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Gao Xingjian, un escritor chino en el exilio

Flora Botton Beja and Romer Alejandro Cornejo
Estudios de Asia y Africa
Vol. 36, No. 2 (115) (May - Aug., 2001), pp. 295-314
Published by: El Colegio de Mexico
Stable URL: http://www.jstor.org/stable/40313409
Page Count: 20
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Gao Xingjian, un escritor chino en el exilio
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Abstract

Gao Xingjian es el primer escritor chino en recibir el premio Nobel de literatura. Aunque reside en Francia desde 1987, la mayor parte de su obra está escrita en chino y su producción ha sido poco difundida en los países occidentales, sobre todo los de habla española. Este escaso conocimiento de su obra y su condición de escritor exiliado ha motivado especulaciones sobre las razones políticas que pudieran estar tras la premiación. En este artículo los autores nos dan una biografía intelectual de Gao, así como un análisis de sus habilidades literarias y de las ideas que ha expresado en sus ficciones, obras de teatro y ensayos. Lo que resulta de todo esto es el retrato de un escritor dotado de una inmensa capacidad para crear nuevas formas literarias, cuya profunda comprensión del dilema del escritor que quiere liberarse de las intrigas políticas no le impide tomar partido en política. Gao además insiste en que su aproximación a la literatura es universal, pero en su obra se percibe una fuerte adhesion a sus raíces culturales chinas. /// Gao Xingjian is the first Chinese writer to obtain the Nobel prize of literature. Gao has lived in France since 1987. He has written mostly in Chinese and was not very well known in the West, especially in the Spanish speaking world. The limited knowledge on his work, as well as his situation as a writer in exile has given way to speculations about his prize being politically motivated. In this article, the authors give an account of the intellectual biography of Gao and explore both his literary skills as well as his ideas as expressed in his fiction, drama and essays. What emerges is the portrait of a writer with a great drive for innovative literary forms and a profound understanding of the writer's dilemma in wanting to be free from political entanglements and who at the same time cannot avoid taking a political stance. Also, Gao insists that his approach to literature is universalistic but in his work we can detect a strong commitment to his Chinese cultural roots.

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