Summary, in English
The short stories from Francisco Tario, a relatively unknown Mexican author, show signs of a postmodern and individual aesthetic. In order to reach this conclusion, it has been necessary to analyze the phenomenon of the fantastic in its history, its relation to myth and fantasy, and in its particular reception throughout Latin America and Mexico. Furthermore, we have reviewed different models and definitions of the fantastic, and we have concluded that Dehennin’s model is the better suited to study Tario due to its emphasis on the particular characteristics of Latin-American literature. Also, several other elements of analysis have proved relevant in order to better describe the mimetic elements of fantastic narratives, namely, the theory of possible worlds, authentication, and mediatory objects. It is important to note that the study of the mimetic component of fantastic texts can be helpful to better place each particular story within or out of Dehennin’s spectrum. Likewise, it can also help reduce the uncertainty level of texts that tend to play with the limits of representation, as is commonly the case in postmodern texts. Additionally, we study the postmodern aesthetic in order to better describe the particularities of Tario’s work. In its fragmentation, repetition, or its crisis of phenomenology, Tario’s short stories show a very personal work, in which the fantastic is yet another element that points towards a crisis of sense that is represented through the breaking, in its aesthetic categories and forms, of the traditional model of the unreal. This way, the author breaks also away from his contemporaries by not having any philosophic or social agenda, but a rather an individual one that focuses on the author’s personal feelings and opinions.