Poética y canon de la narrativa fantásticaClaves para el análisis de sus textos en el ámbito de la didáctica de la literatura

Zusammenfassung

The following article offers the keys for the analysis of texts of the fantastic narrative as well as the proposal of a literary corpus or, in other words, of a group of works that, in their formal and argumental development, have established and consolidated the conventions of a genre whose origin we can trace in the second half of the nineteenth century, which has had a remarkable development in the twentieth century and which is in good health today. Given that there is a clear theoretical indeterminacy with respect to the definition of the essential features of the genre and what works it is made up of (Güemes, 2016), it is advisable, before stating what the objective of our article is as well as explaining what the conclusions have been to which we have come after our research, provide a definition that clarifies what gender we are referring to with the expression ‘fantastic narrative’. Accordingly, we will specify that with ‘fantastic narrative’ we point to a modern narrative genre that, in its configuration, establishes architextual, hypertextual and intertextual relationships with other genres and works of the textual tradition giving rise to a series of stories characterized by developing in worlds of non-credible fiction (Albadalejo, 1998) around one or several fantastic elements, whose function in the story is central, taken from the mythology and / or the tradition of different peoples and cultures. According to this definition, elaborated in the light of the historical-compared, semiotic, and narratological study of the works, this article aims, on the one hand, to provide the teacher with an analysis tool suitable for working in the school environment with the texts that bring together, in addition to the characteristics set forth in this definition, the nineteen features that we mention in this article as belonging to the fantastic narrative, on the other hand, to provide the compendium of works that have served to fix the conventions of the genre and that we distribute in three historical stages of authors, all this, with the purpose of establishing different strategies of literary competence, with special emphasis on the enrichment of the intertext of the reader (Mendoza, 2004) of the students of the last courses of Primary Education, of the first of Secondary Education and, even, of the students of the Baccalaureate stage. As we will show, the conclusions that emerge from the implementation of our model are the following: first, the fantastic narrative is a specific literary genre with a long tradition of texts that has been evolving until today leaving a strong imprint on the culture popular, in second, their texts support a systemic analysis that allows defining and delimiting a series of characteristic features and, also, different from those of other genres that incorporate ‘the fantastic’ (Propp 1971, Todorov, 1980), finally, his architextual, hypertextual (Genette, 1989) and intertextual (Mendoza, 2001) character puts the recipient of his works in contact with essential elements of our culture and with textual models consecrated in the literary tradition, which demands a competent reader involved in the reader process.