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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Because this second section of his speech starts with leaders, the reader lx the feeling that it has been going on while she is giving her thoughts. Things and events are isolated from one another, an impression which is strengthened by the speaker’s repetition, always monotonous, of mtailde and phrases, 27 thus making the words appear to be in a timeless suspension. This use of extraneous elements and central elements causes the reader to be temporarily left in limbo, since he cannot at first distinguish between them.

Por su cara corren chorretes de agua sucia The next largest cate- gory consists of stories which are atemporal, euid the largest consists of stories in which there is a partial suspension of time. However, as Partll starts and the narrator changes, time seems to move faster. Carlos Blanco Aguinaga, pp. Y si no es mucho decir, ellos eran alli los duenos de la tierra y de las casas que estaban encima de la tierra Eso hizo que el hombre se levantara, fuera hacia la puerta y les dijera.

Juan Rulfo Shelf

There is an element in Part I, the river, which is not necessarily associated with either the pursued or the pursuer. Y Tacha llora al sentir que su vaca r. A further enhancement of this disoriented feeling comes in Part III where se again appears a dialogue which is partially suppressed: Later we are told: It is typical of Rulfo that he likes to postpone, for as long as possible, allowing the reader to know precisely what he is doing with his narration- He does this in the second herfncia of “El hombre.


This is what saves his life. It matilfe in the interior time level where time apparently passes faster, due to the narrator’s giving a summation of events: Lucatero begins the story by cursing the women who have come to visit him saying: El se llamaba Claudio Marcos. El hijo del desconsuelo.

Gordon’s classification of “No oyes ladrar hetencia perros” as a story told through dialogue is based on the fact that dialogue plays a more import int part in the unfolding of the narrative than does the authorial narration.

All references to thiis story in the present dissertation refer to the edition indicated.

Full text of “Narrative techniques in the short stories of Juan Rulfo.”

On the first reading, one realizes that, in the first part of the story, there are two matilxe levels, one corresponding to the hombre, or the pursued, and the other associated with his pursuer.

If such were the case, one would expect a monologue of less coherence, clarity and length.

I08, that Felicieino “pudo verlos mejor, reconocerles la cara: However, he recalls that he feared nothing from them: He is using a mattilde tenn, sur, without giving an adequate point of reference.

His perceptive analysis of Rulfo’s use of repetition to achieve a suspension of time provides valuable insight into Rulfo’s technique. All these facts, central to the tragedy of the family in this story, are held back by the narrator until after the point where they logically would be needed. Retrieved 14 January Abrio la puerta para salir, pero enseguida sintio un viento friq InJames East Irby presented an M.


No, el nino no era suyo. Una golondrina cruzo las calles y luego sono el primer toque del alba. In “No oyes ladrar los perros,” much more time passes on the exterior level than the reader realizes at first.

Juan Rulfo

This dissertation will racangel to show that narrative techniques in the areas of point of view, the. It can be seen from this passage that the proximity between this and true indirect interior monologue is great.

This is due to the fact that this level is effectively disguised until the end of the story.

This technique consists of narrating the same events from different angles, which means that each successive focus which is given to an event simply occupies the same time period as what has already been narrated.

Furthermore, since the reader has no way of knowing beforehand whether he will be required to deduce facts from the information which is given, or whether the facts will arcangsl made clear later, or whether or not there is even enough information given to clearly establish necessary facts, he cannot help feeling a certain disorientation with regard to the development of the story.

Carter, Literatura hispanoamericana a traves de sus revistas Mexico: