This paper aims to define the structure of neo-fantastic subgenre, which has marked Spanish-American literature in the last 60 years, starting from a discussion of the theory proposed by the Argentine Jaime Alazraki, in his text "¿Qué es lo neofantástico" (2001). For this, we intend to connect Alazraki's postulates with considerations by other critics, such as Lidia Morales Benito (2011), David Roas (2001), Julia Cruz (1988), understanding the characteristics that create the concept. After that, we will adopt a dual way to check the dynamics of these theoretical approaches in the books that constitute our corpus, as well for we understand and define other structures that neo-fantastic can present. Firstly, We will establish a counterpoint to the neo-fantastic "predecessor" - traditional fantastic - (the point investigated by criticism); further, we propose the hypothesis that a comparison with the marvelous realism subgenre, through the Irlemar Chiampi's (1980), David Roas's (2001; 2011), Alejo Carpentier's (1949) theories, could provide us relevant information about neo-fantastic. We will apply, therefore, the product of this discussion in our analysis of Bestiario (1970), by Julio Cortázar, Los 1001 cuentos de 1 linea (1981), by Gabriel Jiménez Emán, Ajuar funerario (2004), by Fernando Iwasaki and 83 novelas (2010), by Alberto Chimal.
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