El Llano en llamas is a collection of short stories written in Spanish by Mexican author Juan . short stories. La herencia de Matilde Arcángel in Spanish online. A final example that attests once more to the “caciquil” basis of the society that Rulfo portrays: in the story “La herencia de Matilde Arcangel,” one of the main. These are, besides the fifteen published as El llano en llamas, five sueltos: “Un cuento,” “El dia del derrumbe,” “La herencia de Matilde Arcangel,” “Un pedazo.
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On the first reading, one realizes that, in the first part of the story, there are two time levels, one corresponding to the hombre, or the pursued, and the other associated with his pursuer.
It could be the narrator and the husband, or those two plus other unknowns. These dialogues are basically of two types: Itfho is the new narrator? Right after mentioning it, the narrator states: Eso lo perdera” p. d
Tuxcacuenses, vuelvo a insistir: Time is always important in Rulfo’s stories. La semana pasada se me murfo mi tia Jacinta, y el sabado, cuando ya la habiamos enterrado y comenzaba a bajarsenos la tristeza, comenzo a Hover como nunca. The actual time involved here cannot be determined. The destruction of a more traditional view of time deceives the reader because he is expecting a conventional depiction of it.
A very different process is used on p. In the second, psychological level, there is a complete suspension of the flow of time in Herecia I, due to the fact that nothing at all happens on this level. Three general timecategories are established, and the stories are classified within them.
This unit is broken by the intervention of a psychological time level, on which time does not flow. It should be noted that as the rolei of the omniscient narrator contracts j the reader is forced into greater mental effort to keep matildf becoming confused.
El Llano en llamas – Wikipedia
Mattilde is, in this description, an interplay of present and preterite tenses, which nevertheless does not disturb the unfolding of the story: He also tends to include too many marginal items under technique, such as Rulfo’ s mexicanidad25 and fails to investigate other essentials with sufficient profundity.
Se me ocurrio que el nino pasaria bien la noche con nosotros.
This 16 type of narrator is discussed later in this chapter. It is at the river where pursued and pursuer and their respective time planes meet. This continued narration tends to keep any thoughts of the murdered mein’s family out of the picture. The second, exterior level of time complements the interior level already explained. Bleinco Aguinaga’s analysis of the suspension of time in the story applies to the parts of the story which intervene between the first and the last.
Other than these articles, the only studies of time in Rulfo’s stories are brief references found in other, matildd studies, which will be mentioned as necessary in the development of the present work. The story is written in the ,atilde person, but the omniscience of the narrator is impure. Especially puzzling is his statement, after he has narrated Matilde’ s death, that “ya para entonces no era de nosotros” p.
Yo no lo supe. Y me fui otra vez al corral, a eortar arrayanes. Habia que “encumbrar, rodear la meseta y luego bajar.
Estaba alli arrinconado al pie del horcon. Everything there is forever, without change or movement in time. Gordon has recognized the time dualism in “Un pedazo de 13 noche. In the long, boring dialogues, time passes slowly. Ahora estoy junto a la alcantarilla esperando a que salgan las ranas. Besides the lack of chronological progression which Gordon noticed, it can also be observed that the narrator emphasizes conditions, rather than happenings, thus creating a sense of stability and timelessness rather than cheinge and progression.
Caracteristico de los paisajes de Rulfo es la repentina mencion de alguna realidad — cual- quiera— del mundo exterior como si ya la cono- ciera el lector desde antescomo si el lector estuviera frente a un paisaje conocido. In Carlos Blanco Aguinaga made the first attempt to analyze the time element in Maitlde llano en llamas.
This is true of most of the gu-ticles which deal with Rulfo’s stories. The basic process which Rulfo uses in this story to impart to the reader a sense of the denial of time passage is the destruction of the boundaries between past, present, eind future. La noche que lo dejaron solo in Spanish online . Del no para alia, por las vegas, donde estan esos arboles llamados casuarinas The reader feels that his apprehension of point of view is frequently illusory, thus generating in the reader a certain insecurity matildr whether or not his understanding of the story is the correct oneo.
NARRATIVE TECHNIQUES IN THE SHORT ‘STORIES OF JUAN RULFO
The answers to the other two questions are not so obvious, and are revealed slowly throughout the narration of the second part. This statement and several of those which follow it, such as “yo estaba entonces en mis comienzos” p. Gordon has observed that the story is told looking back upon the events, that there is no chronological progression in the narrator’s thoughts, and that the narration centers around life at 22 la Cuesta and his killing of Remigio Torrico.
The first occurs just as the story begins: