Juan José Millás y Antonio

457 Pages·2014·3.17 MB·Spanish

UNIVERSIDAD COMPLUTENSE DE MADRID
FACULTAD DE FILOLOGÍA
DEPARTAMENTO DE FILOLOGÍA ESPAÑOLA II (LITERATURA ESPAÑOLA)

TESIS DOCTORAL

La representación narrativa y la identidad en la novela española
contemporánea:
Juan José Millás y Antonio Orejudo

MEMORIA PARA OPTAR AL GRADO DE DOCTOR

PRESENTADA POR

Patrick Toumba Haman

Director

Epicteto Díaz Navarro

Madrid, 2014

©Patrick Toumba Haman, 2014
UNIVERSIDAD COMPLUTENSE DE MADRID

FACULTAD DE FILOLOGÍA

DEPARTAMENTO DE FILOLOGÍA ESPAÑOLA II
(Literatura Española)

TESIS DOCTORAL

LA REPRESENTACIÓN NARRATIVA Y LA IDENTIDAD
EN LA NOVELA ESPAÑOLA CONTEMPORÁNEA:
JUAN JOSÉ MILLÁS Y ANTONIO OREJUDO

TESIS PARA OPTAR AL GRADO DE DOCTOR
PRESENTADA POR

PATRICK TOUMBA HAMAN

BAJO LA DIRECCIÓN DEL DOCTOR

EPICTETO DÍAZ NAVARRO

Madrid, 2014
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ABSTRACT

The present work, ‘Narrative representation and identity in the Spanish
contemporary novel: Juan José Millás and Antonio Orejudo’ aims to highlight the
different manifestations of the crisis of identity experimented by the heroes, in three and
two novels of both writers, respectively: Laura and Julio (2006), The World (2007),
What I know from little people (2010), and Advantages of Rail Traveling (2000) and A
Moment of Rest (2011). The concept of identity, in this context, does not refer to the
characteristics likely to identify a whole community from another, but it is rather related
to a personal level. Thus, the protagonists of the above mentioned novels struggle so as
to reconstitute their broken identities.
This investigation is centered on six main points, known as chapters: in the first
one, ‘Context and theoretical basis’, we define, on one hand, the postmodernism in
which our texts are situated, so that to understand the influence of that on our authors
and thus, on the behavior of our characters as they are the result of the author’s
imagination. On the other hand, we briefly define some concepts related to the
methodology used to achieve our main goal, consisting of understanding, according to
the characters attitudes, a specific socio-historical and cultural period of Spain: the
Franquism. Those concepts are, principally, narratology, sociocritics, psychoanalysis,
the theory of reflection, the theory of doubling, ideology, interpretation and the theory
of reception. The second chapter, ‘The characters as actantial entities’, intends to
understand relationships among the characters. For that, after an identification of the
most important ones, we have presented, for each novel, an actantial model, suggested
by Greimas, where the different configurations can be appreciated, in regard to the
desire of the protagonists. Moreover, the chapter highlights attitudes likely to bring us to
understand that most of the time we are dealing with socially disappointed characters.
For instance, we can observe situations where they are not satisfied with their identities
and thus the solution for them uses to be the research of what can be understood as their
lost part, even using violence against a second figure considered as their mirror. That
explains the presence of other subjects such as twins, little representations,
prolongations, etc. of the protagonists. In the same vein, that duplication is clearly
represented at the space construction, creating, thus, symmetry. In some moments, the
protagonists seem to act differently, so as to feel themselves into other bodies. In the
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third chapter, ‘The characters in space and time’, it can be noted that our subjects are
not always satisfied both with the place and the time they experience. For example, they
create some real or mental events distant from the period they live and seem to live lives
differently of what they are really supposed to. In some occasions, we can think they
have lost their spatial and temporal marks; in other times, they even forget experienced
past events, although voluntarily, to probably look for a kind of complicity from the
readers and invite them to feel compassion. Chapter four, ‘The characters as voices’
focuses on the different ways the tales are presented: the attitude of the narrators, their
place inside the texts, their relations with other characters, etc. The most important
remark to be made is that at some times, the characters no longer need to be introduced
by narrators who decide on their thoughts. For that, they become narrators themselves,
take their destiny and assume the role of presenting and defining their feelings from
their point of views. Chapter five, ‘Literature as mimesis and virtualization of the world
by protagonists’ basically intends to make a reflection on literature in general. It
specifically shows the relations of literature and society, fantasy and reality, and issues
such as writing, reading, book market, etc.; it is a model appreciated by our
protagonists. For instance, almost all of them are writers or wish to become so, which
states the high presence of autobiography. They matter is that they probably write
because they want to assume and defend their positions. Moreover, the same chapter
tries to introduce the ways our characters feign to do actions which are distinct from
what they really are or use to do.
All the above five chapters lead to a sixth one, entitled ‘Ideological dimension’.
For instance, as already stated, some characters are reflected in others, phenomenon
which produces symmetry. The space in which they act represents their psychic state.
The time they live is no longer chronological but static, which can justify the constant
efforts made by them in order to come out of their captive situation and, thus, to
construct their personality. Facts that can justify the narration they assume in certain
moments making disappear the figures of the narrator. Moreover, they choose to
become writers, the only way of stuffing the wounds they live. Definitely, we can say
that unless the texts can sometimes be situated in recent periods of the history of Spain,
Millás and Orejudo certainly want to criticize the spanish postfranquism’s era, in
general, where human beings seemed to ignore their future. For example, this situation
is clearly shown, where some characters are stunned by the sequels of the Spanish civil
war and are therefore afraid to come out to the street fearing not to be recognized. Their
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fight is also the one against literary institutions or artistic identity in a society where
meritocracy is less recompensed. Moreover, both writers, to present their quite similar
ideas, proceed differently: on one hand, Millás is quite serious, unless he occasionally
introduces techniques such as irony or sarcasm; on the other hand, Orejudo act through
ridicule, showing realities in a joking way. That is why the protagonist of Advantages of
Rail Travelling hides in a mad identity, to laugh at the institutions. At the end, we can
say that both authors intend to create with their pen a better world in which the
relationships prevail among its inhabitants.

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ÍNDICE
AGRADECIMIENTOS.....................................................................................................i
DEDICATORIA................................................................................................................ii
ABSTRACT.....................................................................................................................iii
INTRODUCCIÓN ............................................................................................................ 7
CAPÍTULO I: CONTEXTO Y BASES TEÓRICAS .................................................... 25
1-1- Entre modernismo y posmodernismo ................................................................. 26
1-2- El posmodernismo en España ............................................................................. 34
1-3- La teoría del extrañamiento ................................................................................ 38
1-4- La narratología .................................................................................................... 42
1-5- La sociocrítica ..................................................................................................... 47
1-6- El psicoanálisis ................................................................................................... 48
1-7- La teoría del reflejo ............................................................................................. 50
1-8- La teoría del desdoblamiento .............................................................................. 67
1-9- La ideología ........................................................................................................ 70
1-10- La interpretación ............................................................................................... 74
1-11- Teoría de la recepción ....................................................................................... 78
CAPÍTULO II: LOS PERSONAJES COMO ENTIDADES ACTANCIALES ............ 81
2-1- El censo de los personajes................................................................................... 86
2-1-1- En Juan José Millás ..................................................................................... 87
2-1-2- En Antonio Orejudo .................................................................................... 87
2-2- El esquema actancial ........................................................................................... 89
2-2-1- El modelo actancial en Juan José Millás ..................................................... 93
2-2-2- El esquema actancial en Antonio Orejudo .................................................. 98
2-2-3- El cuadrado semiótico ............................................................................... 101
2-3- El juego de interrogaciones ............................................................................... 103
2-4- El reflejo entre los personajes de Juan José Millás ........................................... 106
2-4-1- Julio y Manuel en Laura y Julio ................................................................ 109
2-4-2- Juanjo, entre María José y Luz Acaso ....................................................... 113
2-4-3- El protagonista y su doble en Lo que sé de los hombrecillos .................... 118
2-4-4- Reflejos entre objetos en la narrativa de Juan José Millás ........................ 125
2-5- La doble figura de Martín Urales de Úbeda en Antonio Orejudo..................... 127
2-6- La violencia en los personajes de Juan José Millás .......................................... 128
2-7- La crisis de representación ................................................................................ 132
2-8- Personajes, máscara e indumentaria en Juan José Millás ................................. 138
2-9- Crisis sentimentales en nuestros personajes ..................................................... 141
2-10- La pasividad de los sujetos en Juan José Millás ............................................. 145
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2-11- La animalización en los personajes de Antonio Orejudo................................ 146
2-12- La sexualidad .................................................................................................. 148
2-13- La mentira en nuestros protagonistas .............................................................. 151
2-14- La esquizofrenia .............................................................................................. 156
2-15- Psicología y lucha con el psiquismo ............................................................... 162
2-16- Narradores de Juan José Millás y la figura del padre ..................................... 166
2-17- El psicoanálisis en Juan José Millás ............................................................... 167
CAPÍTULO III: LOS PERSONAJES EN EL ESPACIO Y EL TIEMPO ................... 179
3-1- El espacio .......................................................................................................... 181
3-1-1- La función referencial del espacio ............................................................. 185
3-1-2- La configuración del espacio en Juan José Millás y Antonio Orejudo ..... 191
3-1-3- El aquí y el allá en Juan José Millás y Antonio Orejudo ........................... 197
3-1-4- Los espacios simbólicos en Juan José Millás ............................................ 202
3-2- El tiempo ........................................................................................................... 212
3-2-1- Tipología de los sujetos en su relación con el tiempo ............................... 215
3-2-2- El tiempo de la conciencia ......................................................................... 216
3-2-3- Los mecanismos de la memoria y del recuerdo en los personajes ............ 224
3-2-4- Memoria y construcción de la identidad personal o colectiva................... 230
3-3- Personajes y discapacidades en nuestros autores .............................................. 236
3-4- La parodia en Juan José Millás y Antonio Orejudo .......................................... 239
CAPÍTULO IV: LOS PERSONAJES COMO VOCES ............................................... 243
4-1- El narrador ........................................................................................................ 246
4-1-1- El narrador omnisciente ............................................................................. 250
4-1-2- El narrador homodiegético ........................................................................ 252
4-1-3- La narración en segunda persona............................................................... 259
4-2- Perspectiva doble en Juan José Millás .............................................................. 269
4-3- Relato antidetectivesco ..................................................................................... 273
4-4- Narración fotográfica ........................................................................................ 275
4-5- Ausencia de la figura de los personajes en Juan José Millás ............................ 277
4-6- La casualidad como fuente narrativa ................................................................ 278
CAPÍTULO V: LA LITERATURA COMO MÍMESIS Y VIRTUALIZACIÓN DEL
MUNDO POR LOS PROTAGONISTAS .................................................................... 283
5-1- Fingimientos ..................................................................................................... 288
5-2- La autobiografía en el corpus ............................................................................ 292
5-3- Orígenes e identidad del mundo o de la Historia en Juan José Millás .............. 298
5-4- La ironía y el humor como estrategias de mimetismo ...................................... 304
5-5- La creación de mundos a partir de la literatura y la escritura ........................... 308
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5-6- Fantasía y realidad ............................................................................................ 317
5-7- El mundo a través del proceso de lectura.......................................................... 326
5-8- Literatura y comercio ........................................................................................ 328
5-9- Literatura y globalización ................................................................................. 330
CAPÍTULO VI: LA DIMENSIÓN IDEOLÓGICA ..................................................... 335
6-1- Crítica de la identidad social ............................................................................. 346
6-2-Crítica de la sociedad ......................................................................................... 353
6-3- Crítica de otros aspectos de la sociedad ............................................................ 372
6-4- Restauración de la memoria .............................................................................. 382
6-5- La autoría .......................................................................................................... 393
6-6- Crítica de la literatura y la identidad literaria ................................................... 399
6-7- La búsqueda de la libertad ................................................................................ 406
6-8- La lectura como medio esencial ........................................................................ 410
CONCLUSIONES ........................................................................................................ 415
BIBLIOGRAFÍA .......................................................................................................... 423
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