As we have pointed out, one can speak of internal focalization in terms of perspective or mode: the narrator says what such a character knows with long passages of external focalization; the narrator knows only what he or she observes, with rarely zero focalization; the narrator knows more than the character, or even by distorting this last concept, there is false zero focalization: Guerriero pretends to know more than the character, but this is not the case.

This complexity of mode and voice and the undermining of traditional canons of journalism provides literary quality to Guerriero’s work. However, we would now like to continue the analysis of her work and delve more deeply into her literary resources.

3.2.4. Literary resources

What is literary language? Are Leila Guerriero’s profiles written in literary language? In his Introducción al comentario de textos (Introduction to Text Commentary) (1985), José Domínguez Caparrós states the following with regard to literary language:

...there have been many attempts to discover the specifics of literary language. The problem had already been addressed in another way with the old Rhetoric, and the focus was placed on whether or not literary language was different, and if so, from what does it differ? What is the standard from which literary language deviates? What is the grammar of literary language? (1985:14).

Domínguez Caparrós proposes a model of text analysis in which he distinguishes between system and reference. Within the system, there would be the word (morphology), the phrase (syntax) and the meaning (semantics). In turn, phenomena related to this linguistic unit have been studied within the word (rhyme, alliteration, paranomasia, anagrams, or wordplay, among others) (1985: 35). Within a sentence, changes can occur in its structure, resulting in elliptical procedures (asyndeton, parataxis…); broadening of the structure (parentheses, concatenation of elements, enumeration and parallelism, as well as polysyndeton; and variation in the order of the elements of the sentence and in the concordances (anacolouthon, indirect style, hyperbaton…) (1985: 53-54). Moreover, there can be changes of meaning in the signification, which gives way to tropes.

As for the reference, Domínguez Caparrós speaks of designation: “By designation, we meant the reference of language to an extra-linguistic reality” (1985: 95). As stated by this professor, the rhetorical figures included in this segment of the text analysis “refer to the context and/or referent, are present in one or several words, undergo a test of veracity, give a “false” result, and have an incidental entity” (1985: 97).

This research has used the model of Domínguez Caparrós and will highlight the most effective resources for achieving intense, proper literary expression. Those that have the greatest application in the case of Guerriero are the following: alliteration, wordplay, parallelism, ellipsis, variations in the element order of the sentence and in concordances such as anacoluthon; tropes such as metaphors, oxymorons, antitheses, comparisons, metonymy-synecdoche, and the rhetorical figures of the designation such as hyperbole, pleonasm, or irony.

When applying this analysis to the study of the word in Guerriero’s profiles, resources commonly found include alliteration (predominance of the same sound in the accented syllables of the same group of words), paranomasia (grouping of