LA NOVELA POLICIACA DE HUMOR ESPAÑOLA COMO ESTRATEGIA PARÓDICA (1900 – 1936)
Manuel Martínez Arnaldos
Resumen
Ante el auge de la novela policiaca en Europa y Estados Unidos, entre 1900 y 1936, es de observar la escasa atención creadora que los escritores españoles prestan al género policiaco. Son las traducciones de obras de autores extranjeros las que predominan en el panorama español. Sin embargo, en proporción, es abundante el número de autores españoles (J. Belda, W. Fernández Flórez, E. Jardiel Poncela, etc.) que parodian, mediante diferentes registros del humor, al género policiaco en boga. Y desde esta perspectiva tratamos de exponer, en función de diversos ejemplos textuales, cómo la novela y la novela corta de humor policiaco abren nuevas vías para una mejor interpretación teórica y crítica del relato estrictamente policiaco; de sus ingredientes, arquitectura y configuración. A la vez que la intención paródica, la sátira y la ironía, junto a otros recursos retóricos, goznes sobre los que se articula el humor policiaco, devienen en factores que revelan, o están latentes, en una mayor o menor incidencia en el género propiamente policiaco.
ABSTRACT
In view of the boom in detective stories in Europe and the United States between 1900 and 1936, it should be noticed the little creative attention paid to this genre by Spanish writers. In fact, the translations of foreign authors’ books are those prevailing in the Spanish market. Yet, in proportion to them, Spain is rich in authors (J. Belda, W. Fernández Flórez, E. Jardiel Poncela, etc.) who parody, through different registers of humour, the growing detective genre. From this perspective, and basing our study in several text samples, we try to explain how comical detective stories and short stories open new ways for a better theoretical and critical understanding of detective stories in general; of their ingredients, their architecture and their configuration. At the same time, the parodic intention, the satire and the irony, among other rhetorical resources – hinges on whom the detective humour turns –, become factors that reveal, or are latent, to a bigger or lesser extent, in the detective genre.
ABSTRACT
In view of the boom in detective stories in Europe and the United States between 1900 and 1936, it should be noticed the little creative attention paid to this genre by Spanish writers. In fact, the translations of foreign authors’ books are those prevailing in the Spanish market. Yet, in proportion to them, Spain is rich in authors (J. Belda, W. Fernández Flórez, E. Jardiel Poncela, etc.) who parody, through different registers of humour, the growing detective genre. From this perspective, and basing our study in several text samples, we try to explain how comical detective stories and short stories open new ways for a better theoretical and critical understanding of detective stories in general; of their ingredients, their architecture and their configuration. At the same time, the parodic intention, the satire and the irony, among other rhetorical resources – hinges on whom the detective humour turns –, become factors that reveal, or are latent, to a bigger or lesser extent, in the detective genre.
relato policiaco, intención paródica, humor, ironía, retórica, detective stories, parodic intention, humour, irony, rhetorica.
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