Le rythme dans Marea oculta (1994) de Gustavo Martín Garzo : la mort de Doña Nieves et les transformations du récit
To examine rhythm in contemporary Spanish literature, this article focuses on Gustavo Martín Garzo’s novel Marea occulta (1994). One of the most significant passages in this work is the death of the character Doña Nieves, a remarkable storyteller and the intra-diegetic narrator of the novel. She rec...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/iberical, |
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| Auteur principal: | |
| Format: | Article ou chapitre numérique |
| Langue: | Français |
| Publié: |
Iberic@l
2026
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| Sujets: | |
| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | To examine rhythm in contemporary Spanish literature, this article focuses on Gustavo Martín Garzo’s novel Marea occulta (1994). One of the most significant passages in this work is the death of the character Doña Nieves, a remarkable storyteller and the intra-diegetic narrator of the novel. She recounts the story of her entire life, which concludes as the narrative returns to the main storyline. Afterward, the scene of Doña Nieves’ suicide presents a particularly lyrical passage in which the character takes up verses from Emily Brontë’s poem “The Visionary”. In a remarkable synergy, the writing merges narrative discourse, poetic language, and theatricality. Analyzing the rhythm of this narrative offers an initial understanding of the text from a narratological perspective. Beyond the divide between prose and poetry, and through the transformations of the narrative, we illustrate how rhythm emerges as a foundational principle of this fluid and shifting writing. |
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