科研之友
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摘要
Mercedes Pinto＊s itinerary took her from the Canary Islands, where she was born, to Mexico, after a passage through Uruguay. She first met success through her writings and cultural activities, and was then forgotten. However, her book 每published in Montevideo in 1926每 was adapted for the cinema by Luis Bu uel in 1952, and the film gave new life to this autobiographical ※novel§ He. If self-fiction prevails in the literary work, with the clear commitment of a feminist who takes a stand in favour of freedom 每the freedom to divorce in that case每, in Bu uel＊s Mexican film the study of the clinical case of paranoia acquires a new form of complexity. The attack on a parasitic bourgeoisie is united to the subversion of the melodramatic genre, with a false happy end which distorts established codes and lets the principle of doubt impose itself. In the same way the exploration of sexual roles, heir to the surrealistic trend, is devoid of any manichean simplification and stands out as a fascinating object for any hermeneutic approach. Mercedes Pinto, cuya trayectoria se desarroll車 desde Canarias, su tierra de nacimiento, hasta M谷xico, pasando por Uruguay, conoci車 el 谷xito por sus escritos y actividades culturales y luego qued車 sumida en el olvido. Sin embargo, la adaptaci車n de su ※novela§ autobiogr芍fica 谷l (Montevideo, 1926) a la gran pantalla por Luis Bu uel en 1952, le depar車 otra vida al libro. Si en la obra literaria prevalece la autoficci車n y su claro compromiso feminista a favor del divorcio, adquiere nueva complejidad en la pel赤cula mexicana de Bu uel el estudio del caso cl赤nico de la paranoia. Al ataque a una burgues赤a parasitaria se une una subversi車n del g谷nero del melodrama, cuyo falso final feliz pervierte los c車digos establecidos, dejando que se imponga el principio de duda. Asimismo, la exploraci車n de los roles sexuales, heredera de la corriente surrealista, reh迆ye toda simplificaci車n maniquea y se afirma como objeto fascinante para toda labor hermen谷utica.
