Search

El artículo propone una descripción de los elementos heterogéneos que proyectan el mundo posible, e imposible, de 2666 de Roberto Bolaño, sobre la base de una pseudo mímesis en la que los referentes reales son modelados en beneficio del sentido lúdico y de apertura semiótica del texto; y, por otro, se hace ver que la comunicación literaria de esta novela se basa en una serie de recursos como la intercalación episódica, la abismación narrativa, la digresión o la ruptura de la lógica ficcional con el objeto de poner en tensión las nociones de verdad y verosimilitud que resguardan la experiencia social del arte como representación del mundo.

The article starts from the premise that much of the critical work dedicated to Roberto Bolaño's 2666 centres upon the idea of depersonalisation, generally understood as a subtraction of what is most properly personal in the human individual. The thesis put forward is that Bolaño's style and technique of characterisation, particularly in the passages dedicated to the victims of human rights abuses, is best appreciated by recurring to the idea of "impersonality", conceived as a third pole between personality and depersonalisation. The first section of the article is dedicated to connecting the idea of literary incorporation to that of human rights, thus showing how historically situated conceptions of "person" often influence readers' expectations of what would constitute a dignified and just rendition of victims of real abuses in fiction. In the second section, it is suggested that Bolaño's project intentionally diverges from the aims of literary incorporation and is more finely attuned to the philosophy of the impersonal which is to be found in the work of Maurice Blanchot and Simone Weil. The article concludes by interpreting Bolaño's literary gesture in relation to existing critiques of human rights discourse. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

By tracing the intertextual links between Bobby Seale's autobiography A Lonely Rage and Roberto Bolaño's novel 2666, this article proposes that the third part of Bolaño's text experiments with the act of writing the Black Panther's old age as a means of thinking the futurity of the political ideals of 1960s anticolonial and Third Worldist movements. I demonstrate that the representation of Seale via the character of Barry Seaman puts into place within the novel an oceanic imaginary grounded in the memory of the violence of the transatlantic slave trade. This article delves into an understudied textual site in 2666 to indicate the influence of the political and intellectual traditions of black internationalism on one of Latin America's most well-known authors. [ABSTRACT FROM AUTHOR]

This text will address the figure of women in two fundamental novels by Roberto Bolaño: Los detectives salvajes (The savage detectives) (1998) and 2666 (2004). In the first, the aim is to corroborate the existence of a sacred elaboration of women. In this regard, it is worth considering the figure of Cesárea Tinajero not only as the myth of the avant-garde artist, but as the avant-garde itself. In regard to 2666, specifically in "La parte de los crímenes", the aim is to account for a revealing twist in Bolaño's perspective regarding women, who stop being a literary symbol to become a political subject; highlighting in such a way, a central issue for feminism, gender violence. [ABSTRACT FROM AUTHOR]

In this article I propose an interpellation to psychoanalysis based on two elements of the novel 2666: the endless repetition of forensic obituaries of "The part of the crimes" and the nightmares suffered by the critics and Amalfitano. These elements challenge psychoanalysis at two different levels: first marking the limits of metapsychology when addressing phenomena such as the femicides of Juárez (Santa Teresa); and later at the level of the dream paradigm of sleep as a fulfillment of wish, indicating the transition to a model of nightmare, correlative to a subjectivity that is torn between suicidal nihilism, melancholy and the multiple splits required to sustain itself on a world in destruction. [ABSTRACT FROM AUTHOR]

Roberto Bolaño’s five-part novel 2666 is an exploration of the degeneration of the world as seen in the events happening in Santa Teresa, where poor and marginalized women are murdered with no justice in sight. This study focuses on the fourth part of the novel, “The Part About the Crimes”, where the manifold murders and the women victims’ lives unfold while those in power ignore the crisis in town. This paper uses textual analyses and employs Foucault’s approach to power, the feminist views to the Foucauldian approach, and the feminist approach to femicide to elucidate the notions of power explored in the novel, especially in relation to gender power imbalance and destabilization. Through the analysis it was found that the changing power dynamics in a largely patriarchal society and the subversion of accepted gender norms contributed to the rise of femicides in Santa Teresa. The highly unequal society portrayed by Bolaño in his novel serves to reflect modern Latin American society and its perceived chaos, where violence against women have become the norm. The novel’s lack of resolution implies that the world is still very much in that chaos, degeneration continuing to happen, serving as an apocalyptic symptom that signals that the end is coming ever nearer to humanity, an end that is man’s own doing.

The present study analyses Roberto Bolaño’s engagement with marginality in the novels The Savage Detectives and 2666, via the conventions of the noir genre. The aesthetics of the peripheral, the poetics of triviality, vagrancy, bohemian wanderlust, and enigmatic rituals are performed in an inimitable personal style that problematizes issues pertaining to the theory of literature and the theory of the novel. Atomised, puzzle-like novels with deliberately obscure police procedural plots, The Savage Detectives and 2666 break several authorial and narrative architectural patterns, becoming major landmarks in today’s novelistic worldscape.

The present study analyses Roberto Bolaño's engagement with marginality in the novels The Savage Detectives and 2666, via the conventions of the noir genre. The aesthetics of the peripheral, the poetics of triviality, vagrancy, bohemian wanderlust, and enigmatic rituals are performed in an inimitable personal style that problematizes issues pertaining to the theory of literature and the theory of the novel. Atomised, puzzle-like novels with deliberately obscure police procedural plots, The Savage Detectives and 2666 break several authorial and narrative architectural patterns, becoming major landmarks in today's novelistic worldscape. [ABSTRACT FROM AUTHOR]

Mediante el presente trabajo indago, desde la perspectiva del filósofo Josep Maria Esquirol en su obra La resistencia íntima: Ensayo de una filosofía de la proximidad (2015), el articulado de la representación de la intemperie del hombre contemporáneo en 2666 a partir de la idea de desierto y fronteras; asimismo, utilizo el concepto de cura del alma –ciñiéndome también a la definición de Foucault sobre el cuidado de uno mismo– para desplegar otra de las cuestiones en la obra en análisis: la resistencia como alternativa, desde el arte y la memoria.

Using some of the notions from Jacques Derrida, and in disagreement with a certain fraction of the critics of Bolaño, this essay goes over the critical and emotional path taken by Manuel Espinoza, Piero Morini, Liz Norton and Jean-Claude Pelletier that was once seen as only «cartoons» of the European cultural evaluation but that, in reality, for the complete novel 2666 by Roberto Bolaño, it represents a much more complex profile of academics and subjects. In fact, the ambiguous and problematic notion of «friendship» is what, on one side, will open gaps between the public life of the Spanish, Italian, French and English characters (their institutional ambitions) and their private lives (their friendhips and love lives); and on the other side, will cause what we’ll call the «eclipsing» of some circumstances that, at first, seemed like determinant for the concatenation of the argument of «The critics part» but will later function only to deconstruct it as a simple parody. The relationship between Norton and Morini, and Pelletier’s and Espinoza’s search for Benno von Archimboldi in the Sonora desert will not only reconfigure the focus on the novel???s characters, but also of the possible real reader, who will see a transgression of any possibilities to make any sense of 2666 if he does not go back to a troubling image: there is a last text (the novels of Archimboldi) and a last reader capable of making sense of it (Pelletier); however, the entrance to both fields is shut down.

Since the early 1990s, the Mexican-American border region, especially Ciudad Juárez, has been haunted by hundreds of feminicides, i.e. the murder of girls and women whose violated and mutilated bodies are found in the surrounding desert or at waste disposal sites and whose murderers benefit from impunity. These bodies do not only represent different forms of violence, they also implicate certain social and cultural structures that result in the before-mentioned forms of murder, corruption or (postcolonial) hierarchies of power. Over the last years, national as well as international media has shown more and more interest in the feminicides. This article analyses the literary representation of the feminicides in Roberto Bolaño’s novel 2666(2004) and sets out to shed light on different perspectives and possibilities of a literary representation of violence

The following article deals with the intersections of the linguistic, the literary, and the political in Roberto Bolaño's "The Part about the Crimes", the fourth chapter of his novel 2666. Building on Italian philosopher Roberto Esposito, Argentinean anthropologist Rita Segato, and American scholar David Kurnick, I propose that Bolaño engages with what I call "symbolic unintelligibility", using it to respond to literary tradition and to the political conflicts of our times. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

“La parte de los crímenes”, una de las cinco secciones de la novela 2666 de Roberto Bolaño, es el pretexto para investigar sobre temas como duda y certeza, mano y mecanización industrial, cadáveres como presencias reales o espectrales, o cadáveres como elementos performáticos, alejados del realismo mimético y de la narrativa de denuncia social. A contracorriente de la crítica especializada, que solo ve en esta novela el horror, el miedo, la abyección, los cuerpos como mercancías y el capitalismo salvaje, propongo una lectura que intenta reconstruir un diálogo con la vanguardia y, en especial, con los ready-made de Marcel Duchamp.

Članek skuša v kontekstu razvoja latinskoameriške književnosti, predvsem t. i. booma latinskoameriške proze 20. stoletja, osvetliti fenomen Roberta Bolaña, ki je eden najpomembnejših avtorjev sodobne svetovne književnosti. Bolañeva absolutna predanost književnosti spominja na življenjsko literarno izkušnjo Miguela de Cervantesa, Franza Kafke in Jorgeja Luisa Borgesa, saj se svobodno sprehaja med različnimi literarnimi žanri ter sproti briše meje med realnostjo in fikcijo. Vseskozi zavzeto išče olajšanje iz duhovnega nelagodja, ki se je glede na njegovo razumevanje posebej hispanoameriške, vendar tudi svetovne družbene in politične realnosti zajedlo v vse pore družbe. Članek še posebej osvetli monumentalni roman 2666 (obsega več kot 1100 strani), ki je sinteza vseh pisateljevih umetniških teženj in njegov literarni testament. Gre za odprto delo, sestavljanko petih knjig, ki so med seboj vsebinsko povezane predvsem z obsedenostjo s književnostjo in s serijskimi umori. Pisatelj in Morilec sta središčna motiva, ki razgrinjata skrivnostni pomen romana. Monumentalno pripovedno delo se z apokaliptičnim patosom ob zatonu postmodernizma sprašuje o usodi literature in na prelomu novega tisočletja o človečnosti, ki se je znašla na robu prepada.

Un tipo de violencia sistemática y sostenida sobre los cuerpos feminizados pero también un hacer sobre los cuerpos, una técnica detallada y precisa en el acto de dar la muerte es lo que define un tipo de genocidio y una insistencia en el imaginario cultural latinoamericano reciente. En las páginas siguientes vamos a considerar “La parte de los crímenes” incluida en 2666 de Roberto Bolaño alrededor de la figura del feminicidio que se trama a partir de la vulnerabilidad y la exposición corporal selectiva: ¿qué es lo que define esa deriva genocida -vinculada a los modos precisos de la violencia patriarcal y la gestión de la muerte a través de la destrucción de los cuerpos- que habita en los procesos de precarización de la vida? “La parte de los crímenes” trabaja sobre una cierta sensibilidad de los procesos de precarización de la vida, esto es, un tipo de violencia desmesurada que se expande y desplaza los límites de los espacios sociales de inscripción de la muerte y la vida, del cadáver y de los vivos, los sobrevivientes. Esta obra logra capturar algo de esa vibración perceptible y las marcas de época. En otros términos, se trata de la deriva genocida de la precariedad, el revés constitutivo de la vida precaria, que en esta obra se trabaja como razón de gobierno o como dimensión femigenocida ligada a la gubernamentalidad precaria. Abstract A type of systematic and sustained violence on the feminized bodies but also a doing on the bodies, a detailed and precise technique in the act of giving death is what defines a type of genocide and an insistence on the recent cultural imaginary. In the following pages we will consider “La parte de los crímenes” included in 2666 of Roberto Bolaño around the figure of feminicide that is framed from vulnerability and selective body exposure: What is it that defines this genocidal drift -linked to the precise ways of patriarchal violence and to the management of death through the destruction of bodies- that lives in the processes of precarization of life? Over a certain sensitivity of the processes of precarization of life works “La parte de los crímenes”, that is, a type of excessive violence that expands and displaces the limits, something of that perceptible vibration and the marks of time, is what manages to capture this cultural material. In other words, it is about the genocidal drift of precariousness, the constitutive setback of precarious life, which in this work works as a reason for government or as a femgenocide dimension linked to precarious governmentality.

This essay is divided into three parts. The aim of the first part is to understand how Roberto Bolaño represents the violence upon women in his posthumous novel 2666. In the second part we open a debate with the work La modernidad insufrible by Oswaldo Zavala, which is one of the most important books recently published about Bolaño. However, we reach different conclusions. Finally, we examine how Bolaño assumes the singularity of the violence taking place in Sonora, which is a copy of Ciudad Juárez.

This essay reads the landscape of Roberto Bolaño's fictional Santa Teresa through a new materialist lens. In the fourth section of Bolaño's epic novel 2666 , "The Part about the Crimes," the bodies of 112 women, victims of a series of unsolved murders, accumulate as part of a postglobal dystopic narrative of material and existential waste. Critics have especially noted the text's clinical narration of events, which effectively reduces the victims' bodies to interchangeable parts of a larger assemblage that also includes the factories (maquiladoras) where the women work, the northern capital that funds them, the police force that repeatedly fails to solve the murders, and the trash heaps and landfills where many of the bodies appear. It is, however, the women's inert, mutilated bodies that animate Bolaño's novel. Dehumanized by the text, the bodies' materiality paradoxically gives human heft to an otherwise mechanistic account of undifferentiated carnage. [ABSTRACT FROM AUTHOR]

Copyright of CiberLetras is the property of Lehman College, City University of New York, Dept. of Languages & Literatures and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Poligramas is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En este artículo nos proponemos abordar el análisis del espectáculo 2666, dramatización de la novela homónima de Roberto Bolaño, adaptada por Pablo Ley y Àlex Rigola y dirigida por este último. El montaje se hace eco de la complejidad, fragmentariedad y multiperspectivismo de la novela, evidenciando una decidida apuesta por la intermedialidad al tiempo que una firme voluntad de mantener la tensión narrativa del texto original y el lirismo de la palabra de Bolaño.

El cuarto capítulo de 2666 ofrece, entre sus varias historias, una serie interminable de crímenes cometidos contra mujeres, todos ocurridos en un lugar ficticio: Santa Teresa, trasunto de Ciudad Juárez, México. En el presente ensayo, que es parte de uno más amplio, se comenta brevemente la obra a la luz de varios enfoques: la realidad virtual, el poscolonialismo y la percepción personal. Hay un juego libre, en el comentario, entre el disfrute literario y el tema social.

Copyright of Ars & Humanitas is the property of Ars & Humanitas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Roberto Bolaño utiliza el desarrollo literario de la novela policial para conformar los principios de su poética. En la reelaboración del género se aproxima a sus normas, pero también las desacata porque si bien está interesado en la capacidad del género de mostrar el reflejo de la sociedad, su pregunta fundamental es literaria. El presente texto discute el doble movimiento en 2666 como mecanismo para problematizar la diseminación de la violencia sistémica pero también para replantear los debates del siglo XX en torno al arte.

Este artículo realiza un análisis comparativo entre La condesa sangrienta de Alejandra Pizarnik y el episodio protagonizado por la baronesa Von Zumpe y el general Entrescu en 2666. Para esto, se busca establecer las convergencias y divergencias que se producen entre ambos textos, poniendo el acento en la noción de brutalidad que tienen en común. Asimismo, se destaca el proceso inverso que aplican Pizarnik y Bolaño en la construcción del horror y del erotismo. Mientras La condesa sangrienta focaliza su interés en abordar el horror y desdibujar la sexualidad, el relato del castillo de Drácula apunta a solapar el mal e irradiar la voluptuosidad.

Este ensayo busca demostrar una hipótesis: que en la obra de Roberto Bolaño el tiempo será asumido como un viaje hacia el caos y la percepción de "desfases" en la estructura cronológica. Dicho enfoque se aplicará concretamente a 2666, la novela donde Bolaño expuso su mayor preocupación por la cuestión temporal, y en especial a "La parte de Archimboldi", donde se evidencia que el escritor alemán no sólo actuaría como un personaje que, debido al hechizo de sus novelas, provoca su ulterior persecución, sino que opera como un verdadero "agujero negro", capaz de fagocitar toda circunstancia estética y vivencial que gire a su alrededor.

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the book "2666," by Roberto Bolaño is presented.

This study analyses the phenomenon of femicide, as it is speculated upon by Roberto Bolaño in his novel 2666. The Chilean author's book focuses, at one point, on the psychological geopolitics of the city of Santa Teresa. This provides him with an opportunity to portray in a neorealist manner the mundane life and rampant underground crime in squalid and overcrowded Mexican towns. This segment of the novel addresses a recurring theme: the identification of the bodies of girls and women who were abominably raped and killed (and mutilated) in the area of Santa Teresa. The theme is inspired by the mutilations and murders of hundreds of poor women in the city of Juarez, in Northern Mexico, over the course of a decade, starting from 1993. Roberto Bolaño suggests an apocalypse lasting from the Holocaust to the desaparecidos and, subsequently, to the phenomenon of femicide in the city of Santa Teresa, probably also highlighting rape as a political torture applied during the civil wars in Bosnia-Herzegovina, Chechnya and Rwanda, at the end of the twentieth century.. [ABSTRACT FROM AUTHOR]

In the novel 2666, Roberto Bolano configures Santa Teresa city (transcript of Ciudad Juarez) in two levels. The first real, based on police chronicles, and the second one, clearly imaginary, where the characters, most of them related to literature, crash with a grotesque reality, configured by the crimes that take place in the city. Santa Teresa is the last city of Latin America, and also a kind of cemetery for the continent.

En este artículo se propone una lectura de Los detectives salvajes de Roberto Bolaño (1998) a partir del análisis de algunos procesos de intempestividad y espectralidad que atraviesan, fisuran y cada vez interrumpen la multiplicidad de relatos de la novela. Concentramos la atención en un gesto, el de la poeta Cesárea Tinajero, uno de los personajes clave del libro, para ver cómo se desprende, de manera genealógica, la investigación bolañiana sobre los márgenes de la historia y sus fantasmas. Cesárea deja el Distrito Federal, deja a los estridentistas y a la Revolución mexicana y vuelve al desierto de Sonora. Nos importan los diferenciales de tiempo: los de un gesto pasado que sigue irrumpiendo en un presente que lo narra. Finalmente, se intenta pensar este retorno dialéctico y anacrónico, así como ese desierto, como pre-figuración del lugar donde Bolaño, en su última, póstuma novela (2666) hizo refluir el horror de un siglo entero: santa Teresa, re-inscripción de Ciudad Juárez y de su feminicidio imparable.

Roberto Bolaño's 2666 is a novel that can be situated, aesthetically, within the traditions of utopian fiction and the North American encyclopaedic, postmodern novel. It is also, however, a text that is exemplary of a type of didacticism that cloaks its mechanism behind an overloaded structure. One of the explicit targets of this didacticism is the neo-liberal university that, in 2666, is structurally twinned with the police department and is thus complicit in the novel's femicides. This article suggests the ways in which Bolaño's novel attempts to discipline the academy while also outlining its mode of crypto-didacticism. Taking theoretical cues from Theodor W. Adorno and Pierre Bourdieu, this article reads 2666 as a metafictional work that signals its own desire to teach, thereby representing a fresh approach for ethics in the postmodern novel and beyond. [ABSTRACT FROM AUTHOR]

The celerity of Roberto Bolaño’s canonization as one of the avatars of world literature stems from the success of his magnum opus,2666. This five-part novel is an impassioned indictment of the abdication of ethics in twentieth- and twenty-first-century modernity, an era that saw the rise of both literal and structural gender-based violence. Bolaño offers the city of Santa Teresa—the fictional analogue to the Mexican border town of Ciudad Juárez—as the paradigmatic example of a city afflicted by such violence, where a network of global factors has conspired to create a milieu in which the murders of young Mexican women have become so frequent as to be banal.2666stipulates that violence necessarily attends the rise of Mexican modernity in the twentieth and twenty-first century; this essay will explore five spheres where this modernity takes on violent dimensions: economic and political structures, narratology, ocularcentrism, exile, and literary form. [ABSTRACT FROM AUTHOR]

In this article, I question how Roberto Bolaño represents violence in some of his books, more particularly in "The Part about the Crimes", in the book 2666. Having this in mind, I claim that violence is represented by parodying from a standpoint that parodies how "la nota roja" and the forensic report present the female body, to denounce the narrative techniques that objectify these. I propose that violence is represented in a parodic form that builds moral limits between good or bad ways of representing that participate from violence. In what sense are they good or bad? In relation with a scale of values and aesthetic judgments that Bolaño construct from his political standpoint towards body objectification. [ABSTRACT FROM AUTHOR]

This article aims to understand the procedures of Oscar Fate's narrative perspective in the novel 2666 by Roberto Bolaño and the enunciative fragility that is manifested during his trip to Santa Teresa, in Mexico. The text is particularly interested in the subjective and linguistic dissociation experienced by the character to whom the role of organizing the story is entrusted. As we will see, however, the language in which this story is written belongs to no one except the book itself. [ABSTRACT FROM AUTHOR]

The Chilean author Roberto Bolaño (1953–2003) began his career in the 1970s as a poet; in the mid-1990s he wrote the novels and short stories that eventually brought him acknowledgment from critics, writers, and readers. Today, a number of critics have recognized not only the author's poetry, but also the importance of “the poetic” in his novels, and have shown some of the ways in which the poet intervenes in the construction of his narrative. This essay demonstrates how Bolaño's experimentation with the expansion of the sentence in two of his posthumously published novels—2666 (2004) and Los sinsabores del verdadero policía (2011)—is related to a formal and aesthetic search that allows him to convey his poetic intuition in his novels. [ABSTRACT FROM PUBLISHER]

El ensayo analiza el tema del mal en la novela 2666 de Roberto Bolaño, enfocándose en los feminicidios en Santa Teresa, las snuff-movies, el Holocausto y el título de la novela. Todos ellos, se propone en el presente texto, configuran el mal en una dimensión abstracta y universal. [ABSTRACT FROM AUTHOR]

Este ensaio apresenta uma leitura que aproxima de dois tipos de texto, um literário – 2666, de Roberto Bolaño – e um fílmico – Valsa com Bashir, de Ari Folman –, cujos temas centrais são a linguagem da violência e do delito. Ambos em regiões de intenso conflito: a fronteira do México com os Estados Unidos e a região do Oriente Médio.