El francotirador paciente: Una ‘storia falsa’ que amenaza la identidad de una comunidad imaginada global

Ramón, Emilio

doi:https://doi.org/10.3828/bhs.2017.12

Ramón, Emilio

Bulletin of Hispanic Studies (2017), 94, (2), 183–198.

DOI: https://doi.org/10.3828/bhs.2017.12
Language: English
Pages: 16

Abstract

El francotirador paciente (2013) de Arturo Pérez-Reverte es un thriller al estilo español, en donde el retrato social se superpone a la resolución del misterio. La investigación desvela una sociedad global neoliberal consumista frente a la cual se alza una comunidad imaginada de ‘otros’, unidos por un discurso transgresor y un profundo sentido de filiación. Supone una comunidad imaginada a lo Anderson (en Imagined Communities (1991)), con unas reglas y unos ideales a modo de intelectuales orgánicos gramscianos, que traspasan fronteras de un modo globalizado al tiempo que asimilado, ‘glocalizado’. Su identidad se define por su beligerante discurso de oposición al sistema. Esta comunidad se nos revela por medio de un ‘otro’, según Said (1989), que a su condición de mujer y de especialista en una subespecialidad cultural se le une sus propias preferencias personales. La investigación, tanto la detectivesca como la de todos los productos culturales mencionados durante la misma, revelan una impostura en el discurso de su miembro más reputado que hace peligrar la identidad del grupo.

El francotirador paciente (2013) by Arturo Pérez-Reverte is a thriller in the Spanish style, in the sense that social criticism becomes more important than the resolution of the mystery. It reveals a neoliberal consumer society opposed by a group of ‘others’, who are bonded by a transgressive discourse and a deep sense of affiliation. This group represents an imagined community with its own rules and ideals, as described by Benedict Anderson in Imagined Communities (1991). The hip-hop community, in its graffiti variant, defines itself discursively in contraposition to the system. Its members act as gramscian organic intellectuals. Hip-hop communities worldwide have in common a set of rules and ideals, yet each community adapts them to its particularities in a ‘glocalized’ way. We learn about them through a female investigator whose gender and whose academic studies of a cultural subspeciality unite to make her follow her own particular interests, making her an ‘other’, following Edward Said (1989). The detective’s investigation along with the close examination of all the cultural products mentioned in the process reveal an imposture which threatens the identity of the community. which threatens the identity of the community.

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