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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The events which he describes take arcanggel at indefinite times: Shortly after this, we read “la idea de ir a Talpa salio de mi hermano Teinilo” p. Gordon, in his dissertation, tries to organize the stories according to narrative mode.

Since we already know that they started at dawn, and there is nothing to indicate the intervention of another day, we can calculate that from dawn to four p. Alia lejos los cerros estan todavxa en sombras. This effect is achieved through another device besides those which Blanco Aguinaga has cited.

Rulfo aeternum () – IMDb

Pero al verte varie de opinion. 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 of Remigio Torrico.

The first of these. En las ciudades la gente se perdia, se disolvia entre la gente. When he was just a small child, the Cristero war left Rulfo an orphan, so he went to live with his grandparents. The only hint of a change which the reader gets is a blank space between paragraphs, whicn he does not know how to interpret. We are told about his murder of Lupe Terreros some thirty-five years earlier, which is somehow connected with hedencia fact that now Juvencio is going to be killed.

He systematically analyzes textual differences matildd “Un cuento” and Pedro Paramo, pointing out changes from one to the other which reveal an accommodation to the requisites of each genre.

This level is seen in the first and last parts of the story, which together form a vinit of time in which there is chronological progression.


He continues with his story of constant harassment through the years, always fearful of being brought to justice. Juvencio is about to be executed by a colonel for the murder of a man, Don Lupe, forty years earlier. Likewise, the women tell him: When we read, concerning Feliciano: Acuerdate que ledeciamps el abuelo por aqiuello de que su otro hijo, Fidencip Gomez, tenia dos hijas muy juguetonas: Yo la abrazo tratando de consolarla, pero ella no entiende.

A very different process is used on p. This is achieved through the process described by Carlos Blanco Aguinaga, of repetition of thoughts and words, thus making all 12 his words seem suspended in a given moment: Gordon has dealt very well with the problem in his 32 dissertation. This is especially important as the new narrator gives out information which was withheld in Part I, such as the name of the family which was assassinated. Lo que tenemos que hacer por lo pronto es esfuerzo tras esfuerzo para ir de prisa detras de tantos como nosotros y delante de otros muchos.

Rather, he refers to Juvencio’s assassination after the fact. The rest of the story is a dialogue, in which Rulfo imitates the local dialect of the campesinos. It is shown that the difficulty which the reader experiences in establishing and ordering the central facts of the narrative derives from the way in which the author introduces them.

Juan Rulfo

Gordon notes is to be under- The author attempts to show that the structure of the story is organized according to a series of juxtapositions which are found both within and outside of the work itself.

When Macario refers to the previous night and says “estabamos cenando” p.

In this way, the author is also able to narrate the actions of the protagonist while the latter herdncia in a state of semi-consciousness.

At the end of the story, the narrator brings us back again to the level in which the al is taking place: This is information which logically should precede the 91 whole dialogue, and its tardy introduction forces the reader to relate it to its second part, already given, in order for the story to make sense.

Finally it is revealed that his natural parents are dead, which is actually a minor corollary to the more important justification for the story. The lack of such knowledge is not noticed since the unfolding of events is in a logical sequence. The reader may almost feel that they are beginning to play with him when they almost but not quite tell what they want: Ahora los ladridos de los perros se oyen aqui, junto a nosotros, y es que el viento que viene del pueblo retacha en la barranca y la llena de todos sus ruidos.


Las luces se apagaron.

IIO Indefinite elements, such as the “el” of the fifth line and the “su” of the seventh, although they seem to make sense, erect a barrier between the story and the careful reader who tries to align all the relationships. From the beginning of the story till the end of the introductory section p.? The first one is the first 51 paragraph of the story, part of which is reproduced above. El vie jo se fue reculando hasta en- contrarse con el paredon y se recargo alli sin soltar la carga de sus hombros There is a lack of such expressions as acuerdate, which in the story of the same name keep the exterior level visible, until the second-last paragraph of the story, where we read: However, as Partll starts and the narrator changes, time seems to move faster.

We already know that the character involved needs two hundred pesos in order to be taken to the United States.

Presentación-Narrativa by Maite Goñi Indurain on Prezi

The point of most direct contact with the character’s mind occurs with the obre Dios, after which the indirect interior monologue ceases. In “Nos han dado la tierra” we find meiny references to and criti- cisms of the land. In some stories time passes at different speeds, in others it both passes and is suspended, and in some stories it does not pass at all.