{"id":57188,"date":"2018-03-09T22:44:58","date_gmt":"2018-03-09T22:44:58","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-metanovela-hispanoamericana-1965-2000-las-practicas-metafictivas-de-salvador-elizondo-severo-sarduy-jose-donoso-ricardo-piglia-y-la-nova%c2%adsima-narrativa-hispanoamericana\/"},"modified":"2018-03-09T22:44:58","modified_gmt":"2018-03-09T22:44:58","slug":"la-metanovela-hispanoamericana-1965-2000-las-practicas-metafictivas-de-salvador-elizondo-severo-sarduy-jose-donoso-ricardo-piglia-y-la-nova%c2%adsima-narrativa-hispanoamericana","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/analisis-literario\/la-metanovela-hispanoamericana-1965-2000-las-practicas-metafictivas-de-salvador-elizondo-severo-sarduy-jose-donoso-ricardo-piglia-y-la-nova%c2%adsima-narrativa-hispanoamericana\/","title":{"rendered":"La metanovela hispanoamericana (1965-2000). las practicas metafictivas de salvador elizondo, severo sarduy jos\u00e9 donoso, ricardo piglia y la nov\u00edsima narrativa hispanoamericana"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Catalina Quesada G\u00f3mez <\/strong><\/h2>\n<p>Nuestra investigaci\u00f3n en torno al hecho metaliterario en hispanoam\u00e9ricano en el \u00faltimo tercio del siglo xx se ha basado en en an\u00e1lisis de un corpus limitado de obras y autores representativos de esa tendencia metanovelesca.  partiendo de las teor\u00edas sobre la metaficci\u00f3n o metaliteratura y, tras delimitar lo que tal se entiende, hemos procedido a la aplicaci\u00f3n de dichos postulados a un total de doce novelas o metanovelas: farabeuf o la cr\u00f3nica de un instante (1965) y el hipogeo secreto (1968), de salvador elizondo; de donde son los cantantes (1967), cobra (1972), maitreya \/1978) y colibr\u00ed (1984), de severo sarduy;  el obsceno p\u00e1jaro de la noche (1970) y casa de campo (1978), de jos\u00e9 donoso; respiraci\u00f3n artificial (1980) y la ciudad ausente (1922), de ricardo piglia, p\u00e1ginas de vuelta (1995), de santiago    gamboa y basura (2000), de h\u00e9ctor abad faciolince.     hemos trazado una genealog\u00eda que d\u00e9 cuenta de los v\u00ednculos, al existir constantes metafictivas en todos ellos propiciatorias del parentesco. un linaje, hemos propuesto, en el que tal vez el modelo arboriform debiera ser sustituido pro aquel otro del rizoma, donde los hermanamientos no siempre son por consanguinidad, sino que vienen favorecidos por afinidades varias, por modos conincidentes de concebir el hecho literario.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La metanovela hispanoamericana (1965-2000). las practicas metafictivas de salvador elizondo, severo sarduy jos\u00e9 donoso, ricardo piglia y la nov\u00edsima narrativa hispanoamericana<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La metanovela hispanoamericana (1965-2000). las practicas metafictivas de salvador elizondo, severo sarduy jos\u00e9 donoso, ricardo piglia y la nov\u00edsima narrativa hispanoamericana <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Catalina Quesada G\u00f3mez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Sevilla<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 23\/02\/2007<\/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>Jos\u00e9 Manuel Camacho Delgado<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: fenrando Garc\u00eda lara <\/li>\n<li> Ezquerro san Jos\u00e9 milagros (vocal)<\/li>\n<li>trinidad Barera l\u00f3pez (vocal)<\/li>\n<li>Mar\u00eda Caballero wang\u00ed\u00bcement (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Catalina Quesada G\u00f3mez Nuestra investigaci\u00f3n en torno al hecho metaliterario en hispanoam\u00e9ricano en el \u00faltimo tercio del [&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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