La música como posible relato en tres novelas colombianas contemporáneas de música dura
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El trabajo realiza un ejercicio de interpretación de las novelas: ¡Qué viva la música! (1977), Conciertos del desconcierto (1981) y Opio en las nubes (1992) bajo el enfoque sociocrítico en el que el problema de las axiologías sociales es determinante. Las tres obras tienen en común que aparecen a finales del siglo XX en Colombia y que se estructuran alrededor de la música, las drogas y la marginalidad.
Abstract This dissertation tries to make an interpretation of the novels: ¡Qué viva la música! (1977), Conciertos del desconcierto (1981) and Opio en las nubes (1992) under the sociocritic approach in which the concept of axiology is a foundation. These novels all have in common that they came up in the late XX century in Colombia and are structured by themes of drugs, marginality and decay. The category of hard music novels is introduced as a critical approach which allows explanation, interpretation and evaluation of this kind of literature in an integral way, trying to maintain the aesthetic specificity of the literary object.
Abstract This dissertation tries to make an interpretation of the novels: ¡Qué viva la música! (1977), Conciertos del desconcierto (1981) and Opio en las nubes (1992) under the sociocritic approach in which the concept of axiology is a foundation. These novels all have in common that they came up in the late XX century in Colombia and are structured by themes of drugs, marginality and decay. The category of hard music novels is introduced as a critical approach which allows explanation, interpretation and evaluation of this kind of literature in an integral way, trying to maintain the aesthetic specificity of the literary object.