Abstract

The aim of this paper is to problematize, in writing Diamela Eltit, significant configuration, read Lumperica handling (1983) and El Padre Mío (1989), thus empowering a creator-editor and powerful speaker. This perception, which by the way, it can be seen in its full dimension, given the brevity of the trial, is centered on the suspicion, as Chilean word as canon at the same time, leading us to a dialectical position, stressing the significance, both contextual as semiotic-structural works in question.