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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Senti que se sentaba al pie de la cama The indefinite elements of “Paso del Norte” do not, for the most part, produce any effect of reader disorientation. This great preponderance of dialogue, which goes directly to the reader without a narrator imposing himself between story eind reader, means that the aesthetic distance between the two is lessened. En eso pensabamos Natalia mtilde yo.


Ni siquiera los desperto. Gordon, in his dissertation, tries to organize the stories according to narrative mode. When did the narrator change? Gordon has observed that the story is told looking back upon the events, that there is no chronological progression in the narrator’s thoughts, and that the narration centers around life at 22 la Cuesta and his killing matklde Remigio Torrico.

Instituto Nacional de Bellas Artes, I p. Ya debemos estar cerca. One expects a certain lack of clarity. If it were not arcangsl the fact that this is Rulfo ‘s purpose in using these ex- traneous elements, it would almost seem as if the unity of the work had been broken.

The narrator himself confesses to us his purpose in doing this: The first category includes settings which are characterized as skeletal. De los ranches bajaba la gente a los pueblos; la gente de los pueblos se iba a las cuidades. Oyo cueindo se le perdian los pasos: This tends to make the story appear not simply a monologue.


Presentación-Narrativa by Maite Goñi Indurain on Prezi

En las ciudades la gente se perdia, se disolvia entre pa gente. Les nelumbraba la cara de sudor, como si ia hubiera zambullido en el agua al pasar por el arroyo.

We shall then proceed to examine the time element. Finally, we shall examine the stories which srcangel atemporal, the 41 42 manifestationrwhich is commonly but erroneously believed to be most typical of Rulfo’s stories.

Of course, as the story is just beginning, the reader does not expect to be fully in touch with all of its elements, or even with its essential elements. This narrator’s use of alia arriba emd aca aba jo makes it appear that he is actually a participant in the action.

There is no flow of time toward anything, no ordering of events: They are told as a recollection, using past tenses preterite and imperfect, especially as a starting point for the narration. The first story in which dual time levels are significant is “Macario.

Ahorita son algo asi como las cuatro de la tarde. It was translated by Lysander Kemp and published with a subtitle: Its sudden and unexpected presentation, with no preparation of the reader for such a revelation, jatilde a recounting of the events leading up to it.

The problem which this passage does present is that of determining when Juvencio says it, marilde order to determine the perspective from which he is viewing the action, and to determine how this hrrencia fits into the one which immediately follows it. En las ciudades la gente se perdia, se disolvia entre la gente.

Only a slight refinement of technique is needed to produce the process in its pure form. The narrator, Lucas Lucatero, does not confess to the crime directly, but the repeated references to the pile of stones serves to notify the reader of the place of rest of the body of Lucater’s father-in-law Anacleto Morones [29].


It is very short and is presented in such a way that its intrusion is scarcely noticeable. Alia te presentas con Fernandez. The dialogue with which “I Piles que no me matenl” begins offers no identification of the characters, other than just a name.

It is at the river where pursued and pursuer and their respective time planes meet.

He also refers to los cerros altos arcaangel, as if the reader were familiar with the area and would immediately recognize it, which of course is not the case, thus leaving the reader puzzled as to adcangel high peaks to the south of what he is referring to.

VTe will now exeunine the element of dialogue. We still do not know who gave the land, but shortly el delegado and el gobierno pp are introduced, thus making the story clear.

Juan Rulfo

Tengo que estar al otro lado, donde no me conocen, donde nunca he estado y nadie sabe de mi, luego caminare derecho, hasta llegar. A page later we are told how the coat got torn. Feliciano is travelling with “los de adelemte. Y el aca aba jo. Furthermore, Blanco Aguinaga’ 22 attempt to apply his findings equally to all twenty stories would seem rather tenuous see Chapter III.

There is no plot develop- ment leading to a climax, no lesson to be learned from the story. The first of these questions is now easy to answer, due to the blank between paragraphs, A re-reading may also reveal subtle hints in the use of venir rather than ir, and traia rather than tenia or llevaba.