Hardboiled Argentine History: The Dialectical Turns of Self-Deception in Ernesto Mallo's La aguja en el pajar.
This article examines Argentine Ernesto's detective novel La aguja en el pajar (2006). We consider specifically the novel's use of noir narrative tropes to explore Argentine history, particularly the trajectory of the military whose efforts at total dominion ultimately precipitated their own downfal...
| Publicado en: | Hispanófila Vol. 203; pp. 129 - 144 |
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| Autores principales: | , |
| Formato: | Artículo |
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University of North Carolina Press
Spring2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=186415806&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 186415806 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00182206 2JM jtl: Hispanófila issn: 00182206 maglogo: N pubinfo: dt: Spring2025 vid: 203 pid: 2027 pub: University of North Carolina Press artinfo: ui: 186415806 10.1353/hsf.2025.a963616 ppf: 129 ppct: 15 formats: fmt: – @attributes: type: T – @attributes: type: P size: 372KB tig: atl: Hardboiled Argentine History: The Dialectical Turns of Self-Deception in Ernesto Mallo's La aguja en el pajar. aug: au: Larson, Erik Adams, Glade affil: Brigham Young University Temple University sug: keyword: Argentina dictatorship Mallo noir Novela Negra ab: This article examines Argentine Ernesto's detective novel La aguja en el pajar (2006). We consider specifically the novel's use of noir narrative tropes to explore Argentine history, particularly the trajectory of the military whose efforts at total dominion ultimately precipitated their own downfall. By so doing, the novel poses the last 50 years of Argentine history as a noir novel in itself, one chock full of dialectical turns and epistemological undercutting. We draw upon Fabio Vighi's theoretical analysis in Critical Theory and Film: Rethinking Ideology through Film Noir (2012) which posits noir narrative as dialectical: the more the antihero schemes, the more he becomes prisoner to his own scheming. Read in this manner, noir narratives have everything to do with self-deception. Mallo's novel similarly explores self-deception as the materia prima of history, as the at-times misguided obsessions that precipitate tragedy, or as utopian dreams for which one is hard-pressed to relinquish, and which sometimes allow one to survive in the midst of state sanctioned violence or bureaucratic corruption, as we see through the heroism of Mallo's hard-boiled detective, Comisario Lascano. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Hispanófila is the property of University of North Carolina Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Hispanófila holder: University of North Carolina Press dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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