“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba
The purpose of this paper is to compare the novel Naturaleza muerta con cachimba (1990) by Donoso and its corresponding filmoliterary translation Cachimba (2004) by Caiozzi. This comparison is presented based on Sánchez Noriega’s proposal founded on the additions, changesof characters, and the narra...
- Autores:
- Tipo de recurso:
- http://purl.org/coar/resource_type/c_6612
- Fecha de publicación:
- 2021
- Institución:
- Universidad Pedagógica y Tecnológica de Colombia
- Repositorio:
- RiUPTC: Repositorio Institucional UPTC
- Idioma:
- spa
- OAI Identifier:
- oai:repositorio.uptc.edu.co:001/12817
- Acceso en línea:
- https://revistas.uptc.edu.co/index.php/la_palabra/article/view/12633
https://repositorio.uptc.edu.co/handle/001/12817
- Palabra clave:
- cachimba
espejo
humor
Larco
Marcos
pipe
mirror
humor
Larco
Marcos
cachimbo
espelho
humor
Larco
Marcos
- Rights
- License
- Derechos de autor 2021 LA PALABRA
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“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba |
| dc.title.es-ES.fl_str_mv |
«Es la vida lo que tiene que ser una obra de arte» Transposición filmoliteraria de Naturaleza muerta con cachimba y Cachimba |
| dc.title.pt-BR.fl_str_mv |
“É a vida que tem que ser uma obra de arte” Transposição filme-literária de Naturaleza muerta con cachimba e Cachimba |
| title |
“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba |
| spellingShingle |
“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba cachimba espejo humor Larco Marcos pipe mirror humor Larco Marcos cachimbo espelho humor Larco Marcos |
| title_short |
“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba |
| title_full |
“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba |
| title_fullStr |
“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba |
| title_full_unstemmed |
“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba |
| title_sort |
“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba |
| dc.subject.es-ES.fl_str_mv |
cachimba espejo humor Larco Marcos |
| topic |
cachimba espejo humor Larco Marcos pipe mirror humor Larco Marcos cachimbo espelho humor Larco Marcos |
| dc.subject.en-US.fl_str_mv |
pipe mirror humor Larco Marcos |
| dc.subject.pt-BR.fl_str_mv |
cachimbo espelho humor Larco Marcos |
| description |
The purpose of this paper is to compare the novel Naturaleza muerta con cachimba (1990) by Donoso and its corresponding filmoliterary translation Cachimba (2004) by Caiozzi. This comparison is presented based on Sánchez Noriega’s proposal founded on the additions, changesof characters, and the narrative/film order. To develop this approach, it is necessary to analyze Marcos Ruiz and Larco concerning the art. Thus, the importance of the temporal structure is recognized to understand the «existential metamorphosis» (Cid Hidalgo, 2019) of the protagonist, which allows us to reflect on the proposition that Marcos is an inverted reflection of Larco. Through the above, the falsity of the art world is revealed, which both the novel and the film present with humor, and how Marcos is a mirror reflection of Larco who, paradoxically, finds his true «I» when he metamorphoses into the artist thanks to the power of the pipe. |
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2021 |
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2024-07-05T18:55:50Z |
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2024-07-05T18:55:50Z |
| dc.date.none.fl_str_mv |
2021-07-30 |
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info:eu-repo/semantics/article |
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http://purl.org/coar/resource_type/c_2df8fbb1 |
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http://purl.org/coar/version/c_970fb48d4fbd8a85 |
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http://purl.org/coar/resource_type/c_6612 |
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info:eu-repo/semantics/publishedVersion |
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http://purl.org/coar/version/c_970fb48d4fbd8a196 |
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https://revistas.uptc.edu.co/index.php/la_palabra/article/view/12633 10.19053/01218530.n40.2021.12633 |
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https://repositorio.uptc.edu.co/handle/001/12817 |
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https://revistas.uptc.edu.co/index.php/la_palabra/article/view/12633 https://repositorio.uptc.edu.co/handle/001/12817 |
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10.19053/01218530.n40.2021.12633 |
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spa |
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spa |
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spa |
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https://revistas.uptc.edu.co/index.php/la_palabra/article/view/12633/10804 https://revistas.uptc.edu.co/index.php/la_palabra/article/view/12633/11049 |
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Derechos de autor 2021 LA PALABRA https://creativecommons.org/licenses/by-nc-nd/4.0/ |
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http://purl.org/coar/access_right/c_abf2 |
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Derechos de autor 2021 LA PALABRA https://creativecommons.org/licenses/by-nc-nd/4.0/ http://purl.org/coar/access_right/c_abf113 http://purl.org/coar/access_right/c_abf2 |
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application/pdf text/xml |
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Universidad Pedagógica y Tecnológica de Colombia |
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La Palabra; No. 40 (2021): Special issue: Cinema and Literature; 1-15 |
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La Palabra; Núm. 40 (2021): Número especial: Cine y Literatura; 1-15 |
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La Palabra; n. 40 (2021): Edição especial: Cinema e Literatura; 1-15 |
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2346-3864 0121-8530 |
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Universidad Pedagógica y Tecnológica de Colombia |
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Repositorio Institucional UPTC |
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repositorio.uptc@uptc.edu.co |
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2021-07-302024-07-05T18:55:50Z2024-07-05T18:55:50Zhttps://revistas.uptc.edu.co/index.php/la_palabra/article/view/1263310.19053/01218530.n40.2021.12633https://repositorio.uptc.edu.co/handle/001/12817The purpose of this paper is to compare the novel Naturaleza muerta con cachimba (1990) by Donoso and its corresponding filmoliterary translation Cachimba (2004) by Caiozzi. This comparison is presented based on Sánchez Noriega’s proposal founded on the additions, changesof characters, and the narrative/film order. To develop this approach, it is necessary to analyze Marcos Ruiz and Larco concerning the art. Thus, the importance of the temporal structure is recognized to understand the «existential metamorphosis» (Cid Hidalgo, 2019) of the protagonist, which allows us to reflect on the proposition that Marcos is an inverted reflection of Larco. Through the above, the falsity of the art world is revealed, which both the novel and the film present with humor, and how Marcos is a mirror reflection of Larco who, paradoxically, finds his true «I» when he metamorphoses into the artist thanks to the power of the pipe.Este artículo tiene como objetivo la comparación de la novela Naturaleza muerta con cachimba (1990) de Donoso y su correspondiente traslación filmoliteraria Cachimba (2004) de Caiozzi. Este cotejo se presenta a partir de la propuesta de Sánchez Noriega con base en las añadiduras, cambios de personajes y al orden narrativo/fílmico. Para desarrollar este planteamiento es preciso analizar a Marcos Ruiz y a Larco en relación con el arte. Así, se reconoce la importancia de la estructura temporal para comprender la «metamorfosis existencial» (Cid Hidalgo, 2019) del protagonista la cual nos permite reflexionar sobre el planteamiento de que Marcos es un reflejo invertido de Larco. A través de lo anterior se devela la falsedad del mundo del arte, que tanto la novela como el film presentan con humor, y de qué manera Marcos es un reflejo especular de Larco que, paradójicamente, encuentra su verdadero «yo» al metamorfosearse en el artista gracias al poder de la cachimba.Este artigo visa comparar o romance Naturaleza muerta con cachimba (1990) de Donoso e sua correspondente tradução cinema-literária Cachimba (2004) de Caiozzi. Esta comparação é apresentada a partir da proposta de Sánchez Noriega com base nas adições, mudanças de personagens e na ordem narrativa/filmônica. A fim de desenvolver esta abordagem, é necessário analisarMarcos Ruiz e Larco em relação à arte. Assim, é reconhecida a importância da estrutura temporal para compreender a «metamorfose existencial» (Cid Hidalgo, 2019) do protagonista, o que nos permite refletir sobre a proposta de que Marcos é um reflexo invertido de Larco. Através do exposto, é revelada a falsidade do mundo da arte, que tanto o romance quanto o filme apresentam com humor, e como Marcos é um espelho reflexo de Larco que, paradoxalmente, encontra seu verdadeiro «eu» metamorfoseando-se no artista graças ao poder da cachimbo.application/pdftext/xmlspaspaUniversidad Pedagógica y Tecnológica de Colombiahttps://revistas.uptc.edu.co/index.php/la_palabra/article/view/12633/10804https://revistas.uptc.edu.co/index.php/la_palabra/article/view/12633/11049Derechos de autor 2021 LA PALABRAhttps://creativecommons.org/licenses/by-nc-nd/4.0/http://purl.org/coar/access_right/c_abf113http://purl.org/coar/access_right/c_abf2La Palabra; No. 40 (2021): Special issue: Cinema and Literature; 1-15La Palabra; Núm. 40 (2021): Número especial: Cine y Literatura; 1-15La Palabra; n. 40 (2021): Edição especial: Cinema e Literatura; 1-152346-38640121-8530cachimbaespejohumorLarcoMarcospipemirrorhumorLarcoMarcoscachimboespelhohumorLarcoMarcos“It is the life that has to be a work of art” Film-literary transposition of Naturaleza muerta con cachimba and Cachimba«Es la vida lo que tiene que ser una obra de arte» Transposición filmoliteraria de Naturaleza muerta con cachimba y Cachimba“É a vida que tem que ser uma obra de arte” Transposição filme-literária de Naturaleza muerta con cachimba e Cachimbainfo:eu-repo/semantics/articlehttp://purl.org/coar/resource_type/c_6612http://purl.org/coar/resource_type/c_2df8fbb1info:eu-repo/semantics/publishedVersionhttp://purl.org/coar/version/c_970fb48d4fbd8a196http://purl.org/coar/version/c_970fb48d4fbd8a85Pinto Inzunza, Francisca Javiera001/12817oai:repositorio.uptc.edu.co:001/128172025-07-18 11:33:54.027metadata.onlyhttps://repositorio.uptc.edu.coRepositorio Institucional UPTCrepositorio.uptc@uptc.edu.co |