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Narrar la percepción : Un estudio de Nadie nada nunca de Juan José Saer

Claesson, Christian LU (2002)
Abstract
The aim of this study is to examine the characteristics of the Argentine writer Juan Jose Saer’s Nadie nada nunca (1980) and how literary perception is explored in this novel. The first part of the thesis deals with Saer’s works in general, and includes a short overview of his novels, his short stories, his poems and his essays, with special emphasis on his theoretical discussions about literature. It also studies the literary context in which Saer’s first novels emerged, and how they have been received by the critics. The second part of the thesis analyzes how literary perception is narrated in Nadie nada nunca, one of Juan Jose Saer’s most theoretical novels. The thesis draws on four different perspectives—narratology, stylistics,... (More)
The aim of this study is to examine the characteristics of the Argentine writer Juan Jose Saer’s Nadie nada nunca (1980) and how literary perception is explored in this novel. The first part of the thesis deals with Saer’s works in general, and includes a short overview of his novels, his short stories, his poems and his essays, with special emphasis on his theoretical discussions about literature. It also studies the literary context in which Saer’s first novels emerged, and how they have been received by the critics. The second part of the thesis analyzes how literary perception is narrated in Nadie nada nunca, one of Juan Jose Saer’s most theoretical novels. The thesis draws on four different perspectives—narratology, stylistics, thematics and different aspects of temporality—and defines a number of important techniques in order to describe how perception is utilized as a literary method. All four perspectives and analyses of this study consistently demonstrate that fragmentation is indeed a fundamental technique, in terms of the chapters and sentences as well as the characters’ reflections and the description of the surroundings, which serve to create and describe a distinct reality in Saer’s novel. His style is characterized by the emphasis on syntax, verbal forms and the symbolism of the words of the title, as well as his tendency to reflect unknown sides of reality. Along with these specific structures of his literary style, fragmentation tums out to be the technique that best describes the perception of Nadie nada nunca. (Less)
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author
supervisor
organization
publishing date
type
Thesis
publication status
published
subject
pages
140 pages
publisher
PERLES (Petits Études Romanes de Lund, Extra Seriem)
language
Spanish
LU publication?
yes
id
9759dfb4-5777-4b73-9ef2-a6f8edd1b617 (old id 2337078)
date added to LUP
2012-02-01 13:25:22
date last changed
2016-09-19 08:44:55
@misc{9759dfb4-5777-4b73-9ef2-a6f8edd1b617,
  abstract     = {The aim of this study is to examine the characteristics of the Argentine writer Juan Jose Saer’s Nadie nada nunca (1980) and how literary perception is explored in this novel. The first part of the thesis deals with Saer’s works in general, and includes a short overview of his novels, his short stories, his poems and his essays, with special emphasis on his theoretical discussions about literature. It also studies the literary context in which Saer’s first novels emerged, and how they have been received by the critics. The second part of the thesis analyzes how literary perception is narrated in Nadie nada nunca, one of Juan Jose Saer’s most theoretical novels. The thesis draws on four different perspectives—narratology, stylistics, thematics and different aspects of temporality—and defines a number of important techniques in order to describe how perception is utilized as a literary method. All four perspectives and analyses of this study consistently demonstrate that fragmentation is indeed a fundamental technique, in terms of the chapters and sentences as well as the characters’ reflections and the description of the surroundings, which serve to create and describe a distinct reality in Saer’s novel. His style is characterized by the emphasis on syntax, verbal forms and the symbolism of the words of the title, as well as his tendency to reflect unknown sides of reality. Along with these specific structures of his literary style, fragmentation tums out to be the technique that best describes the perception of Nadie nada nunca.},
  author       = {Claesson, Christian},
  language     = {spa},
  note         = {Licentiate Thesis},
  pages        = {140},
  publisher    = {PERLES (Petits Études Romanes de Lund, Extra Seriem)},
  title        = {Narrar la percepción : Un estudio de Nadie nada nunca de Juan José Saer},
  year         = {2002},
}