December 2009

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but since arriving embodies the representation of the excluded: not dance or talk with the girls, her taste in music is outdated and has no money.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).

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).

⁞•⁞ Kɒwɑii ☆ Curiositieƨ ⁞•⁞ ▬ ♫۰۰just For Your Fuᴎ۰۰♪

Monday, December 28, 2009

Chikan In Japanese Trains

individual and poetic

When using the information, please cite the source.

[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.

[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

Saturday, December 12, 2009

Diy Belt Display Ideas

Wednesday, December 9, 2009

Clearing Out Baby's Throat

Monday, December 7, 2009

Symptoms Ofblack Death