Abstract:

Paradoxically, in Colombia, whose past and present time are marked by the continuous waves of violence, the crime or noir fiction is a marginal sub-genre. In fact, it has never appeared in its orthodox form in Colombian literature. The genre, which for some decades has served as a recurrent instrument to focus on the complicated and violent reality of modern societies, in contemporary Colombian fiction is subject to constant reinvention and perpetual hybridization. One of the authors recognized within this field of artistic production is Mario Mendoza (1964). The article studies his novel Lady Massacre (2013) with the aim of observing how Mendoza manages the traditional ingredients of the crime fiction (the crime, the detective, the investigation, the resolution of the enigma, and the social background) to reinvent the genre in the Colombian context.

摘要：

矛盾的是，在哥伦比亚，过去和现在的时代以不断的暴力浪潮为特征，犯罪或虚构小说只是一种边缘子流派。实际上，它从未在哥伦比亚文学中以其正统形式出现。这种流派几十年来一直是关注现代社会复杂和暴力现实的一种反复出现的手段，在当代哥伦比亚小说中，这种流派不断地被重新发明和永久地融合。马里奥·门多萨（Mario Mendoza，1964）是艺术创作领域公认的一位作家。文章研究了他的小说《大屠杀》 （2013）的目的是观察门多萨如何管理犯罪小说的传统成分（犯罪，侦探，调查，谜团的解决以及社会背景），以便在哥伦比亚语境下重塑这一类型。