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The ekphrasis metaleptica: representational resource in Una novelista en el Museo del Louvre, of Zoé Valdés With this work we intend to demonstrate that the novel Una novelista en el Museo del Louvre (2009) is structured from the rhetorical and intertextual resource “ekphrasis metaleptica”, category coined by Luz Aurora Pimentel (2012); that configures a museographic distribution in which the story is constructed as a script, to desacralize the insular political discourse, while installing the novel, in its plastic and narrative double, as insurrectionary discourses and critics of the Cuban status quo. The intertextual or intermedial relation established between the literary and visual representation, then, is of a contributory nature because the images that are evoked through writing are transformed into iconotexts that increase the iconic value of the discourse. 1 Este trabajo forma parte de una investigación mayor denominada “Apuntes sobre la dimensión museal de la literatura latinoamericana o los museos de papel” (Proyecto FONDECYT No 11121221), cuyo investigador responsable es el Dr. Juan D. Cid Hidalgo. 2 Iraida Bárzaga es Magíster en Literaturas Hispánicas, graduada en la Universidad de Concepción, Chile. Actualmente es investigadora FONDECYT y estudiante del Doctorado en Literaturas Latinoamericanas en la Universidad de Concepción, Chile. Contacto: irabm1987@ gmail.com. La écfrasis metaléptica: recurso representacional en Una novelista en el Museo del Louvre, de Zoé Valdés