2026-04-27T14:20:54Zhttps://riubu.ubu.es/oai/request

oai:riubu.ubu.es:10259/98902025-01-31T23:42:11Zcom_10259_9590com_10259_5086com_10259_2604col_10259_9591

Díez Cobo, Rosa María d9b92cfb-d91d-4e53-b5e4-6cf39624d539 600 2025-01-13T16:33:14Z 2025-01-13T16:33:14Z 2024-02 978-3-031-42798-5 978-3-031-42797-8 http://hdl.handle.net/10259/9890 10.1007/978-3-031-42798-5_12 2523-7896 This chapter explores the disaggregation and strangeness that increases when urban landscapes merge with suburban panoramas. When trespassing these liminal areas, a sense of in-betweenness brings about a lapse of uncertainty. The literature of the fantastic, in its search for “reality detours,” can profit from this singular scenario where space constitutes an unstable context. The present analysis focuses on two short story collections: Margo Lanagan’s Black Juice (2004) and Ariadna Castellarnau’s La oscuridad es un lugar (2020). While these narratives use realistic materials, there are cracks into reality in them that result in spatial distortions. The fantastic or unusual space is at the crossroads between the center-periphery and stasis-mobility dualisms. There are also recurrent transitions between the solid and realistic dimension of life in human settlements and the transient and imaginary side of existence on the outside. The correlation between these variables is almost regular. Drawing on the productive systematicity of this connection, this chapter illuminates the intersection of spatial borders with the conceptualization of liminal or hybrid genres such as the Unusual, the Weird, and the Eerie. El texto aborda la relación entre periferias urbanas y géneros literarios marginales a través de un estudio comparado de los relatos del volumen Black Juice (2006), de la australiana Margo Lanagan y de los recogidos en La oscuridad es un lugar (2020) de la española Ariadna Castellarnau. En ellos se exploran las dinámicas entre movilidad y espacio narrativo, destacando cómo las periferias de Australia y Argentina funcionan como escenarios de ruptura entre lo real y lo fantástico. A partir de geografías desoladas, ambos autores generan narrativas que desdibujan los límites entre géneros tradicionales, como el realismo, el fantástico y lo distópico. El análisis resalta los paralelismos entre los contextos periurbanos de ambos países, subrayando la tensión entre «civilización y barbarie» y la función simbólica de las periferias en la construcción de subjetividades. application/pdf eng Palgrave Macmillan Urban Mobilities in Literature and Art Activism, p. 259–284 https://doi.org/10.1007/978-3-031-42798-5_12 Periferias urbanas Movilidad Literatura comparada Géneros liminales Espacio narrativo Australia Argentina Geografía y literatura Literatura española Literatura australiana Geography and literature Spanish literature Australian literature What Lurks in the Peripheries: From Urban Margins to Marginal Genres in Short Stories by Margo Lanagan and Ariadna Castellarnau info:eu-repo/semantics/bookPart info:eu-repo/semantics/acceptedVersion info:eu-repo/semantics/openAccess 259 284 THUMBNAIL Diez-Urban_Margins_Marginal_Genres_Lanagan_Castellarnau_2024.pdf.jpg Diez-Urban_Margins_Marginal_Genres_Lanagan_Castellarnau_2024.pdf.jpg IM Thumbnail image/jpeg 3617 https://riubu.ubu.es/bitstream/10259/9890/3/Diez-Urban_Margins_Marginal_Genres_Lanagan_Castellarnau_2024.pdf.jpg 01b355651c2a24f4f89a8ed6edfbd84d MD5 3 LICENSE license.txt license.txt text/plain; charset=utf-8 1362 https://riubu.ubu.es/bitstream/10259/9890/2/license.txt 5d013bfa6e473ff0db22cd82a4d71a70 MD5 2 ORIGINAL Diez-Urban_Margins_Marginal_Genres_Lanagan_Castellarnau_2024.pdf Diez-Urban_Margins_Marginal_Genres_Lanagan_Castellarnau_2024.pdf application/pdf 364750 https://riubu.ubu.es/bitstream/10259/9890/1/Diez-Urban_Margins_Marginal_Genres_Lanagan_Castellarnau_2024.pdf f5116d6693f18d794f789acb3b11db7d MD5 1 10259/9890 oai:riubu.ubu.es:10259/9890 2025-02-01 00:42:11.011 Repositorio Institucional de la Universidad de Burgos bubrep@ubu.es RWwgYXV0b3IgY29tbyDDum5pY28gdGl0dWxhciBkZSBsb3MgZGVyZWNob3MgZGUgcHJvcGllZGFkIGludGVsZWN0dWFsIGRlIGxhIG9icmEsIG8gZGlzcG9uaWVuZG8gZGUgbG9zIGRlYmlkb3MgcGVybWlzb3MgZGUgbG9zIG90cm9zIHRpdHVsYXJlcywgc2kgbG9zIGh1YmllcmEsIHkgZW4gdmlydHVkIGRlIGxvcyBkZXJlY2hvcyBxdWUgbGUgY29uZmllcmUgbGEgbGVnaXNsYWNpw7NuIHZpZ2VudGUgc29icmUgcHJvcGllZGFkIGludGVsZWN0dWFsIHkgZGVyZWNob3MgZGUgYXV0b3IsIApBVVRPUklaQSBhIGxhIFVuaXZlcnNpZGFkIGRlIEJ1cmdvcyBhIGRpZnVuZGlyLCBkZSBtYW5lcmEgZ3JhdHVpdGEsIGVsIGNvbnRlbmlkbyBkZSBsb3MgYXJjaGl2b3MgZGlnaXRhbGVzIHF1ZSBjb3JyZXNwb25kZW4gYWwgZG9jdW1lbnRvIGRlc2NyaXRvIGFudGVyaW9ybWVudGUsIGNvbiBjYXLDoWN0ZXIgbm8gZXhjbHVzaXZvIHkgZGUgbWFuZXJhIHDDumJsaWNhIGVuIGFjY2VzbyBhYmllcnRvIGEgdHJhdsOpcyBkZSBJbnRlcm5ldCwgcGFyYSBsbyBxdWUgbGEgQmlibGlvdGVjYSBwcm9jZWRlcsOhIGEgYXJjaGl2YXJsb3MgZW4gZWwgUmVwb3NpdG9yaW8gSW5zdGl0dWNpb25hbC4gQXNpbWlzbW8gYXV0b3JpemEgYSBsYSBVbml2ZXJzaWRhZCBkZSBCdXJnb3MgYSByZWFsaXphciBsYXMgdHJhbnNmb3JtYWNpb25lcyBuZWNlc2FyaWFzIGRlIGZvcm1hdG8sIG5vIGRlIGNvbnRlbmlkbywgcGFyYSBnYXJhbnRpemFyIGxhIHByZXNlcnZhY2nDs24geSBlbCBhY2Nlc28gZW4gZWwgZnV0dXJvLgoKRWwgYXV0b3IgZGlzcG9uZSwgZW4gdG9kbyBjYXNvLCBkZWwgZGVyZWNobyBhIHJldm9jYXIgZXN0YSBhdXRvcml6YWNpw7NuLgoKTGEgY2VzacOzbiBkZSBkZXJlY2hvcyBkZSBlc3RhIG9icmEgc2UgZW5jdWVudHJhIHN1amV0YSBhIGxhIGxlZ2lzbGFjacOzbiB2aWdlbnRlIHNvYnJlIHByb3BpZWRhZCBpbnRlbGVjdHVhbCB5IGRlcmVjaG9zIGRlIGF1dG9yLiBTdSBkaWZ1c2nDs24gZW4gZWwgUmVwb3NpdG9yaW8gc2Vyw6EgYmFqbyBsYSBtb2RhbGlkYWQgZGUgbGljZW5jaWEgQ3JlYXRpdmUgQ29tbW9ucyBvIGVxdWl2YWxlbnRlOiByZWNvbm9jaW1pZW50byDigJMgdXNvIG5vIGNvbWVyY2lhbCDigJMgc2luIG9icmEgZGVyaXZhZGEsIHBvciBsYSBxdWUgc2UgcGVybWl0ZSBoYWNlciBjb3BpYSwgZGlzdHJpYnVpciB5IGNvbXVuaWNhciBww7pibGljYW1lbnRlIGxhIG9icmEgc2llbXByZSBxdWUgc2UgY2l0ZSBhbCBhdXRvciwgZWwgdXNvIHF1ZSBzZSBoYWdhIGRlIGVsbGEgc2VhIG5vIGNvbWVyY2lhbCB5IG5vIHNlIGNyZWVuIG9icmFzIGRlcml2YWRhcyBhIHBhcnRpciBkZSBsYSBvcmlnaW5hbC4K