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9781855662971 1855662973 An important but often overlooked function of comedy is its intrinsic relation to questions of identity. This relationship, furthermore, is connected to another traditional feature of comedy: the utopian impulse. This book analyses these functions of comedy in the novels of four key postmodern Spanish-American writers: Gustavo Sainz, Alfredo Bryce Echenique, Fernando Vallejo and Jaime Bayly. Focusing on the correlation between changing concepts of identity and the hybrid cultural context of the late 20th-century, it examines the issues of individual and social identities expressed by these authors in their inscription and distortion of the comic genre as well as in their usage of different modes of comedy. It views the novels' comic aspects as symptoms of hybridity, which, according to many theorists, have brought about the dissolution of concepts, such as the self and society, and utopian modernity. These symptoms are studied in tandem with the individual themes of the novels, such as gender, sexuality, class and global migration, as well as the 'post-national' question of Peruvian, Colombian and Mexican identity. Paul McAleer is Lecturer in Hispanic Studies at the University of Hull., TEMPORARY Comic writing has long been an important feature of the Spanish-American literary tradition. Despite the ubiquity and importance of this trend, however, few critics have paid it much attention. The comic tradition in Spanish America has long been in need of a reappraisal, and that is exactly what this book offers. By analyzing the comic aspects of five postmodern Spanish-American novels: Gustavo Sainz's La princesa del Palacio de Hierro (1977), Alfredo Bryce Echenique's diptych, La vida exagerada de MartĂn Romaña (1981) and El hombre que hablaba de Octavia de Cádiz (1985), Jaime Bayly's La noche es virgen (1997) and Fernando Vallejo's La virgen de los sicarios (1994), McAleer exposes the fallacies underpinning traditional approaches to the subject of Spanish-American comedy well into the 20th century. The book offers a revaluation of Spanish-American literary history, challenging the narratives that have shaped and, in some cases, restrained debates about the postmodern Spanish-American comic novel. Paul McAleer is Lecturer in Hispanic Studies at the University of Hull.
9781855662971 1855662973 An important but often overlooked function of comedy is its intrinsic relation to questions of identity. This relationship, furthermore, is connected to another traditional feature of comedy: the utopian impulse. This book analyses these functions of comedy in the novels of four key postmodern Spanish-American writers: Gustavo Sainz, Alfredo Bryce Echenique, Fernando Vallejo and Jaime Bayly. Focusing on the correlation between changing concepts of identity and the hybrid cultural context of the late 20th-century, it examines the issues of individual and social identities expressed by these authors in their inscription and distortion of the comic genre as well as in their usage of different modes of comedy. It views the novels' comic aspects as symptoms of hybridity, which, according to many theorists, have brought about the dissolution of concepts, such as the self and society, and utopian modernity. These symptoms are studied in tandem with the individual themes of the novels, such as gender, sexuality, class and global migration, as well as the 'post-national' question of Peruvian, Colombian and Mexican identity. Paul McAleer is Lecturer in Hispanic Studies at the University of Hull., TEMPORARY Comic writing has long been an important feature of the Spanish-American literary tradition. Despite the ubiquity and importance of this trend, however, few critics have paid it much attention. The comic tradition in Spanish America has long been in need of a reappraisal, and that is exactly what this book offers. By analyzing the comic aspects of five postmodern Spanish-American novels: Gustavo Sainz's La princesa del Palacio de Hierro (1977), Alfredo Bryce Echenique's diptych, La vida exagerada de MartĂn Romaña (1981) and El hombre que hablaba de Octavia de Cádiz (1985), Jaime Bayly's La noche es virgen (1997) and Fernando Vallejo's La virgen de los sicarios (1994), McAleer exposes the fallacies underpinning traditional approaches to the subject of Spanish-American comedy well into the 20th century. The book offers a revaluation of Spanish-American literary history, challenging the narratives that have shaped and, in some cases, restrained debates about the postmodern Spanish-American comic novel. Paul McAleer is Lecturer in Hispanic Studies at the University of Hull.