Download El castillo de los Pirineos by Jostein Gaarder PDF

By Jostein Gaarder

Steinn y Solrun, que llevan sin verse desde que vivían juntos en los años setenta, vuelven a encontrarse en l. a. terraza de un antiguo resort en un fiordo de Noruega. Es curioso su encuentro allí porque, precisamente, fue ése el pueblo en el que, más de treinta años antes, tuvieron una experiencia que sacudió sus vidas y acabó por separar a l. a. pareja. ¿Qué les pasó en aquella época? Sus interpretaciones de lo ocurrido difieren radicalmente. Ahora se reabre un diálogo entre dos modos de entender el mundo, y l. a. llama del viejo amor vuelve a prender de nuevo.
El castillo de los Pirineos es una novela de amor, pero también de rules. ¿Son los angeles ciencia y l. a. razón lo único que puede arrojar luz sobre los angeles existencia humana, o existen además fuerzas ocultas que de vez en cuando nos juegan una mala pasada?

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As Genette makes clear, this is far less common in narrative fiction than its counterpart, analepsis, or flashback, but it will be my contention here that prolepsis is the more rewarding analytical concept. For reasons that will become apparent, I will set aside the second meaning of prolepsis, which will receive a fuller treatment in a moment. The third meaning I will refer to as rhetorical prolepsis, to designate a phenomenon wellknown to classical orators and scholars of rhetoric: the anticipation of an objection to an argument.

In more M475 - CURRIE TXT M/UP 24/8/06 11:25 AM Page 37 Gary Gary's G4:Users:Gary:Public:Gary's Job Prolepsis 37 experimental fiction, this distinction between the linear narration of thought processes which are not linear, and non-linear narration as such begins to disappear. Tom Crick, the narrator of Graham Swift’s Waterland, takes the view that any account of the here and now must constantly refer back to a history which produced it, and at the same time refer forwards to events which lie in wait, as part of that history.

Though in life we might anticipate events which are posterior to the present, these anticipated events are not yet in existence, and involve the projection forward to an entirely imagined future. This is not the case in narrative fiction, where we might view the future of a narrative as a future which is already in place, one which has a spatial existence in writing, in the form of words which lie to the right of the bookmark, or those words which are not yet read. By making an excursion into a future which is already in place, fiction can therefore instruct us in the kinds of significance acquired by an event when it is looked back upon in a mode of teleological retrospect.

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