La Querella entre Clásicos y Modernos en Umbral de Juan Emar
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Fecha
2013
Profesor/a Guía
Facultad/escuela
Idioma
es
Título de la revista
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Título del volumen
Editor
Facultad de Filosofía y Humanidades de la Universidad Austral de Chile.
Nombre de Curso
Licencia CC
Licencia CC
Resumen
En la narrativa de Emar se ficcionalizan algunos debates artísticos del campo cultural chileno de su época ya planteados en sus Notas de Arte. Nos centraremos en el análisis del fragmento la Noche 3 de Umbral, en el que, mediante la construcción de una novela-drama (hibridez genérica), se muestra en forma simultánea tanto el proceso de desarrollo de un espectáculo dramático como el de su recepción crítica por parte del público. Este último está conformado por dos sectores antagónicos, mostrándose con ello la pugna entre la crítica oficial y la defensa y emergencia de la vanguardia literaria en el ámbito nacional. Esto es, entre el tradicionalismo o "metafísica de la tradición" (en términos de H. R. Jauss), que encarna la crítica oficial, y lo que Emar llamará "el arte vivo". Interesa en este artículo demostrar que la concepción emariana de la tradición artística permite superar -mediante el uso de la parodia- la clásica disputa o Querella entre clásicos y modernos.
Palabras clave: clásicos vs. modernos, parodia, tradición artística, Juan Emar.
In his narrative, Emar fictionalizes some of the artistic debates of the Chilean cultural life of his times, already discussed in his Writing on Art. Here, we will concentrate in the analysis of the fragment Night 3 of Umbral, which through the construction of a novella-drama (generic hybridism) shows simultaneously both the development of dramatic display as well as its critical reception by the public. This last, conformed by two antagonistic groups which represent the clash between official criticism and the emergence of the Chilean literary Avant-Garde: the conflict between traditionalism or the "metaphysics of tradition" (Jauss) which embodies official criticism and what Emar would call "live art". This article seeks to demonstrate that through the utilization of a parody, the Emarian conception of artistic tradition can overcome the classic controversy between the classics and the modernists. Key words: classics vs. modernists, parody, artistic tradition, Juan Emar.
In his narrative, Emar fictionalizes some of the artistic debates of the Chilean cultural life of his times, already discussed in his Writing on Art. Here, we will concentrate in the analysis of the fragment Night 3 of Umbral, which through the construction of a novella-drama (generic hybridism) shows simultaneously both the development of dramatic display as well as its critical reception by the public. This last, conformed by two antagonistic groups which represent the clash between official criticism and the emergence of the Chilean literary Avant-Garde: the conflict between traditionalism or the "metaphysics of tradition" (Jauss) which embodies official criticism and what Emar would call "live art". This article seeks to demonstrate that through the utilization of a parody, the Emarian conception of artistic tradition can overcome the classic controversy between the classics and the modernists. Key words: classics vs. modernists, parody, artistic tradition, Juan Emar.
Notas
Indexación: Web of Science; Scielo
Palabras clave
classics vs. modernists, parody, artistic tradition, Juan Emar, classics vs. modernists, parody, artistic tradition, Juan Emar.
Citación
Estudios Filológicos. N° 51, 2013.