Construir sobre ruinas: algunas reflexiones sobre la novelística de Héctor Tizón
Ruin is a testimony that denounces the existence of the past. Before a ruin cannot deny what happened. Both literature and history elaborate their speeches with the "ruins of the past," for it does not last in its entirety but only partially. Historians and poets from these vestiges recons...
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| Formato: | Online |
| Lenguaje: | spa |
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Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
2017
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/1508 |
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| author |
Campoy, Emiliano Matías |
| spellingShingle |
Campoy, Emiliano Matías Construir sobre ruinas: algunas reflexiones sobre la novelística de Héctor Tizón Héctor Tizón Ruina Memoria Poética Oralidad Héctor Tizón Ruin Memory Poetics Orality |
| author_facet |
Campoy, Emiliano Matías |
| author_sort |
Campoy, Emiliano Matías |
| title |
Construir sobre ruinas: algunas reflexiones sobre la novelística de Héctor Tizón |
| title_short |
Construir sobre ruinas: algunas reflexiones sobre la novelística de Héctor Tizón |
| title_full |
Construir sobre ruinas: algunas reflexiones sobre la novelística de Héctor Tizón |
| title_fullStr |
Construir sobre ruinas: algunas reflexiones sobre la novelística de Héctor Tizón |
| title_full_unstemmed |
Construir sobre ruinas: algunas reflexiones sobre la novelística de Héctor Tizón |
| title_sort |
building on ruins: some thoughts on héctor tizón's novelistics |
| description |
Ruin is a testimony that denounces the existence of the past. Before a ruin cannot deny what happened.
Both literature and history elaborate their speeches with the "ruins of the past," for it does not last in its entirety but only partially. Historians and poets from these vestiges reconstruct the image of that
which is not but has been. That act of re-elaboration is deliberate, since it requires the decision of which facts, acts and signs are selected and prioritized. Each generation chooses the fragmented and heterogeneous sources and disposes them according to their own ideals and values to build their history. The oral histories
retained the "chronicles" representative of the other Latin American history: that of the original peoples, that of the minorities, that of the vanquished and the marginalized. Latin American narrators show that they have learned the lesson transmitted by oral poetry that preserved the divided, tormented, torn history of
the continent, and which, unlike the historiographical document, tolerates the contradictions of the past, amalgamating them with the wealth and versatility of the processes of the historical becoming and its actors both collective and individual. The narrative world that Héctor Tizón proposes in his novels arises from the
landscape that marveled him in his childhood and the fragments of history that by these places wandered scattered in oral stories. Shreds of a reality that Tizón was recreating in his work. This reconfiguration led him to venture not only for geography but for a complex web of stories, beliefs and myths that are ultimately
those who "encourage" and give way to his narrative world. |
| publisher |
Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) |
| publishDate |
2017 |
| url |
https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/1508 |
| topic |
Héctor Tizón Ruina Memoria Poética Oralidad Héctor Tizón Ruin Memory Poetics Orality |
| topic_facet |
Héctor Tizón Ruina Memoria Poética Oralidad Héctor Tizón Ruin Memory Poetics Orality |
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AT campoyemilianomatias buildingonruinssomethoughtsonhectortizonsnovelistics AT campoyemilianomatias construirsobreruinasalgunasreflexionessobrelanovelisticadehectortizon |
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1800221162050945024 |
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I11-R112article-15082022-05-31T14:52:32Z Building on Ruins: Some Thoughts on Héctor Tizón's Novelistics Construir sobre ruinas: algunas reflexiones sobre la novelística de Héctor Tizón Campoy, Emiliano Matías Héctor Tizón Ruina Memoria Poética Oralidad Héctor Tizón Ruin Memory Poetics Orality Ruin is a testimony that denounces the existence of the past. Before a ruin cannot deny what happened. Both literature and history elaborate their speeches with the "ruins of the past," for it does not last in its entirety but only partially. Historians and poets from these vestiges reconstruct the image of that which is not but has been. That act of re-elaboration is deliberate, since it requires the decision of which facts, acts and signs are selected and prioritized. Each generation chooses the fragmented and heterogeneous sources and disposes them according to their own ideals and values to build their history. The oral histories retained the "chronicles" representative of the other Latin American history: that of the original peoples, that of the minorities, that of the vanquished and the marginalized. Latin American narrators show that they have learned the lesson transmitted by oral poetry that preserved the divided, tormented, torn history of the continent, and which, unlike the historiographical document, tolerates the contradictions of the past, amalgamating them with the wealth and versatility of the processes of the historical becoming and its actors both collective and individual. The narrative world that Héctor Tizón proposes in his novels arises from the landscape that marveled him in his childhood and the fragments of history that by these places wandered scattered in oral stories. Shreds of a reality that Tizón was recreating in his work. This reconfiguration led him to venture not only for geography but for a complex web of stories, beliefs and myths that are ultimately those who "encourage" and give way to his narrative world. La ruina es un testimonio que denuncia la existencia del pasado. Ante una ruina no se puede negar lo acontecido. Tanto la literatura como la historia elaboran sus discursos con las "ruinas del pasado", pues éste no perdura en su totalidad sino parcialmente. Historiadores y poetas a partir de esos vestigios reconstruyen la imagen de aquello que no está pero que ha sido. Ese acto de reelaboración es deliberado, pues requiere de la decisión de qué hechos, actos y signos se seleccionan y priorizan. Cada generación elige las fuentes fragmentarias y heterogéneas y las dispone conforme a sus propios ideales y valores para construir su historia. Los relatos orales conservaron las "crónicas" representativas de la otra historia latinoamericana: la de los pueblos originarios, la de las minorías, la de los vencidos y marginados. Los narradores latinoamericanos demuestran haber aprendido la lección transmitida por la poesía oral que conservó la historia dividida, atormentada, desgarrada del continente, y que, a diferencia del documento historiográfico, tolera las contradicciones del pasado, las amalgama resguardando la riqueza y polivalencia propia de los procesos del devenir histórico y sus actores tanto colectivos como individuales. El mundo narrativo que Héctor Tizón propone en sus novelas surge del paisaje que lo maravilló en su infancia y los fragmentos de la historia que por esos lugares deambulaban dispersos en relatos orales. Jirones de una realidad que Tizón fue recreando en su obra. Esa reconfiguración lo llevó a aventurarse no solo por la geografía sino por un complejo entramado de historias, creencias y mitos que son, en última instancia, los que "animan" y dan carnadura a su mundo narrativo. Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2017-06-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/1508 Cuadernos del CILHA; Vol. 18 Núm. 1 (2017): Aproximaciones al ámbito latinoamericano; 65-83 1852-9615 1515-6125 spa https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/1508/1036 https://creativecommons.org/licenses/by-nc-sa/2.5/ar/ |
