The aim of this article is to carry out a pragmatic analysis of some fragments of Juan Diego Bot-to's play Invisibles. Voces de un trozo invisible de este mundo, in which the author confronts two themes that many people must face for different reasons: exile (which he himself suffered) and emigration. In our case, we will focus more on the former and comment on the types of exile that exist, as well as some related words such as exile, deportation, expatriation, expulsion, or estran-gement, etc. In fact, although in dictionaries they appear as synonyms, but they are not exactly the same because exile is the separation from the land where one lives, while banishment is the result of a penalty imposed, usually by the State, and whose purpose is the expulsion of a person from a place or territory for having committed a crime, it can be temporary or sine die (there is also talk of expulsion and there are well-known cases in the military dictatorships Chile and Ar-gentina. The architects of these were, in Chile, Augusto Pinochet (1973-1990) and, in Argentina, Jorge Rafael Videla (1976-1983). Another type of separation was caused by Italian fascism (1922-1943), which confined many intellectuals to live in other areas of the south or on Mediterranean islands. Today, two writers live under escort outside their respective countries: Salman Rushdie and Roberto Saviano. On the other hand, one people that has experienced expulsion, exodus and diaspora is the Jewish people. The expulsion, during the reign of the Catholic Monarchs (1475-1504); the exodus, after the Second World War (1939-1945) and the diaspora when it voluntarily disintegrated, at different times in history, outside the borders of Palestine. Methodologically, with a Pragmatic approach, we will examine the illocutionary force of some fragments, paying special attention to the satisfactory respect of Grice's maxims or other of his lines of research such as Austin's speech acts, etc.
ANÁLISIS PRAGMÁTICO DE INVISIBLES. VOCES DE UN TROZO INVISIBLE DE ESTE MUNDO DE JUAN DIEGO BOTTO
Sagrario Del Río Zamudio
2025-01-01
Abstract
The aim of this article is to carry out a pragmatic analysis of some fragments of Juan Diego Bot-to's play Invisibles. Voces de un trozo invisible de este mundo, in which the author confronts two themes that many people must face for different reasons: exile (which he himself suffered) and emigration. In our case, we will focus more on the former and comment on the types of exile that exist, as well as some related words such as exile, deportation, expatriation, expulsion, or estran-gement, etc. In fact, although in dictionaries they appear as synonyms, but they are not exactly the same because exile is the separation from the land where one lives, while banishment is the result of a penalty imposed, usually by the State, and whose purpose is the expulsion of a person from a place or territory for having committed a crime, it can be temporary or sine die (there is also talk of expulsion and there are well-known cases in the military dictatorships Chile and Ar-gentina. The architects of these were, in Chile, Augusto Pinochet (1973-1990) and, in Argentina, Jorge Rafael Videla (1976-1983). Another type of separation was caused by Italian fascism (1922-1943), which confined many intellectuals to live in other areas of the south or on Mediterranean islands. Today, two writers live under escort outside their respective countries: Salman Rushdie and Roberto Saviano. On the other hand, one people that has experienced expulsion, exodus and diaspora is the Jewish people. The expulsion, during the reign of the Catholic Monarchs (1475-1504); the exodus, after the Second World War (1939-1945) and the diaspora when it voluntarily disintegrated, at different times in history, outside the borders of Palestine. Methodologically, with a Pragmatic approach, we will examine the illocutionary force of some fragments, paying special attention to the satisfactory respect of Grice's maxims or other of his lines of research such as Austin's speech acts, etc.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
