, became a new “temporal accelerator” that made the experiences of the Global South understandable by readers in the North.

Urszula Ługowska. De “La Crónica” a la prensa chicha. El Perú en la obra periodística de Mario Vargas Llosa Instytut Studiów Iberyjskich i Iberoamerykańskich UW, Warszawa, 2019.

Recenzja książki Urszuli Ługowskiej pt.: De “La Crónica” a la prensa chicha. El Perú en la obra periodística de Mario Vargas Llosa wydanym przez Instytut Studiów Iberyjskich i Iberoamerykańskich UW, w 2019. Urszula Ługowska podjęła się misji niezmiernie trudnej. Nie tylko tak jak to rzetelny naukowiec powinien uczynić krytycznej oceny noblisty, Mario Vargasa LLosy, jego dzieł, ale także jako literaturoznawca, kulturoznawca, iberystka, politolog prześedzić wszelkie te tropy. Podjęła się tego zadania, a wyniki są z perspektywy czytelnika bardzo satysfakcjonujące. Nie tylko dla tzw. zwykłego czytelnika, który kupuje książkę w księgarni, ma swoje określone oczekiwania i nadzieje, ale także dla czytelników - fachowców: właśnie literaturoznawców, kulturoznawców, medioznawców, politologów, iberystów.

María Jesús Lorenzo-Modia, editora. Sobre Mario Vargas Llosa.

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Heberto Padilla, Julio Cortázar y Mario Vargas Llosa: tres diferentes traducciones del desencanto

el artículo analiza la proyección de los debates con respecto al papel de los artistas e intelectuales tras el triunfo de la Revolución cubana y el caso Padilla en tres novelas: En mi jardín pastan los héroes, de Heberto Padilla; Libro de Manuel, de Julio Cortázar y La guerra del fin del mundo, de Mario Vargas Llosa. El objetivo es examinar las diferencias entre las visiones artísticas de los autores acerca del desencanto político e intelectual surgido en torno a la Cuba del quinquenio gris a través del diálogo entre la ficción narrativa y el contexto histórico del momento. A partir de dicho análisis, puede concluirse que el desencanto político es una apropiación creativa generadora de reflexiones artísticas e intelectuales abordadas por los autores en las tres obras mencionadas.Abstract: The article analyzes the projection of debates regarding the role of artists and intellectuals after the triumph of the Cuban Revolution and the Padilla case in three novels: En mi jardín pastan los héroes, by Padilla; El libro de Manuel, by Julio Cortázar and La guerra del fin del mundo, by Mario Vargas Llosa. The objective is to examine the differences between the authors artistic visions of the political and intellectual disenchantment that arose around Cuba in the gray quinquennium through the dialogue between narrative fiction and the historical contextof the moment. From this analysis, it can be concluded that political disenchantment is a creative appropriation generating artistic and intellectual reflections addressed by the authors in the three works mentioned.Keywords: Disenchantment; Cuban Revolution; Padilla Case.

Nos rastros da memória: uma revisitação da Guerra de Canudos pelo olhar de Vargas Llosa

Este artigo pretende analisar o panorama de como se desenvolveram as relações entre história e literatura nas narrativas do século XX. Com esse intuito, foi tomado como referencial no romance A guerra do fim do mundo (1981), de Mario Vargas Llosa. Neste livro encontram-se algumas expressões que permitem certa reconstrução do passado de forma ficcional realista através do resgate da memória oral evidenciada pelas descrições das personagens como pano de fundo, o que põe em destaque o caráter de historicidade da obra. De modo a fundamentar a nossa reflexão recorreremos aos contributos de: Lukács (2011), Mircea Eliade (2011), Jaques Le Goff (1990), Beatriz Sarlo (2010), Antônio Candido (2006), entre outros. Em suma, esse texto visa contribuir com estudos que reflitam e reativem a importância de se discutir o caráter significativo dos romances históricos na Literatura Latino-Americana.