"Tunear" los libros: series, fanfiction, blogs y otras prácticas emergentes de lectura

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La tesis del artículo es que ni las políticas comerciales
y mediáticas ni el uso de estereotipos propios
de la paraliteratura explican del todo el auge
actual de la ficción fantástica entre los jóvenes,
sino que ello está muy relacionado con las nuevas
prácticas culturales de la lectura y con géneros
muy próximos a la narrativa posmoderna, como las
sagas o series novelescas fantásticas.
A partir del análisis de estas producciones, se
describen sus componentes básicos, así como su
repercusión sobre los conceptos clásicos de “obra” y
“autor” y su relación con prácticas culturales como
el “fanfiction” o los “blogs”. Sobre el fundamento
de conceptos como “transficcionalidad”, se indagan
los nuevos modos de lectura apropiados para estas
narraciones seriales, volcados más hacia una lectura
extensiva y multimedial. Igualmente, son analizados
los procedimientos de creación de estas mitologías
modernas a partir de patrones folklóricos conocidos
(cosmogénesis).
Publicado el : domingo, 01 de enero de 2006
Lectura(s) : 43
Fuente : OCNOS: Revista de Estudios sobre Lectura 1885-446X (2006) Num. 2
Número de páginas: 15
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Cette publication est accessible gratuitement

MARTOS NÚÑEZ, ELOY
“Tunear los libros: series, fanfiction,
blogs y otras prácticas emergentes de
lectura”, en Revista OCNOS nº 2, 2006,
p. 63-77. ISSN 1885-446X.
ef Fy
PALABRAS CLAVE: RESUMEN: ABSTRACT:
Series literarias, Transficcionalidad, La tesis del artículo es que ni las políticas comer- The thesis of the article is either the trade
Literatura Fantástica, Mitología. ciales y mediáticas ni el uso de estereotipos propios policies and mediatics not even the use of ow
de la paraliteratura explican del todo el auge stereotypes of the paraliterature they explain
actual de la ficción fantástica entre los jóvenes, completely the current summit of the fantastic
sino que ello está muy relacionado con las nuevas fiction between the young people, but it is very
KEYWORDS: prácticas culturales de la lectura y con géneros related to the new cultural practices of the reading
Literary series, Transficcionality, muy próximos a la narrativa posmoderna, como las and to genres very close to the postmodern
Fantastic Literature, Mythology. sagas o series novelescas fantásticas. narrative, as the sagas or fictional fantastic series.
A partir del análisis de estas producciones, se From the analysis of these productions, its
describen sus componentes básicos, así como su basic components are described, as well as its
repercusión sobre los conceptos clásicos de “obra” y repercussion on the classic concepts of “work” and
“autor” y su relación con prácticas culturales como “author” and its relation with cultural practices
el “fanfiction” o los “blogs”. Sobre el fundamento as the fanfiction or the blogs. On the foundation
de conceptos como “transficcionalidad”, se indagan of concepts as “transficcionality”, there are
los nuevos modos de lectura apropiados para estas investigated the new manners of reading adapted
narraciones seriales, volcados más hacia una lectura for these serial stories, overturned more towards
extensiva y multimedial. Igualmente, son analizados an extensive and multimedial reading. Equally,
los procedimientos de creación de estas mitologías there are analyzed the procedures of creation of
modernas a partir de patrones folklóricos conocidos these modern mythologies from folklore bosses
(cosmogénesis). acquaintances (cosmogenesis).
Introducción: el auge de la mp ef mb mf
literatura fantástica y las nuevas
uu bmprácticas culturales No es un hecho aislado, ocurre con
muchas otras sagas o series, como
“Crónicas de Narnia”, “Dragonlance” e ef mb
incluso títulos y autores muy jóvenes,
como es el caso de C. Paolini con su
Eragon o, en España, Laura Gallego.
En todos ellos las ventas masivas
contradicen el supuesto desinterés por
la lectura.
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1. Los conceptos de “narración
serial”, “fanfiction” y “blogs”
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Murcia. Murcia: Universidad de Murcia.
En terminología de Joëlle Bahloul gv
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Literatura fantástica, literatura in-
fantil, para jóvenes, narrativa juvenil...
p! m! p! o! t! t! z! son muchos los nombres o etiquetas
que han llevado a la formulación
paradójica de G. Martín Garzo, en de-
claraciones a El Mundo, 12 de enero de
us ej ujo
2004 “…como alguna vez dijo alguien,
la literatura infantil es esa que tam-
kv -! p! bu t! p! z! bién pueden leer los niños”. Y es que
trazar lindes es siempre conflictivo, por
eso la buena literatura –y más la de
carácter fantástico– siempre termina
atrayendo al público infantil, que de
tp una forma u otra se apropia de ella, es
dp nb algo que viene ocurriendo desde Los
Viajes de Gulliver.
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