Émergence d'un genre littéraire au Mexique de 1950 à nos jours : l'essai comme écriture

The emergence of a literary genre in Mexico from 1950 until the present : the essay as a form of writing

• Auteur / Autrice : Diana Patricia Castilleja Magdaleno
• Direction : Claude Fell
• Type : Thèse de doctorat
• Discipline(s) : Études hispaniques et latino-américaines
• Date : Soutenance en 2003
• Etablissement(s) : Paris 3

Mots clés

Mots clés contrôlés

Dialogisme

Dans la littérature

Altérité (philosophie)

Résumé

Plumbing the trajectory of the essay entails discussion of an intellectual history that spans five centuries. Nevertheless, the essay is a genre defined a contrario. This study begins with a discussion of the status of the essay as a genre, providing an overview of its historical development as well. The sum of this analysis will help to redefine the essay through its essential characteristics. The principal corpus deals grosso modo with the last fifty years of Mexican life. It starts in the year 1950 (El laberinto de la soledad, Octavio Paz), and it finishes in the year 2000. Octavio Paz, Carlos Fuentes, Sergio Pitol, Carlos Monsiváis, Elena Poniatowska and Roger Bartra are the impetus behind this study. Critical recurrent themes that haunt these essayists, such as la Malinche, the Mexican Revolution, October 1968, the masques and the death, are reformulated so that the authors' points of view are related to one another as if they were in dialogue. The ''physiognomy'' of the texts is also elicited because of the presence of paratextual attributes that have not been previously studied. The genetical criticism of paratext can provide unique information that cannot be obtained otherwise. Since writing and reading are part of the dialectic between author and reader, the notion of the other, the alterity, is examined. The author considered as the other of the reader and vice versa, forms a dialectic that motivates the writer to speak with the Other. The inter- and intra- textuality are also studied, taking care to distinguish between two kinds of intratextuality never before separated. The rapport between authorship and a modicum of distance armor against worldly power on women's essays fighting for power through their pens is explored. This material is fertile ground for theorists and critics to explore.