Specular Autofiction As Playful Fiction in Lluvia By Victoria de Stefano: A Mirrors Game

Victoria de Stefano writes a type of self-referential literature. In the structure of her novels, she makes an explicit reflection on the complex relationship that exists between reality and fiction. By doing this, she produces a double effect. On the one hand, she underlines the artificiality of th...

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Autor principal: Alarcón Bermejo, Javier Ignacio
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2022
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Acceso en línea:https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5576
Aporte de:C de Universidad Nacional de Cuyo Ver origen
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spelling I11-R112article-55762022-04-01T11:54:20Z Specular Autofiction As Playful Fiction in Lluvia By Victoria de Stefano: A Mirrors Game La autoficción especular como juego ficcional. En Lluvia de Victoria de Stefano Alarcón Bermejo, Javier Ignacio Autoficción Especularidad Juego Lluvia Victoria de Stefano Autofiction Specularity Game Lluvia Victoria de Stefano Victoria de Stefano writes a type of self-referential literature. In the structure of her novels, she makes an explicit reflection on the complex relationship that exists between reality and fiction. By doing this, she produces a double effect. On the one hand, she underlines the artificiality of the text. On the other, she questions the limits of fiction. In other words, most of her literature falls into the category of metafiction and, as Guyard points out, "metafictional theorists insist on the fact - undoubted, on the other hand - that the metafictional text questions the limits between the real and the fictional” (2012: 59-60). Lluvia (2006) gathers the elements mentioned above to produce an autofictional text that is highly self-referential and specular. Starting from this premise, it can be affirmed that the work in question proposes a game to the reader, makes him an accomplice of literary creation. It creates an unsolvable paradox that is at the core of the fiction's reflexivity. This study will analyze the functioning of this structure and its relationship with what we could call playful fiction (Robert Detweiler), a literary mode that makes the reader an accomplice by revealing the artifice of the text. The central objective will be to analyze how this literary game defines Stefano's novel, which can be studied from the notion of "specular autofiction", and serves to accentuate its central theme, literary creation, not only by exposing it in the diegesis but by doing that the reader participates indirectly in it. Victoria de Stefano escribe un tipo de literatura autorreferencial. En la estructura de sus novelas, se hace una reflexión explícita sobre la compleja relación que existe entre la realidad y la ficción. Al hacer esto, produce un doble efecto. Por un lado, subraya la artificialidad del texto. Por otro, cuestiona los límites de la ficción. En otras palabras, la mayor parte de su literatura entra dentro de la categoría de la metaficción y, tal como señala Guyard, “los teóricos de la metaficción insisten en el hecho —indudable, por otra parte— de que el texto metaficcional cuestiona los límites entre lo real y lo ficticio” (2012: 59-60). Lluvia (2006) recoge los elementos mencionados arriba para producir un texto autoficticio marcadamente autorreferencial y especular. Partiendo de esta premisa, se puede afirmar que la obra en cuestión propone un juego al lector, lo hace cómplice de la creación literaria. No solo, crea una paradoja irresoluble que es el centro de la reflexividad de la ficción. En este estudio se analizará el funcionamiento de dicha estructura y su relación con lo que podríamos llamar la ficción lúdica (Robert Detweiler), un modo literario que hace al lector cómplice al revelar la artificiosidad texto. El objetivo central será analizar cómo este juego literario define la novela de Stefano, que puede ser estudiada desde la noción de “autoficción especular”, y sirve para acentuar su tema central, la creación literaria, no solo al exponerla en la diégesis sino al hacer que el lector participe indirectamente de ella. Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2022-03-31 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5576 10.48162/rev.34.041 Cuadernos del CILHA; Núm. 36 (2022): Dosier: La literatura lúdica latinoamericana; 1-22 1852-9615 1515-6125 spa https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5576/4566 Derechos de autor 2022 Javier Ignacio Alarcón Bermejo https://creativecommons.org/licenses/by-nc/4.0
institution Universidad Nacional de Cuyo
institution_str I-11
repository_str R-112
container_title_str Cuadernos del CILHA
language Español
format Artículo revista
topic Autoficción
Especularidad
Juego
Lluvia
Victoria de Stefano
Autofiction
Specularity
Game
Lluvia
Victoria de Stefano
spellingShingle Autoficción
Especularidad
Juego
Lluvia
Victoria de Stefano
Autofiction
Specularity
Game
Lluvia
Victoria de Stefano
Alarcón Bermejo, Javier Ignacio
Specular Autofiction As Playful Fiction in Lluvia By Victoria de Stefano: A Mirrors Game
topic_facet Autoficción
Especularidad
Juego
Lluvia
Victoria de Stefano
Autofiction
Specularity
Game
Lluvia
Victoria de Stefano
author Alarcón Bermejo, Javier Ignacio
author_facet Alarcón Bermejo, Javier Ignacio
author_sort Alarcón Bermejo, Javier Ignacio
title Specular Autofiction As Playful Fiction in Lluvia By Victoria de Stefano: A Mirrors Game
title_short Specular Autofiction As Playful Fiction in Lluvia By Victoria de Stefano: A Mirrors Game
title_full Specular Autofiction As Playful Fiction in Lluvia By Victoria de Stefano: A Mirrors Game
title_fullStr Specular Autofiction As Playful Fiction in Lluvia By Victoria de Stefano: A Mirrors Game
title_full_unstemmed Specular Autofiction As Playful Fiction in Lluvia By Victoria de Stefano: A Mirrors Game
title_sort specular autofiction as playful fiction in lluvia by victoria de stefano: a mirrors game
description Victoria de Stefano writes a type of self-referential literature. In the structure of her novels, she makes an explicit reflection on the complex relationship that exists between reality and fiction. By doing this, she produces a double effect. On the one hand, she underlines the artificiality of the text. On the other, she questions the limits of fiction. In other words, most of her literature falls into the category of metafiction and, as Guyard points out, "metafictional theorists insist on the fact - undoubted, on the other hand - that the metafictional text questions the limits between the real and the fictional” (2012: 59-60). Lluvia (2006) gathers the elements mentioned above to produce an autofictional text that is highly self-referential and specular. Starting from this premise, it can be affirmed that the work in question proposes a game to the reader, makes him an accomplice of literary creation. It creates an unsolvable paradox that is at the core of the fiction's reflexivity. This study will analyze the functioning of this structure and its relationship with what we could call playful fiction (Robert Detweiler), a literary mode that makes the reader an accomplice by revealing the artifice of the text. The central objective will be to analyze how this literary game defines Stefano's novel, which can be studied from the notion of "specular autofiction", and serves to accentuate its central theme, literary creation, not only by exposing it in the diegesis but by doing that the reader participates indirectly in it.
publisher Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
publishDate 2022
url https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5576
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first_indexed 2022-06-20T13:46:17Z
last_indexed 2022-06-20T13:46:17Z
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