Summary, in English
Tomas Eloy Martínez´ Santa Evita displays a profusion of ekphrastic sequencies through which the photographic representations become a recurring theme. This study examines these descriptions of photographies with the purpose of studying what the inclusion of this visual collage responds to and what place this occupies in the temporal development and in the general imaginary economy of the work. To answer these questions I compare and interpret the ekphrastic sequencies with postmodern theories on photography and ekphrasis. As a point of departure, I analyse the references and allusions to visual material in the general epigraphs and inside the text, focusing on the representations of the photographic medium in relation to memory, the evidential, the formation of mental images, the referent and the enforcement of ideologies and myths. Secondly, I consider the function of photography as a source of fascination towards the spectator characters, and consequently, towards the reader. Lastly, I analyse the visual medium as it is represented by the narrative medium. This investigation concludes that the photographic sequencies constitute points of interaction between unity and multiplicity, mobility and fixation, image and writing. Moreover, the evocation of the image in the narration is, at the same time, the contestation and neutralization of its power. The visual exposure in the narrative questions concepts such as the visual and the visible, giving priority to the invisible in order to understand the photographic phenomenon in a society saturated by images.