La "operación literaria" de Mario Benedetti

Abstract

El presente artículo se ha trazado como objetivo realizar una indagación en tomo a la noción de operación literaria", que si bien no se propone como un referente canónico de la crítica literaria, onsideramos que constituye un parámetro

útil para observar la labor de un escritor. El concepto de operación literaria" ha

sido tomado de la conocida obra del ensayista mexicano Alfonso Reyes, La períencia líteraría, mientras que el autor en quien se ha hecho la indagación es el

escritor uruguayo Mario Benedetti. Pese a que Benedetti es igualmente narrador,

ensayista y poeta, la elección que hemos considerado más apropiada a su operación literaria" ha recaído en su poesía, de la que se ha hecho una revisión crítica a través de valoraciones como: la noción misma de operación", el énfasis de verdad que revela su escritura, la consideración de la escritura como acto de celebración, y lo que consideramos como un rescate del prosaísmo. En el desarrollo de cada uno de estos asuntos se ha buscado ilustrar e interpretar los móviles que consiguen, en la operación literaria" de Benedetti, un vínculo ivencialy combativo con ellector. La valoración final recae sobre la noción hermenéutica de fusión de horizontes", con la que se define la condición de diálogo que de modo muy particular alcanza la poesía de Benedetti. This article investigates the notion of literary operation'. Although the term is not considered as a canon of literary criticism, it can be employed as a useful tool to monitor the work of a writer. The notion of literary operation' was coined by a Mexican writer Alfonso Reyes in his essay: La experiencía líteraria. This notion can be applied to the work of Uruguayan writer Mario Benedetti, whose work spans through novels, poetry and essays. This study mainly deals with his poetry with inquiries such as, the notion of operation, the emphasis of truth that his poetry reveals, writing as an act of celebration, and his rescue of prosaicism. In each one of these inquiries, the study tries to illustrate and interpret the mobiles within Benedettis literary operation' that serve to create an experiential and combative bond with the reader. Finally, it delves into the hermetic notion fusion of horizons' which helps us understand the peculiar way in which Benedettis poetry reaches a condition of dialogue.]

According to critics, La Regenta was considered as the first

naturalistic novel and one of the best novels in Spanish literature. Therefore we

have studied and researched much until today in several respects: in

comparison with French and Spanish naturalist writers; compared with Don

Juan; in feminism and psychological analysis of several characters. I think

almost nothing left to study on this work, as there are abundant studies of La

Regenta. But analyzing this work, I have seen a link between free indirect

discourse and duality of the main characters, specially Ana Ozores and Fermín

De Pas. Although La Regenta is written in naturalistic style, it does not fully

conform to the canons of naturalism. La Regenta stands transgression of the

dogma of total objectivity.

Almost of segments in La Regenta is doubly motivated, both contributing to the

characters and constituting a reflecting device. Doubleness permeates La

Regenta, and every element is conscious of and determined by its contrary.

Segments are not simply opposites of one another; rather, one segment makes

strange another segment in a reflection with combines similarity with difference

in an ambiguos manner. This division of unity into doubleness is but the first

strategy of the fragmentation of the text. Once the narrators authority has been

debilitated, however, the fragments engage in dialogic interplay beyond his

control. This leads to a duality of meanings and of the characters.