The Emancipation

To undo or recompor the plot is about the spalling of the narrative, peculiar estilstico trace of the new literature, that as much can be seen in alegrica perspective of consequence of the complex spalling of the new reality, how much of an attitude of the artist in assuming itself limited to give alone account of the romanesca suprareality, trusting to the reader/listener the function of copartcipe of the creative act, being able to command the ficcionais facts intellectually reports. Having still as focus the aesthetic characteristics of this new narrative we can observe the metaficcional process as being of vital importance for the current texts. The romance starts to be a deliberate imitation of the romance, the literary sorts or of any another text that can serve to it of base. That is, it is the hour and the time of the metafico, literature on literature, text that its fraud displays and renega the ilusionismo. Inside of this metaficcional trend we have the burlesque one, that he is I exaggerate it comic actor. Being considered for some as lesser sort, thematic way or narrative style, the burlesque one is, according to Saints (1995, p.63): A parody device that makes to laugh for the incongruncia between the deep one and the form.

To make to laugh, the burlesque one convokes would lower it to all: sex, violence, drugs, madness, perversion, escatologia? the part cursed with which after-modernismo without illusions before the technological society, desanca the Iluminista project in its belief in the emancipation of the man for the knowledge and the progress. In this same track, the burlesque one is still the intertextual bridge for where the authors after-modern cross the irrigation ditch (well modernista) between cultured art and art of mass. The metafico, having as the one of its characteristics burlesque one, intends to be a new epistemologia literary, a desmascaramento of the unbroken kept ficcionais conventions for the proper Modernismo.

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