{"id":30083,"date":"2004-12-05T00:00:00","date_gmt":"2004-12-05T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/analisis-del-discurso-y-genero-literario-lo-fantastico-en-henry-james\/"},"modified":"2004-12-05T00:00:00","modified_gmt":"2004-12-05T00:00:00","slug":"analisis-del-discurso-y-genero-literario-lo-fantastico-en-henry-james","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/salamanca\/analisis-del-discurso-y-genero-literario-lo-fantastico-en-henry-james\/","title":{"rendered":"An\u00e1lisis del discurso y g\u00e9nero literario: lo fant\u00e1stico en henry james"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Christopher Moran <\/strong><\/h2>\n<p>Esta tesis cuestiona la creencia generalmente aceptada en la teor\u00eda literaria de que la novela corta de henry james, the turn of the screw, es un ejemplo protot\u00edpico de lo fant\u00e1stico literario en la medida en que es ambiguo con respecto a la existencia de fen\u00f3menos sobrenaturales en el mundo de ficci\u00f3n.  el enfoque metodol\u00f3gico adoptado es el del an\u00e1lisis del discurso literario, en el cual se ve el significado del texto como resultado de una compleja interacci\u00f3n del propio texto verbal en s\u00ed, las intenciones conscientes y las motivaciones inconscientes del creador del texto, as\u00ed como el conocimiento gen\u00e9rico y del mundo compartido por el productor de texto y los receptores contempor\u00e1neos.  desde esta perspectiva, se critica los siguientes errores metodol\u00f3gicos que caracterizan los enfoques tanto de la cr\u00edtica literaria como de la cr\u00edtica por aproximaciones ling\u00ed\u00bc\u00edsticas al an\u00e1lisis de los textos literarios:  primero, los cr\u00edticos identifican anbig\u00ed\u00bcedades verbales basadas en rasgos abstractos del sistema l\u00e9xico y gram\u00e1tico, y no se presta atenci\u00f3n a la informaci\u00f3n en el contexto local o global que resuelve esas ambig\u00ed\u00bcedades. adem\u00e1s, aquellas ambig\u00ed\u00bcedades que permanecen sin resolver no se refieren a la cuesti\u00f3n fundamental de la realidad o irrealidad de los fantasmas.  segundo, se hace caso omiso de una aproximaci\u00f3n pragm\u00e1tica al texto literario que distingue el autor, la narradora y la protagonista, y se malinterpreta la iron\u00eda tanto situacional como narratorial como una estrategia del autor para se\u00f1alar la falta de fiabilidad de la narradora.  tercero, no se tiene en cuenta la evidencia intertextual con respecto a las estrategias de lo fant\u00e1stico como g\u00e9nero, o el uso por parte del autor de t\u00e9cnicas tales como la focalizaci\u00f3n interna en sus otras obras.  cuarto, se malinterpretan las intenciones del autor, que quedan claramente expresadas en las revisiones que realiz\u00f3 al texto.  por \u00faltimo, las o<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>An\u00e1lisis del discurso y g\u00e9nero literario: lo fant\u00e1stico en henry james<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 An\u00e1lisis del discurso y g\u00e9nero literario: lo fant\u00e1stico en henry james <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Christopher Moran <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 12\/05\/2004<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Mar\u00eda  Pilar Alonso Rodriguez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: roman Alvarez rodriguez <\/li>\n<li>Jos\u00e9 Antonio Alvarez amoros (vocal)<\/li>\n<li>angela Downing (vocal)<\/li>\n<li>john Hyde farmer (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Christopher Moran Esta tesis cuestiona la creencia generalmente aceptada en la teor\u00eda literaria de que la novela [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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