‘SPACE AD Wyte inlversity ef Colorado, F9.0., 1975 le | | ones, ketsuyme veut (ie 4 i i 8 dnd Literdturt, Coch, i Xerox University Microfilens , snesw us © 175 ERISTOUA PAULING ooeARe, ALL RIGHTS RESERVEDi FILOSOFIA vueTRAS a ie eo INFORMATION Yo USERS {Toit etevat was raduend from a microfilm copy ofthe aera Jocment. While {8 mot sdvanced technologesl meent to photograph and reproduce & ¢acement have been vied, the quality is heavily éependent upon the quality of te eerprot suet ‘The ‘ellowing exstanation of techsiaues it provided to help you undeatand ‘markings pata wiich may appest on this reproduction, 1. The sion oe “target” for pop apparantly lacking ftom the documeat Photooranhed it “Missing Paps). 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Filmed at S:PLEASE NOTE: Some puget | Xerox Univorsity Microfiims ee. liu677» CE AD MITE TN THE NOVELS OF Jost wy Kristyna Praline Denaree University, 1968 ra University, 1966 in Fertil ceente for the degree of Doctor of Pnitesophy Departcen: ef Spanish and Portugucte istsMi | Prseree, Kefstyoe Paslion (F8.2., speateh) Face and WIN in the Novels of Jost Fes | Bests directed by Associate Frnceeper halph 8. Kite nd Phlosophi- ‘ais study cxanines the structural Ametion Reruektas' novel I I eu dephienti +d ayth MU OF Mz ooveis are analysed: hoverer, Los curse de agin end Serve es the prisary basis tor study because they n ‘ev carly sasifertations oF tne centenyorary acvel in recard te Ay Rew the use of tise, sp es and yeh fon of Listes a working de: wth AS choy ere utilized ia the ecat ring ete: 42 the baste steus ced by poycholegicn! and aytsi the novel, has teca ‘Ths function oF space {5 based on three eain concepts Perceptunt 8 point of departure tor the Pace vithin the novel server = soe and space Sreation of « sev, profound, sxhJective reslity; tion of fore, the govel is cone SFE fised to achieve spatial Sitered aw epatiad entity vhosé lint:s need to be overtone, Revueltas* ite and iterary and tusopnieal preoccupations, nie concept of f9r shuple, Ms reJection of Sscietist Real fe also dase + Aad Freudfan psycheloge, | i | varnas, exetentiatt = || } Guenter I discusses tine and space ia Los pare tnd BL lute bezsse. Although sote el 85 Of traditional 1 Tative are presest, the effort to fragcent chrceotogical tie sot creste « new concspt of stace 2 evidest. The narrative structure is circular and Revuettas 5 fee ase realistic description and other Jurtaposition and soatage, « Prete devices, as well as scar f povelistic varld oF tinelessness ad £11 pore polished in She principles waich unéerty both novels are the saze. Chapter IIT doale vith ach as a str eAl clesent in Loe nares de azun end Pattern of the quest under‘ies the ros de Bedeainate. $e creating the scatic, dead untvesse of feat sornically, eyth fe presented ia f Ist have soci fo wet in the Fedects easy of the syth Sy Wuch 45 Chrletianity ane tne "arti of the vexican Rovoie 7 IV 18 concerned vith the use of tise, apace, a: soles, Ba algtin Les fas ver as wvth in Revueltas! other covels Tally de Mcrtnas, tos sotiver de Cafn, Arande, The techaigues utilized in these covels are contcetens She fame as thera fe Loy S.r05 6¢ atom ent tuto nasaig. dove 5 etreres, and £2 kerrensles and F Shey hase Reon presressivety refined: Loe af Seende een to be the most outetaatiog exarples of the auttec's sAStery Of Literary techntsue,renee es | Betta ue Eee ee acl TO ne a Ae eomlrtia oF Line, apace, and myth in Revveltas! govels ‘Revewls hat the function of these elecente pertilele thet of Rewueltas carefully interveaves tine During thie the contesrorary novel. snd srace and then often tvsce {4 with eyth, ‘Ate sosponcats seen to becoue the essence of the novel tseiz fed content. I recomend Ais abstract is approved as to £: iF seaber In eange OF &a i | Professor Ralph B. kite Foul also Aske to express yo, FY husband, Richard 5. dearree, Neve Robinsen, vithout viuss setp ths Giesertation vould not naveSeen IE Ne aeswtropuctios Ween JonS Fevueltas' cecend novel, HL lute humana, vas polished in Exies ie 1943, $e vas Mighly accleized, and recedved Nesfontl de Literatura. It vas translated into Enghish jevieved in the Kew York i | cvarnan I | I 3 rer tia, now neither Nexico ever, Ne vork hes received Little recogni! for the trited States dathaugh ealer eritice © Alberto SGzchox? zention tte inyortance of Jost Sn dieovses 1g the ew nad in Hexieo, Be nove! attention, ‘Tie, I believe, Froa a Mtere-y aeture of his political bet stengpoint, his novele have been given recognition for their ine srior sonologue. At the novative character, e.g., the use of int wk of plot, for bering sane tine, they have been criticized f ed and unclear i poor characterization, and for being disors: developcent as vell as overanbitious io scope. Revueltas hisselt 6 I for rot Living up to his cotential has beea eriticize: Atter a cereful reading of Rewveltas' earlier novels, Z believe that this adverse criticisa is based on the ireditfonal| { SPSGTIa Wie8 £0 ulge the realistic novel on the Basie of plot, character devetezeet + And uireaListic description, Feweltas’ veri in terns of the contenroraty novel, Hey carers soatzsis. fon sures de seus (1982) ant, cape 19 denon tute by trate « cecssious effort to dese Tf on atutios it seems to, ty 2 fren the ‘reditfonal realistic novel ang ereate a nev for through the use of coatesporary noves, istie technique Freseot streen of consctourness, surres! istic descrip tad other einecatosrashic ertect eal tine, the fusion the Use of ath. The prose ches fers, the subjective joint of view, che po + the resentation Of Mirterier space” and externa tion of the interior ro. sation which require the activ °F the reader in reading the serel, also éenonstrate nection oF these work: The PAStosern: spends very elosety OF disitiusionnane wi the acwets of tartos # £0 the esatesporary sovet, cet attitude found © the cootenyorary bexicen intel ith the results of the evsiution Rogue to of chrenolegs reality, ana ality of the Puitteipation he close cone ected on one andes Fuentes and the rejection of tne values of the Revolution that I evident in the works of Juan fulfo. senelies es boca part of the tellectual cetivities Taller. Teller vas Beastie of great Lie SAinetreas of Mexican phiosophii Since the 2930 fen and fae fs vhen he vas a member of ‘Group of writers who published « soataly fevary isportmee ia Mexice during 1936 to 2941. eerved as u batter or worishop:for such fnmovetive yore Rerveltas® presentatse CF the prblens of solitude, Csavlo Pa, Rafael Solana and Efratn Muerte. Aiso, each, ane‘Be Gcarch Tor Mexican Sdentity dcconstrate « very close Pele Of Cctevio Pas, vio has stronely | Anfluenced Herican noveitste during the ies ‘twenty years, Ssitione the eelbeohirectertet fcs:of bis ooeéta, aad/tha sitter As Linited to studying a the "Epfogo" | “AE Hncteted in oven Lieererin.® Jose aguael 2 the need for a Of the Oore Literaria of José Revueltas o: compares hin to serlous reconsideration of Rewueltas* nov ‘mw Rao in issortance ant excettence. fefecring to #2 auto iureiy Auth states: Suede advert 5 Pederca ia Ror exo [aie de pe | is tals cutter fed the sainstresa of the Coarunise and who bas by cnoice set | Ferty in Hexico. José Revueltas seeea to have teen independent 4 revetiions since hts youth, fe vas born te Direnko fa 193, Takers Mis Festly woved to Mico Cty ane Sis Deethers ana slaterDecane fasous as articts-Slivestre vas a corposer and conductor of the Bellas Artes somshow, Fersfa vas @ painter vith Rivera 4 Siqueirea, end Roouura vas an actress. Revusitas scent to Rave adsired hie trother, Silvestre, vho comitted suleiée in eet that he gees in his brother!® 1940, me torment and gre fs reflected again and aguin in the princtpat characters of his novels, Revueltas is postly self-eduented. Kis writings suggest fasiliarity vith artisa, policieal néstory, existentialisa, modern Arty and Liternture. ostocisiy, Toletor, Celsne, Joyee, and terest his especiealy.? He Faahner, for exaxple, sei se “secundaria” Finished tie "prizarie™ in loxiea City and tess ets bes he never Finishes. fe Joined the Communist fo Sunior Party at the ace of about thirte: fren fifteen ven he vas gent to @ reforsatary fur rete he wes scot to prison et fas Lalas sedition.” snes ne vas eve Marfan for subversive ectivitiee, the first of saw ine he vas to suffer. tn 1968, he vas sentenced te the Circe Pree Yontiva in Yerten city for parcicipa protesting the Mooty killings when ‘the govcracent of fez ort joecerred before and after the Olynpica, le was relozsed in Yay 397A in S22 neath. Fewurltes hes crsicated hia Life to polities and vriting. He has vorked a & Journalist end a script vriter for the cinesa. During che lots he waz a reportes for EL Poplar, Since then, ne as continued te vontribute te Literary sagssines and nevspopers He seess to baze been quite active and successful in the file$60, and has written w book on einezatocrepble censsintente elnenatogritica,2? Party fees the tine : { Revueltas belonged to the Corsini Re vas a tconager intil 1960 when be and various other necbers : ‘esi were expelled frox the Mirteenth Party Congress. ovever, ne SS | Me Veen anything bet an orthodox rerty-line fotlever. I believe A = © Mie phitesorhiead precee Mterature. Revuettes the Mexican Ce = a out" to the te rover structure ia Mexico aad the doguation of Yao27 stronely ed Statins oly tendentious, Although it $s not vith: of this stuty to discuss either Reveltas! theater or short in detalii, I believe it de necessary to point out tat nis short 2 (584)? stories, collected in Dies en a # Siete (1960), are conpletely apolitical. They are iaages vhich Te renarkadle for their sinplicfty and starkness. ‘They deal vith ybunsa and sniversal theses: misery, the capacity for suffering, hate, ervetty, sacrifice, and tove. “Ucvinta ser 18 oscurided?", | "le yatanea ssgrade, "ia hercane nents | and “Una eer en Je tierra” exeapiity nfs technique and theses. ie| | | J believe these stories are quite conjarable to those written ty Sunn Rulfo end Cerca Wiequees At this point it fs necessary to discuss Rewueltas! re- Antionship to Socialist Realiss and the "party-Line. Bistorically, Marc, focels, and Lenin placed great Supor= tance on individu works of art because Bitereare plas € extra rote inthe dtateerons procve.® tent sot out princines to] /) fonad] in 1920 in which be) the Conintern (Third cossunist interns the begins 6 5 Tels mark considered Literature te be propacand (of atteapts to preserite cblirations of the artist to the state,” specialty in Nerieo, believe! Trotoky, vhose influence is fa on Ht doesnt matter tov, that if 9 writes © the esto bas fre tebte, Perhaps this at Aion, thes athing is ac writing, eicsougn'st ie {apoteibie to Judge. Mivenced Fevuelt 4s has steadily nadntaines Ri independence trea Mowsver, Reve the "party-Lite" and trex Sociatiet Reatien in hie no% novels, all of which have ap If one conpares Revue decenes evident that Rewueltas| peared in the last thrse decazes, does not follov th dietetes of the Cocmuniet Party. Turing the 1920's the party Line vas the Popular Front; there vas no Line 185 such Beceuse the Party nected to be ellied with everyone, In vas etill legally toler Mexico during the early 1940's communi: ated, Tue vision of commie which ene receives froa seeding * is a utopian vision of brotherhood. Ale ‘hough the principal characters in Los euros de acua (1981)°9 ;\ie eet : | We comasists vio have been éerrted to the Totes Hanan, there | fa no elute dletinetion or *prgeLice™ expressed: their sutering i terrenates (2919),26 py and { | es a (1997128 wre al written ding the period | | er se comumist arsine” apatite Stes Seperttin 14 | Pi este period of Soiates Seaton jn coinietAeraare, i ! saliss emerged during the Stalinist period and | | Mcereaze ton sgroccnely 19 40295 | Ya 1932 Froolacy defined Soeietist Reslien as the "truthful | depiction of reatity vaten shovel the vay to « Aecording to Kite, uno studied So ean novel, 249 beei2 facts eseres Tre theory ns a none terary glorious = fe 'the real table eo | Kite turthor states that in Soci: one Play 5 sesthe is to convey an ideological zex these, character and © secondary rote (p, 262). Ae + resul Pallosopiicel viewpoint ere Linites fa these novels. Stereotype is the only type of character crestion that {4 permiscibie. A * Socfalise Realion places Little value on the individual, it {= eocplezety opresed acter. It can only accept, 4 Ho any adestive sréseaturton oF soon fom of veins fp. 8). cirsastaces alo nt be ples '+ smcesi i | | | for example, love requires clase basis and Fate has no place in the Marsist scheme (pp. 265-266). ‘These novels are over-sispli- Hled—charactere are presented as being either good or bed and tla quality is detersined by eiuse—vorkers are good, enpételist the novels hecose propaganda are bad (rp. 270-27). As Revueltas* novels have nothing in coson vith Societict acted Socfaliet Neadisn, Feveltes hisseif hes repeateaiy F Sclieve that on the Basis of ccoyaring Ms novels Realisn, with the novels cited by Kite in bie study and on the basis of the 2s could be called characteristics cited above, ame of his Soctelict hestiss, 5 (1919) is Te stows the cunjective intemal os: fel. Fidel, wto ie the wn partyetine dopa ts Fait, and expouent of eeamsn: 2 aed Revueltas erpeced ax being inhucan, cruel a retracted the ~ovel fros eirculetion for a je: otter too novets written during th: Yorivos ae Cafa (1957! also camot te classi: Fealisn, Yelle is character stuly of a petty tourgeoisie, tove ser, it is ecslective presentation of an individual, of his © stuty of a mcsber of & Peychotogical {nterior reality, not f= perhaps the closest tevveltes cones to a "purty Aue" type oF novel. Te vas written iu 1957 at the end ci the Sociadist Realisa period: so it ix hard to Seige. it doen eentain criticisa of United States ioperfalien in the Korean War and tendsoor oh a cee rence ‘ : to portray characters in stereotyped tercs, Hovever, there are Ro obvious propagandist stateseate, Characters react on aa fndt= widual basi. The thene of Cain and Abe} gives it universal sreality also plays Aiweasions. The interplay of reality an ture of the novel. ios #9 dmportent role in determining the stn strores vas written In 1964. 12 corresponds to the ant -stelinist fs a good exe f fooling in Russia, of vhict vn periog fomer writers of Socialist Reeltes eaple. Diving this periog stray chara: Degan to Leave it behind and conpatibie vith tne attitude. depth, Revuettas® nover see ‘There ere indictzen lin in the novel, but they are er Man de an pot central to it. Ty In 2969 is comphetedy erroneous tetas py ents ay iease vithout spoliticsl in the no rely the obvious coment fica which the re he society Teere Ss no preaching, no "Line" vhatacever, on Of Revueltas! aovels shows 2 believe that on shat bis phflosophical preoccupetions are ash broater in scope Tey are the pre ‘and more profound than those of « party ecupations of @ deeply concersed individual, vhose philosophical vision is shaped by Marsisc-Lenisisn in its beosdest, scst human 3 te as conscfously applied hisselt as an artist te Interpretation. ene artist ave his Life's taber. fad writes. Being 4 aovett 4s certainly not « propacanfore.* He has cenonstrated an acute avareness of the fora and structure of the nev novel, of ts techniques, of the relation and the weiter. milozephicnlly his Fendence und aniversal preoscupation for s Snexplicsble neture--hie capacity for and evil, Ms existential capacity to choose his attitude fin spite of his sutfering ur Fate, his eearch for Hexieen identity fend ean" iden iy in wnfverset tems. te aeens to Be in the Lisctenl thought vith sen auch as Sartre and 7 of Literery ereation vith ether sea Merete wad in the enizste » Poentes, Paz, Corthcar, and 0 of bie generation = only in Hesivo, tt orth rerary production ‘Te novel, perbaps zore than any other art for=, sens to respond to and reflect the philosophical niliew. tn the sense "of acieatitic theories are in reality « form that "pure scien: Of philosophy, the seder novel hes been shaged fn re-ponse-- conscious or wneanzeious to the philosophical preaccupations and Siscovertes of the Late 192i and early 20th eerturics. Tee ideas Of the inevitability of scientific progress ané rational thosght[| a sasingly disimer{ted and alone, !® ‘TMs feeling seens to be reflected in the Broad trend of sur Fealisn and exprescfonion that inderlies modem art: the » “dehusanization” of art oF vhick Grecan y Gasset syeaes. Buel, In The vos fea! Sovel {actudes "me Invard During 2 title “belleve, characters: | SSesatie and priosorhicat preoscsat ica of the ex The fares of Freud, June, to share the novel's direction airectedness™ of realism, vhfck t ry traditfonal navel, the novei's j vw | focus vas rv on the ianer : | € | ar'taal at | Bomine: Ch Peystodoc | that etvcen ©°2 tale i | Smead tn | of renns. sod syth,_the relativity of experience in tine and I OF what inowledgr is has decors euch sore cosplex, notonly fn i tie discoveries and technolocical advancencr' Det in unerstending the hisan personel ity (the azan being) a tmusphrey points oxt , “knowin, - | iri sine | | | | ips apaescopeynner ll | | ness must inclute intuition, vision, end gonetines even the occult,| | | | 89 far as 20in century erite: are concerned." ? | Instead of trying fo ccaprehend reality theougn caret objective exesination of its extemal, physical (soeiologicat) elesents in relation to by recreating character, th reality of hie characters, Instead of giving the renter of the novel a "kodse chrase" he gives his readers a col2ace and cakes hin pertietpate in the creative process. Reese plilosophieat preoccupations are closely relate! to 0 unt ‘the two pain phitosophieal princip te shi structure of the contessorary novel: 1) the rejection of 19th of matdonat century aw ncdel, and 2) the resec other end in the novel have ehnresd sutientiy a2 vedi tise vas viewed 9 sex 4 and space and th to be @ fourth dice Hen of space: jose these four disenstons are is 'a period of tine for one yer for another... Exch ebserier ss sicultaneously, ure relative. 2 Athough for the purpose of analysis, ve diseuce tise - apace as ‘ough they vere separate entities, within the novel thay are, ia fact, one. Tae relationship of the concepts, I belicve, is reflected $5 the structure of the odern novel. Point of view, for exasple,B Deceues very fsportant. There teens te be an wnlinited musder | i i | ! ! Of perspectives or points of view which can be utilized ia veitine uw a rove)" Titus notes thet one of the meio fallacies of the 18th century vas to select one or & scal! atx! of aspects of reatity tod to Imore the rest. Canzequently, the nos-liviag vas cone 1 resulting sidered to be the basic reality. Yaterietise vas th Bbilosorty. Today, hovever, there iz Leas cxphasis on dead natter. fe. Pres ow ony Lite and netter seen to overlap and inter De Veleves, vanid thinking rust recognize maay frases of reference. "? snase sore Flexibility and choice in flso reflects the fusion of tine sr he traditional 19th century nove: tad terms. Space was depicted as the physic setting or eavircnseat in vb Bee in teras of plot: the exper ere in terss of day to day Living. The prese based on the iden of verisinilitude, i.e fn tems of physical reality eription of setting end hackerou: da the 208 h century, I believe, pas five.) Setting, in the traditicnat sense is lost its ieportance: of reality are utiaizer. fener payshological states of mind, multiple serspectives have js |— ee ee a MRI 88 he mofern novel. The Felationehip nov structure the form Novel has Yessce subjective instead of objective. conceptual J fnstead of perce on of tize and space, 1s Bunsen Te wwe of space and tine reste: | “evs: For the purpose of acelysia ve vill dieewe the runetion | of tine First snd then exenine spaces 1 Refore, tise in the novel vas considered to Le the 1 I ecg Ssstuuing t9 an end. Te. ceader folloved the activities o sheracters and expected thes to be presented sisa. The vhote ccucept of plot is ts logient no enger Ae Sharon Spencer po seingly Anear tize = the tise of the novel as Lest: fs relereace for the octas=*© te wbate omccpt of beginaing Ant ending is eboltshed, Justaposttion rather thas transitions and Susslity are utilized to create an inzression of dyntate sovenent (b. =44). Coronotogicel tice, as the dasic structuring clesent Of the novel, bas been replaced ty other concepts of tise Bi Y psychulep cal, Wisiies Janes" paychological concept of “strena of conssious: + Shrenotegical nese" 4s 16 SEpLied to the novel and Sergson's theory of “turee™BOY Ailes Yates es 4 aes: as ave helped to ahape the concept of peyehological tise in the novel ‘These concerts of subjective tine are based on the iden “cocetting having no existeace apart froa an ebserver at only in sense experionce.” (p. aux). The functicaing erised by its fluidity and ite fresdon 6 According to Runphrey, streea of consciousness fiction differs trea all other Glction in vhich « jeychological oF subjective viewpoint 62 ise River) by being ay syntheais he nears the ability of broken, and of dein setousnnes to the other (p. 82}, In addition, and perhaps nore signitican: for the focus af our stuly, the finetioning of the strean of consciousness is not Licited by erbitrary con tise. Tt has tis ability to nove freely in tine, with a Kind of Line gence of ft ov Ime prenise $s the psychic processes, before they are ration- tally controiled Zor eonsunitution purpoces, é9 not follow “ity. Everything that eaters consciousness te Tpeeaent ernest"; furthe-sore, the eveat of fo gauter he such ‘loch tice in eceupicas 287 be jafinitey) extended by Yeing broken vp into ies arts, or it ray te Biguly conpressed into a fash of recognitions fp. 2205)= i : 1 | | | teen sispinced ty yunical tise, 26 ‘Truoy in poychotogionl tine, past present, and future eevee and are indistingsishente, Secondly, chronotogical tee within the ide the boundaries of ehronolegieal aad paychoiogicad tire, “is clrssiars static, and everoresoat. ‘There Le enly the eterash present, Conteys teristic of gtMent tise $5, that Gt is, ta effects 1 F ang ca do not appenor progress, they ei teaeous end renesatie Te function of space in conteeporary fic cussed ou the basis of th 2 barie concert: 2) the concept of perceptual fs a point of departure for the of a nev, end Profound reality: 2) che fueioa of th tot space vithia th epatiaticaticn of tora: Had entity whose 3) the concept of the novel es a si Plysicel Linitet ions must be overcone. he First concept (which has Already been dissucted in tems Of perceptual and conceptucl space) functious as the interplay he- ‘ween reality and wnreality within the novel. he Fors of the novel decones apatialized ven tine is vieved fn tems of syace. In his articie, "Spatial fore in the Yodern Hove ""® Josezh Frank deseribes the process of spatial ‘Yon thet bas occurred in the contenporary novel. He spesks of thea of the narrative. 1 aw | spstislization of form as being the suspension of the tise flov ‘Feflexively, in an instant of tise. [p. ti) [Se eens nt ray [se sot see we suet. tee Ls senso te ulate | Bergtonts ides of “real tise” snd finstein's theory of relativity. | | Hoders novelists, according to Frank, nave tried to oversee the | Aisee trot wy ene ementeselaxtzeo@ written apace, ty ' 1 ty of expert | refi ws | ourcy to the creation of & sputi ( W). Tis 2 of tne En the Yotern fovel) in whieh hose estentiat fentures are ccructural and spatial (tise is perceived in teras of i | ane creates the concent of the arenitectenie aove1, i | spece) to waiye the cntczorary novel? secorsing to Spann, it ceatesporary novel {i the entire substance of # siytistie, but structural. she erploren the surustural f 3Fe8 the implication e0tity. The idea of the aevel se hia the novel, and thea eiso expe spatian if of. |] oF the nove issete as38 | tect? as a cpatial entity also affects its structure. tenpt to destroy the etrasture, contenperary sovel there Is e definite ‘exanple, the wee OF fron ether ovelsy ‘Tae techniques used to present these nev ant cosplex sani fectations of tire and space wre Sarrealietic deen pon reatity: eription fs utilized to distort wid fs Fasnback and sontece the wind to Ttravel" to ree ‘are frequently used. Flashback fr note places and tines, transcending tee Lisite of perceptual | reality: Justaposition of characters and events transcends the Doundsries of pereeptual reality, In a tise sontase, for extzpley raster resting ia one place, end his conseiousness mo en Licey there is superigposition of i | with these of anothers Aaoth |on ro arancnanns tt eM | Teasers eye" er "sultiple view" fnvol 30 a one point in tise.’ | ae presentation of psychologteal tise and the interior FRese techniques are based on the ;einciples of tree sted ty Freud and Jung. Free association tune invally Hons vithin the payche or pind. Tue mind f alsest ox Active, 3 eps fon one th er throush aa + the poxer of one thing to suurest aa: Astoctetion of qualities in or partialiy--eves to the ares? suse trol the ssscciation: firat, the se besisy second, the senses, wich guide + fnagination, vnich dotermiacs ita ela. ‘Te content of its activity ia ccsermined ty eee sesceletton vhich ith the coatent and the processes of consciousness (p- 25). 4s presented es boing cyl there. Accondize to haphre ponologue, dire in the first person, thers Sef _— scene vith Wolly Bleoa at the end of Joyce's Ulysses.) Indirect Interior ronclogse is sediated ty the authors he intrat In indirect interior onologue, the second or third person can algo be used (7p. 26 29). musphrey aieo odie fn ceniscient author cua report the Pavehic Lite of the characters and that a soliloquy, directed to the resder, can also have the stream of conseiuuzncse as its seterial (p. 23) “Peese techaigues are very inportent in relation to te presentation of & sod since within the novel Seeause they: denso- the ability of the rind to gorge pasty present, and futur tad to experience + Interier « nother feport aking the be © and ex: World of the novel ia: ive reality, Pouitloa pois thet Interior the reader to experience and pert Fate in the poyetic tfce of the character (exps raving the reader into Perceptual tine St unites the psychological tine of the reader vith tet of the character, Writers also eate usc of ot teenager hat. tapnr catecorizes as "shetorieal devices” We Preaking of aorcal syntax (vord onder) + such as etaphor, personification, and} 82 aetesoris.°? these teckat 411 cerve to dndleate the afzcon- Lfouity of the payehie process ead to desonstrate that the feel ings, imprecsious, acd ex to verbalize, thet thes st be grasped eymbolically or intultiv mae Runes The thing elenss vesporary novel, and reo sophical stantpoiet, 2 8. ences of the human sind are dificult bas structurally influenced the cone te the “invard turning” froa e shile- Aeaia, the fe rejection of renson end rations Leeie paints out ‘The Wiliset ice of myth in the codern sovel again denon stratce the rejection of technique and phil novel, both ia| y 2. Paterna eee flto had the comotaticn of beieg @ falsehood or Lie, ‘Therefore, At could not be included vithin the realistic novel. tn contrast | [sth te as otegcat sare of the contenyoreny rowel. Lite i syth is the poetic elstora:ion ef ayth, whieh is the setaptorical | fuPreesion of cants ertort to cooe to terms vith Hiaselt, vith the word (nature and the universe) and to deal vita the probless i = . | of nis origin and death. Tue focus fs on the hunan asyect of century the hapey He oF ambiguous because the hero Ietertest geeee te Lalaice believing ty alvays exists that the artist can create wai be ean give contesyerssy Life the qwality of aythenas Suse bas exeaple. Ta giv ‘Alects son's belief is the poscititity of ayth to transfor his sections end ite, to enable bin to rediscover his orfeins and Live again, Te dealing in the zotera novel, oxe cen only observe gencral ter- densins because syth is at once a cultural pheuozesca, as vellthat ft in extrescly protenn; it can be studied in teres of the any disciplines eentioned above, but {t always reneine irreduestle For exsple, Peluclas eftes sore than twenty definitions or concepts of myth that ave been utilized peloey. | | to « comon denainutor. | | as the basis of feterrrecations in the Hetes of ant Patlosophy, sociology, and psychology, and conelutes that one 45.99 me suction of myth in tne fetreet really define whet svt contexporary novel is (and has teen} Influenced by studies in | | | eatheopology, reychology, and is I and philosopty during the late 19¢% and 20th (2832-2897), one of the founders of the sodern sches! ova 2 to ritual and its focus on the sociel behavior of { er's studies on the vegetation ayths (Adonis Geirfs-Dionisis-Deccter-Prosephons) in the Golden Zourh (2890) ed the Literary poseibilities that these arths offered. i i, These eyths also created a sev avaccness of the ritualistic pover | or aureuage.%® another seportant sonteibution was that of Hax fer {28°3.1901). In studying the solar syths of Veda. Drv titel, i decane convineed thet there is a definit Helationship betvews ayth and Language, He believed that myths grov out of the need to exe ble to express in crdinary Langusee. | ress tnoughte that are faye‘Siemnder Ri eae en, it i | a ations of Language, {tself, nan tries to ex press hinself in the pectic and cyabolie tern of tha? Becnune of the Mai! Dhave had the 2 and Ding He wecos that the studies of greatest overall fs novel. Their studies opened the doore for @ “aytnieal" concert or vision of rea, for a "sythical" sethod of analysis in drees jou and in the study of peychasis and neurosis, Tread interprets enter ta define and des id this by using the ayth of Oe rive psychological cenflicte. sia melysie nccerted sysh 98 © valid expression of san's interior reality and sssion of continuity. 1 persona hs Mailip Miceleright captains in ols puch as the sky father gad the cersh Pocus seata acd again fn cuties so neotner Se there is 99 sikezinood of any Maturical azone thea. t ‘tion and creation, Perhaps, more sigtticantly, the studies of Freua and Jung opened the wry for the use of nyt fh in tae erie ben ‘cause they sav the myth ap @ revelation of the subconscious tnd 6s reat er cence Eo ratesee a a tll acl etae Toe structural function of ayth vithia the coatesporary caine novel seens to be threefolds 1) Archetypal patterns éet ‘ten, end these the narrative zattem, the preseatation of char 2 tine bas becoe the ely space | ng for patterns in Literary elessi he “sézqueda Get cer" tiaalet press or Das stars: BUCH Of 20th scatury Literature. The pallosoptical prscseugetion of Paradise Lost and the concept of reflection of asn's confrontation Boler Life as Caos, fs th with the seasisglesssess of his existence and the confroatation with the possititity or Bis annihilation. The novels of Thos Meas, Katia, ari Fathcer all are utructursd by this yifis | Real preocewpation. £5 a consaquence, he says hat the que | 4a the most ijorcant archetypal pattern. He cites the tatyrii nt a a 26 the descent into hell, transtiguratfon (metamorphosis) as ieyortant The search for Paradise Lost, the een elesents of te ton, and rate ‘ny also have great inportance in & fing the narrative patzems.© mere have Been munerous stusfes denonstrating and analysing the isportance of the sythic pa of the quest ard the Astyrieth in Ulysses, ia the lagie tosnsafe, and in the 2 of Frans Katie, Literary creation. offers wai Ir so gives omer er patter Literary oe 2 are fn an obvious sense (ros expe, offere the pecaibitity of poet expression a “se of Eetaptorieal resources. s 1 treascend chronolosica yyal pattern fed by both advanced” and "prisicive” tine (ther css be compre: cultures) their function in the auvel is closely related to the unction ef =yshical tise. Its aie én the contesporary novel ect ideas of positivien, vhica stresses the {dees of progress ard nistoricisa, tut also the ‘stices the timeless waive rest in or!eatal puilesophies vi passing, eirewar, eat of ean vith the ALL, shich is completely en and Liselers, The structural aspects of mythical tine haveWee ae at Stacussed, hovever, it de necessary to point cut that the eyclice character of sythienl patterns thenselves creace a sense of ¢ esaness within the novel. 7 sattern is itself static and ever Present (continuous) and eiroJar. As a consequence, the narrative patter of the novel becones t ess and ayenic. Te relationship between ritual, ayth, and Mterature ie Axia, elso very inpertatt in ters of the as vith myth, it fs very difficult to eerine eituet. Atso, ft 4s almost {eporeible to deter: oF the eyth ease sunning the ayth end Sirat. I believe that Petu % ritual fore an indissolubie entity. Tore atvaye seen to be an interaction between sith al, © reletforship of cause & etrect. Recently, investics sidered the ritual to be the cxuse of especidlly in its selicious se tu Ssportnce of rituat is in é ritualistic ceresontes, the (renzy of orzia sothical patterns, actions of individea! characters tecoue ritealise ters} Nithin the narrative structure of « sovel vhove form is solded by | te end stylized, alnost at if the novcsunt vere eterna (1 ing OF dranstizing the aytnie patterns thextetves. fons take on a special ritualistic which there de a0 exeare, Tis fa SBF Feason thet his intervat autteriag {s horrible. 4 the ent OF MRE move, Prudescis, vAo asill fs aot dead, has created aaothe> ‘wri fn is Sind Decause Re bas aot been abie to escape fren the Prrvfcal reality of ene prison cotony. in the hospital, Pratenciots eat Be eta sroving: Suterior apace has replaced external reality. fs head has bon Prutencto bes tecone grotesgue and disjointed, Some enoraous in prosercicn to his bodys» a Deede que a Prufencio 1o Wevaren al hocpital destrozsde Yeon une fracture en el crieo-, le nabfn erecido In cabs dew ranera entraordinaria, So trezaba de win cade facha, desconpuesta cone por un eapejo convex, en 18 cua foe cabailes surclan feperos, aif‘ciles... Le habia ereeito Je cetera coeo si este erteiziento corresporsiese, on efecto, ai trastorna interior, serie y Zino--apenas de afaizas rafcesy Srtolilles de arteriescs donde Ias cosas orupaben ya otro sitio. [iuros, pe 95, smais paragraph graphieatly Lhustrates the fact thet hs interior reality or interior space Is exectly vhat Sa Nis realitys the piysice! vorid hes oct ell its inpact, end ve find ourselves within his sind, wien ds a eifferest world. is sind transcends the spatial Lisitations of his boty, Nparrdes de su ser", itarety teions of the prison island “los 159) and the spatial 2 muros de agua” and he can be Se Lareto with his vite ans soa weed rete “destoblaciento" as he beccees ie aind creates an alsost his com son teceuse he hinsel! is dead) i reatifat ONT. ceeete y My era ea nfo as Singestes que te folad, de guirdrsics roo de helo, dole infinite: eaterias totes de e=t curs... [ures pe 255) Prutcneie e11 un nidos el otro Pruseacio, ‘el grande’, Sabi fuerte al ceer en un precipicio... [Muros, p. 164] nousver, he continues to suffer because be is still able Wrenever he regains ore te rentize that ne fe in che hosyit eclousness or sanity, he Decones incinitely sad (urea, p+ 159) Here, Revoeltas has very carefully tried to portray whet Is happening to Prodencio. He doe: not let the reader abandon bur he dees try to portray reelity prysical reality coupletel freq both the paysical dimension and the joycnolngical disension to present the totality of Protencio's suffering throush theait ANS Ce artis yr emtesintsimmnns, EM Gre a nmr 52 y aed une | constant interplay (Juego) and juxtaposition of real | Feallty, of he ehnos within Prutenetots mind, and ite onteriy World of the tospital. Hovever, by the end of the sorel, interna? Feality complerely afeptaces external space for Pras pp. A73a78), | | has cosptetety surrentered to the world of his insanity (Ms | srace secxs to be closely related to the form fn # Sioplacescat of perceptual spece ty | | weeseats | realiey and the 4 fon of ehronotogi tne is conceived in ters of space, Both concer: st the raze tice, and are described in tems of Hhist jarecvaps of th fore, they aecz te be ty the Pe ©, 15, $8, LIT). TF belseve thet this type of eee es the author's avarenesa of nev Literary coscepts and te rt then into practice, although there is a0 ‘ual scene as Joseph Frack éescrites it. Tue concezt of tne novel as a spatial enti ‘must be overcene fs also utilised in Los euros, tut only to « very i s+ In one very isjortant episode, « eagacize article esent ae i] And distorted feagconte fron Cogsh's soved tars sates 8 sor Pert of @ chsracter's consciousizes and meanries. Santor is valte ing te Balleto, the sain tow on the faland, on his vay fron Arroyo "he meets a stranger [] tendo to Saieus. ions ene "cata fe | j the tells tin thet an suttreck of scurvy fe raging teroushAe hepa. esis and he {sterforisee £2 a8 though be vere the Sint St exzonire oa tea slereici. ‘fingseitd of Gogst's mover | IMME Ito Ms experience ant Aadzoe ana Ostep epsear be: | Bis exes as the sya; S OF s#t0rbuto flash through. nis ein SAGK the use of an article, or the (wero, pp. 135 [ S7P*Areace of ttetionat charasters trea othir cove as pert of j OF AtrTstive structare dons not tn feced¢ sean tobe MVE techie, the fact that these are interie ed inte the cone Sclessze08 Of the characters i8. 2 believe it dencsetees “Revueltas fs trying to erase the Fetfes and sovealted reatiey. me OF the reader and ag the process of the eyed In the contssorary seret. one OF Whe teckntatoe that nevuettas uses to create « sense of astiguity 1 Mth recent to 2 the calssion of ferry: Ber eects ed piers uD Sot TY acd on the associa: face of the charane ers! train of thoust 48 he cud Of Coaster 111 Narcos and Pres shiek about {2 4 nd Prudencio, and almost eimul- hes other cospenions, Santos rio who Le being held So taneously ther thovehte tum to fo: ssother Fart of the boat. The next chapter then focuses on (suros, pp. 60-61). mis ie the only exeaple of such a haptere each part osar: transition in the novel, hovever; in the otner Of the narrative begins as « seperate entity, vith the focus oi particular character or event which fits into the total pattern OF the novel only after coe hes reorganized the chrotetngicat Hequence of events, For example, Chapter ¥ deals vith realize Prisoners" arrival at Puerta talleto and ends vith Sone: 08, p. 82). Chepter YI begine vith fing th the phrase, “EL polvovera fino y caliente.” (Vuros, p. 61) eecs os to decerite the bot barren land en the Bill fetreated aule vhich Kana is sd the skins a 48, oF vhere he 1s going until he has res bes eo iden vbo ts individual prisoners several perssrapts. me eanner in vb: 4 is tragrented else, for exasp Life histories are ret fe veteran grisoners on the istand a, vto i one of story of is told at three different poate vithin the novel (¥uros, pp. Bi91). 2 Gs onty at the end of the novel thet ve have the com plete picture of bis Life, ALL the various episodes and conflicts fare Interlaced n this vay. iso seen to be used Several poetic or rhetorical devic wre of the aarrative. Repeti- cousisteatly te break the Lineat tion, Iefteotir, and ellipsis all hae the affect of cutting across chronological sequence. In Log puros there is frequent use of33 Fepetition of phrases. For example, at the beginaing of the novely fn wo ‘the phrase "IA e6ndet™ punctuates the narrative tea tin Pages. Variations of the question =12 to the Which ft evokes: "icon qué rumtot™, "ZA qué destinst™, "UDsnde #¢ encosteatant™, “ten qué sitio!" "EA qué lugar sodefa se (ures, pp. 29-31). to another chapter, the phrase "itadveres!™ ye los cadéveres! punctuates Santos thousht aod "hy qué ers (tures, pp. 135-135). tions of thoues 5 also uses ellipsie to break t Rewer sed to lead {2 im dirterent divecticns. fle utilizes it frequently te Jone Sisiogue hanging and shov how people arc thinking. for on as be exanple, he presents Ernest's preoce Sosario by sh: Be nosotros. Hatta querite decir com 2a palabra noso:ros AL cosas iejenee... (iiros, sstelo no tents sitio, y Giceente, lotiendo, cetaten €] miesa y el rencor fares, p. 30, The “pareses ee agua", the confinenest in the boxcar, in the hold Of the boat, im the pit that is the Arroyo Hondo all contribute to ‘the constant feeling of entrepaent which pervades ihe narrative. es feeding that tere fs ap eacepe, also puts a becrie> across the passage of chronological tine vkich Logically snould be prom eressing tovard freedom, but vnich in the reality ef the novel| ee erent —~ dnl — nati if 56 |] acess tencbite, ‘The Snterplay between reality anf irreality ts aaintadned INOW furrealfstis descriptions and the eae of eeteptora, The Mreesworld of surrealfetic dzages nates both voride shen tor 'So8 in the boxcar, Ernesto ‘Sanple be describes Ernestots sens Ssfernely ois so/alcip. berths eteare of Tonarte legs eppear- ing ss soccthing very distant and vegas, floating snore cverrthing Brenyt tthe suse tise, ng sees confused, and siteat, acd yer Precise aod clear. Tice transpires 40 clesrty ant coneretely ‘re MIS cred that! bo tela ax be bas torte ensinin slacks | eves, the eves of « jerscn sto « Bntonces Emests « 35) i Merealatle letete copioyed to: cenerive: sk scene darwin, Wasted bette up Soledad intezsitics the reeling of beutanity: rise Eeeeran SEES £080 esas partonisas de cisco que | Rerparete ey SEU socwincie | gelpeendo's Ses! os to cel tae | tie peles cs erpcions wy eitrenee FREE esocpentcncony auioa Se ag ecl cee Surreaitotie description, becuse it is {nlegiea!, aie1 ie x Reweltas takes advantage Prudencio to sir$ con sus ojos indiferestes, sin coaprend agus arco? Si so ibfa ninsin Darce en ia tier babfe terra y si siquiera sar! for el eiete aides) une expesiciGn fantGsticn de nites que estate necks de colores; aitos verde donde eetuvierca jor een! vyenenos sintestros ¢ infinity; exari derricaren en Lintas Inverosfeltes; carmesics por tovos 1 Nie de que tee snaranjados y violetes y negros, [wures, pe horde and Hevucltas' style of vritieg is consistentiy set dense. Foetic exclusations punctuste the narrative, A phrase Like this is characteristic of his style: Scar al Siena cibe te ser y Te density, 1 believe, is jon. Frases euch as “..10 tormban Ldgubre. con sleto, coco una afer Lecerade interiorscate por 1 relies sia a soled (wuroe, pe 281) oF "ste eds pre: Gs atginn.” Murs, ps 135) appear on mlnost destino, sia preyes This frequent use of quneration as also been noted every page, ty Ortegs.? The density and poetic quality of the language are soother seins by vhich the perceptual world of factual details i ty. transformed into an insginary and subjective rea siuised to Ir dition, several other techniques are transform tine end stuce vithia tne uovel. Flasnback, Jurtaposi~ nsistently. tion oF zontage, free asscciation, are all exployed « BSrs PMs or 1 | | | | 3 There are elto a fev exasples of interior sonologue. Rewueites deyends sore on the use of the descrist! on of Femories end flashback than oa interior sonolegue in this novel Te prisoners! Lives in general are presented through the use of twaditfonal fhasntack tectnigse, sonetines the characters relate thelr om stories to one another (Rann - Prudeacio), ore often they are presented as scores. Ber shitdnood; srneste x hold on the snip; Frade: “ta Tesanita” snd fell in love with her. cvever, Rewieltas incorporates the technique of free association id consunction vith fas mae is the techni the aint as it 6 tuneetoni tess quality ef the atsosptere in the Welch are ne real and as vivid as The autnor pnetion throweh free associsticn. mle Yor car bas a certain odor thet Ss Like sell and the exrincss excke etd, Corgotten, and territying fears fn Rosario, euch as uely tenity quarrels. She begins to relive her punishzeat in the “cuarto de 1ns nonJas," viere her aunt used $e evntine her. She renonbere her svectheart and the abortion that her aunt tricked her into (Muros, 5p. 38-391: On the ship, Rotario again relives her rosance vith Dasha aad cones to realize Hohe never te batare (ures, ‘things hut heree!? end ner aun: Pe 66-67), Again, on the island, through the finetion of neaory Roaariote sind leaves the confines of the pig sty in Puerto Belleto |2 | where she has teen sent to take care of aubtenicnte Saith's pleas Revueltas actually deserites the act of free arscciation. This process acest to be the cane ax described by Bergscn and later put into novelistic practice by Proust: esory ie evoked through Louch, sounds, sight, and she relives hor arrival in Balleto, fot explores her feelings for Denis and Ernesto. Dentro dei pecho de Rosario, Paleros, equelle prizera ante dela Tele, a1z9 $5 fe movid, con Tlasujer se eds aqui", eseuchS Sono en Le tierra era oy sitio prote Gistinguis por tics ver Ernesto, que 2a siraven coc de ealeres ce clerey de de puritres, de ea fen Jos eeatigos cons si el por el tacto, aleti eecolarce; For el ofa, enceatranto fu te incourusilelesente anizesy por ta vista, ojoe de srsesto, ten se Dios fot", se presuneeta ne couprehend what is happening through participating sakes the experience gore vivid ant concrete, as vell as vholly. subjective, because ve sre the ot Aunetions: Es que estoy sotando, pens§ contisanente a vor de Narcor, pero al fiJarse pues aquelle vo era otra Jobin tio ela sepa Biendfa Su sachere. : wolvfase con furia Mezeénicle los oJos de una para proferir (rare entrecartalas que se conte Eran largos geaide> gelorosos, iaze a