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"La raíz rota" de Arturo Barea: destiempo ficcionalizado y autobiografía figurada

100%
Bender E.
Estudios Hispánicos
|
2018
|
vol. 26
17 - 26
EN
The Broken Root by Arturo Barea — a novel in which the author imagines the return to his homeland after ten years in exile — is considered a fictional continuation of the famous autobiographical trilogy The Forging of a Rebel. The analysis of The Broken Root and the knowledge of Barea’s biography allow for the observation that in the novel the so-called destiempo, that is the sense of strangeness experienced by the migrants returning home, is fictional. The protagonist — Antolin — a persona inspired by the writer himself, allows the author to “experience”, or actually to imagine his meeting with the family that remained in Spain. In this way he creates a hypothetical / imagined autobiography that helps him overcome the longing for homeland and the sense of guilt over abandoning the family. The events are fictional, yet probable, but the feelings expressed by the protagonist seem to reflect the real feelings of the author.
2
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Unamuno: technika literacka i ludzka rzeczywistość

61%
Sánchez Cuesta M.
Annales Universitatis Mariae Curie-Sklodowska, sectio I – Philosophia-Sociologia
|
2017
|
vol. 42
|
issue 2
EN
The essay tries to show not only the indisociable realization that mediates between perception of reality and literary technique but also – how this fact requires Unamuno – to apprehend human reality, abandon in his novelistic “oviparity” and use the effect of “viviparous” technique.
ES
El ensayo trata de mostrar no solo la relación indisociable que media entre percepción de la realidad y técnica literaria, sino también cómo este hecho exige a Unamuno, al aprehender la realidad humana, abandonar en su novelística el “oviparismo” y utilizar al efecto la técnica “viviparista”.
PL
W eseju autor próbuje pokazać nie tylko nierozłączną realizację mediacji między percepcją rzeczywistości a techniką literacką, ale także to – jak nakazuje Unamuno – aby uchwycić ludzką rzeczywistość, porzucić ją w swej powieściowej „jajowatości” i wykorzystać efekt „żywej” techniki.
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