¿Pero Tú Qué Te Has Creído, Que La Guerra Es Una Broma? La Seriedad Del Humor En Diferentes Representaciones Culturales De La Guerra Civil Española
Total Page：16
File Type：pdf, Size：1020Kb
University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2016 ¿PERO TÚ QUÉ TE HAS CREÍDO, QUE LA GUERRA ES UNA BROMA? LA SERIEDAD DEL HUMOR EN DIFERENTES REPRESENTACIONES CULTURALES DE LA GUERRA CIVIL ESPAÑOLA Maria Jesus Lopez Soriano University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.032 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Lopez Soriano, Maria Jesus, "¿PERO TÚ QUÉ TE HAS CREÍDO, QUE LA GUERRA ES UNA BROMA? LA SERIEDAD DEL HUMOR EN DIFERENTES REPRESENTACIONES CULTURALES DE LA GUERRA CIVIL ESPAÑOLA" (2016). Theses and Dissertations--Hispanic Studies. 25. https://uknowledge.uky.edu/hisp_etds/25 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Maria Jesus Lopez Soriano, Student Dr. Carmen Moreno-Nuño, Major Professor Dr. Moisés R. Castillo, Director of Graduate Studies ¿PERO TÚ QUÉ TE HAS CREÍDO, QUE LA GUERRA ES UNA BROMA? LA SERIEDAD DEL HUMOR EN DIFERENTES REPRESENTACIONES CULTURALES DE LA GUERRA CIVIL ESPAÑOLA DISSERTATION A dissertation submitted in partial fulfillment of the requirements of the degree of Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By María Jesús López Soriano Lexington, Kentucky Director: Dr. Carmen Moreno-Nuño, Assistant Professor of Hispanic Studies 2016 Copyright © María Jesús López Soriano ABSTRACT OF DISSERTATION WHAT DO YOU THINK, THAT WAR IS A JOKE? THE SERIOUSNESS OF HUMOR IN CULTURAL REPRESENTATIONS OF THE SPANISH CIVIL WAR This dissertation analyzes selected pieces of work related to the Spanish Civil War (1936-39) produced during the twenty-first-century as cultural artifacts to be considered in their historical and socio-political context. Specifically, my dissertation focuses on the relationship between the way the conflict is depicted and the message it conveys. Parting from the premise that there has been an overproduction of lieu de mémoire that has transformed the Spanish war into a cultural trend, the civil war-esque, I study a number of humor works. Precisely, these humorous works deconstruct such trend by considering its most common characteristics: the use of metafiction and nostalgia. The Introduction presents the socio-political situation of contemporary Spain, the civil war-esque trend, and different categories of humor. In the first chapter I focus on the TV-series Plaza de España (2011). By combining the theoretical framework of the sitcom and the Critical Analysis of Discourse, I demonstrate that the program reinforces the official message in regard to the Spanish recent past. In the second chapter I examine the novel La comedia salvaje (2009) by José Ovejero. This parody, understood by the lens of Bakhtin, invites the readers to be skeptical about what they know and what they have been told about the war. In the third chapter I study thefilm The Last Circus I (2010) by Álex de la Iglesia. Departing from an esperpento, the film leaves this genre behind and transforms itself into a satire which demythifies the traditional research method, such as visiting archives or interviewing witnesses, and opts for imagination to reproduce a traumatic past. Finally, the goal of this dissertation is to help envisage that a wider, and at the same time critical representation, of the Spanish Civil War its possible, and in turn could lead on to a potential change in the Spanish current cultural production as well as its social and political situation. Key words: Spanish Civil War, historical memory, civil war-esque, metafiction, nostalgia, humor, comedy, parody, satire, liue de mémoire ¿PERO TÚ QUÉ TE HAS CREÍDO, QUE LA GUERRA ES UNA BROMA? LA SERIEDAD DEL HUMOR EN DIFERENTES REPRESENTACIONES CULTURALES DE LA GUERRA CIVIL ESPAÑOLA By María Jesús López Soriano Dr. Carmen Moreno-Nuño Director of Dissertation Dr. Moisés R. Castillo Director of Graduate Studies Feb. 29, 2016 Lista de siglas ACD Análisis Crítico del Discurso ARMH Asociación para la Recuperación de la Memoria Histórica BTT Balada triste de trompeta ETB Euskal Telebista IMDb Internet Movie Database LCS La comedia salvaje ONU Organización de las Naciones Unidas PE Plaza de España PP Partido Popular PSOE Partido Socialista Obrero Español RTVE Radio Televisión Española TGHV Teoría General del Humor Verbal TVC Televisió de Catalunya TVE Televisión Española iii Lista de figuras Figura 1. El mito de Barthes ……………………………………………….. 230 Figura 2. El tercer nivel del mito de Barthes ……………………………..... 230 Figura 3. Niveles narrativos: diferencias entre Don Quijote y LCS ……….. 231 Figura 4. Mapa con el recorrido de Benjamín por la península Ibérica ...…. 232 Todas las traducciones que aparecen en esta tesis son mías. La información sobre las series de televisión y filmes: año de producción, actores, productores, etc. ha sido obtenida de la base de datos de la IMDb (Internet Movie Database). iv Tabla de contenidos Lista de siglas ………………………………………………………………… iii Lista de figuras ……………………………………………………………….. vi Tabla de contenidos ………………………………………………………….. v Introducción ………………………………………………………………….. 1 La homogeneización de la memoria histórica, la nostalgia y el humor como modalidades discursivas ……………………………........... 3 Política, sociedad y cultura ……………………………………………….. 7 Los productos culturales como lugares de memoria …………………........ 25 La evolución lógica ……………………………………………………….. 30 La ciencia del humor …………………………………………………........ 31 El humor y su recepción ………………………………………………….. 33 El humor guerracivilesco: la reivindicación de otra memoria ……………. 36 Plaza de España, la farsa de una reconciliación anunciada …………………. 53 El ACD, la comedia y la sitcom …………………………………………... 54 Del texto al contexto: el texto televisivo …………………………………. 73 El receptor del mensaje institucional y la memoria mediática …………… 85 Conclusión ………………………………………………………………... 102 La comedia salvaje o la obsesión con las dos Españas, la reconstrucción paródica de una realidad persistente ………………………. 105 Don Quijote en diálogo con LCS …………………………………………. 106 El realismo grotesco: la parodia de Don Quijote …………………………. 111 El realismo grotesco: la parodia guerracivilesca …………………………. 122 La interpretación paródica y la solución a los problemas ……………........ 143 La metaficción y la parodia: una dualidad ………………………………... 147 Conclusión ………………………………………………………………... 151 (Son)risas rotas en Balada triste de trompeta ………………………………... 153 Álex de la Iglesia el satírico ………………………………………………. 154 El payaso blanco y el payaso augusto …………………………………….. 157 El esperpento y la sátira …………………………………………………... 163 El humor y la violencia …………………………………………................ 173 El director de cine como titiritero esperpéntico, entertainer y payaso ........ 184 La ruptura con el esperpento y la muerte del método …………………….. 192 Conclusión ………………………………………………………………... 197 Conclusión: el humor (de)construye y (des)mitifica ………………………… 202 Fuentes citadas ……………………………………………………………….. 206 Productos culturales ………………………………………………………. 206 Teoría, historia y sociedad ………………………………………………... 212 Teoría literaria y ensayos de memoria histórica ………………………….. 222 v Teoría y ensayos sobre el humor …………………………………………. 226 Legislación ………………………………………………………………... 228 Anejo …………………………………………………………………………. 230 Vita …………………………………………………………………………… 233 vi Introducción Los productos de memoria histórica se erigen para evitar el olvido de la Guerra Civil española (1936-1939), un conflicto del que quedan pocos supervivientes. Comparto la posición positiva de críticos como Carmen Moreno-Nuño, Paloma Aguilar Fernández o Ana Luengo ya que consideran que las obras guerracivilescas sirven para crear memoria sobre el pasado así como una evocación contestataria. Sin embargo, aunque coincido con su enfoque positivo y