Dos variantes de lo final en la obra de Onetti: El astillero y Cuando ya no importe
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios de Teoría y Crítica Literaria.
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Elartículoindagalas relacionesentre la escritura y la muerteen El astillero y Cuando ya no importe,dos novelas que corresponden, respectivamente, al período de madurez y al período tardío de la producción de Onetti.Para ello, se examinaen ambas novelas el papelde lo final, entendido como un principio constructivo que articula un uso de la escritura como reflexión mortuoria y que operaen distintos niveles: sobre el enunciado (a través de diversas imágenes de decadencia y de muerte),sobre la enunciación (el propio final del texto y una serie de alusiones a él)o bien, desde una perspectiva diacrónica, sobre elconjunto de la producción de Onetti (a partir de un texto que se ubica en el final de su obra).
This paperinquires intothe linksbetween writing and death in El astillero and Cuando ya noimporte, two novels that respectively correspondto the maturity and late period of Onetti’s production.Tothis end, it reviewsin both novels the roleof the final, consideredas a constructive principle that organises a use of writing as a reflection on death andoperates on different levels: on the statement (through variousimages of decadence and death), on the enunciation (the end of the text and a series of references to it) and, from a diachronic point of view, on Onetti’s works as a whole (through a text placed at the end of his production).
This paperinquires intothe linksbetween writing and death in El astillero and Cuando ya noimporte, two novels that respectively correspondto the maturity and late period of Onetti’s production.Tothis end, it reviewsin both novels the roleof the final, consideredas a constructive principle that organises a use of writing as a reflection on death andoperates on different levels: on the statement (through variousimages of decadence and death), on the enunciation (the end of the text and a series of references to it) and, from a diachronic point of view, on Onetti’s works as a whole (through a text placed at the end of his production).
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