Texto Narrativo

FACULTAD DE HUMANIDADES CARRERA PROFESIONAL LENGUA Y LITERATURA  T O R  I  B    O I    O     T     N D       TEMA: TEXTO NARRATIVO.       S         D

ASIGNATURA:

           A

A

M       

INTRODUCCIÓN A LOS LOS ESTUDIOS LITERARIOS. O             G            

          D                   I

PROFESOR:                   S LIC.MARCO ARNAO VÁSQUEZ.           E

ESTUDIANTES:            V           I

•

CICLO:

 R   

 O  

          R

•

E       

 V  

  E    J   

       N   O SIALER PAICO LOURDES MERCEDES.        U

GONZÁLES SANTAMARÍ SANTAMARÍA A ROSITA ROSITA ANGÉLICA. ANGÉLIC A.

2008-I

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INTRODUCCION

El texto narrativo es contar o narrar acontecimientos reales o ficticios que suceden o sucedieron en un determinado lugar o época , el cual se desarrolla en un tiempo y un espacio que pueden ser reales o virtuales, podemos ver hechos reales al narra una noticia,y hechos imaginarios en una fabula o cuento. El presente trabajo de investigacion de el “TEXTO NARRATIVO” se desarrollo con la finalidad de dar a conocer la importancia que tiene el texto narrativo dentro de literatura, y de esa manera el lector tenga mas conocimiento acerca del tema por lo tanto está dividido en dos capitulos, en el primer capitulo trataremos los siguientes puntos: ¿Qué es narrar? definición del texto narrativo, narrati vo, caracteristicas y tipología.

En el segun segundo do capitu capitulo lo se ha estruc estructur turado ado de la siguie siguiente nte manera:N manera:Nive ivell de la histor historia ia plano plano de la histor historia ia el plano plano del discur discurso, so,la la comun comunica icació ción n narrat narrativa, iva, teoria teoria y técnicas del analisis narrativo. Conocer más acerca del tema es importante, porque ello nos a ayudar a tener un conocimiento más amplio de lo que es un texto narrativo y las diferntes aportaciones de los autores que acontinuacion se detallan en este trabajo.

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SUMARIO Capitulo I : La narracion 1.1.

¿Qué es narrar?

1.2.

Texto narrativo

1.2.1. ¿Qué es el texto narrativo? 1.3.

Características

1.4. 1.4.

Tipol ipolog ogía ía del del tex texto to narr narrat ativ ivo o

Capitulo II: Nivel de la historia 2.1. Teoria y tecnica del analisis narrativo 2.2. Plano de la historia en el texto narrativo 2.2.1. Nivel de las funciones del texto narrativo 2.2.2. Niveles de la historia en el texto narrativo a) Nivel diegético b) Nivel extradiegético c) Nivel metadiegético metadiegético 2.3. Acciones y funciones de la historia en el texto narrativo 2.4. Determinación de las unidades- funciones del plano de la historia. 2.5. Clasificacion de las funciones del texto narativo. a) Los nudos b) Las catálisis 2.6. Unidades integrativas del texto narrativo 2.7. Lógica y tiempo del del texto narrativo narrativo 2.8. La fábula 2.8.1. Elementos de la fábula 2.8.2. Acontecimientos Acontecimientos de la fábula 2.8.2.1. Selección de la fábula 2.9. El plano del discurso discurso en el texto narrativo 2.9.1. Representacion del espacio en el texto narativo 2.9.2. Distribucion del discurso del texto narrativo en el espacio

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2.9.5. Temporalidad de la enunciación del texto narrativo 2.9.6. Objetividad del discurso en el texto narrativo 2.9.7. Subjetividad del discurso en el texto narrativo 2.9.8 Estrategias del discurso en el texto narrativo 2.10. La comunicación narrativa 2.10.1. Narrador y narratario a) El narrador b) El narratario 2.10.2. Puntos de vista de la narración 2.11. Teoría y tecnicas del analisis narativo 2.11.1. El tiempo 2.11.2. El relato 2.11.3. Estructura del relato 2.11.4. Aspectos del relato 2.11.5. Modos del relato.

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1.

¿QUÉ ES NARRAR? La

palabr labra a

narra arraci ción ón

provi rovien ene e

del del

latí latín n

narr narra atio tio.

Narr Narra ar

es

refe referi rir  r 

acontecimientos ocurridos en un determinado periodo de tiempo, estos pueden ser  reales o ficticios. En sentido literario, la narración constituye uno de los principales procedimientos utilizados en obras narrativas como la leyenda, el cuento, la novela. Bal,M (1987:23) La narración es un tipo de texto o variedad discursiva (que se opone a la descripción, al diálogo, a la exposición y a la argumentación) , en ella se cuentan hechos reales (noticias),o ficticios (novelas)que suceden en un espacio o tiempo determinado. Tambié ambién n es una forma forma de transm transmiti itirr inform informaci ación ón que aparec aparece e en distin distintas tas situaciones comunicativas: •

cuando contamos lo que nos han hecho o sucedido •

en las noticias de los medios de comunicación

•

en un debate si hay argumentos de tipo narrativo

Una narración puede estar constituida por uno o varios acontecimientos o acciones cada uno de los cuales recibe el nombre de episodio. La narración constituye la base de muchos géneros discursivos distintos: orales y escritos, literarios y no literarios. Por ejemplo: desde el relato informal de los acont aconteci ecimie miento ntos s del día hasta hasta los cuento cuentos s popula populares res pasand pasando o por el relato relato histór tórico ico,

la

crónica ica

periodística,

las

comEstructura

mínima

de

la

narración.Bal,M (1987:26) Una narrac narración ión presen presenta ta siemp siempre, re, como como mínimo mínimo,, lo que se denom denomina ina un “actor” (o personaje), que es aquel elemento que experimenta los sucesos o hechos referidos en ella. En el estudio de las narraciones se ha aplicado el término actante que amplía la noción de personaje. Pozuelo(2003:15)

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•

En primer primer lugar, lugar, un inicio inicio o planteami planteamiento ento que consiste consiste en la contextual contextualizac ización ión espacio-temporal de todos los elementos que compongan el relato.

•

En segundo lugar, un nudo o quiebre, que no es sino el momento temporal en que alguno de los elementos de la narración se transforma o entra en conflicto de alguna manera.

•

En tercer lugar, lugar, un desenlace desenlace o resolució resolución, n, que constituye la orientació orientación n definitiva definitiva hacia la que todo se ha ido dirigiendo. Instaura un nuevo equilibrio que nunca es igual a la situación inicial.

1.2. TEXTO NARRA N ARRATIVO TIVO 1.2.1. ¿QUÉ ES UN TEXTO NARRATIVO? Es contar contar o narr narrar ar acon aconte teci cimi mien ento tos s real reales es o fict fictic icio ios s

que que suce sucede den n o

sucedieron en un determinado lugar o epoca,teniendo en cuenta la intevencion de los personajes y hecos que sucedieron tenemos un texto narrativo ,el texto narrativo se desarrollan en un tiempo y un espacio que pueden ser reales o virtuales. Gomez Redodondo (1994:19-21) Ejemplo: Sucedía ese amanecer húmedo. El salitre venía con el aire y se quedaba enredado en los cabellos y en la piel cada vez que se escurría la sábana. También estaban en la silla al lado de la cama con la lámpara, unos libros y un paquete comenzando comenzando de cigarrillos. Era uno de los almacenes más húmedos del mundo. El texto narrativo se caracteriza por tener un estilo propio del autor que lo

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dando lugar a textos complejos con distintas secuencias. Tiene que ver con todo tipo de narración.Estrada Carlos (2002:15) Un texto narrativo es aquel en el que un agente narrativo cuenta una historia,al hablar del narrador ,no se quiere dar a entender o mencinar el autor  implicito.Bootch( 1961:22)

1.3. .3.

CARA CARACT CTE ERÍST ÍSTICAS CAS

Garcia Hoz (1993: 44-49) sostiene que los textos narrativos deben tener o tienen las siguientes características: Los Los textos textos narrat narrativo ivos s concre concretiz tizan an un proces proceso o de repres represent entaci ación ón emine eminente ntemen mente te dinámica, sobre todo por la acción de mecanismos temporales. Al mismo tiempo la narrativa literaria se estructura en dos planos: el plano de la historia relatada y el plano del discurso que la relata. La verosimilitud que hará que los hechos parezcan verdaderas aunque no lo sean .Y la rapidez y el movimiento que deben determinar la narración. 

Los textos narrativos llevan a cabo un proceso de exteriorización. Porque en ellos se proc procur ura a desc descri ribi birr y cara caract cter eriz izar ar un univ univer erso so autó autóno nomo mo,, inte integr grad ado o por  por  personajes, espacios y acciones.



En func funció ión n

de la cara caract cter erís ísti tica ca ante anteri rior or,,

los los

text textos os narr narrat ativ ivos os impl implic ican an

repr repres esen enta taci ción ón de tend tenden enci cia a obje objeti tiva va.. La tend tenden enci cia a obje objeti tiva va se refi refier ere e a la capacidad que tiene la narrativa literaria para darnos a conocer, de forma con frecuencia muy detallada, algo que es objetivamente distinto del sujeto que relata. 

Los textos textos narrat narrativo ivos s instau instauran ran una una dinám dinámica ica de sucesi sucesivid vidad ad,, direct directame amente nte relacionada con el devenir del tiempo en el que se proyectan los hechos relatados

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1.4 TIPOLOGÍA DEL TEXTO NARRATIVO Cuento: Liga Ligado do con con los los rela relato tos s folc folcló lóri rico cos s de las las dist distin inta tas s cult cultur uras as,, hall halla a sus sus antecedentes medievales en la

novella

italiana y en los

lais

y fabliaux franceses.

El cuento es un tipo de texto narrativo que se caracteriza por su extensión breve, en el que suelen ser únicos acontecimiento, espacio y tiempo. Incluye diálogos que también son breves. La extensión del cuento tiene que ver también con sus orígenes socioculturales y con las circunstancias pragmáticas que incluye su comunicación narrativa. Junto a la brevedad, su otra característica más sobresaliente es la simplicidad. Los perso personaj najes es son esquem esquemáti áticos cos,, la sintax sintaxis is es simpl simple e y el vocabu vocabular lario io suele suele estar  estar  plagado de modismos. El cuento presenta por lo general, un conflicto insólito que se va desarrollando a lo largo de la narración y concluye en una solución no siempre definitiva y puede encerrar una moraleja por la vía del ejemplo. Garrido,M (2004:14)

Fábula: La fábula, conocida también como apólogo, es un concepto elaborado por  los formalistas rusos para referirse al conjunto de acontecimiento comunicado por el texto narrativo. De ella se destacan las fábulas animales antropomorfizados, antropomorfizados, así como las derivadas de la mitología clásica.Barthes(1977:23 clásica.Barthes(1977:23-24) -24) Como los cuentos, las fábulas también son de narraciones breves, formada de vez en cuando por la secuencia de un único diálogo, escritas en verso o en prosa y expresa el

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Se caract caracteri eriza za formal formalmen mente te por el verso verso solemn solemne, e, los estere estereoti otipos pos y el emple empleo o repetitivo de modismos. Poema narrativo extenso que refiere acciones dignas de memoria de un héroe o pueblo. Entre ellas tenemos la obra la Iliada, la Eneida,que narran hechos o hazañas de un pueblo y la victoria de un héroe.Reis Carlos(1989:36) Novela:Es una narracion ,mas omenos extensa,que cuenta la historia de uno o varios personajes. La novela , posee un estilo que suele distinguirse del habla ordinaria por  una mayor riqueza de vocabulario, pulcritud y exactitud en las descripciones de circunstancias cotidianas y afectivas o emocionales. La novela es un relato de extensión considerable de acciones generalmente fingidas el que se refiere con lujo de detalles ,caracteres ,pasiones ,costumbres ,de le conoce como una forma moderna del antuguo género épico.Ejemplos:El mundo es ancho y ajeno,matalache,don ajeno,matalache,don quijote se la mancha. Sanchez,G (1999:35) 

Leye Leyend nda: a:Es Es una una

narr narrac acio ion n trad tradic icio iona nall

o cole colecc cció ión n de narr narrac acio ione nes s

relacionadas entre si que parte de situaciones ,historicamente veridicas ,que luego pueden inorporar elementos ficcionales .Se relaciona con un lugar y una epoca determinada. 

Es un relato que toma como base hechos reales o historicas que son expuestos de un modo maravilloso y fantasioso.Bal,M (1987:4-7)

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NIVEL DE LA HISTORIA 2.1. TEORIAS Y TECNICAS DEL ANALISIS NARRATIVO Beristaín(1 Beristaín(1999:2 999:20) 0)

sostiene sostiene que que

la teoría teoría y técnica técnica del del análisis análisis narrat narrativo ivo

como toda practica que pretende ser científica ha de estar basada , en primer lugar  en la observación de una serie de elementos en ámbito de práctica ,para llegar, luego a la formulación de los principios teóricos que estructuren y articulen las regularidades que se explicitan en la organización narrativa . Es por ello que el punto punto de partid partida a ,será ,será examin examinar ar un relato relato concre concreto to para para realiz realizar ar una síntes síntesis is definitoria de lo que tradicionalmente se le conoce con el nombre de narración, proceso por tanto inductivo que puede ser didácticamente interesante .

Al elegir el cuento de caperucita roja de Ignacio Viar ,como análisis práctico en la literatura española una nomina tan numerosa , y tan valiosa artísticamente hablando se inscribe en cierto modo en la línea iniciada por Propp,ya que el cuento es un géne género ro narr narrat ativ ivo o muy muy alto alto para para el desa desarr rrol ollo lo de toda toda una una seri serie e de form formul ulac acio ione nes s teór teóric icas as que que el méto método do semi semiót ótic ico o .Su .Su senc sencill illa a cons constr truc ucti tiva va y

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Según Rimmon, citado en Beristaín (1997-30), afirma que la historia es una ficción, una abstracción, una convención distinta de la realidad en vivo, a pesar de que la hist histor oria ia,, “evo “evoca ca una una cier cierta ta real realid idad ad,, acon aconte teci cimi mien ento tos s que que habr habría ían n suce sucedi dido do,, personajes que, desde ese punto de vista, se confunden con los de la vida real”. La historia no es algo que pertenezca la vida, sino a un mundo imaginario del que solo sabemos a través del libro .En cambio el discurso es una realidad, este hecho de palabras reales, de palabras dirigidas por el narrador a un virtual lector.”La historia es vehicu vehiculad lada a por el discur discurso so y, en princi principio pio limita limitada da por por el”. el”. Todorov odorov,, citado citado en Beristaín (1997-15) La historia es lo que los formalistas rusos (primeros en aislar ambas nociones), llamaron fábula o trama “lo que efectivamente ocurrió”,” o lo que pudo haber ocurrido o ocurrirá”, sin embargo llamaron discurso al argumento (forma e que el autor toma conocimiento de la historia).Emile Benveniste, citado en Beristaín (1997:18).

2.2.2. NIVELES DE LA HISTORIA EN EL TEXTO NARRATIVO Gerard Genette (1972) citado en Beristaín señala señala en la historia o diegesis diegesis se dan en

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“voz”), no participa en ellos .Este es el nivel de funcionalidad en que se coloca el narrador. narrador. Genette (1972), ( 1972), citado en Beristaín.

NIVEL METADIEGÉTICO: Es el nivel, que implica una narración dentro de otra narra narraci ción ón,, tant tanto o la que que simp simple leme ment nte e corr corre e a carg cargo o de un pers person onaj aje, e, como como la deno denomi mina nada da cons constr truc ucci ción ón “en “en abis abismo mo”, ”, que que supe superp rpon one e el nivel nivel dieg diegét étic ico o y el extradiege extradiegetico, tico, que constituye constituyen n un

segundo segundo grado de funcionalid funcionalidad, ad, una ficción

evocada, imaginada o soñada por uno de los protagonistas de otra ficción o por los del proceso de la enunciación, que irrumpan en la historia. Genette (1972), citado en Beristaín. La metadiégesis puede ser, como en el teatro, la narración, a cargo de un personaje, de hechos ocurridos fuera del escenario, puede ser la respuesta de un personaje a la pregunta de otro, puede ser una digresión, puede establecer una relación de contraste o analogía analogía con la diegesis (lo cual ocurre en la construcción construcción “en abismo”), o puede cumplir un papel dentro de la diégesis.Beristain (1997)

2.3. 2.3. ACCIO ACCIONE NES S Y FUNC FUNCIO IONE NES S DE LA HIST HISTOR ORIA IA DENTR DENTRO O EN EL NARRATIVO

TEXT TEXTO O

En el relato (cuento, novela, drama), suele tener preeminencia la acción de los

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está estáti tico cos s los los que que modi modifi fica can n ,y desd desde e el punt punto o de vist vista a de las las rela relaci cion ones es que que establ establece ecen n entre entre sí motivo motivos s asocia asociados dos,, de los cuales cuales Barthe Barthes s llama llama unidad unidades es dist distri ribu buci cion onal ales es :Nud :Nudos os y catá catáli lisi sis, s, Y deno denomi mino no motiv motivos os libre libres s a las las unid unidad ades es integrativas :(informaciones :(informaciones índices o indicios). indicios). BERISTAIN BERISTAIN (1997).

2.5. CLASIFICACION DE LAS FUNCIONES EN EL TEXTO NARRATIVO. Las unidades distribucionales son los “encadenamientos”, los cuales constituyen el hilo hilo narr narrat ativo ivo,, remi remite ten n a una una oper operac ació ión, n, es deci decirr a un “act “acto o comp comple leme ment ntar ario io consecuente”, siendo siendo de naturaleza sintagmática. sintagmática. Beristaín (1997) Las unidades distribucionales se dividen en dos tipos de unidades, las cuales son:

LOS NUDOS:

Tomachevski, citado citado en Beristaín (1997), aporta que los nudos, son aquellos

que están constituidos por verbos de acción, en lo que Todorov, llama “modos de lo real”, que “se perciben como designando acciones que verdaderamente verdaderamente han tenido lugar. lugar.

Beristaín

(1997).

Según Según Barthes, Barthes, citado citado en Berist Beristaín aín

(1997) (1997),, sostie sostiene ne “Los “Los nudos nudos const constituy ituyen en el

resorte de la actividad narrativa”, “son de orden de la acción del hacer”, es decir cada uno es detonador del desarrollo de a acción.

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Cada nudo inaugura, mantiene o cierra una posibilidad de continuación de la historia uno

es unidad que cumple una doble función:



Consecutiva o cronológica, en la que la relación es temporal, es de antes a después.



Consecuente o lógica, en que la relación es de causa a efecto.

El conjunto de los nudos constituye el resumen de desarrollo de la acción y resulta un simulacro de la obra porque manifiesta su organización interna, es el armazón esqueleto del relato lo que no impide que un nudo pueda incrustarse en medio del desa desarro rroll llo o de otro otro,, supr suprim imie iend ndo o los los de meno menorr impo importa rtanc ncia ia,, la suce sucesi sión ón de los los principales constituye un resume de la historia al que denominamos intriga o trama. Beristaín (1997)

LAS CATÁLISIS: Son aquellas que ocupan el espacio narrativo entre los nudos, sin que esta descripción implique jerarquía, y se construyen con verbos, que significan cualidad o estado o con verbos de acción en los modos “modos de las hipótesis “, que son acciones puramente discursivas, o en los modos de lo real, cuando son acciones menudas que detallan otras acciones.

Beristaín (1997)

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precisamente “resumen “y afecta a la “duración”, del tiempo .También ocurre con el relato “literario” que afecta a la “frecuencia” al narrar una sola vez lo ocurrido. Por otra parte las catálisis son expansivas, cuando el discurso ocupa un espacio mayor que el equivalente a la temporalidad de la historia, este tipo de catálisis puede afectar: A la duración, es l caso de la pausa, que puede consistir en una suspensión de la historia como en el el caso de las descripciones descripciones o en una desaceleración desaceleración de la misma cuand cuando o se narra narra una gran gran cantid cantidad ad de accion acciones es menud menudas as que consti constituy tuyen en los detalles de otras acciones. 

Puede afecta el orden orden que ocurre con con las analepsis o retrospección y la prolepsis o anticipación anacrónicas, estas que al interrumpir el proceso discursivo exigen e el momento de su reanudación, para mantener la coherencia, el ejemplo de un

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Según Genette, afirma que los índices tienden a describir, a definir, tanto a las personas como a los objetos .Permite al lector identificar a partir de su conocimiento del mundo, las características físicas o psicológicas de los protagonistas. Los Los índi índice ces s son son del del cará caráct cter er del del prot protag agon onis ista ta y del del clim clima a psic psicol ológ ógic ico o del del que que prev preval alec ece e en las las dife difere rent ntes es situ situac acio ione nes s ,con ,const stitu ituye yen n un acer acervo vo de atri atribu buto tos s corr corres espo pond ndie ient ntes es a la “dra “drama matis tis pers person ona a e” ,que ,que nos nos perm permit ite e iden identi tific ficar arla las, s, nombrarlas

y

definirlas,

es

decir

,i r

señalando

su

confrontación

psicológica,intelectual,moral,etcen cada omento y sus transformaciones ,así como, por otra parte atmosfera que como resultado de la interacción de los caracteres priva en las diferentes etapas del desarrollo del relato. Beristaín (1997) Cuan Cuando do la defi defini nici ción ón que que nos nos prop propor orci cion ona a del del pers person onaj aje e se dedu deduce ce de sus sus comportamientos en diferentes momentos, al lo largo de la historia, se trata de una

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Las informaciones ubican espacial y temporalmente no solo a los protagonistas, sus accion acciones es y sus evocac evocacion iones, es, sino sino tambié también n a cierto ciertos s tipos tipos de narrad narrador or.. Berist Beristaín aín (1997) Las Las info inform rmac acio ione nes s proc procur uran an los los dato datos s con con los los que que se orga organi niza za la real realid idad ad del del referente y que, al aparecer dentro del discurso conforme a otra organización que en el le es propia, ofrecen al lector la ilusión de verdad y le permiten evocar seres, espacios, objetos, etc. posibles.

21 Los Los lugare lugares s y los objeto objetos s cumpl cumplen en una funció función n cultur cultural al y socia sociall determ determina inada, da, y añaden una significación significación al relato no es indiferente si una acción acción ocurre en un lugar  abie abiert rto o o cerr cerrad ado, o, desi desier erto to o urba urbani niza zado do,, en una una lay laya o ante ante un alta altarr. Las Las inform informaci acione ones s invist invisten en al escena escenario rio de un caráct carácter er que reperc repercute ute en los demás demás elementos y en el significado de las acciones mismas. Beristaín (1997)

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A pesar de sus múltiples formas, el hecho de que los textos narrativos reconocibles, como tales se puedan encontrar en todas las culturas, en todos los niveles de la sociedad, en todos los países y en todos los niveles de la historia humana, llevo a Barthes a concluir que todos los textos narrativos se basan en un modelo común, un modelo que hace que la narración sea reconocible como tal. Un supuesto frecuente era la existencia de una homología ,una correspondencia, entre la estructura (lingüística) y la del texto total compuesto de varias frases .Del mismo modo se suponía la existencia de una homología entre la estructura profunda de la frase y la estructura profunda del texto narrativo. La fábula se basa en una argumentación insuficiente y cuenta con tantos apoyos y oposiciones, es mas probable que la correspondencia entre la frase o la fabula o entre entre la frase frase o el text texto, o, radi radiqu que e en una una base base lógi lógica ca comú común n .El .El prop propós ósit ito o de

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Selección Los acontecimientos han sido definidos en este estudio como “la transición de un estado a otro que causan o experimentan actores”, La palabra “transición”, acentúa el hecho de que un acontecimiento sea un proceso, una alteración .Ello parece bastante fácil del demostrar. demostrar. La dificultad dificultad no solo a partir del hecho hecho de que muchas frases contienen elementos que pueden considerarse procesos, de tal manera que esos mismos procesos pueden considerarse tantos objetos en función del contexto. Catedra (1966)

2.9. EL PLANO DEL DISCURSO EN EL TEXTO NARRATIVO Todorov, citado en Beristaín (1997), llama discurso al proceso de la enunciación, y a lo que Barthes llama formas del discurso o nivel de la narración o Narratividad.

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

En fin como se integran en el conjunto todos los datos anteriores.

El cuerpo del discurso se confrontan ambos universos ,el peculiar de la historia ,pobla ,poblado do de eleme elemento ntos s regido regidos s por leyes leyes que que solo solo corres correspon ponden den al relato relato y el univ univer erso so ling lingüí üíst stic ico o cuy cuyos elem elemen ento tos s en camb cambio io se gobi gobier erna nan n conf confor orme me a ordenamientos propios. Beristaín (1997) El discurso suele desajustar su propio orden respectivo del orden de la historia y aun

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Son las repeti repeticio ciones nes del discur discurso so las que logran logran efecto efectos s como como remarc remarcar ar cierta ciertas s acciones ,en el discurso los que manipulan aquellos efectos ,mediante gradaciones ascend ascendent entes es que paulat paulatina inamen mente te aument aumentan an la tensió tensión n del relato relato hasta hasta hacer hacerlo lo desembocar en sus mementos culminantes .Es asimismo la disposición espacial de los elementos del discurso la que logra efectos de anticipación animosa. La recurrencia graduada de unos elementos se combina con la de otros en una

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En el teatro la analepsis sirve para agregar, mediante actos del habla presentes, periodos pretéritos correspondientes a hechos ocurridos anteriormente y fuera del escenario, estos quedan intercalados entre la sucesión de los momentos presentes y dentro de la escena. Para Genette, citado en Beristaín Beristaín (1997) sostiene que hay en suma cuatro cuatro tipos de relación temporal entre la duración de las acciones y la extensión del texto en su

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2.9.8. SUBJETIVIDAD DEL DISCURSO EN EL TEXTO NARRATIVO La subjetividad es la capacidad de locutor de plantearse como sujeto. Según Booth, citado en Beristaín (1997), afirma que esta posición el narrador puede adoptar dos puntos de vista: ♦

Esta Estarr inte integr grad ado o en la hist histor oria ia ,”ser ,”ser en ella ella”” y sabe saberr tant tanto o de ella ella como como cualquiera de sus protagonistas ,ofreciendo una visión ,con o a partir de uno

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mater material iales es temáti temáticos cos y lingüí lingüísti sticos cos ,que ,que han han sido sido organi organizad zados os de una una maner manera a especifica para que sean entendidos en función de unos significados concretos. La ficc ficció ión n , o sea sea la “real “realid idad ad “se “se comu comuni nica ca siem siempr pre e medi mediat atiz izad ada a por por unas unas perspectivas ,que han de ser descubiertas en el curso de la lectura ,en algunos aspe aspect ctos os el auto autorr desa desapa pare rece ce ,per ,pero o de algu alguna na mane manera ra sigu sigue e pres presen ente te en el entramado textual a través de la figura del narrador ,en la que proyecta todas las

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buena medida es un apoyo para la recepción textual porque de el depende las

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universo real representado y la del universo ficticio del discurso literario que lo

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Gómez Redondo (1994) afirma que el relato presupone una solución de continuidad

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2.9. El plano del discurso discurso en el texto narrativo

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