Fisuras en los monopolios discursivos de dos narradores: El indio inexistente de «Huasipungo» y el indio ausente de «Raza de bronce»

Autores/as

  • María Ximena Postigo University of Pittsburgh

DOI:

https://doi.org/10.5195/bsj.2012.60

Palabras clave:

estructura oligárquica, fisuras del discurso, formas raras de belleza, monopolio discursivo, realismo crítico, realismo social, realismo socialista

Resumen

Las preocupaciones centrales de la primera mitad del siglo XX en Latinoamérica pueden resumirse en las siguientes dos: la consolidación del estado-nación y el desarrollo incipiente del capitalismo. En los Andes se añade además la problemática indígena. En este trabajo planteo un análisis comparativo de cómo Alcides Arguedas, con Raza de bronce (1919), y Jorge Icaza, con Huasipungo (1934) –pese a asemejarse en el proyecto social que promulgan, el racismo de sus discursos y la historia que cuentan– se diferencian en cómo incorporan la problemática indígena a la novelística de la época. Si el realismo social de Huasipungo responde a la necesidad de cambio de las relaciones de producción, el realismo crítico de Raza de bronce responde al temor de un levantamiento indígena. La anterior no es, sin embargo, la diferencia central. Esta última consiste en la coherencia monopólica del discurso narrativo de Icaza versus las fisuras que el modernismo produce en el positivismo de Arguedas. Como resultado, el proyecto social de estos escritores compone una responsabilidad burguesa en Huasipungo (donde el universo cultural indígena es reducido a su inexistencia) y una peligrosa potencialidad indígena en Raza de bronce (donde, efectivamente, no experimentamos la presencia del mundo cultural andino, pero al menos tampoco su inexistencia).

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Publicado

2012-12-29

Número

Bolivian Studies Journal Vol. 19 (2012-2013)

Sección

Artículos

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