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Ficción Extrema: Deslizamientos En La Realidad a Través De La Relación Entre Arte Y Literatura (Max Aub, Leonora Carrington Y

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Ficción Extrema: Deslizamientos En La Realidad a Través De La Relación Entre Arte Y Literatura (Max Aub, Leonora Carrington Y Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 11-7-2014 Ficción Extrema: Deslizamientos en la Realidad a Través de la Relación Entre Arte y Literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas) Adriana Herrera [email protected] Follow this and additional works at: http://digitalcommons.fiu.edu/etd Part of the Contemporary Art Commons, Modern Art and Architecture Commons, Spanish Literature Commons, and the Theory and Criticism Commons Recommended Citation Herrera, Adriana, "Ficción Extrema: Deslizamientos en la Realidad a Través de la Relación Entre Arte y Literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas)" (2014). FIU Electronic Theses and Dissertations. Paper 1741. http://digitalcommons.fiu.edu/etd/1741 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida FICCIÓN EXTREMA: DESLIZAMIENTOS EN LA REALIDAD A TRAVÉS DE LA RELACIÓN ENTRE ARTE Y LITERATURA (MAX AUB, LEONORA CARRINGTON Y ENRIQUE VILA-MATAS) A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in SPANISH by Adriana Herrera 2014 To: Interim Dean Michael R. Heithaus College of Arts and Sciences This dissertation, written by Adriana Herrera, and entitled Ficción extrema: Deslizamientos en la realidad a través de la relación entre arte y literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas), having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this dissertation and recommend that it be approved. ____________________________________ Renee Silverman ____________________________________ Asunción Gómez ____________________________________ Carol Damian ____________________________________ Santiago Juan-Navarro, Major Professor Date of Defense: November 7, 2014 The dissertation of Adriana Herrera is approved. ___________________________________ Interim Dean Michael R. Heitaus College of Arts and Sciences ______________________________________ Dean Lakshmi N. Reddi University Graduate School Florida International University, 2014 ii AGRADECIMIENTOS A cada uno de los miembros de mi comité, encabezado por el Dr Santiago Juan- Navarro, por su inapreciable colaboración, aún más significativa por el aporte de sus investigaciones sobre la metaficción historiográfica. A la Dra Asunción Gómez por su incondicional apoyo, profesional y humano, desde el inicio de mi carrera; a la Dra Reneé Silverman, bajo cuya certera guía comencé a investigar la obra de Max Aub; a la Dra Carol Damian, quien ha secundado mis exploraciones curatoriales como parte de su apertura a nuevas visiones en el arte latinoamericano. Al Dr Juan Martínez, quien secundó el entusiasmo inicial para emprender esta disertación. A mi madre, por el ejemplar valor con el que enfrentó su cáncer sin dejar de animarme a continuar escribiendo y desde la otra orilla festeja conmigo y con mi padre y abuelo este momento. Y a mis padres adoptivos, Leonor y Álvaro, porque sustentan mi alma. A mis cinco hijos, María de la Paz, Juan Francisco, Mariana Lucía, Manuel Andrés y María Juliana, por el amor, siempre, pero especialmente a Mariana por la luz de su infatigable trabajo como secretaria en la fase final de la disertación. A mi esposo, Willy Castellanos, por su presencia clara en las horas de fatiga y por la invención de la felicidad cotidiana. Al Dios de los alegres por cuyas aventuras cambió Teresa de Ávila sus amados libros de caballería. iii ABSTRACT OF THE DISSERTATION FICCIÓN EXTREMA: DESLIZAMIENTOS EN LA REALIDAD A TRAVÉS DE LA RELACIÓN ENTRE ARTE Y LITERATURA (MAX AUB, LEONORA CARRINTON Y ENRIQUE VILA-MATAS) by Adriana Herrera Florida International University, 2014 Miami, Florida Professor Santiago Juan-Navarro, Major Professor Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema. Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917- México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre — pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como iv sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad. v TABLA DE CONTENIDO CAPÍTULO PÁGINA INTRODUCCIÓN .............................................................................................................. 1 La novedad de la ficción extrema ................................................................................. 15 MAX AUB Y LA FICCIÓN EXTREMA: LA INVENCIÓN DE JUSEP TORRENS CAMPALANS .................................................................................................................. 30 La relación especular con Picasso ................................................................................. 37 La audacia de la impostura ........................................................................................... 39 El signo errante del autor en el origen de la ficción extrema ....................................... 47 Una ficción meta-histórica ............................................................................................ 54 La culpabilidad de la ficción extrema ........................................................................... 63 La impostura del biógrafo ............................................................................................. 68 Los otros en la legitimación de la invención ................................................................ 71 La crítica a la autoría ..................................................................................................... 76 Deslizamientos de la ficción en los agradecimientos ................................................... 81 El juego de los anales: otra estrategia de la ficción extrema ........................................ 85 Composiciones cubistas en la biografía apócrifa .......................................................... 93 El artificio del pintor imaginario ................................................................................. 110 La pintura-ficción ........................................................................................................ 118 La impostura del crítico: la pintura desencantada ....................................................... 155 LEONORA CARRINGTON: LA MUJER-CABALLO DERRIBANDO LINDES ENTRE ARTE, TEXTO Y VIDA .................................................................................. 182 La novia del viento. Una rebelde muy hermosa ......................................................... 185 Habitante de una segunda realidad ............................................................................. 194 Coser mitos: juegos de la lengua e iconografías ......................................................... 199 La génesis de un bestiario desobediente .................................................................... 209 La máscara de la hiena y el desacato social ................................................................ 219 El hombre pájaro ......................................................................................................... 230 La mujer caballo y el hombre pájaro: incendios de la imaginación ........................... 262 De torneos peligrosos y juegos de damas en St Martin d´Ardèche ............................ 270 Cuadros y cuentos encabritados .................................................................................. 273 Otros cuentos y pinturas de amor, locura y guerra ..................................................... 289 Memorias de abajo .....................................................................................................
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