![]() ![]() Agustín Cadena, Lorena Campa Rojas, Dolores Corrales Soriano, and Lauro Zavala separate the Generation Zero Zero from the writers of the Crack and claim that the group is heterogeneous in their lived experience in a time of crisis, their dismantling of utopic ideas, and their literary creations within the fantastic, science fiction and horror genres. The Generation Zero Zero consists of Latin American authors born in the 1970s who have published their major works after 2000. This dissertation analyzes Mexican and Colombian brief fiction published after 2000, focusing on four authors from the Generation Zero Zero, Mexican authors Alberto Chimal and Heriberto Yépez and Colombian authors María Paz Ruiz Gil and Gabriela A. In doing so, it demonstrates the paradoxical role authorial commentary has played in both establishing and challenging the conventions of realist fiction in relation to eighteenth-century theories of probability, nineteenth-century theories of sympathy, and twentieth-century theories of impersonality. It traces a broad terminological shift, from the eighteenth to the twentieth century, in which the common rhetorical practice of digression, or turning away from a narrative, came to be characterized as an intrusion into a narrative. This article argues that the historically variable types and functions of authorial commentary, together with their critical reception, provide an important means for investigating changing concepts of novelistic realism. In this way, intrusions highlight by contrast our sense of two formative elements of the novel: its narrative structure, and its referential status. which ones present what it takes to inspire to the imagination situations of tellability.Īuthorial intrusions are typically characterized, and criticized, as interruptions to a narrative that disrupt the illusion of fictional truth to varying degrees. The purpose of my reading is to see which ones of these interpretations provide suitable narrative material-i.e. The cat paradox has inspired a variety of scientific and philosophical explanations. I follow some of the lives of the famous feline from its initial appearance as an example meant to make a point in an otherwise abstract, purely argumentative scientific paper, to its narrative emancipation as a character or as a symbol in a story worth reading for its own sake. ![]() ![]() In this paper I use Schrödinger’s cat as a test case for the study of the relations between narrative and science. ![]() The influence of science on narrative is easily demonstrated on the thematic level (science fiction, scientists as heroes) but narrative may also try to emulate the teachings of science, such as relativity, non-Euclidean geometry or quantum mechanics on a formal level, or set up a strange world that transposes cosmic or micro-phenomena on a human scale. The notion of entanglement, which in physics describes how two particles separated in space can communicate with each other, also applies to the supposedly irreconcilable cultures of science and narrative. I conclude that while the text is “hyperbrief,” a reader is still able to be cognitively engaged in the narrative experience. Sinister themes are conveyed through very few words, occasionally accompanied by an image, provoking what Richard Gerrig refers to as “participatory responses.” Theories of conceptual blending of mental spaces, paratextual influence, as well as patterns of thought are applied to the convergence of both image and text, which influences the reader’s participatory response. In a novel approach, I assume a cognitive sciences lens in analyzing the microrrelatos in "Casa de muñecas" by Patricia Esteban Erlés. The present work draws on recent research in neuropsychology and social cognition. Entire stories can be told in less than ten words, activating parts of the brain associated with top-down cognitive processing, such as theory of mind and affect. Many critics consider a microrrelato-a “hyperbrief ” short story-to be a new genre of literature others, a subgenre. The smallest piece of fiction involves a surprising amount of cognitive processes from the part of the reader. ![]()
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