Chikan In Japanese Trains

RAMON JULIO RIBEYRO

The International Colloquium "Julio Ramón Ribeyro: The word of the dumb" held in Lima on Thursday 3 and Friday 4 December, I explained the issue subject, individuality and poetic narrative Julio Ramón Ribeyro. I reproduce here an excerpt of my speech at the table I shared with Irene Cabrejos and Milagros Carazas.

Source: http://hablasonialuz.wordpress.com/

"Sensitivity to perceive meanings of things ", the poetics of Ribeyro

Within the conventions of fiction, the author, any author, develops an individual program of writing based on selections and combinations, ie, a poetics. To approach the poetry of Ribeyro take particular vision expressed by the author on several occasions. What Segre defined as screening and distributed procedures provided significant preferential sets itself at the service of modeling the world. [1] of poetry expressed by the real perpetrator aspects are recorded as the act of writing, The Art of Storytelling, the preference for the story and the use of autobiographical fiction. From these aspects reveals a poetic based on the importance of the subjective.

frequent expressions in the stands Auora also the enigmatic nature of the written word and the nature of the motivations for their creation. Around the characters register their intention to "say everything I thought and I could not say. The true word of dumb. Find my speakers but they seem otherwise. Distanced. Put to each one of my hundred masks and let them live in freedom. "(Diary II, p. 182). The theme of 'masks' is suggestive and highlights the fragmentation of experience, the demystification of the artist and the inability to use a unique voice and unappealable. The prismatic nature of representation appears to explain the motivations of writing: "dissatisfaction boredom, desire to give the floor to another or others in ourselves, after all unfold or multiply in the mirror of our imagination. "

Regarding the story, playing in one of Ribeyro his Prose (1975) an entry of his diary I (05/07/1959): "Art of the story: sensitivity to perceive the meanings of things." Formula poetic summary of which follows, also a feature of style narrative statement that the author takes care to explain: In an entry in his diary, commenting on the process of creating his story "Terra incognita", say that " is very delicate, because I want to tell as elusive essence, so that it is necessary to read behind the words. " As you may recall the protagonist of the story is an old teacher who experienced a drive one night and invites a gay black man to his home. Ribeyro noted in his diary: "at the end nothing happens. But often it's what did not happen. is the story of failure. "(Diary III: 44)

essential aspect in this poetry is the repeated application of a sober use of the elements and the questioning of" literary ostentation of many Latin American writers ... his fear that taken as uneducated "(Prose, 147):" Literature is affected. Who has chosen to express half derivative, writing, and not a natural one, the word, must obey the rules. Hence, any attempt to give the impression of not being affected, interior monologue, automatic writing, colloquial language, is ultimately an affectation to the second power ... What must be avoided involvement is not writing but congenital rhetoric is added to the affected. "(Prose 77).

therefore made its proposal about the modern literary beyond the technical deployments: [2] "I do not think that the technique should be abandoned, but should not stand as a major criterion for judging whether a current or past work is fashionable, modern or old-fashioned . Basically the technique is easy ... Nothing ages as fast as the procedures. Some people dress up a vision banal, simplistic and old reality with a modernist technique. As if the currency was a matter of technique ... Modernity is not in the resources that are used for writing, but in how reality is apprehended. "(Diary II: 160). In this poetic vision is manifested irreverent writing which tells essentially as elusive, while masking uses resources and appeal to fragmentation. Therefore affects the story as fragmentary representation of reality and say: "I see and feel the reality in story form and I can only express myself in that way ... Hence, so far can not write novels, poems, or parts dramatic and when I tried I got only distorted stories. "(Diary I: 76). [3] On the other hand, raises the autonomy of art "show, do not teach" with an emphasis on emotional picture presentation. [4]

individual and poetic

Since the program narrative, Julio Ramón Ribeyro exposes a worldview marked by dissatisfaction and total inability to understand phenomena, which compromises a position on the creation and combinatorial operations in an urban model that combines universal and local circumstances, while a measured manner applying new techniques and skillful storytelling.

way these texts reworked the climate of expansion and confrontation; optimism and challenge to news of modernity in a speech from the subjectivity in which there are no heroes but individuals alone and bewildered in constant reformulation of its self-representation. The sharp eyes "of the subject of enunciation, as his creatures marginal irony corrodes the apparent solidity and brightness set the official world." [5]

face unmanageable circumstances with autonomy, there is no other outcome than failure. The individual subject is not resolved in open opposition to the locks. The weak statement of rights and responsibilities and low self-esteem leads to skepticism that record the outcomes of the stories. This repeated explicit signal an ethical stance against the tragedies of everyday life.

When using the information, please cite the source.

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[1] Cesare Segre. Principles literary text analysis. Barcelona: Editorial Crítica, 1985, p. 325

[2] is important to remember at that time, in Latin America, significant changes occurred in the art of storytelling.

[3] The boom of the Latin American novel predominant if not the entire vision of the social story itself totalizing notion of genre itself.

[4] Tamayo Vargas feels that "it is well latigueante grafted and social phenomenon and criticism that is clear, in a narrative that is all criticism but works rather by psychological mechanisms direct that the social box. " Tamayo Vargas, A. "Julio Ramón Ribeyro An urban narrator in his stories" In: Report of the XVII Congress International Institute of Iberoamerican Literature . Madrid, 1978, p. 1175

[5] Vidal, Luis Fernando, (1974) "repeated Ribeyro and mirrors." In: Journal of literary criticism American No 1 Lima: Inti Sun, editors, p. 82

PHOTO: Irene Cabrejos, Milagros Carazas and Sonia Luz Carrillo. Literary Studies Center Antonio Cornejo Polar. Miraflores Lima, 12.04.2009

Diy Belt Display Ideas

represent the Afro in the narrative of Ribeyro

In photo: Julio Ramón Ribeyro (Lima, 1929-1994)

Source: http://milagroscarazas.blogspot.com/

Visit: http://julioramonribeyro.blogspot.com/

begin defining discrimination as inferior to consider or treat a person or group because of race, culture, social class, economic status, gender, etc.. One way to notice this phenomenon is through language, since it can be used as a differentiating element. It is therefore necessary to consider the various names, including nicknames and / or euphemisms used to describe and qualify a given subject, because when it is given a value and build a meaningful picture.
Actually, to name the "other" is always different from "us", and usually distinguish differences establishing hierarchies of individuals. According to Francisco Theodosiadis (1996), to mark the otherness or alterity is necessary to observe the description of the other, since it builds a semantic field by appealing to the comparisons, differences, denials and weaknesses. Thereby establishing a hierarchical description that in turn implies inferiority or superiority, as appropriate. Precisely
our paper analyzes the presence of blacks and characters in three stories Ribeyro Julio Ramón (1929-1994), namely: "Colored modest", "Alignment" and "Terra incognita". [1] seen in these more intensively mechanisms of discrimination, which is under the other Afro-Peruvian, as a result of established social norms and power relations. We refer to each one right away.

1. "Colored modest" Racial prejudice and social discrimination
Within the extensive work of Ribeyro perhaps this is one of the few stories in that it offers an ironic and how to set realistic hierarchy of individuals, from skin color. The interesting thing is that it gives the possibility to think about ethnic agenda and its role in Peruvian society.
The narrator extradiegetic-heterodiegetic [2] assumes the same perspective as the main character. Alfredo is a young man from a bourgeois family in Miraflores, who left his career in painting and is unemployed. He is accompanying his sister to a party of teenagers in one of the residences of the resort, but since arriving embodies the representation of the excluded: not dance or talk with the girls, her taste in music is outdated and has no money. In short, Alfredo repeatedly experienced the rudeness of others and the exclusion of different groups that have been established in some areas of the house. But let it be understood that Alfredo is not completely separated from the group, two or three individuals without a partner, alone, like him, who smoke or drink around, which refuses to approach or engage in any conversation.
From the beginning he knows that the holidays always fails. That's why as soon as he entered the house goes to the bar to drink some drinks. Each time it is rejected by the guests returned to the bar, which appears to be the only space that comforts and gives new shine to face the situation.
In the three times that seen in the mirror of the bar, facing the gaze of others with his own vision of himself. The result is disappointing: a man of twenty years with "old eyes" (I, 304). In nothing compares with the boys, dancers and conversationalists, with own car, living in residential Miraflores, on the contrary, Alfredo can be considered "a perfect idiot" (I, 307), with more defects than qualities.
So, looking at the kitchen this becomes an attractive space for a new adventure and, later, the possibility of revenge. We reached half of the story and takes a drastic turn. Alfredo exceeds the permitted limits and is installed in a space that does not belong. But his boldness is greater because it relates to a proletarian social group and a marginal minority. This double transgression will not be understood by others: first, the dance between black cook Alfredo and generates smiles and comments in bondage, then raises the dislike of the guests and the host rejection when they are discovered each other's arms amid the gloom of the garden. It is then that Alfredo gets its way, annoy the party and expose the hypocrisy of their social environment.
is important to note that the maid is curiously an anonymous person who is described as follows: "A slim black sang and shook a broom in his arms" (I, 308). It is common to represent black women as sensual and fulfilling the role of domestic literature. Ribeyro seems to use this stereotype by the way, to observe rather the look and attitudes of the characters (white) that relate to it. For example, when the violent partner is finally expelled from the party, Alfredo is displayed with the cook in front of his house, also upset his father, who saw them close the window, as a gesture of disapproval.
However, the enclosed space as we move to an internal open the pier. Being seen with this look searchingly and intolerant of concern to the maid: "What will people say" (I, 132). Alfredo's response is incisive: "You are more bourgeois than me!" (I, 132). This dialogue is essential to understand that in a society which sets rigid conventions are often discriminate individuals who are different from the dominant group, in this case the gentry Lima. But it happens that sometimes the subjects themselves who end up accepting these social conventions, and to assimilate and internalize even the prejudices they suffer.
no wonder that the police authority be a supporter of this order. When shadows of the pier that we turn to the powerful light from the lighthouse on a patrol that discovered the couple arrived at a key passage in the story. The two policemen who faces this time Alfredo considered impossible a formal relationship between him and "a modest person of color" (I, 313). This expression, which gives its name to Ribeyro story is very significant for our analysis, because the subject disqualifies Afro, represented by the maid, because of their social and ethnic. Alfredo laughs and deepens the racial prejudice that shows the guards. And at the police station, Lieutenant considers this a serious crime against "public morals", so that their reaction verges on verbal aggression and degradation of the cook, "you will not be a moth?" (I , 313). Alfredo's insistence that the officer does not put to the test: "Since this young lady is his girlfriend, then follow her walking [...] What do you think if you go to the park Salazar?" (I, 324).
So, we move to a new open space with more light, seen as a "showcase the beauty neighborhood" (I, 314), which exhibits the high bourgeoisie, a sector that imposes its values \u200b\u200band exercises power on society. Is this social group to which it belongs Alfredo, although considered an outsider by choice. That explains the change in the couple about to be exposed to a more elitist and judgmental public. One thing is the revenge of a bourgeois young and immature to have been able to scandalize the neighbors and his own father, meaning within the family and known, and quite another to show off in front of the city's moneyed class, that establishing censorship group Final social, formed by the "pretty girls", the "handsome boys", the "aunts" in cars, etc. Alfredo then no longer displayed irreverent and the servant is much more timid, "" I have shame, "he whispered in her ear. - What nonsense - he replied. - For you, for you is that I have shame! - "(I, 314-315).
the end, it is he who can not continue with this extreme and definitely violate the established social order. Alfredo is impossible to directly and openly address the "world carefree, boisterous, triumphant, irresponsible and despotic qualifier" (I, 315). Then it restores the social distance, ethnic and economic partner: he abandons her and she retires crestfallen, humiliated once again.
In short, this story shows how the subject afroperuano is rejected by their ethnic and economic, to the extent that it is prevented from moving by certain social spaces.

2. "Alienation" Depersonalization and bleaching
This is a story valuable because it focuses in great detail on the problems of social and interracial conflict. Ironically considered "uplifting story" or "parable" shows, in fact complex bleaching process of depersonalization and Roberto López experience in an almost desperate desire to achieve social advancement and build an identity outside the self.
In principle, the narrator extradiegetic-homodiegetic [3] strategic transit between "I" and "We." We face the narrator-witness that comes to oral sources (the testimony of the mother) or written (letters and postcards) to complete the obscure passages in history. When we started to read is a prolesis, [4] somehow prepares us for what is to come, the curious disposition Roberto gets in his attempt to become "a gringo there "(III, 73). The changes are then shown: a) "deslopizarse" b) "deszambarse" c) "kill the Peruvian in him" (III, 73). These processes refer to modest economic and social status, ethnicity and nationality, respectively, with whom Roberto tries to build "a new person, a being made of scraps, which was neither baboon nor gringo, the result of a cross unnatural "(III, 73). This development thus described represents a greater degree of alienation. But what led him to this extremity?
To understand the source of their suffering and loss of childhood innocence, the retrospective story takes place during adolescence Roberto. In a summer without specifying the date, "a group of whitish" (III, 73), meets at the Plaza Bolognesi de Miraflores, to see the girls play volleyball, especially Queca. This space entering the main character is strange and is marked by the social. The "gang of youths" that focuses on the place belongs to a wealthy class, live in houses and studying in private schools. While Queca be of lower socioeconomic status: lives in a house on one level and go to a religious school, is the most desired physical appearance: "His complexion cherry tree, his eyes green, her brown hair "(III, 74).
However, Roberto is the son of the laundress, who lives "in the last lane that was in the neighborhood" (III, 73). In his description says, for example it was "a be deformed, dark, curly hair bembudo and" (III, 74). It then highlights poverty and ugliness of the character, which is inconsistent with the economic condition or the aesthetic ideal (white) group. Even appeals to ridicule stereotypes and offer a negative image of him as "wanted to look more and at least one defender of Alianza Lima" (III, 73) or restrict it to offices and marginal roles, "a bank porter "(III, 73) or a" bus driver "(II, 73). This is a marginal figure, whose future is limited from the beginning, there is no chance of upward mobility, in that "country mediocre, miserable and sad" (III, 84) who has been born.
However, racial discrimination and social exclusion is at stake in the encounter between Roberto and Queca. He does get the ball that has rolled to his bench and it terrified looks first at the same time saying: "I do not play with baboons" (III, 75). This scene is very significant in the story, because it allows to analyze two important things. On the one hand, deals the metaphor of invisibility, which refers to the black situation in society, ie through a mechanism of discrimination afroperuano the subject becomes an object, thus denying their presence. On the other hand, think of a social sanction that discriminates and excludes, awakening to reality, only then it is understood that since that meeting he tries to cross the social and racial, in other words is a character who internalized the values \u200b\u200bof social group dominant (white).
is then described, the divestiture of Robert, in his attempt to be different. In the first phase, the change affects your physical exterior and clothing: the LACEA, dye your hair curly is polvea body and wears second-hand American clothing. The response of others is one of mockery by gang members, disgusted at the neighbors of the alley, and rejection in his boss at the bakery where he works. It is obvious that the conflict interracial white / black, it has caused a conflict of identity that disrupts your lifestyle. In the second phase
learn English, work in the Bowling Club, moved into an apartment with a friend so alienated as he, and, finally, he traveled to New York. It is here in this space alien, Roberto is going through a process of degradation tourist an immigrant becomes unemployed, then an impoverished illegal. Indifference and rejection is greater, because it is one of many "all source, language, race and pigmentation" (III, 83), who tries to live as a "Yankee" is not.
is why, in the third stage, somewhat disillusioned and becomes desperate to volunteer to fight in the Korean War. Roberto naively believe that this is the opportunity that will allow you to obtain citizenship, and integration work in a foreign country. But once again fate is against him: Bob Lopez has lost one point more than his name and life. So that its "pink dream" has turned into a "hellish nightmare" as announced from the beginning in the story.
addition, there are stories that deserve to be taken into account. For example, Queca represents the girl brought into the forms and values \u200b\u200bof a racist ideology, so she is the most prejudiced of the group. For the choice of suitors calls for a mechanism of racial and social discrimination and Sander Chalo "had lighter hair, ruddy complexion and [...] also studying in a college of American priests" (III, 75) and Billy Mulligan was "freckled, red [...]" son of a U.S. consulate "(III, 76). However, the fate of Queca holds its own as a story "inspirational" as Mulligan degrades man becoming a drunkard, abusive, unfaithful and player, while she will be her husband Irish pejoratively as "fucking cholo" (III, 85). Consequently, Queca is also the recipient of the social stigma and racial discrimination.
also José María Caballero, Roberto's friend, get rid of the death in action and return home maimed. In a way he has achieved what I desired, a prosperous economic situation thanks to the pension he receives. But it has also happened in a kind of regression, then "dusted now and clubfoot ever "(III, 85). If earlier he had undergone a bleaching process, now has come to accept their physical appearance. It is clear that the alienation it has a different origin, once saved the economic aspect has no meaning any concern about ethnicity.
Finally, Roberto Lopez is a character self-conscious about racial and social status. Before the mechanisms of exclusion and racist ideology, he opts for a process of depersonalization that leads to doom. That is ridiculous and even moralistic in its history, which is told in an ironic.

3. "Terra incognita": Stereotype racial
This is a story that draws much attention because of its ambiguity and sexual innuendos (Luchting, 1983). It focuses on the story of Dr. Alvaro Peñaflor, professor and scholar of classical Greco-Roman culture. Curiously his name, it alludes to a basic opposition strength / gentleness, establishing and doubt about the identity of the protagonist from the beginning.
heterodiegetic The narrator extradiegetic-linear account how a simple trip to the doctor Peñaflor performed in the vicinity of Lima, it becomes all "an exploration of the unknown" (III, 16). This is a double journey: a centrifuge, which confronted with external reality, and another, centrípedo that reveals his inner world hidden (Minardi, 2002).
To begin, Dr. Peñaflor is only two weeks ago, his wife and two daughters have gone on a "economic tour" (III, 15) to Mexico and the United States. One winter night I was reading Plato seems to hear an inner voice that invites you to leave your home, located on a hill in Monterrico. It is as if at once descended from an upper space and family to another, down and strange. Allowing you to move from a bookish intellectual and sensual worldly knowledge.
Here we see the person driving your car to Miraflores Search a restaurant that came when young, but this has changed by becoming a local louder than almost does not recognize. While drinking wine shows a lonely woman sipping ice, suddenly withdrew rejecting any possible rapprochement with him. After Salazar goes to the park where a girl look attentively pants and long hair, which is approaching being a teenager, then insults him by calling him "old." This step by the wealthy sector of the city and embellished, can be summarized in an experience that borders on deception, confusion and rejection. Dr. Peñaflor
After crossing the bridge over the Expressway, which connects Surquillo, an area socially and economically than you're used to. This is terra incognita to explore. There are two bars to visit, a most sordid and degrading than the other, representing the "kingdom of shadows" (III, 20). The first, called "El Triunfo", has much to do with the transgression he has done, and it has entered into "a den of cross bars and brawls" (III, 20), to drink beer. What is striking about this sequence is that the narrator appeals to classical allusions to describe the environment that surrounds the character, for example, "instead of sirens, shaggy and grim men drank beer" (III, 19), "was [.. .] the castaway looking terrified in the mist off the coast of the island of Circe "(III, 19)," satyrs hilar headed with his hand on his fly into a dark door "(III, 20), etc.
The second bar which you enter is "the bottle" and this is where the encounter occurs Aristogeiton Dr. Peñaflor nickname used to refer the caller to drinking a few drinks. This character is a black man, son of a humble cane cutter, whose job is to be a trucker. What really highlights it is his bulk and muscle, why is not casual repeatedly call "giant" giant "or" warrior. " Moreover, the image of the subject reveals afroperuano well constructed racial and social stereotypes, as it emphasizes physical appearance and their poverty at the same time it devalues \u200b\u200bthe intellectual character. In the conversation between them, for example, speaks of classical poetry Peñaflor black and responds only to a popular song.
We spent the most controversial sequence. The characters are moved to the house of Peñaflor and are located in the library, "the ideal refuge" (III, 15). This time the very explicit sexual advances, for example, the visitor is unfastened his shirt and exposes his chest, the doctor shows him a book containing a figure a naked man, drunk truck driver makes a joke obscene, vulgar, etc.
Later, when it is daybreak, the doctor wakes up black truck driver who has fallen asleep on the couch and suggests taking a shower in the bathroom, to overcome the hangover. After a while Peñaflor between nervous and curious: "He had to go with a big cloth and see the newly formed dark against the white majolica" (III, 25). The naked body of another creates a sense new to the doctor. But the scene is interrupted, sounding the horn of the taxi waiting outside the house. Peñaflor leads the visitor who is already dressed in the street and then closes the door "dual key" (III, 15).
Thus, the doctor who has led a life harmonious and endurable "(III, 19), for twenty years, discovered in the depths of his being repressed homosexuality. This becomes a threat, somehow breaks the image of himself until then, a married man and successful lawyer. The disturbance is extreme and ends up modifying his own world: "On his desk were stacked his papers on shelves all his books, his family abroad, inside his own effigy. But it was not the same "(III, 15).
As shown, the subject is the character Afro accessory, other than by ethnicity, social class and educational status. His description is obtained from a stereotyped image, stands out above all its corporeality. It is this image that fascinates and disturbs the white subject, represented by Dr. Peñaflor. In this sense, ethnicity and sex are the most significant elements in this story riberiano.


In conclusion
The short stories of Julio Ramón Ribeyro provides a critical and ironic view of contemporary Lima society in which conflicts are represented even interracial (white / black) and rejection / exclusion of Afro subject , discovered a racist ideology imposed by the ruling class largely discriminatory and prejudiced. Bibliography




Genette, Figures III Gerald
1989. Barcelona: Editorial Lumen.

GRAS
Dunia 1998 "'From modest color': Ethnicity and class in Julio Ramón Ribeyro narrative." Journal of Latin American Literary Review 48: 173-184.

LUCHTING, Wolfgang A.
1983 "The unspeakable in the work of Julio R. Ribeyro: 'Terra incognita'. " Socialism and Participation 22: 131-135.

MINARDI, Giovanna
2002 The short stories of Julio Ramón Ribeyro. Lima: Banco Central de Reserva del Peru - The cardboard house.

RIBEYRO, Julio Ramón
1994 The word dumb. Tales 1952/1993. 4 tms., Lima: Jaime Campodónico ed.

Ricoeur, Paul
1995 Time and Narrative II. Mexico: Siglo XXI Editores.

Theodosiadis, Francisco (comp.) 1996
Otherness "The (de) construction of the other? I as an object of the subject that I see as an object. Santa Fe de Bogotá: Cooperativa Editorial Magisterium.

VILCHEZ BEJARANO, Yuri
2002 "Alfredo, a character (in) significant. On the story "From modest color 'Ramón Ribeyro July. Critical finger 8: 7-20.


[1] The first story was published as part of the book The bottles and men (1964) and appeared in the last two Silvio in the Rose Garden (1977).
[2] extradiegetic-heterodiegetic The narrator is a narrator in the first degree which tells the story of which is absent. See G. Genette (1989: 299).
[3] extradiegetic-homodiegetic The narrator is a narrator in the first degree which tells the story of which is present as a character. Ver G. Genette (1989: 300).
[4] prolepsis The term is defined as telling by anticipation. See P. Ricoeur (1995: 505).

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Paper read on Friday, December 4, 2009, at the International Colloquium "Jullie Ramón Ribeyro: The word of the dumb", organized by the Center for Literary Studies Antonio Cornejo Polar (CELACP).

Clearing Out Baby's Throat

MAGAZINE CANVAS "TRIBUTE A

Over nearly three decades Canvas Magazine of the University of Lima has become one of the most important means to spread the art and culture in our country. In its pages brings together novelists, poets, artists, musicians, playwrights, and essayists and scholars from various disciplines in the humanities.

In its thirteenth edition, Canvas pays homage to Julio Ramón held 80 years after his birth, for one includes four essays (written by Jorge Eslava, Giancarlo Cappello, José Carlos López Degregori Guichen) dedicated to analyzing and commenting his work. The paintings

Elda Di Malio, accompanied by an article by Silvio Ferrari around the work of JRR, and an interview with Ricardo Silva Santisteban on his poetry.

creation in the poetry stand Eduardo Chirinos and the story "The dream woman" by Julio Mendivil. (First )

Symptoms Ofblack Death

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RIBEYRO RAMON JULIO Julio Ramón Ribeyro International Colloquium: The word of the dumb

International Symposium

"Julio Ramón Ribeyro: The word of the dumb "

3 and 4 December 2009

Lima, Peru

conference room

Center Antonio Cornejo Polar Literary Studies

Av Benavides 3074 / Ovalo of Higuereta. Miraflores

Program

Thursday, December 3

Inscriptions. 9:30 to 10:30 a.m..

Inauguration. 10:30 to 10:40 a.m.

Mg. Antonio González Montes, academic advisor

Keynote

10:40 to 11:30 a.m..

Ribeyro and "living stream" of Peruvian literature

Eva Maria Valero Juan

University of Alicante, Spain

Table 1. First sieges Julio Ramón Ribeyro

11:40 a.m.. - 12:30 pm

Hobbies and enthusiasm of the players ribeyranos and advanced stages of their lives

Melvin Ledgard

Pontificia Universidad Catolica del Peru

trap, escape and illusion

Ana Cristina Jutgla

University of São Paulo - USP / Brazil.

moderates: Elton Awards

recess

Table 2 Elements transgresivos and in subalternidad Ribeyro

3:00 to 4:00 pm.

Phylogeny of evil and fratricidal strife as signs of the end of the world in two Peruvian tales "Scorpio" by Julio Ramón Ribeyro and "The Scorpion Prince · of Clemente Palma.

Gonzalo Portals Zubiate

Scientific University of South

Consensus Creole, body and subordination in the short narrative Julio Ramón Ribeyro

Lucia Aliaga Wong

Pontificia Universidad Catolica del Peru

Julio Ramón Ribeyro and characters

Carlos Meneses

Moderator: Eduardo Huaytan

Table 3 marginal areas I

4:10 to 5:10 pm.

The struggle of the hegemonic and marginal compared to the description of reality "at the foot of the cliff" by Julio Ramón Ribeyro.

Jesus Salazar Franco Paiva

Pontificia Universidad Catolica del Peru

parental ties as a metaphor for a nation split in some tales Ribeyro

Eduardo Huaytan

Universidad Mayor de San Marcos

Humor, irony and satire in riberiana storytelling

Maria Natalia Rebaza Wu

Universidad Privada Antenor Orrego - Trujillo

Moderator: Jesus Zavala

Table 4 European Perspectives

5:20-6-30 pm.

What fantastic tales Julio Ramón Ribeyro

Weitzdorfe

Ewald

University of Kempten, Germany

Towards a characterization of the crime novel

Jose Valles Calatrava

University of Almería, Spain

From "borgate" by Pier Paolo Pasolini on the slums of Julio Ramón Ribeyro

Maria Antonietta Tamburello

Ministry of Foreign Affairs of Italy

Moderator: Elton Honors

Table 5 and memory artist

6:40 to 7:40 pm.

The condition of the artist in "Away for an indefinite period" of Julio R. Ribeyro and "demon alcohol" Felipe Buendia.

Honors Elton

Universidad Nacional Mayor de San Marcos-

Universidad San Ignacio de Loyola

The biography in works of fiction Ribeyro

Jorge Coaguila

Universidad Nacional Mayor de San Marcos

May 1940: the memory space

José Rodríguez Güicho

University of Lima

Moderator: Juan Whose

Friday, December 4

Table 6 marginal spaces II

9:00 to 10:10 a.m..

great thing, fate and the artist: reading suggestions about minicuento and short story riberyanos

Christian Alexander Elguera Olórtegui

National University of San Marcos

Peruvian Center for Cultural Studies

Law and Literature: Conflict vocational The elves Sunday

Jorge Ramos Cabezas

National University of San Marcos

"The dust of knowledge": the curse I longed to meet in a tale of Julio Ramón Ribeyro

Germain Atoche Intiso

Universidad Ricardo Palma

"Logo" from the lens of realism Magic.

Richard Solano Mollehuara

Pontificia Universidad Catolica del Peru

Moderator: Juan Carlos Gaspar

ribeyrianas Nations Table 7

10:20 am. -11:30 Am.

perversion and repression: two sides of the dictatorship in Changing of the Guard

Motato C. Hernando

Industrial University of Santander (Bucaramanga) - Colombia.

Hermeneutics of the newspaper. Julio Ramón Ribeyro in the literary canon

Sandra Granados

Universidad Nacional Federico Villarreal

bourgeois Portrait Stories teen santacrucinos

Prado Agustin Alvarado

Universidad Nacional Mayor de San Marcos

Ribeyro Julio Ramón and his innovations in narrative technique of the 50

Eduardo Huarag

Pontificia Universidad Catolica del Peru

Moderator: Gonzalo Cornejo

Keynote

11:40 a.m.-12: 30 pm .

memory words. Julio Ramón autobiographical writing Ribeyro

Crisanto Pérez

University of Piura

Video projection

12:30 to 12:45 p.m..

Julio Ramón Ribeyro: the word eloquent
Dir: Katherine Duran, Arianna Castañeda and Angela Moon

Break

marginal spaces III Table 8

3:00-4:00 pm.

Reception Lima the horrible Sebastian Salazar Bondy and the concept of the Colonial Arcadia as critical to the idea of \u200b\u200bmodernity

Mario Granda Rangel

Antonio Ruiz de Montoya University

Universidad San Ignacio de Loyola

Towards a classification of fairy tales JR Ribeyro

Nehemiah Vega

Universidad Nacional Mayor de San Marcos

Julio Ramón To read Ribeyro

Nestor Tenorio Requejo

Universidad Nacional Pedro Ruiz Gallo, Lambayeque

Modera : Cesar Espinoza

Peruvian Narrative in the 50

4:10 - 5-00 pm.

Participants: Manuel Velasquez Oswaldo Reynoso Rojas and

Moderator: Elton Honors

Table 9 Representations and reminiscences in Ribeyro

5:10-6.20 pm.

Reminiscences of Ricardo Palma in July Ramón Ribeyro

Irene Cabrejos

Instituto Riva Agüero, Pontificia Universidad Catolica del Peru

The representation of the Afro in the narrative of Ribeyro

Milagros Carazas

Universidad Nacional Mayor de San Marcos

Subject individuality and poetic narrative in three stories of Julio Ramon Ribeyro

Sonia Luz Carrillo Mauriz

National University of San Marcos

Moderator: Nehemiah Vega

Keynote

6:30 to 7:10 pm.

Julio Ramón Ribeyro, literary artist

Carlos Eduardo Zavaleta

Universidad Nacional Mayor de San Marcos

Closing :

7:10 to 7:20 pm.

honor toast.

Institutions represented

Universidad Nacional Mayor de San Marcos

Pontificia Universidad Catolica del Peru

Universidad San Ignacio de Loyola

University of Lima

Universidad Nacional Federico Villarreal

National University Pedro Ruiz Gallo, Lambayeque

Universidad de Piura

Antonio Ruiz de Montoya University

Universidad Privada Antenor Orrego - Trujillo

Universidad Ricardo Palma

Scientific University of South

Riva Agüero Institute

Peruvian Center for Cultural Studies

Universidade de São Paulo - USP / Brazil.

Industrial University of Santander (Bucaramanga) - Colombia.

University of Alicante, Spain

University of Almería, Spain

University of Kempten, Germany

The organizing committee

Gonzalo Cornejo

Literary Studies Center Antonio Cornejo Polar

Jorge Coaguila

Universidad Nacional Mayor de San Marcos

Honors Elton

Universidad Nacional Mayor de San Marcos

Universidad San Ignacio de Loyola

Academic Advisory

Antonio González Montes

Universidad Mayor de San Marcos National

Sponsors:

Universidad Nacional Mayor de San Marcos

EAP Literature

Organization:

Literary Studies Center
Antonio Cornejo Polar Av Benavides 3074 / Ovalo of Higuereta / Miraflores Phones: 449-0331 / 216-1029
Mail: celacp@wayna.rcp.net.pe Web: http: / / celacp.perucultural.org.pe

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The temptation to Ribeyro (article Peru.21)

article appeared in the Lima newspaper Peru 21, the 30th of August. Article in tribute to the 80 anniversary of his birth.

LINK TO PDF.

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The temptation to Ribeyro (article Peru.21)

article appeared in the Lima newspaper Peru 21, day 30 August. Article in tribute to the 80 anniversary of his birth.

LINK TO PDF.

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REGION REGIONAL CAMPAIGN FOR RESPONSIBLE USE OF WATER

YOUNG DELEGATION OF GAM, GUARDIAN AND REGIONAL COORDINATION ARE INVITED TO THE GRAND CLOSE REGIONAL CAMPAIGN NOT LET YOUR IDEAS FLOWING WATER "WILL EXHIBITIONS, THEATRE, ROCK GROUPS, FORUMS ON WATER SAVING, AND MORE .... ...

Join us this Saturday 28 NOV. FROM ONE OF THE AFTERNOON.

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LISTENING TO YOUNG PEOPLE OF OUR REGION IN RADIO INTERNET FIESTA

GUSTAVO A. THE REGION MADERO
INVITES YOU TO LISTEN TO THE YOUTH OF OUR REGION.

IN THE INTERNET RADIO

SEND U.S. YOUR COMMENTS, YOUR HOME AND EVERYTHING you can think JOKES, STORIES, SONGS ... ETC ... ETC ...


SEND TO ALL YOUR CONTACTS TO LISTEN AND WE WILL BE THE BEST
YOUTH INTERNET RADIO

LISTEN EVERY FRIDAY FROM 3 TO 5 PM IN:

www.radiostm.listen2myradio.com

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2009 LAST WILL SEE IJDF SONIDERAS

THE LAST PARTY OF 2009 WILL SONIDERAS

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THE INTERNATIONAL CONTEST

INSTITUTE MEXICO CITY YOUTH CONTEST WILL SEE CAPOEIRA 21 AND 22 NOVEMBER ON THE FIFTH FLOOR. HOPE YOU CAN COME AND BE PART OF THIS GREAT ACTIVITY .

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CAPOEIRA AND YOU CAN ENROLL IN COLLEGE IF

were informed TOD @ S L @ S YOUNG AND GUARDIANS OF THE REGION TO OPEN THE SYSTEM "UNIVERSITY IS" AND IS ONLY THOSE THAT WERE YOUNG BENEFICIARIES UNDER THE PROGRAM IF PREPA the high school level and continued his studies at the UNAM, IPN, UAM, UPN AND UACM .

For more information consult

www.prepasi.df.gob.mx

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MEETING NOVEMBER 5

INFORM YOU ALL OF THE REGION VOLUNTEER TUTORS GUSTAVO A. MADERO TO THIS THURSDAY, NOVEMBER 5 HAVE A MEETING WITH THE DIRECTOR GENERAL OF THE INSTITUTE, THE APPOINTMENT IS NOVEMBER 5, 5PM 5TH FLOOR.

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FREE ENTRY AND GUARANTEED FUN

!!!!! TE ESPERAMOS !!!!!

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CONCEPT PARTY DJ NOW OPEN ENROLLMENT WORKSHOPS TO CAUSE YOU

Cultural workshops
Call Period October-December 2009 Workshop Home
week of 12 to 16 October
Senior Year 2009 December 10, 2009
Registration of October 5 to October 9, 2009 and
All interested in attending the workshops do register at:
East 85 # 2822, Corner of North 56-A, November 7 colony, Delegación Gustavo A. Madero.
Tel 55 51 64 09
Registration Hours: Monday to Friday from 10:00 to 13:00 and 16:00 to 19:00 hrs.
Please attend with your credential from the Institute of Youth D. F and name of your tutor

Serigraph

Tuesday and Thursday 12:00 to 14:00

Radio Production and Direction

Wednesday 16:00 -19:00

video production and graphic realization

Tuesday 15:00 -19:00


Hydroponics

Monday
15:00 to 19:00

Kitchen

Wednesday and Thursday 16:00 to 18:00

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CITIZEN Party Guest DAY OF THE DEAD

WE INVITE YOU TO COME AND COSTUMES A FUN WITHOUT ALCOHOL AT THE PARTY, HOPE YOU .

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VIDEO ON CONDOM USE OF YOUTH AWARD

video on the proper use of condom, check it out and apply it all.

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DF 2009

CALL

The Federal District Government, through the Youth Institute of the Federal District, in accordance with the provisions of Articles 49, 56, 76, 77, 78.79, 80, 81.82 , 83, and 84 of the Law on Youth and the Federal District and in order to recognize and strengthen the activities of Federal District youth individually or collectively, and to promote and strengthen youth participation in speech and academic, scientific, professional, cultural, artistic, sports, environmental, civic merit and social work, allowing their individual and his community. SUMMONS

young residents of the Federal District, organizations and youth groups to submit their nominations for the Youth Award of the Federal District, same that will be evaluated under the following:

BASESPrimera .- The three distinctions this award, which can participate individually or collectively, are: l.
Merit civic, environmental and social work.
II. Academic, scientific or professional.
IlI. Cultural, artistic or sports.

Second .- The selection of records will be through the analysis of relevant experience in each of the following distinctions:
I. CIVIC MERIT, ENVIRONMENTAL AND SOCIAL WORK. Outstanding activities designed to improve and intensify relations between citizens and authorities, and facilitate the exercise of public function in response to the community by promoting the organization of the community. Promoting awareness, exercise and / or respect for the rights and obligations of citizens. Relevant participation in print media, radio, television and / or film, in terms of their professionalism, innovation, content social and / or disclosure of Mexican values. Activities that demonstrate their sense of social solidarity and that will translate into improved living conditions of groups, communities or society in general as well as the heroic actions of civil protection and attention to vulnerable groups.
II. ACADEMIC, SCIENTIFIC AND PROFESSIONAL 1. Exemplary academic background, preparation of research or scientific studies, publication of books and scholarly articles, lectures, speaker at scientific exchanges and awards received. 2. Teaching assignments at various levels of education for the community and the responsibilities that go beyond cotidianas.Actividades relevant awareness, rescue, protection, rational use and development of ecosystems essential for sustainable development (land, water, air, flora, fauna) including control and treatment of waste.
III. CULTURAL, artistic or sports. Remarkable and original artistic expressions in the areas of visual arts (visual arts, film, video, photography, design), dance, literature, music, singing, drama, in its various genres.

Third .- All candidates to the Youth Award of the Federal District will be evaluated under the following guidelines.

* have excelled in any activity established in this call so that your conduct or cause enthusiasm dedication and admiration among his contemporaries and inspiring example to be considered.
* Your work must have been for the benefit of their community, delegation or Mexico City.
* His awards or activities shall not be later than three years.
* It may contend individually or collectively in a CategoryA)

14 to 29 years to the date of closing of the convocatoria.Se award a prize for distinction.

CHARACTERISTICS OF AWARDS.

GANADORMERITO DISTINCTION AWARD FOR CIVIC, ENVIRONMENTAL AND SOCIAL WORK FIRST
$ 30,000.00
SECOND PLACE $ 15,00.00
THIRD PLACE $ 7,500.00 ACADEMIC,

or professional
FIRST $ 30,000.00
SECOND PLACE $ 15,00.00
THIRD PLACE $ 7,500.00

cultural, artistic SPORTS
FIRST $ 30,000.00
SECOND PLACE $ 15,00.00
THIRD PLACE $ 7,500.

Fourth .- Requirements for registration.

INSCRIPCIONPara to register individually or collectively Youth Award of the Federal District must meet the following requirements and delivered at the Youth Institute of the Federal District (Mexico Calz. Tacuba No. 235 Col. A Home for Us , Delegación Miguel Hidalgo) from this date until December 3, 2009, the following documents:


Requirements 1. Being a native of Mexico City-born or have resided in the same at least five years prior to filing of the application.
2. Between 14 and 29 years from the date of closure of the call.
3. Have distinguished themselves in some of the areas to compete.
4. Authenticity in the information provided. Documentation


1. Registration Card according to the official registration forms, individual and group available on the website of the Institute www.jovenes.df.gob.mx Youth
DF 2. Original (I) of the letter (s) proposal (s) issued by a (s) of institutions, agencies, departments or groups identified in the notice, or in case of not having the proposal at the applicant may propose themselves, according to the official registration forms, individual and group , available on Web pages www.jovenes.df.gob.mx Youth Institute.
3. Photocopy of proof of personal identity of each candidate or a member of a group: Minors: credential or accreditation of your school and / or Passport. Adults: Voter Registration Card, passport, military or Driver's License.
4. Original curriculum vitae, which should include name, date and place of birth, home address, number (s) Phone (s) of contact, e-mail, educational background, professional education, courses, workshops, courses and seminars, indicating date, school or institution, and place where they were made, awards and / or awards received, and occupation (s) and activities to register the application. If group, present their history and the executive resumes each of its members in the terms described.
5. Original sketch of the candidate or group of candidates.
6. Copy of birth certificate or naturalization papers, the candidate or each of the members of a group.
7. Copy of proof of residence.
8. Copy or duplicate of the printed records and library materials, audio, graphics, documents and other evidence showing the grounds on which it is considered that the candidate can earn the award.
9. The Technical Secretariat shall, therefore, acceptance or inadmissibility of the proposals, in order to put in a state resolution to integrate records to the awarding of the prize.

The documentation and materials that are sent to the Technical Secretariat for Youth Awards, specify if your character is public or confidential under the Federal Law of Transparency and Access to Public Government Information, and may be recovered, except documentation and materials to the winners, within thirty days after the award by written request participants.

Fifth .- Selection criteria Only those applications that meet the general guidelines of the call can compete and be evaluated by the Jury. The determination of the Prize, the Jury will be conducted at the meeting who, will, give an opinion and vote with the majority of its members, and that their decisions are taken by majority vote, and in case of a tie, the Chairman shall have a casting vote. Sixth .-

operating mechanism. The Board of Governors of the Institute for Youth Federal District is the body responsible for issuing the call, bases and instructions for participation of individuals and groups that their work could be done to premio.b creditors. Is chosen and a Technical Secretariat responsible for the receipt of the documents that will validate whether or not the registration of participantes.c. Establishing a body responsible for evaluating proposals for this award, called the Jury [1], which shall consist of: 1. The Director of the Youth Institute of the Federal District or a representative. 2. The President of the Youth Commission of the Federal District Legislative Assembly. 3. The Rector of the Universidad Nacional Autonoma de Mexico, or a representative. 4. The Rector of the Autonomous University of Mexico City or a representative. 5. The Director of the Instituto Mexicano de la Juventud, or a representative. 6. Three Members of the Legislative Assembly elected in Pleno.d. The President of the Jury shall be the Chairman of the Committee on Youth of the Federal District Legislative Assembly, who will be responsible for convening the discussion sessions. [2] e. The Institute Youth of the Federal District will be responsible for establishing distribution channels and promotion agencies and entities of public administration, in houses of culture, media, etc. The Technical Secretariat receives proposals in this day marks the announcement and focuses on the Youth Institute Federal.f District. The jury will meet to argue, take, give an opinion and vote with the majority of its members, its decisions are taken by majority vote, and in case of a tie, the Chairman shall have a casting vote. [3] g. The jury shall be as follows [4]: \u200b\u200bI. Subject to the frequency of its meetings, who ruled themselves according to the minutes. II. Compile formulate opinions. III. Authenticate the signature of its members opinions issued and turned over to the Governing Board of the Institute of Youth in Mexico City. IV. Consider whether the nominations are complying with the characteristics required in this call for the awarding of the prize in some or all distinctions. V. Jury members are obliged to maintain confidentiality on matters they know in the exercise of their functions. [5] VI. Declare the prize void where they deem pertinente.h. Award District Youth Federation will be delivered in a solemn session to be held, with this single object, in the month of January each year, the venue will be determined by government authorities Federal.i District. The Youth Institute of the Federal District, made public in electronic media and the name of this young creditors premio.TRANSPARENCIA.La jury's evaluation will be based on general guidelines exclude mark this convocatoria.Se participation of officials of the Institute of Federal District Youth, their first-degree relatives, and those who are part of the Committee Organizado.DERECHOS And OBLIGACIONES.La participation in various events of this area is determined in accordance with the call to that effect is issued, and the participant must adhere to the requirements outlined in the misma.QUEJAS And DENUNCIAS.En cases of disagreement, complaints, suggestions or complaints filed regarding the operation of the program, they may be presented in the offices of the Institute for Youth Federal District, located in Calz. Mexico Tacuba No. 235 Col. A Home for us Delegación Miguel Hidalgo, CP 11340, Phone 53417488, 53422362. [1] Law and Youth of the Federal District, Title Five, Chapter One, The Youth Award of the Federal District, Article 78 [2] Ibid [3] Law on Youth and the Federal District, Title Five, Chapter One, Youth Award of the Federal District, Article 79 [4] Law and Youth of the Federal District, Title Five, Chapter One, The Youth Award of the Federal District, Article 80 [5] Law on Youth and Federal District, Title Five, Chapter One, The Youth Award of the Federal District, Article 81