Desde que Claudio Guillén propuso el silencio como elemento constructivo del Lazarillo, el tema rara vez se ha recuperado, por lo que es necesario un estudio centrado en cómo la trama de la obra se orquesta en torno a lo que no se dice. Este artículo tiene por objetivo estudiar tres tipos de silencios: las alusiones, las elusiones y las ilusiones que se van encontrando a lo largo de la obra y que juegan un papel fundamental en su interpretación. Since Claudio Guillén proposed silence as a constructive element of Lazarillo, the subject has rarely recovered, so a study focused on how the plot of the work is orchestrated around what is not said is necessary. This article aims to study three types of silences: allusions, elusions and illusions that are found throughout the work and that play a fundamental role in its interpretation.
Since Claudio Guillén proposed silence as a constructive element of Lazarillo, the subject has rarely recovered, so a study focused on how the plot of the work is orchestrated around what is not said is necessary. This article aims to study three types of silences: allusions, elusions and illusions that are found throughout the work and that play a fundamental role in its interpretation.
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