<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0123-5931</journal-id>
<journal-title><![CDATA[Literatura: Teoría, Historia, Crítica]]></journal-title>
<abbrev-journal-title><![CDATA[Lit. teor. hist. crit.]]></abbrev-journal-title>
<issn>0123-5931</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional de Colombia]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0123-59312019000100225</article-id>
<article-id pub-id-type="doi">10.15446/lthc.v21n1.74817</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Lareo: museo, memoria, déjà vu]]></article-title>
<article-title xml:lang="en"><![CDATA[Lareo: Museum, Memory, Déjà vu]]></article-title>
<article-title xml:lang="pt"><![CDATA[Lareo: museu, memória, déjà vu]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Cid Hidalgo]]></surname>
<given-names><![CDATA[Juan D.]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Concepción  ]]></institution>
<addr-line><![CDATA[Concepción ]]></addr-line>
<country>Chile</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2019</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2019</year>
</pub-date>
<volume>21</volume>
<numero>1</numero>
<fpage>225</fpage>
<lpage>252</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0123-59312019000100225&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0123-59312019000100225&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0123-59312019000100225&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El presente trabajo intenta reparar sobre la imagen del museo en una novela breve del laureado escritor chileno José Donoso. Naturaleza muerta con cachimba (1990) nos permite estudiar y reconocer de qué manera el carácter memorial del ejercicio museal resignifica no solo los objetos que se incorporan dentro de sus límites, sino también los enunciados, los discursos e, inclusive, las prácticas artísticas, las cuales van desplegándose de tal modo que se constituyen en sistema. Los déjà vu que sufre Marcos Ruíz en el Museo Larco tienen una especial importancia en el relato puesto que desencadenan la notable transformación del personaje, quien pasa de ser un ignorante y tradicional gestor cultural a un gallardo y progresista crítico de arte, cuya cara de "gato empachado con ese bigotito ridículo" es ahora la de un célebre curador y protector del legado de un artista tan singular como desconocido.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The paper examines the image of the museum in a novella by Chilean writer José Donoso. Naturaleza muerta con cachimba (StillLife with Pipe, 1990) allows us to study and understand how the memorial nature of museum practice resignifies not only the objects housed in museums, but also statements, discourses, and even artistic practices, which unfold in such a way that they become a system. Marcos Ruíz's déjà vu experiences in the Larco Museum are especially important in the story since they trigger the character's remarkable transformation. The erstwhile ignorant and traditional cultural manager becomes a gallant, forward-looking art critic, whose "overstuffed cat face with that ridiculous little moustache" is now that of a famous curator and protector of the legacy of a unique and unknown artist.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O presente trabalho tenta reparar sobre a imagem do museu em um romance curto do laureado escritor chileno José Donodo. Naturaleza muerta con cachimba (1990) nos permite estudar e reconhecer de que maneira o caráter memorial do exercício museológico ressignifica não apenas os objetos que são incorporados dentro de seus limites, mas também os enunciados, os discursos e, inclusive, as práticas artísticas, que vão se desdobrando de tal modo que se constituem em sistema. Os déjà vu que Marcos Ruíz sofre no Museu Larco têm uma importância especial no relato, uma vez que desencadeiam a notável transformação do personagem, que passa de um ignorante e tradicional gestor cultural a um galante e progressista crítico de arte, cuja cara de "gato enfadado com esse bigodinho ridículo" é agora a de um célebre curador e protetor do legado de um artista tão singular quanto desconhecido.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[museo]]></kwd>
<kwd lng="es"><![CDATA[déjà vu]]></kwd>
<kwd lng="es"><![CDATA[memoria]]></kwd>
<kwd lng="es"><![CDATA[José Donoso]]></kwd>
<kwd lng="es"><![CDATA[naturaleza muerta]]></kwd>
<kwd lng="es"><![CDATA[cachimba]]></kwd>
<kwd lng="en"><![CDATA[museum]]></kwd>
<kwd lng="en"><![CDATA[déjà vu]]></kwd>
<kwd lng="en"><![CDATA[memory]]></kwd>
<kwd lng="en"><![CDATA[José Donoso]]></kwd>
<kwd lng="en"><![CDATA[still life]]></kwd>
<kwd lng="en"><![CDATA[pipe]]></kwd>
<kwd lng="pt"><![CDATA[cachimbo]]></kwd>
<kwd lng="pt"><![CDATA[déjà vu]]></kwd>
<kwd lng="pt"><![CDATA[José Donoso]]></kwd>
<kwd lng="pt"><![CDATA[memória]]></kwd>
<kwd lng="pt"><![CDATA[museu]]></kwd>
<kwd lng="pt"><![CDATA[ainda vida]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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