The collage in three Latin-American texts on the 1970's: 'Dias de guardar' by Carlos Monsivais, 'Libro de Manuel' by Julio Cortazar, 'Las historias prohibidas del Pulgarcito' by Roque Dalton

In this thesis, I study three Latin-American literary books published during the 1970's that also have in common the use of the collage technique. For the purpose of this study, I defined the collage as the incorporation in the literary text of other kind of texts usually hasn't been recognized as literary. This technique combines in the same reading different discourses. The books selected also share the political violence that contextualized their writings. These texts are Dias de guardar (1970) by Carlos Monsivais, Libro de Manuel (1973) by Julio Cortazar and Las historias prohibidas del Pulgarcito (1975) by Roque Dalton. My investigation describes the political situation in Latin-America in 1970's and exposes some explanations offered by the historians about this kind of violence extended in the region. Secondly, explores the theorization about collage realized by vanguard's artists and critics, and its relation with Latin-American literature. In the third chapter, I related this theorization with deconstruction as the French philosopher Jacques Derrida exposes and applies on the essay titled "La farmacia de Platon" (1969).;The collage technique implied certain violence realized against the art object, the institution of art and some key concepts of modern literature and culture as subject, temporality and nation, among others. This technique also has a deconstructive effect in the sense that it reveals the mechanisms by which writing self-represents as authority. In Dias de guardar, Monsivais approaches to the rituals of the Mexican modernity that the consumers' society transforms in commons places. Cortazar, in Libro de Manuel, disarms the diachronic illusion created by realistic narrative and explores a simultaneity narrative. In Las historias prohibidas del Pulgarcito by Dalton, the collage is an instrument that reveals the historiography's myths produced by the Salvadorian hegemonic social classes.