{"id":11543,"date":"2022-01-04T18:35:28","date_gmt":"2022-01-04T17:35:28","guid":{"rendered":"https:\/\/www.imex-revista.com\/xxi-formato-antologico\/"},"modified":"2022-01-10T14:28:10","modified_gmt":"2022-01-10T13:28:10","slug":"xxi-formato-antologico","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xxi-formato-antologico\/","title":{"rendered":"XXI. H\u00e9ctor Fernando Vizcarra \u2013 El formato antol\u00f3gico del cuento policial contempor\u00e1neo"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/11416\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Edici\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/11413\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Art\u00edculo<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; text_align=&#8221;left&#8221;][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text]\n<h3 style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\">El formato antol\u00f3gico del cuento policial contempor\u00e1neo y sus implicaciones: <em>Buenos Aires Noir<\/em> y <em>Mexico City Noir <\/em> (pp. 23-36; DOI: 10.23692\/iMex.21.3)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F2_HFV_Formato-antologico-policial_iMex21.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/2_HFV_Formato-antologico-policial_iMex21.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Dr. H\u00e9ctor Fernando Vizcarra<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-11434 size-full alignleft\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/H\u00e9ctor-Vizcarra_iMex21.jpg\" alt=\"\" width=\"150\" height=\"220\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">H\u00e9ctor Fernando Vizcarra is a Full Researcher at the Institute of Philological Research of the National Autonomous University of Mexico. Founding member of the Seminar on Contemporary Latin American Narrative Studies (SENALC, according to its initials in Spanish). He is author of the following books: <em>Detectives literarios en Latinoam\u00e9rica: el caso Padura<\/em> (2013), <em>El enigma del texto ausente. Policial y metaficci\u00f3n en Latinoam\u00e9rica<\/em> (2015), <em>Serialidad narrativa. Tres propuestas anal\u00edticas en la ficci\u00f3n policial<\/em> (2020), the novel <em>El filo diestro del durmiente<\/em> (2014), and other books for children as well. He also received support from the National Fund for Culture and the Arts (FONCA, Mexico) in the category of novel.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;50&#8243;][tabbed_section style=&#8221;default&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1580125134478-084cb-c5de&#8221; tab_id=&#8221;1641317362039-4&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Through the examination of <em>Buenos Aires Noir<\/em> (2017) and <em>Mexico City Noir<\/em> (2010), released by Akashic Books in its <em>Noir<\/em> series, this paper analyzes the relations between both volumes and the tradition of \u201cUrban mysteries\u201d literary fiction emerged in the 19th Century, the inherent circulation and validation on the Literary field, and its discursive construction as anthological-format books of stories by their owns kind of publisher\u2019s initiative, the selection criterion and the writers chosen by editors Ernesto Mallo (Argentina) and Paco Ignacio Taibo II (Mexico).<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1580125134518-184cb-c5de&#8221; tab_id=&#8221;1641317362051-2&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">A partir de la revisi\u00f3n de <em>Buenos Aires Noir<\/em> (2017) y <em>Mexico City Noir<\/em> (2010), libros pertenecientes a la colecci\u00f3n <em>Akashic Noir<\/em>, este art\u00edculo analiza su v\u00ednculo con la tradici\u00f3n, surgida en el siglo XIX, sobre los \u201cmisterios urbanos\u201d en la ficci\u00f3n literaria, su car\u00e1cter divulgativo y legitimador en el campo literario, y su construcci\u00f3n discursiva en tanto vol\u00famenes de cuentos de formato antol\u00f3gico mediante el tipo de iniciativa editorial, los criterios de selecci\u00f3n y los autores incluidos por los compiladores Ernesto Mallo (Argentina) y Paco Ignacio Taibo II (M\u00e9xico).<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b021 | Narrativa Criminal&#8221; id=&#8221;1580125134563-484cb-c5de&#8221; tab_id=&#8221;1641317362060-9&#8243;][vc_column_text]<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-editorial\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Hern\u00e1n Maltz \/ Yasmin Temelli \u2013 Editorial <\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-estimulo\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Sandra Lorenzano \u2013 Impression<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-formato-antologico\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. H\u00e9ctor Fernando Vizcarra \u2013 El formato antol\u00f3gico del cuento policial<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-genealogias-nacionales\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Martina Guevara \u2013 Genealog\u00edas nacionales para el policial latinoamericano<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-western-argentino-mexicano\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Rom\u00e1n Setton \u2013 Variaciones en el western argentino y mexicano<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-miedo-estereotipos\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Kristine Vanden Berghe \u2013 El miedo a los estereotipos en Mempo Giardinelli<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-decimo-infierno-giardinelli\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Beatrice Schuchardt \u2013 El d\u00e9cimo infierno de Mempo Giardinelli<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-policial-no-ficcion\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Roberta Bassi \u2013 Lo policial en la no-ficci\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxi-novelas-laurini\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXI. Annegret Thiem \u2013 Releer las novelas de Myriam Laurini<\/span><i class=\"icon-button-arrow\"><\/i><\/a>[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text] [\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221;&#8230;<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[580,2319],"tags":[2351,2315],"class_list":["post-11543","post","type-post","status-publish","format-standard","category-issues","category-xxi-narrativa-criminal-en","tag-antologias-en","tag-hector-fernando-vizcarra"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>XXI. 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