298), in which we find highly creative metaphors and comparisons. For example, in the phrase “declaration of principles of that benevolent state of discretion in which she lives and under which the tectonic layers of human tragedy creak”, we have metaphors and synaesthesia: the tectonic layers of human tragedy creak. Guerriero comments on words that are “deliberately left unprotected under the acid rain of whatever it’s called”. When she speaks, Hebe Uhart arranges the words “like pieces of a puzzle”. Regarding her way of writing, Guerriero comments as follows: “On the backdrop of her tender silence, of her sulking tragedy, she displays the cruelty of the pack”, where we also find the personification of silence, of tragedy.

Metonymy is very common, as well as the oxymoron: “It was the well-known secret of national literature”. In almost all of her work, metonymies abound, an example of which can be found in her profile entitled Nicanor Parra. Buscando a Nicanor (Nicanor Parra. Looking for Nicanor) (2013: 18-34): “his competitive nature”, “painted by the punks of Las Cruces”; and the synesthesias: “in his heyday”; “cyclopean suspicion”, “fierce footprint”. In the profile entitled Máquina Fogwill (Fogwill Machine) (2013: 35-48), we find synesthesias, “humming in a surgical tone, blue, indifferent”.

Through designation, Domínguez Caparrós considers “the reference of the language to an extra-linguistic reality” (1985: 95). Among her rhetorical figures, the following stand out in their use by Guerriero: hyperbole (exaggeration beyond what is plausible), antithesis (opposition of two thoughts of arbitrary syntactic amplitude - words, phrases, periods), which in turn is related to the oxymoron. Finally, there is irony (expressing a thought with a vocabulary that denotes precisely the opposite).

In the profile entitled Nicanor Parra. Buscando a Nicanor (Nicanor Parra. Looking for Nicanor) (2013: 18-34), we find hyperbole as well: “He is a man, but he could be something else: a catastrophe, a roar, the wind”. In the next paragraph, this increases: “He is a man, but he could be a dragon, the death rattle of a volcano, the rigidity that precedes an earthquake” Antitheses also abound: “An inhuman force in a world made by men”.

Irony is another resource she uses often. We can see an example of this in the profile entitled Hebe Uhart. La escritora oculta (Hebe Uhart. The Hidden Writer) (2012: 288): “She was not a precocious reader, nor did she have artistic uncles or a vocation for writing”, which are three common places often used in journalism to talk about the origins of a writer.

In the profile El hombre del telón (The curtain man) (2012), which recounts the story of the curtain restorer in the Colón Theatre in Buenos Aires, the protagonist constantly refers to himself, and each sentence begins with the personal first-person pronoun “I”. Throughout the profile there are clear examples of pleonasm, and these act as a precise reminder of how lonely the man is: he is alone with his idea of how to mend the magnificent curtain, a great responsibility for which he receives no support. The ending is a great mix of pleonasm in a tragic tone with an ironic point: “I don’t know what will become of me now, but I don’t care” (2012: 289).

3.3. New Journalism Resources

Tom Wolfe described the New Journalism as that which applies the techniques of realistic fiction. Journalist Robert S. Boynton explains the concept in the prologue to his book entitled The New Journalism: