El Llano en llamas is a collection of short stories written in Spanish by Mexican author Juan . short stories. La herencia de Matilde Arcángel in Spanish online. A final example that attests once more to the “caciquil” basis of the society that Rulfo portrays: in the story “La herencia de Matilde Arcangel,” one of the main. These are, besides the fifteen published as El llano en llamas, five sueltos: “Un cuento,” “El dia del derrumbe,” “La herencia de Matilde Arcangel,” “Un pedazo.
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NARRATIVE TECHNIQUES IN THE SHORT ‘STORIES OF JUAN RULFO
I07 The quotation marks surround the directions which were apparently previously discussed by his uncles. When the women arrive, it is shortly herebcia lunch time, since the sun is high in the sky, and so he offers them food, which they refuse, saying they have just eaten pp. Things and events are isolated from one another, an impression which is strengthened by the speaker’s repetition, always monotonous, of ideas and phrases, 27 thus making the words appear to be in a timeless suspension.
He narrates looking back at the events, rather than as they happen. Although no such change actually occurs in “La vida no es muy seria en sus cosas,” the use of iixiirect interior monologue is ein attempt to alter the role of the omniscient narrator. Solamente mirabamos a Pedro Zamora preguntan dole con los ojos que era lo que nos habia pasado.
We now realize that what seemed to be authorial description was not that at all, but rather the voice of some character in the story. He is using a relative tenn, surwithout giving an adequate point of reference. Another indefinite element does appeeir in the story, however.
En las ciudades la gente se perdia, se disolvia entre la gente. The digression is a technique which is also used to effect the stopping of time flow: Gordon be liieves there are three time levels in “Nos han dado la tierra,” which he describes thus: Both of these conditions are under the control of the narrator.
If it were not for the techniques Rulfo employs in disguising the narrative point of view, the reader likely would 33 find it difficult to believe that events of so long ago could be retold with such seeming precision. Con nosotros, eso paso.
The role of authorial omniscience is again reduced in “No oyes ladrar los perros,” and the characters themselves move the story forward, at first through dialogue, and later through monologues. Eso hizo que el hombre se levantara, fuera hacia la puerta y les dijera.
The events which have just been narrated are now re-told from a different angle, a technique which Hugo Rodriguez-Alcala calls “la tecnica de enfoques repetidos. This is clarified by his pursuer later, who explains that he the pursuer murdered the hombre ‘ brother p.
Views Read Edit View history. With these herencai given out, the reader must not expect a traditional time progression to a climax, but rather must expect to look for a more personal, Rulfian depiction of time. Las Americas, Ip Harss and Dohmann, p. The long dialogues which move along autonomously i.
Full text of “Narrative techniques in the short stories of Juan Rulfo.”
Macario is aware of this flow. Estaba alli arrinconado al pie del horcon. The author m dces quick appearances as narrator and then leaves.
Dialogue is sometimes an important ingredient in Rulfo’s stories. We will now see how Rulfo causes time to flow at different speeds in three of his stories. El rumor del aire. Rarely is a story told from just one point of view, although one can find frequent statements to the contraary among Rulfian critics.
Thus a seemingly chance element fits into the story and puts a large needle into the hands of the narrator, with which he defends himself against Remigio, thereby causing the death of the zrcangel. This illusion is caused by the irregular pxmctuation of the passages which reveal conventional authorial description: Remigio Torrico has come to the narrator’s shack to accuse him of 93 murdering his Remigio’s brother. Vio brillar los tejados bajo la luz de la luna” p.
A hybrid of the above two methods is arrcangel be found in the next story, “Es que somos muy pobres. Feliciano is travelling with “los de adelemte. Nevertheless, we can construct a meaningful temporal series accounting for past and future in terms of memory and expectation. The question of time is one which has disturbed men over the ages.
We do not know what burros he is talking about. El segundo recuerda desde la parcel en soliloquies que se interrumpen por la intervencion del otro narrador. As frequently happens in Rolfo’s stories, the characters themselves tell their own stories. However, chronological order has no meaning in the world of this story, in which what seems like a normal sequence of events is unnecessary.