Abstract

It is possible to recognize the influence of Cervantes in Spanish America from the moment its works arrived to our continent in the XVII century. The Chilean literature is not out of that process: in the literary field one of the highlights is the writer Juan Rafael Allende, from mid XIX Century, who’s novel Memorias de un perro escritas por su propia pata (1893) shows a clear inspiration on one of the Exemplary novels titled Coloquio de los perros. Rafael Allende’s work, narrated according to the XVII century picaresque novel principles, tells about the life’s ups and downs of a dog named Rompecadenas, who constantly changes owners and get a good number of experiences that allow it to make its performance as a pícaro even better and, by the way, to display a series of pictures of Chilean social reality.

Abstract

The author of this article analyzes the field of images of irony, starting from some Douglas C. Muecke’s works and some other personal analyses developed in «Poétique de l’ironie». He questions himself about the tension that exists between a possible archetypal image of irony, which would provide a vertical relationship of power, and its most recent images, which would highlight the fundamental ambiguity of the phenomenon. Between rhetoric and hermeneutics, between violence and conciliation, the outline of an arabesque of irony is defined, which allows us to organize the field of study around the notion of symmetry. Resuming important commentaries made by Sören Kierkegaard and Connop Thirlwell, the analysis focuses upon a certain number of concrete images -engravings, drawings, photographs...- that have been suggested throughout the time so as to explain the nature and the functioning of irony. At the same time, the author uses the opportunity to examine, within the specific context of irony, the notions of purpose and sense.

Abstract

The incidence of irony in the genre of lyric poetry has caused some special effects, mainly after modernity turned this disposition of thought into an irreplaceable element when, thanks to the contribution of the Romantic poet Friedrich Schlegel, complicities between poets and readers were stipulated. The present article tries to evaluate the validity of these presuppositions by studying the use of ironic procedures in the poetic texts of a number of authors of great importance now. The relevance of the authors analyzed is justified not only by the poets’ relation to an absolute diversity of styles and programs, but also, by the fact that it is able to represent all the literary generations that are currently producing Catalan poetry. The paper, therefore, aims at characterizing the features of poetic irony, and also, by virtue of its synchronic division, at giving accounts of up to what extent the resource is adapted to the expressive necessities of Catalan poetry at the present moment.

Abstract

The reception of Jesús Moncada’s work at the beginning of his literary career was determined by the debate between «rural novel» and «urban novel», up to the point of directing its reading towards an elegiac dimension, at the expense of other distinctive traits of greater importance. In this sense, Moncada’s work has been understood, in an almost exclusive way, as a literary recording of the collective memory. The present article suggests a different reading of «Estremida memòria», in order to discover the essenciality of the irony in the author’s world, in this case, through the characteristic procedures of metafiction: metalepsi and metatextuality. The recreation of Mequinenza’s history is in the background, according to the reflection on the process of writing and on the mechanisms of capturing and reproducing this reality by means of Literature

Abstract

The main goal of this article is to bring up the topic of irony in the essay as a literary genre, based on the considerations made by Eugeni d’Ors, Josep Pla and Joan Fuster. The emergence of the definition of irony as an incomplete adhesion, which refers to Ors although it has lasted especially through Pla, is revised here; the intellectual history of the definition is analyzed in order to consider in which moment Fuster’s essay relates to it and, taking irony as a starting point, it gives a boost to ontemporary Catalan essay.

Abstract

This article has as its goal to analyze the dramatic text «Elsa Schneider» (1987), by Sergi Belbel, starting from the concept of irony of contrast between text and context of communication. This ironic resource is conveyed through the different composition of the three sequences of monologues in which the work is structured. With this resource the author offers an approach to a metadiscursive subject matter which revolves around scenic communication and theatrical genres.

Abstract

In the present article the author studies the importance of irony in Llorenç Villalonga’s work using as a touchstone the novel «Flo la Vigne». In the first place he analyzes the conception of irony that the writer has: a tool for approaching the world and a virtue that characterizes the person or the civilization that possesses it. Secondly, he examines the practice of irony in the aforesaid novel: verbal irony (antiphrasis, paradox, «reductio ad absurdum»...) and the narratologic irony in a wide sense, including the paratextual and the intertextual one. Special attention is paid to the conception of transmitter of information, which has diverse voices and narrative levels. Finally, it relates Villalonga’s irony to modern irony.

Abstract

Abstract: This paper is based on the assumption that the general conception of irony cannot be applied to the works by J. V. Foix. Instead, they should be considered in the context of Romantic irony as conceived by Friedrich Schlegel, documented in Ingrid Strohschneider-Kohrs’ research. After defining the term “reflection” as the self-nihilation of the absolute, this paper analyses some of the poet’s prose poems, in which this kind of irony can be identified. In Foix’s writings, frequent meta-reflections on poetry or painting make texts or paintings appear illegible or endowed with great subversive power. A piece like “El Roc pertús” deconstructs the absolute exemplarity and orchestrates a play of ironic refraction, the final consequence of which is an anti-theological turn.Key words: irony, Romantic irony, German Romanticism, Schlegel, Foix, Avant-gardism.

Abstract

Abstract: This paper reexamines the different types of irony present in La Glòria del doctor Larén (1936), Pere Calders’s first novel. These include meta-fictional reflections by narrators and characters and other ironic means within reach of the narrator in the exercise of his functions, the author’s irony in the preface, irony of situation, verbal irony and parody. Through the diversity and recurrence of its ironies, the analysis shows that La Glòria del doctor Larén provides the basis for identifying the author’s poetic irony with the character, functions and style characteristic of Calder’s production of maturity..Key words: irony, metafiction, parody, Pere Calders, La Glòria del doctor Larén.

Abstract

Abstract: This paper aims to study the importance of irony in Carles Soldevila by analysing his novel Valentina, published in 1933. Firstly, the author’s concept of irony is described. Then, we move on to check the use of irony in Valentina by considering: the narrator’s irony, irony of situation, verbal irony, gestural irony and hypertextual irony or parody. The narrator’s irony and verbal irony appear to be the most decisive: the former allows us to see the use of the narrator’s ironic detachment toward the characters; the latter shows the large variety of rhetorical resources used by both the narrator and the characters.Key words: Irony, parody, narratology, history of the novel, Carles Soldevila.