Papers by Massimilla Pialorsi-Lewis
A partir del análisis de unos fragmentos textuales de Álvaro Cunqueiro, este trabajo se propone e... more A partir del análisis de unos fragmentos textuales de Álvaro Cunqueiro, este trabajo se propone estudiar su poética del realismo mágico. En opinión del autor, la escritura cunqueiriana, que se hace eco del interés de los modernistas por lo maravilloso medieval y popular, se fragua sin embargo en una clara tradición cervantina. El pacto de ficción cervantino, que pasando por el idealismo alemán y el surrealismo francés llega hasta la novela postmoderna, es la clave para entender los paradigmas del realismo mágico cunqueriano.
Conference Presentation by Massimilla Pialorsi-Lewis
My proposal is aimed to analyze the parodic, ironic and humurous world of Álvaro Cunqueiro (1911-... more My proposal is aimed to analyze the parodic, ironic and humurous world of Álvaro Cunqueiro (1911-1981). During the forties and the fifties, Cunqueiro’s production was underestimated for being considered unconventional, rebellious, unbridled and, to put in a nutshell, pure imagination. Conversely to social realism, neorealism or nouveau roman, Cunqueiro’s work stems from the carnivalesque tradition disclosing a strong intertextuality with François Rabelais, Miguel de Cervantes, Lawrence Sterne, La commedia dell’arte, William Shakespeare, Molière, Luigi Pirandello, Miguel de Unamuno, etc. Cunqueiro’s characters, which are taken from the Western Canon, are revitalized into comic and semi-grotesque images as per Bakhtin’s trope of the World Upside-Down, in which social hierarchies are inverted. A paradigm of the carnivalesque inversion is Pablo y Virginia, embedded in Merlín y familia (1957). Here Cunqueiro uncrowned and trivialized the famous pastoral Paul and Virgine (1788) of Bernardin de Saint-Pierre.
Cunqueiro’s poetics is also grounded into Mikhail Bakhtin’s dialogism (Discourse in the Novel), where “heteroglossia […] constitutes a special type of double-voiced discourse […] potentially against the official languages of its given time”. Therefore, in Pablo and Virginia, Cunqueiro attacked the positivist tradition and cracked the barrier between art and reality, showing that mimesis is a fallacy. By questioning the notion of “history”, on one side, Cunqueiro followed Cervantes tradition that goes hand in hand with Romantic Irony (Frederic Schlegel and Paul de Man) and Avant-Guards humor; while, on the other side, the Galician author forerun the New Novel of the sixties and seventies and linked his novels with the upside-down and fragmented of Postmodernism.
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Papers by Massimilla Pialorsi-Lewis
Conference Presentation by Massimilla Pialorsi-Lewis
Cunqueiro’s poetics is also grounded into Mikhail Bakhtin’s dialogism (Discourse in the Novel), where “heteroglossia […] constitutes a special type of double-voiced discourse […] potentially against the official languages of its given time”. Therefore, in Pablo and Virginia, Cunqueiro attacked the positivist tradition and cracked the barrier between art and reality, showing that mimesis is a fallacy. By questioning the notion of “history”, on one side, Cunqueiro followed Cervantes tradition that goes hand in hand with Romantic Irony (Frederic Schlegel and Paul de Man) and Avant-Guards humor; while, on the other side, the Galician author forerun the New Novel of the sixties and seventies and linked his novels with the upside-down and fragmented of Postmodernism.
Cunqueiro’s poetics is also grounded into Mikhail Bakhtin’s dialogism (Discourse in the Novel), where “heteroglossia […] constitutes a special type of double-voiced discourse […] potentially against the official languages of its given time”. Therefore, in Pablo and Virginia, Cunqueiro attacked the positivist tradition and cracked the barrier between art and reality, showing that mimesis is a fallacy. By questioning the notion of “history”, on one side, Cunqueiro followed Cervantes tradition that goes hand in hand with Romantic Irony (Frederic Schlegel and Paul de Man) and Avant-Guards humor; while, on the other side, the Galician author forerun the New Novel of the sixties and seventies and linked his novels with the upside-down and fragmented of Postmodernism.