El espectro corporeizado: resonancias semánticas del ‘flashback’ metaléptico en ‘Fresas salvajes’ (‘Smultronstället’, 1957)
DOI:
https://doi.org/10.51698/tripodos.2019.44p105-120Abstract
Este artículo plantea una nueva lectura de la película Fresas salvajes (Smultronstället; Ingmar Bergman, 1957) a través de la exploración narratológica de dos procedimientos fundamentales en su cuerpo textual: el flashback y la metalepsis. La unión de estos dos recursos origina el fenómeno del flashback metaléptico, cuya particular naturaleza pone de relieve, en tres escenas cruciales del relato, la influencia de los conflictos del presente en la reconstrucción del pasado: si bien en las dos primeras las cualidades metalépticas de las regresiones adoptan un sesgo excluyente en lo relativo a la clase de inscripción del sujeto recordatorio dentro de las mismas, será en la última remembranza cuando, una vez el personaje protagonista ha resuelto la crisis existencial que padecía, el sesgo se torna definitivamente inclusivo, indicio de la reconciliación efectuada con respecto a sus experiencias pretéritas. The Embodied Spectre: Semantic Implications of the Metaleptic Flashback in ‘Wild Strawberries’ (‘Smultronstället’, 1957) This paper aims to carry out a new reading of the film Wild Strawberries (Smultronstället; Ingmar Bergman, 1957) through a narratological exploration of two fundamental techniques used in the body of the work: the flashback and metalepsis. The joined use of these two techniques creates the phenomenon of metaleptic flashback, which, through its particular nature, sheds light on the influence of present conflicts on the reconstruction of the past in three crucial scenes within the story. While the metaleptic properties of the regressions in the first two cases take an exclusive focus with regard to the kind of involvement of the reminiscing individual within those scenes, in the last scene of remembrance, once the main character has resolved the existential crisis that he has been experiencing, the perspective becomes de finitively inclusive, a sign of his having reached a reconciliation with his past experiences.Downloads
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