Abstract

The article inquires about the role of language in Cristina Peri Rossi’s Panic Signs [Indicios pánicos]. The hypothesis of the work is that language, as a mimetic instrument of representation and creation, established itself as a way to upgrade the relations of power during the Uruguayan pre-dictatorship. Being a qualitative research based on a hermeneutical approach, the article has the following aims: i) reconstruct the background to the dictatorship leaded by Juan Maria Bordaberry, ii) frame the work within the tradition of dictator novel following Lukács’ socio-critical approach and Pierre Bourdieu’s field theory, iii) explain how language works as an instrument of representation and power, iv) analyze Peri Rossi’s work in the light of the aforementioned framework. It concludes, first, that the work responds to a mimetic language of representation, which involves taking a stance that is based on the notions of hegemony or counter-hegemony; and, second, that provided the scarce studies concerning the circumstantial situations of the work, the article might be regarded as a significant contribution to literary criticism.