Forma e historicidad de lo fantástico: descontento realista y profundidad espacial en Liliana Colanzi

Autores

DOI:

https://doi.org/10.5195/bsj.2023.299

Palavras-chave:

literatura fantástica latinoamericana, forma literaria, lo liso y lo estriado, descontento realista, Liliana Colanzi

Resumo

En este artículo propongo una lectura doble de la obra de Liliana Colanzi (Santa Cruz, 1981), Nuestro mundo muerto (Almadía, 2016). Primero, mediante el análisis de la especificidad formal de los cuentos. Para ello, parto de la caracterización de su obra desde dos conceptos distintos pero complementarios: el fantástico hispanoamericano global como particularización del nuevo weird global (Sanchiz y Bizzarri) y las literaturas del descontento realista (Amatto). Luego, al considerar la forma literaria como el espacio de disputa entre la obra y su historicidad (Eyers), estudio cómo los cuentos de la autora poseen una forma que propongo denominar “interferencia”. Segundo, estudio la dimensión espacial de su obra desde dos ejes: la extensión territorial previamente analizada por González Almada como “textualización del territorio” (“Territorialidades”) y la estratificación del espacio en liso y estriado, según Deleuze y Guattari (Mil mesetas). Tras identificar la riqueza de los ejes de territorialidad y profundidad, me detengo en el análisis del cuento “Nuestro mundo muerto” para leer en él una especulación sobre la temporalidad de lo humano y lo no humano en la crisis del capitalismo tardío. En la intersección entre forma y espacio será posible identificar en los cuentos su historicidad contradictoria.

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Publicado

2023-11-30

Edição

Bolivian Studies Journal Vol. 29, 2023

Seção

Articles

Licença

Copyright (c) 2023 Roberto Cruz Arzabal

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