Abstract
From the vantage point of a reading guide that connects to a narratological and semiotic critical apparatus, the author tries to show the relations both complementary and paradoxical between Quevedo’s narrative strategy in his Buscon and the genre of portraiture as practiced by Ochoa, an illustrator of this picaresque novel. To what extent can this postmodern representation of Pablos’ figure be considered a modernization of the picaresque figure? To what extent does Pablos’ portrait by Ochoa work as a sort of rewriting of Quevedo’s rhetorical image? How to estimate the degree of originality and the meaning of this enigmatic rogue figure in the context of the 20th and 21st centuries?
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