"Literature northern border"
on "literature Northern Border "party of principle that cultural studies comprise a body of knowledge about culture and society, that the literary text is a carrier of cultural information of a particular community, also a representation of worldview (Karma, 2006) to verify its struggle for legitimacy through communication and technology.
Thus, for Yuri M. Lotman (quoted by Felix Berube, 2004), culture is "a mechanism that creates a set of texts", ie, the very realization of the given culture through texts.
Culture, then, produce texts organized internally in a space. It is the semiotic space where electromagnetic processes of communication and new information. In turn, the semiotic space, semiotic sphere, is the recipient of new messages which can reject, adapt, and translate into context. That is why Yuri M. Lotman attributes to the semiotic boundary "creating new forms and cultural meanings."
semiotics is the area where they are located along the northern border demarcation called Tijuana border geopolitics for the analysis of literary writers with the border (Félix Berumen, 1998) and sociocultural processes involved in the region.
This historical development is manifested an increased interest in the ongoing development of the literature of the entity that is a literary tradition of immediate references to writers in the early sixties: the generation californica.
However, [...] "storytellers today have little to do with the narrative 'and provincial manners' of just a few years ago. The picturesque, landscape concerns, documentary or anthropological, are no longer the focus of today's storytellers. " [1]
thus attract attention as Luis Humberto Crosthwaite storytellers or Rafa Saavedra, whose works have been released from the border to the Republic - if translated Crosthwaite English, by placing their stories in the city, to evoke the city in their stories, diegetic space (Luz Aurora Pimentel, 1998) meaning from the narrative action.
"The characters and worlds border of narrative reiterate what border art also shows: the frontier is characterized by forms of exclusion, their groups or the tension between cultures [...]". [2]
efectual The historical approach as a method of investigation, does not deny the subjectivity of the arguments that try to exploit the work from the temporality of the reader: A realization without denying the subjective fact motivates the investigation and allowing a more complete understanding (Gadamer, 1986). Possible history upon the consciousness of the situation hermeneutics: Where goes the effort to understand? The situation is where we are. It is in the situation, making it difficult "to have objective knowledge of it." [3]
We then have a situation that requires a hermeneutic proper setting to make the right approach against tradition. This horizon allows us to have a comprehensive view of the facts. And if the text is precisely the product of culture, development of culture itself, the semiotic order of space, semiotic space, giving us the opportunity to learn about border culture: We find, therefore, in the language of Rafa Saavedra (2002), at 16 stories Far from the noise, references to the city in phrases like "Happy Children of the Revolution took the street principal to merge with the tourists ", and" in the meantime, Mike, "with his usual T-Mogwai-gap greeted William in total and all other-than curious, right? - drank lager, where , "chanted Drunkies the stupid gringos 'Live rock' while others just looked stupid to all with stretched-clad blondie lycra suits and shirt-Freak out tonite ", where" five minutes later we see her tits shake slightly Johnny bites with gusto and dedication, not caring that someone, one of the gringos hornys, take a Polaroid in full slaughter "in," a state of excitement ultracomplaciente "because," we all talk about serious things, how well you live here, how we fuck see that string of bloody Indians unglamorous take positions, new forms to travel, manufacturing of current consumption and road rage. "
His prose belongs to the border context, the proximity to the border is reflected in the use of English interspersed. The speech is the vehicle of Saavedra which overlooks the underlying world record to give his part of the cultural diversity that exists in Tijuana.
Far from Noise, only proposed the representation of cultural diversity of a cosmopolitan city, criticized the American and Chicano chilango it in the parade of the intense nightlife as Yépez Seats (2005):
"In the case of the Mexican border literature, it has not been formed as an alternative 'thank you' to the influence of culture in the north, but as a critical distance from both the city of Mexico and the United States, two different hegemony against which wishes to reveal, in order to have their own form of Mexican so different from the American discourse (including Chicano) as Speech 'chilango'. " [4]
tone seeming indifference puts us on alert to what happens in the world described, since we observed a critical edge that does not stand for false ideologies: the characters stand firm in their poses, they are known and have seen the sole purpose of carrying out their wishes. The context is ripe to learn of the ways, habits, preferences, detours, Tijuana community meetings, but more than this, what matters is the voyeurism, the exhaust outlet, emergency stairs and feelings of pleasure. The story that opens Away from the noise Übertrip is a pretext for the statement, a statement of principles:
"To say 'yeah, yeah' as \u200b\u200ba password ruidismo select for underground interests and import singles. Give us time and shoot down everything that motivates security [anything]. In contrast, the result is an emotional crash with a swing of rabid commitment, people dented and rusted hearts. " [5]
So the city is on your record realistic, a fictionalized form in which reality is imposed so strongly that achieved with repeated images of violence solvency, all under a cloak of music, a drug dose, a frequent FAJE after hours, an emotional state that is assumed depressive, but always looking for strengths and willing to pay any price.
With twists and turns conceal that we mean to provide us with a verbal chaos that you read it and establishes parallels with the city, where it originated.
His writing is as rugged as the municipality of Tijuana, which ghettos are the same hills separated by rivers that still threaten to destabilize the daily rhythm, and temperature variations that are in heat as soon as soon cold, as well as in front of a row of cars, street vendors, noise and noise. While he was with his writing gives us a sense of pleasure and when we dealt a resounding blow.
If Rafa Saavedra texts are well framed within the literature for its aesthetic purpose or principle of literature , [6] Luis Humberto Crosthwaite in narrative technique gives a sense of an end to the stories he relates.
The big claim, [7] novella, is outlined in a temporary space, space diegetic, extra-textual, we identified by allusion the cities of Tecate, Ensenada, Tijuana, Baja California. While the tone in which exclusion is set out to mark the identity of a closed group that keeps to force certain codes of border territory.
cultural identities that differ from the territory appropriated by need to survive in a society that excludes, class society, and determines access to higher living standards.
diegetic space in the narrated world of pretend The great confront opposing groups that represent positions under the ideological border context.
The narrator gives opinion on "behavior" from the perspective of the character, the cholo of the border, who criticized the conduct of the Chilangos, migrants ... The neighborhood is safe territory whose domain must be won with courage, honesty, and a series of attributes that give the temperament of a profile of a man cholo romantic, but unfortunate not to overcome the adverse circumstances of their destiny and that, however, is proud to be what it is without giving experience the risk that this represents.
also Cholo live warily watching the limits of their border, because if your semiosphere are signs of contamination may arise out something new which is not prepared. These foreign elements are signs that women decoded chola reluctant to follow the path leads neighbors to the neighborhood. The chola who will not be further, work and dress differently, but becomes the victim of identity faced world and seemingly irreconcilable. So violence is emerging as an element that makes us aware of what happens in a city like Tijuana.
Karma, Tanius (2006). Literary communication. Notes for a theoretical discussion. speculate. Retrieved on 09, 19, 08 in
www.ucm.es/info/especulo/número31/comliter.htmal.
Félix Berumen, Humberto (2004 ). The border in the center . Mexicali: Universidad Autónoma Baja California.
Pimentel, Luz Aurora (1998). The story perspective. Mexico: UNAM.
Saavedra, Rafael (2002). Away from the noise . Mexico, Federal District: Moho. p. 94
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