By Aníbal González
In Journalism and the improvement of Spanish American Narrative, Aníbal González explores the effect of journalism and journalistic rhetoric at the improvement of Spanish American narrative, from its beginnings within the early 19th century to the testimonial and documentary novels of up to date authors equivalent to Miguel Barnet and Elena Poniatowska. González examines chosen works from the Spanish American narrative culture that exemplify moments within the historical past of the connection among literature and journalism. He argues that Spanish American narrative has sought to paintings in consonance with journalism's modernizing impulse, making strategic use of journalistic discourse to advertise social or political switch. through the argument, González bargains a extensive ancient landscape of the journalist/narrative interplay, and whilst proposes another conception of the improvement of the Spanish American Narrative.
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405— 6). Januario's hanged corpse is found by Periquillo shortly after the shootout in which Aguilita is killed; Periquillo's hypocritical childhood friend had also become a bandit (pp. 416—17). With the two most powerful negative influences on Periquillo's life permanently out of the picture, the perennial tugof-war in the text between virtue and vice resolves itself in favor of virtue. Nevertheless, although it seemingly follows from the logic of the text, Periquillo's conversion still appears arbitrary: such a conversion could have come at many other earlier moments when Periquillo was almost equally destitute and battered, yet it did not.
92) in order to be discharged from the convent, when he receives news of his father's death (p. 92). Now that his father is dead, Periquillo leaves the order, returns home to live with his mother, and, after six months of mourning and good behavior, happily proceeds to spend all his inheritance on gambling, women, and parties, leaving his mother in abject poverty. Soon after, his mother dies having realized her son is a dissolute idler, and Periquillo once again appeals to his friend Januario. The latter convinces Periquillo to join him in making a living as a cocora, a parasitic cardsharp who hangs around players who have money, barges into card games claiming to have made a bet, and, in the confusion over whose money is on the table, runs off with the money (pp.
4 It is under his first schoolteacher that his classmates give Pedro the nickname he will carry for the rest of his life and which will become emblematic in more ways than one. As the narrator explains, "I went to school in a green jacket and yellow trousers. These colors, and the fact that my teacher sometimes referred to me affectionately as Pedrillo, inspired my friends to give me my nickname, which was Periquillo; but I needed an adjective or surname to distinguish myself from another Perico who was among us, and did not take long in getting it.