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Introducción al monográfico Memorias recientes de un conflicto de 40 años: Las últimas representaciones culturales de la guerra de Malvinas.

Perturbatory narration is a new transmedial narratological concept conceived in order to analyze how innovative experimental fictional texts irritate the reader or spectator by transgressing or annulating the rules of the common narrative system. We distinguish three ludic narrative techniques which are sometimes even mutually exclusive, but nevertheless frequently combined in literary and filmic fiction. Perturbatory narration serves to model and systematize a narrative principle which combines devices of these three strategies, in particular of unreliable narration, paradoxical narration and puzzling narration. The dynamic interplay of these devices is illustrated with two short stories by Julio Cortázar, “Continuidad de los parques”/“The continuity of parks” (1964) and “Graffiti” (1980) and the filmic adaptationFuria(1999) of the latter.

espanolEsta contribucion presenta un nuevo concepto narratologico transmedial, llamado ‘narracion perturbadora’, que combina recursos de la estrategia narrativa enganosa, parado - jica y/o enigmatizante. El funcionamiento de este principio combinatorio se ilustra con los analisis de los cuentos “Graffiti” y “Circe” de Julio Cortazar y de sus adaptaciones filmicas Furia y Circe . EnglishThis study presents a new narratological transmedial concept called ‘perturbatory narration’, which combines devices of the narrative strategies of deception, paradox, and empuzzlement. The functioning of this interplay is demonstrated by the analysis of the stories “Graffiti” and “Circe” by Julio Cortazar and their filmic adaptations Furia and Circe .

Paradoxical narration is one of the main strategies of perturbatory narration, a new narratological concept which I developed for postmodern literary and filmic fiction. The novel of novels Don Quijote does not yet work with unreliable and empuzzling procedures, which are the other two techniques of perturbatory narration. But it offers an impressive use of sophisticated paradoxical techniques which transmit the same disorientating effects as contemporary perturbatory narrations. Cervantes’ novel sets up the reader by offering a very complex narrative situation which I compare to Wolfram’s Parzival, in order to shed light on the narrative instances coming from different cultural and religious backgrounds. Nevertheless, Don Quijote proves to be even more complex because it offers a pseudodiegetic structure which can be modelled in various ways. Another irritating device is the inscription of the author Cervantes into his own fiction by metalepsis and autotextual references. Really upsetting is the aporetical inclusion of the second part of the novel in itself. Furthermore, Don Quijote contains an early example of horizontal metalepsis and reflects its poetics of ambivalence and contradiction using several mises en abyme. Finally we have to ask why there are so many paradoxical devices in a novel quite often reduced to a simple parody of chivalric romance.

First of all my contribution will concentrate on the female precursors of the Spanish picaro, especially La Celestina and La Lozana andaluza. The development of the picaresque genre will be illustrated by some novels in Spanish language from the 17th and 20th century which concretize and modify the main characteristics of the picaresque novel. We will see that the fictional autobiography of the picaro first merges with the authentic autobiography and secondly with autofiction. The texts tend to play with the gender of their protagonists who show typical characteristics of the picaros. The picaresque architext is also to be found in the New Historical Novel of Latin America. All these literary post texts show a higher level of fiction than the picaresque pretexts. Nevertheless, the filmic adaptations of Lazarillo de Tormes will show a contrary evolution.