{"title":"穿越巴黎:胡里奥Cortázar的《蕾薇拉》(1963)和路易莎·富托兰斯基的《我的父亲》(1986)的不连续形式","authors":"Iris Pearson","doi":"10.26824/lalr.234","DOIUrl":null,"url":null,"abstract":"This essay examines the way in which two late twentieth-century Latin American novelists address movement through the city of Paris. Building on existing work by Julie Jones (1998), Jason Weiss (2003), Axel Gasquet (2007) and especially Marcy E. Schwartz (1999), this project moves beyond a genealogy of Latin American writers in Paris towards a conception of the relationship between narrative form and depictions of urban navigation. It proposes that Julio Cortázar in Rayuela (1963) and Luisa Futoransky in De Pe a Pa (1986) enact a mode of movement through the discontinuous and episodic forms of their novels, and that the contrast between their depictions of movement, and particularly their depictions of the relationship between fragmentation and continuity within this movement, can be most clearly understood along the axis of gender. That is, while for Oliveira in Rayuela movement through the city is largely uninterrupted and can preserve at least an illusion of fluidity, for Laura in De Pe a Pa the woman’s movement through Paris is always discontinuous, difficult and even dangerous. Futoransky revises that earlier male writer’s formulation of movement to draw attention to a masculine complacency which organises Rayuela and to propose a new model for female urban navigation.","PeriodicalId":333470,"journal":{"name":"Latin American Literary Review","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Moving Through Paris: The Discontinuous Forms of Julio Cortázar’s 'Rayuela' (1963) and Luisa Futoransky’s 'De Pe a Pa' (1986)\",\"authors\":\"Iris Pearson\",\"doi\":\"10.26824/lalr.234\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This essay examines the way in which two late twentieth-century Latin American novelists address movement through the city of Paris. Building on existing work by Julie Jones (1998), Jason Weiss (2003), Axel Gasquet (2007) and especially Marcy E. Schwartz (1999), this project moves beyond a genealogy of Latin American writers in Paris towards a conception of the relationship between narrative form and depictions of urban navigation. It proposes that Julio Cortázar in Rayuela (1963) and Luisa Futoransky in De Pe a Pa (1986) enact a mode of movement through the discontinuous and episodic forms of their novels, and that the contrast between their depictions of movement, and particularly their depictions of the relationship between fragmentation and continuity within this movement, can be most clearly understood along the axis of gender. That is, while for Oliveira in Rayuela movement through the city is largely uninterrupted and can preserve at least an illusion of fluidity, for Laura in De Pe a Pa the woman’s movement through Paris is always discontinuous, difficult and even dangerous. Futoransky revises that earlier male writer’s formulation of movement to draw attention to a masculine complacency which organises Rayuela and to propose a new model for female urban navigation.\",\"PeriodicalId\":333470,\"journal\":{\"name\":\"Latin American Literary Review\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-11-17\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Latin American Literary Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.26824/lalr.234\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Latin American Literary Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.26824/lalr.234","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
这篇文章考察了两位二十世纪晚期拉丁美洲小说家通过巴黎城市解决运动的方式。在Julie Jones (1998), Jason Weiss (2003), Axel Gasquet(2007),尤其是Marcy E. Schwartz(1999)现有作品的基础上,该项目超越了巴黎拉丁美洲作家的家谱,转向了叙事形式与城市导航描述之间关系的概念。它提出胡里奥Cortázar在Rayuela(1963)和Luisa Futoransky在De Pe a Pa(1986)中通过他们小说的不连续和情节形式制定了一种运动模式,并且他们对运动的描述之间的对比,特别是他们对运动中碎片和连续性之间关系的描述,可以沿着性别轴最清楚地理解。也就是说,对于《蕾维拉》中的奥利维拉来说,穿过城市的运动基本上是不间断的,至少可以保持一种流动的幻觉,而对于《我的父亲》中的劳拉来说,女人穿过巴黎的运动总是不连续的,困难的,甚至是危险的。Futoransky修改了早期男性作家对运动的表述,将注意力吸引到男性的自满情绪上,这种情绪组织了Rayuela,并提出了一种女性城市导航的新模式。
Moving Through Paris: The Discontinuous Forms of Julio Cortázar’s 'Rayuela' (1963) and Luisa Futoransky’s 'De Pe a Pa' (1986)
This essay examines the way in which two late twentieth-century Latin American novelists address movement through the city of Paris. Building on existing work by Julie Jones (1998), Jason Weiss (2003), Axel Gasquet (2007) and especially Marcy E. Schwartz (1999), this project moves beyond a genealogy of Latin American writers in Paris towards a conception of the relationship between narrative form and depictions of urban navigation. It proposes that Julio Cortázar in Rayuela (1963) and Luisa Futoransky in De Pe a Pa (1986) enact a mode of movement through the discontinuous and episodic forms of their novels, and that the contrast between their depictions of movement, and particularly their depictions of the relationship between fragmentation and continuity within this movement, can be most clearly understood along the axis of gender. That is, while for Oliveira in Rayuela movement through the city is largely uninterrupted and can preserve at least an illusion of fluidity, for Laura in De Pe a Pa the woman’s movement through Paris is always discontinuous, difficult and even dangerous. Futoransky revises that earlier male writer’s formulation of movement to draw attention to a masculine complacency which organises Rayuela and to propose a new model for female urban navigation.