Ávida soledad: análisis crítico de un pasaje de «Descripción de la mentira»

From Graciela Iturbide’s photographs, Elena Poniatowska writes Juchitán de las mujeres placing the vindication of the juchiteca women as the guiding thread. Poniatowska not only describes the images, but also gives the reader some context and connects the characters with each other, creating, in thi...

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Bibliographic Details
Main Author: Diego López López
Format: Article
Language:Spanish
Published: Universidad Complutense de Madrid 2021-04-01
Series:Ala Este
Subjects:
Online Access:https://www.ucm.es/alaeste/file/1.-avida-soledad-1
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author Diego López López
author_facet Diego López López
author_sort Diego López López
collection DOAJ
description From Graciela Iturbide’s photographs, Elena Poniatowska writes Juchitán de las mujeres placing the vindication of the juchiteca women as the guiding thread. Poniatowska not only describes the images, but also gives the reader some context and connects the characters with each other, creating, in this way, a social and affective network that is implicit in the photography. On the other side, Juan Villoro’s Forward Kioto’s characters are influenced by the photographs mentioned throughout the story. Villoro includes his own reading of the photographs and plays with its symbolism, developing its meaning and relating it with the text as well as the events that the protagonist narrates. His tale poses a reflection on visual and written communication, and a debate about Mexican identity.
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spelling doaj.art-265c491fb9e84f54b61e0bd1f8ab17682024-04-22T18:21:34ZspaUniversidad Complutense de MadridAla Este2792-38002021-04-011-926Ávida soledad: análisis crítico de un pasaje de «Descripción de la mentira»Diego López López0Universidad Complutense de MadridFrom Graciela Iturbide’s photographs, Elena Poniatowska writes Juchitán de las mujeres placing the vindication of the juchiteca women as the guiding thread. Poniatowska not only describes the images, but also gives the reader some context and connects the characters with each other, creating, in this way, a social and affective network that is implicit in the photography. On the other side, Juan Villoro’s Forward Kioto’s characters are influenced by the photographs mentioned throughout the story. Villoro includes his own reading of the photographs and plays with its symbolism, developing its meaning and relating it with the text as well as the events that the protagonist narrates. His tale poses a reflection on visual and written communication, and a debate about Mexican identity.https://www.ucm.es/alaeste/file/1.-avida-soledad-1graciela iturbidephotography and literaturelatin american narrativecomparative literature
spellingShingle Diego López López
Ávida soledad: análisis crítico de un pasaje de «Descripción de la mentira»
Ala Este
graciela iturbide
photography and literature
latin american narrative
comparative literature
title Ávida soledad: análisis crítico de un pasaje de «Descripción de la mentira»
title_full Ávida soledad: análisis crítico de un pasaje de «Descripción de la mentira»
title_fullStr Ávida soledad: análisis crítico de un pasaje de «Descripción de la mentira»
title_full_unstemmed Ávida soledad: análisis crítico de un pasaje de «Descripción de la mentira»
title_short Ávida soledad: análisis crítico de un pasaje de «Descripción de la mentira»
title_sort avida soledad analisis critico de un pasaje de descripcion de la mentira
topic graciela iturbide
photography and literature
latin american narrative
comparative literature
url https://www.ucm.es/alaeste/file/1.-avida-soledad-1
work_keys_str_mv AT diegolopezlopez avidasoledadanalisiscriticodeunpasajededescripciondelamentira