An annotation around the literary stories of memory as a fact of spatial representation

The literary texts that settle their representations in the memory, usually have as base of their syntax a particular temporal logic. They update, from their narrative strategies, textual and fictional logics that respond to this demand, that is, they present states of things that function as meta-stories (a narrative included or derived from another narrative), evocations (either by memory, dreams or other similar structures), digressions (the deviation of history), versions (storytelling with variations), ontological expansions (the establishment of dependent, parallel worlds, etc.).), among others, and have the main function of fictionally reconstructing a space of memory, in some cases abstract or metaphorical. In these cases, the edges of the represented worlds are exposed and the stories told are used to enable margins where the representation becomes conflictive.

All this is achieved through the intense work carried out on the articulations between reality and the consciousness superimposed on the story, or on the articulation between the narratively structured representations of memory.
Strategies such as the doubly referred narrative (a narrator tells a narrator what someone tells in free indirect discourse) provide the narration with a distance in which the registers of both speakers are superimposed and the plots of both memories constitute a recurring example that gives the opportunity to point out a fundamental aspect of this type of stories. Time being the natural correlate of the discourse of memory, this resource in turn constructs a spatial design that makes sequential structures coincide.

We refer to the superposition of two planes of memory in the same temporal plane, but also to the observation of the mechanism that organizes its spatial reconstruction strategy: sequential structures are eventually discovered and reveal an earlier and deeper layer: a mantle of intertwined memories.

Accounts of this type allow us to observe a profuse topological configuration of the landscape of memory that the text constructs; certainly, a landscape made of time whose rhetoric is sustained on a complex layout of detours, which causes the relator to proliferate in several directions and offer different paths in the manner of a map that staged memories.
Fundamental proof: time does not escape its plastic representation, as Mikhail Bakhtin in Theory and Aesthetics of the novel exhibited with such propriety at the time.

Gracias por la compañía. Bienvenidos siempre.

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Posted from my blog with SteemPress : https://becksbitcoin.com/2019/07/28/an-annotation-around-the-literary-stories-of-memory-as-a-fact-of-spatial-representation/

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