{"id":2368,"date":"2023-10-11T06:26:02","date_gmt":"2023-10-11T04:26:02","guid":{"rendered":"https:\/\/fima.ub.edu\/edl\/el-cuerpo-del-delito\/"},"modified":"2026-03-04T14:15:14","modified_gmt":"2026-03-04T13:15:14","slug":"el-cuerpo-del-delito","status":"publish","type":"post","link":"https:\/\/fima.ub.edu\/edl\/el-cuerpo-del-delito\/","title":{"rendered":"\u00abEl cuerpo del delito\u00bb"},"content":{"rendered":"

\"\"<\/a>Rivero Grandoso, Javier (coord.). El cuerpo del delito: estudios sobre el g\u00e9nero criminal<\/i>. Arganda del Rey: Verbum, 2023. 232 p. (Verbum ensayo). ISBN 978-84-1337-957-9. 24,90 \u20ac.<\/span><\/span><\/span><\/span><\/span><\/p>\n

Coordinat per Javier Rivero Grandoso, director de la C\u00e1tedra Cultural de G\u00e9nero Criminal que la Universidad de La Laguna dedica des de 2021 al malaguanyat escriptor canari de novel\u00b7la negra <\/span><\/span>Antonio Lozano<\/span><\/span><\/a> (1956-2019), El cuerpo del delito <\/i>\u2014com l\u2019anterior volum Disecciones del g\u00e9nero criminal <\/i>(Verbum, 2021)\u2014 es presenta com un recopilatori d\u2019estudis literaris amb la intenci\u00f3 d\u2019investigar i difondre aquest g\u00e8nere narratiu, que sembla que comen\u00e7a a desvetllar l\u2019inter\u00e8s dels cercles acad\u00e8mics.<\/span><\/span><\/span><\/span><\/span><\/p>\n

<\/p>\n

El volum, editat per Verbum i finan\u00e7at pel Cabildo de Gran Canaria, aplega algunes de les comunicacions del VII Seminario Internacional Tenerife Noir de Investigaci\u00f3n en el G\u00e9nero Negro, col\u00b7laboraci\u00f3 universit\u00e0ria anual dins el festival atl\u00e0ntic de g\u00e8nere negre Tenerife Noir, i es presenta amb una introducci\u00f3 del coordinador, \u00abSobre novelas policiales\u00bb, on exposa la voluntat i continguts de l\u2019obra que s\u2019articula en quatre apartats.<\/span><\/span><\/span><\/span><\/span><\/p>\n

El primer recull cinc estudis centrats en obres liter\u00e0ries produ\u00efdes a Espanya i Llatinoam\u00e8rica: Sergio Garc\u00eda Garc\u00eda aprofundeix en la interessant relaci\u00f3 de la poesia a la s\u00e8rie Carvalho de Manuel V\u00e1zquez Montalb\u00e1n; Roc\u00edo Pe\u00f1alta Catal\u00e1n analitza la novel\u00b7la Desprendimiento de rutina <\/i>de Pablo Aranda (Arguval, 2003) com a par\u00f2dia de les novel\u00b7les de detectius; Lucia Filipova estudia la s\u00e8rie de Teresa Solana dedicada als bessons Borja i Eduard Masd\u00e9u des del punt de vista de la novel\u00b7la picaresca; Alba Diz Villanueva investiga les obres ambientades als marges, a la perif\u00e8ria de Buenos Aires, i contraposa les villas miseria<\/i> que apareixen a La mala<\/i> de Demian Konfino (Ciccus, 2017) i Santer\u00eda <\/i>de Leonardo Oyola (Negro Absoluto, 2008), amb el country<\/i> de Betib\u00fa <\/i>de Claudia Pi\u00f1eiro (Alfaguara, 2021) (on podria haver afegit Retrato de familia con muerta <\/i>del tamb\u00e9 argent\u00ed Ra\u00fal Argem\u00ed [Diario P\u00fablico, 2011]); i Natalia Oberli realitza una lectura criminal de Son de almendra <\/i>de Mayra Montero (C\u00edrculo de Lectores, 2007).<\/span><\/span><\/span><\/span><\/span><\/p>\n

El segon apartat est\u00e0 dedicat a les arts audiovisuals i s\u2019hi presenten tres estudis sobre cinema i s\u00e8ries de televisi\u00f3. Paula Cabrera Castro analitza la conflu\u00e8ncia del director de cinema mexic\u00e0 Arturo Ripstein amb la guionista Paz Alicia Garciadiego \u2014ambd\u00f3s amb id\u00e8ntica visi\u00f3 s\u00f2rdida de la vida\u2014, al melodrama noir La perdici\u00f3n de los hombres<\/i>; un bon treball que nom\u00e9s desmereix el desconeixement del concepte noir <\/i>per part de l\u2019autora: \u00abDesde el principio, sabemos qui\u00e9nes son los asesinos, subvirtiendo uno de los grandes leitmotivs <\/i>del noir<\/i>, que es el descubrimiento de los actantes del crimen\u00bb[1]<\/span><\/span><\/span><\/span><\/span><\/a> (p. 106). Isabel Castells Molina estudia el film Ensayo de un crimen<\/i> de Luis Bu\u00f1uel tant des del punt de vista dels elements que cont\u00e9 de cinema negre com dels de l\u2019humor. Finalment, Jos\u00e9 Antonio P\u00e9rez Bowie explora la s\u00e8rie televisiva El caso <\/i>a la qual aplica el concepte de flexinarrativa, concepte encunyat per Robin Nelson.[2]<\/span><\/span><\/span><\/span><\/span><\/a><\/span><\/span><\/span><\/span><\/span><\/p>\n

Les relacions del cinema i la literatura s\u00f3n el tema del tercer apartat, format per tres treballs. Raquel Ortiz Garc\u00eda estudia el pas de la novel\u00b7la al gui\u00f3 literari de Las flores no sangran<\/i>, de l\u2019autor canari Alexis Ravelo (Alrev\u00e9s, 2018). A continuaci\u00f3, Julio Pe\u00f1ate Rivero analitza la novel\u00b7la par\u00f2dica Triste, solitario y final<\/i> de l\u2019argent\u00ed Osvaldo Soriano (Seix Barral, 2010) i la seva relaci\u00f3 amb el cinema, amb l\u2019estructura en seq\u00fc\u00e8ncies de l\u2019obra i l\u2019aparici\u00f3 de multitud de personatges cinematogr\u00e0fics a l\u2019argument \u2014Philip Marlowe, Stan Laurel, Dick van Dyke, John Wayne, Charles Chaplin…\u2014, i tanca aquest apartat una investigaci\u00f3 a c\u00e0rrec de Ludovico Longhi sobre el film pol\u00edtico-polic\u00edac Investigaci\u00f3n sobre un ciudadano libre de toda sospecha <\/i>amb el qual Elio Petri va obtenir el 1970 un gran \u00e8xit tant de cr\u00edtica com de p\u00fablic.<\/span><\/span><\/span><\/span><\/span><\/p>\n

Finalitza el volum amb un apartat dedicat a dos estudis teatrals. El primer, d\u2019Alejandro Coello Hern\u00e1ndez, centrat en la relaci\u00f3 del canari Claudio de la Torre, com a autor i director d\u2019escena, amb el teatre polic\u00edac dels anys cinquanta. L\u2019\u00faltim estudi, d\u2019\u00d3scar Fern\u00e1ndez Poza, fa un recorregut pel teatre polic\u00edac catal\u00e0 al Raval barcelon\u00ed del primer ter\u00e7 del segle XX.<\/span><\/span><\/span><\/span><\/span><\/p>\n

En total, tretze estudis l\u2019inter\u00e8s dels quals est\u00e0 directament relacionat amb el coneixement que tingui el lector de l\u2019obra analitzada. \u00c9s clar que per als integrants de la comunitat acad\u00e8mica publicar \u00e9s fonamental de cara a les acreditacions, avaluacions, contractes i promocions, i aix\u00ed sovinteja l\u2019edici\u00f3 d\u2019actes de congressos, seminaris i reculls d\u2019articles en volums o revistes cient\u00edfiques per\u00f2, en un macrog\u00e8nere especialment multiforme com \u00e9s el criminal, potser seria bo per tal de donar una certa unitat a la compilaci\u00f3 presentada, acotar l\u2019abast dels estudis i centrar-los en un autor, corrent, aspecte o tem\u00e0tica, fet que podria despertar la curiositat del p\u00fablic m\u00e9s enll\u00e0 del m\u00f3n universitari, pel fet de tractar-se d\u2019un g\u00e8nere eminentment popular.<\/span><\/span><\/span><\/span><\/span><\/p>\n

Jordi Canal i Artigas<\/span><\/a><\/span><\/span><\/span>
\nBibliotecari<\/span><\/span><\/span><\/span><\/p>\n

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[1]<\/span><\/span><\/span><\/span><\/span><\/span><\/a> La investigaci\u00f3 i descobriment de l\u2019assass\u00ed \u00e9s una caracter\u00edstica del cinema polic\u00edac, no pas primordial en el noir<\/i>. De fet, hi ha molts films noir<\/i> nord-americans on l\u2019espectador coneix l\u2019assass\u00ed des del comen\u00e7ament de la pel\u00b7l\u00edcula.<\/span><\/span><\/span><\/p>\n<\/div>\n

\n

[2]<\/span><\/span><\/span><\/span><\/span><\/span><\/a> Nelson, Robin. TV drama in transition: forms, values and cultural change<\/i>. London: MacMillan, 1997.<\/span><\/span><\/span><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Rivero Grandoso, Javier (coord.). El cuerpo del delito: estudios sobre el g\u00e9nero criminal. Arganda del…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","_seopress_news_disabled":"","_seopress_video_disabled":"","_seopress_video":[],"_seopress_pro_schemas_manual":[],"_seopress_pro_rich_snippets_disable_all":"","_seopress_pro_rich_snippets_disable":[],"_seopress_pro_schemas":[],"inline_featured_image":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1400],"tags":[1133],"class_list":["post-2368","post","type-post","status-publish","format-standard","hentry","category-ressenyes","tag-llibres"],"acf":[],"taxonomy_info":{"category":[{"value":1400,"label":"Ressenyes"}],"post_tag":[{"value":1133,"label":"llibres"}]},"featured_image_src_large":false,"author_info":{"display_name":"jordi","author_link":"https:\/\/fima.ub.edu\/edl\/author\/jordi\/"},"comment_info":0,"category_info":[{"term_id":1400,"name":"Ressenyes","slug":"ressenyes","term_group":0,"term_taxonomy_id":1400,"taxonomy":"category","description":"","parent":0,"count":1342,"filter":"raw","cat_ID":1400,"category_count":1342,"category_description":"","cat_name":"Ressenyes","category_nicename":"ressenyes","category_parent":0}],"tag_info":[{"term_id":1133,"name":"llibres","slug":"llibres","term_group":0,"term_taxonomy_id":1133,"taxonomy":"post_tag","description":"","parent":0,"count":1214,"filter":"raw"}],"_links":{"self":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2368","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/comments?post=2368"}],"version-history":[{"count":1,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2368\/revisions"}],"predecessor-version":[{"id":3884,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2368\/revisions\/3884"}],"wp:attachment":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/media?parent=2368"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/categories?post=2368"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/tags?post=2368"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}