Herramienta de chequeo de registro xml obtenido desde Cuadernos del CILHA

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<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/  http://www.openarchives.org/OAI/2.0/oai_dc.xsd"><identifier>I11-R112article-5576</identifier><datestamp>2022-04-01T11:54:20Z</datestamp>
	<dc:title xml:lang="en-US">Specular Autofiction As Playful Fiction in Lluvia By Victoria  de Stefano: A Mirrors Game</dc:title>
	<dc:title xml:lang="es-ES">La autoficción especular como juego ficcional. En Lluvia de Victoria de Stefano</dc:title>
	<dc:creator>Alarcón Bermejo, Javier Ignacio</dc:creator>
	<dc:subject xml:lang="es-ES">Autoficción</dc:subject>
	<dc:subject xml:lang="es-ES">Especularidad</dc:subject>
	<dc:subject xml:lang="es-ES">Juego</dc:subject>
	<dc:subject xml:lang="es-ES">Lluvia</dc:subject>
	<dc:subject xml:lang="es-ES">Victoria de Stefano</dc:subject>
	<dc:subject xml:lang="en-US">Autofiction</dc:subject>
	<dc:subject xml:lang="en-US">Specularity</dc:subject>
	<dc:subject xml:lang="en-US">Game</dc:subject>
	<dc:subject xml:lang="en-US">Lluvia</dc:subject>
	<dc:subject xml:lang="en-US">Victoria de Stefano</dc:subject>
	<dc:description xml:lang="en-US">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.</dc:description>
	<dc:description xml:lang="es-ES">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.</dc:description>
	<dc:publisher xml:lang="es-ES">Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)</dc:publisher>
	<dc:date>2022-03-31</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5576</dc:identifier>
	<dc:identifier>10.48162/rev.34.041</dc:identifier>
	<dc:source xml:lang="es-ES">Cuadernos del CILHA; Núm. 36 (2022): Dosier: La literatura lúdica latinoamericana; 1-22</dc:source>
	<dc:source>1852-9615</dc:source>
	<dc:source>1515-6125</dc:source>
	<dc:language>spa</dc:language>
	<dc:relation>https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5576/4566</dc:relation>
	<dc:rights xml:lang="es-ES">Derechos de autor 2022 Javier Ignacio Alarcón Bermejo</dc:rights>
	<dc:rights xml:lang="es-ES">https://creativecommons.org/licenses/by-nc/4.0</dc:rights>
</oai_dc:dc>

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        "I11-R112article-55762022-04-01T11:54:20Z Specular Autofiction As Playful Fiction in Lluvia By Victoria de Stefano: A Mirrors Game La autoficci\u00f3n especular como juego ficcional. En Lluvia de Victoria de Stefano Alarc\u00f3n Bermejo, Javier Ignacio Autoficci\u00f3n 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\u201d (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 reflexi\u00f3n expl\u00edcita sobre la compleja relaci\u00f3n que existe entre la realidad y la ficci\u00f3n. Al hacer esto, produce un doble efecto. Por un lado, subraya la artificialidad del texto. Por otro, cuestiona los l\u00edmites de la ficci\u00f3n. En otras palabras, la mayor parte de su literatura entra dentro de la categor\u00eda de la metaficci\u00f3n y, tal como se\u00f1ala Guyard, \u201clos te\u00f3ricos de la metaficci\u00f3n insisten en el hecho \u2014indudable, por otra parte\u2014 de que el texto metaficcional cuestiona los l\u00edmites entre lo real y lo ficticio\u201d (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 cuesti\u00f3n propone un juego al lector, lo hace c\u00f3mplice de la creaci\u00f3n literaria. No solo, crea una paradoja irresoluble que es el centro de la reflexividad de la ficci\u00f3n. En este estudio se analizar\u00e1 el funcionamiento de dicha estructura y su relaci\u00f3n con lo que podr\u00edamos llamar la ficci\u00f3n l\u00fadica (Robert Detweiler), un modo literario que hace al lector c\u00f3mplice al revelar la artificiosidad texto. El objetivo central ser\u00e1 analizar c\u00f3mo este juego literario define la novela de Stefano, que puede ser estudiada desde la noci\u00f3n de \u201cautoficci\u00f3n especular\u201d, y sirve para acentuar su tema central, la creaci\u00f3n literaria, no solo al exponerla en la di\u00e9gesis 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; N\u00fam. 36 (2022): Dosier: La literatura l\u00fadica 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 Alarc\u00f3n Bermejo https:\/\/creativecommons.org\/licenses\/by-nc\/4.0"
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        "Specular Autofiction As Playful Fiction in Lluvia By Victoria  de Stefano: A Mirrors Game"
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    "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",
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    "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\u201d (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.",
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