Parodia, intertextualidad y sátira en la narrativa policial de Lorenzo Lunar Cardedo

• Authors: Jesús Gómez-de-Tejada

Title variants

EN

Parody, Intertextuality and Satire in the Detective Stories of Lorenzo Lunar Cardedo

• Languages of publication: ES

Abstracts

PL

Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo’s style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.

EN

Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo’s style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.

Keywords

ES

Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody

IT

Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody; Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody

FR

Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody

PT

Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody; Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody; Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody

EN

Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody; Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody

PL

Lorenzo Lunar Cardedo; Latin American Detective Novel; Neopolicial (New Detective Fiction); Cuban Literature; Satire; Parody

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Studia Romanica Posnaniensia
• Year: 2020
• Volume: 47
• Issue: 1
• Pages: 5-17

Dates

published

2020-03-15

Contributors

author

Jesús Gómez-de-Tejada

• Instituto Universitario de Estudios sobre América Latina (IEAL). Universidad de Sevilla

References

• Adriaensen, B., y Grinberg Pla, V. (2012). Narrativas del crimen en América Latina: transformacionesy transculturaciones del policial. Berlín: LIT Verlag.
• Argüelles, J.D. (1990). Entrevista con Paco Ignacio Taibo II. El policiaco mexicano: un género hecho con autor y terquedad. Tierra adentro, 49, 13-15.
• Borges, J.L. (1944). Ficciones. Buenos Aires: Sur.
• Brito Fuentes, M. (2011). La tierra del cebú. Santiago de Cuba: Editorial Oriente.
• Díez Cobo, R.M. (2006). Nueva sátira en la ficción postmodernista de las Américas. Valencia: Universitat de València.
• Espina Prieto, R., y Rodríguez Ruiz, P. (2006). Raza y desigualdad en la Cuba actual. Temas, 45, 44-54.
• Fernández Pequeño, J.M. (1994). Cuba: la narrativa policial entre el querer y el poder (1973-1988). Santiago de Cuba: Oriente.
• García Talaván, P. (2014). La novela neopolicial latinoamericana: una revuelta ético-estética del género. Cuadernos Americanos, 2 (148), 63-85.
• Gewecke, F. (2010). La “nueva” novela policial cubana: Leonardo Padura Fuentes, Amir Valle, Lorenzo Lunar. En A. Gremels, y R. Spiller, Cuba: la revolución revis(it)ada (171-190). Tübingen: Narr Verlag.
• Giardinelli, M. (1996). El género negro: ensayos sobre literatura policial. Córdoba: Op Oloop.
• Holgado Fernández, I. (2000). ¡No es fácil! Mujeres cubanas y la crisis revolucionaria. Barcelona: Icaria.
• Lamrani, S. (2016). Women in Cuba: the Emancipatory Revolution. International Journal of Cuban Studies, 8 (1), 109-116.
• Noguerol Jiménez, F. (2006). Neopolicial latinoamericano: el triunfo del asesino. Ciberletras: revista de crítica literaria y de cultura, 15. Recuperado de http://www.lehman.edu/faculty/guinazu/ciberletras/v15/noguerol.html.
• Padura Fuentes, L. (2000). Modernidad, posmodernidad y novela policial. La Habana: Unión.
• Ramírez, R.L., García Toro, V.I. (2002). Masculinidad hegemónica, sexualidad y transgresión.Centro Journal, 14 (1), 5-25.
• Rosell, S. (2000). La (re)formulación del policial cubano: la tetralogía de Leonardo Padura Fuentes. Hispanic Journal, 21 (2), 447-458.
• Sánchez Zapatero, J., y Martín Escribà, À. (2014). Revolución, desencanto y crítico: la novela criminal cubana. Cuadernos de Investigación Filológica, 40, 171-189.
• Sklodowska, E. (1991). La parodia en la nueva novela hispanoamericana (1960-1985). Amsterdam–Philadelphia: John Benjamins Publishing Company.
• Taibo II, P.I. (1987). La “otra” novela policiaca. Los Cuadernos del Norte, 41, 36-41.
• Uxó, C. (2016). Hacia una nueva poética del policial cubano: la trilogía de Leo Martín, de Lorenzo Lunar Cardedo. Altre Modernità, 15, 257-269. DOI: https://doi.org/10.13130/2035-7680/7189.
• Uxó, C. (2018). El concurso Aniversario del Triunfo de la Revolución. En E. Gallardo-Saborido, J. Gómez-de-Tejada, y D. Puñales-Alpízar (eds.), Asedios al caimán letrado: literatura y poder en la Revolución cubana (129-146). Praha: Universidad Carolina, Karolinum.

Identifiers

DOI

10.14746/strop.2020.471.001