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Representación De La Violencia Y El Trauma En La Obra De Yu Hua

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Representación De La Violencia Y El Trauma En La Obra De Yu Hua Representación de la violencia y el trauma en la obra de Yu Hua Teresa Inés Tejeda Martín TESIS DOCTORAL UPF / 2019 DIRECTOR Dr. Manel Ollé Rodríguez DEPARTAMENT D’HUMANITATS AGRADECIMIENTOS El proceso de investigación y escritura de una tesis puede resultar especialmente solitario, en cambio, su resultado no le pertenece a uno solo, pues son muchas las personas que intervienen en muy diferentes formas. Por eso me gustaría agradecer en estas líneas a los que me han acompañado en todo este tiempo. Ante todo, tengo que darle las gracias a mi tutor, el Profesor Dr. Manel Ollé, por todo lo que me ha enseñado a lo largo de estos años con sus consejos y su paciencia, y por haber depositado su confianza en este proyecto. También a la Profesora Dra. Alicia Relinque, porque sus clases cambiaron el rumbo de mi vida y su pasión por la literatura china resulta tan contagiosa que ha motivado esta investigación. Detrás de estas páginas está el apoyo incondicional de mis padres a los que no puedo agradecerles lo suficiente con unas pocas palabras. Son muchos los amigos que me han acompañado en el camino: Rosa Benéitez lo ha alumbrado en momentos de oscuridad; Rafael Caro y Manuel Pavón siempre camaradas en la lucha; gracias a Teresa Hermida mi doppelgänger y a Lucía Hornedo por los ratos dentro y fuera de las bibliotecas; a Eloísa Gómez porque siempre está a mi lado; a José Manuel Iglesias y a Delia Ortiz por ser mi familia; a Araceli Ballesteros por toda su ilusión; a Elizabeth Martín y Luna Villares por las largas conversaciones; a Tomás Villegas porque lo ha aderezado todo con sabores; a Naranjito porque con sus paseos por el teclado ha embellecido estas páginas; gracias también a Pablo López Carballo, Laura Zuheros, Esther Pérez, María Nieto, a mi familia y a otros muchos que siempre me han animado. Por último, gracias a Miguel Espigado porque tras cada palabra que yo escribo siempre hay un pedacito de él. Estas páginas son para ti. RESUMEN En esta investigación se lleva a cabo un análisis pormenorizado de la obra de Yu Hua (1960) para lo que nos hemos valido de las herramientas de conocimiento que nos ofrecen las principales teorías sobre la violencia y el trauma. Partimos de la hipótesis de que la violencia vertebra su obra y es el trauma el que la cataliza. Establecemos relaciones con los acontecimientos históricos, políticos, sociales y literarios que nos permiten explicar el cambio de estilo y de la representación de la violencia a lo largo de su obra. Sostenemos la idea de que se pasa de una violencia predominantemente directa que obedece a una representación traumática, y por tanto de gran subjetividad, en su etapa de vanguardia, a una violencia fundamentalmente estructural en sus últimas novelas publicadas, motivadas por una crítica mucho más explícita a la sociedad. ABSTRACT In this investigation we perform a detailed analysis of Yu Hua´s work (born 1960), making use of the knowledge tools provided by the main trauma and violence theories. We defend that violence underpins his works and trauma catalyzes it. We establish the pertinent relationships between the historical, political, social and literary events that will allow us to explain the way in which violence is represented and how his style change. We argue that his work shifts from a predominantly direct violence, which responds to traumatic and therefore highly subjective representation in his avant-garde period, to an essentially structural violence in his lasts published novels, driven by much more explicit critique of society. Índice INTRODUCCIÓN .................................................................................................................... 5 CAPÍTULO 1 LA VIOLENCIA: HERRAMIENTAS PARA UN ANÁLISIS CULTURAL ......... 17 1.1. ¿De qué hablamos cuando hablamos de violencia? La (in)definición de la violencia ..............................................................................................................................................................21 1.2. Adoptando un modelo: el triángulo de Galtung ...............................................................27 1.2.1. El triángulo de la violencia de Galtung ................................................................................... 31 1.3. Violencia directa .......................................................................................................................34 1.3.1. Dimensión física y psicológica: el ataque a los bienes ...................................................... 36 1.3.2. Transgrediendo los límites entre lo directo y lo estructural .............................................. 40 1.4. Violencia estructural ...............................................................................................................55 1.4.1. Subtipos ............................................................................................................................................. 58 1.4.2. ¿Paradigma social, político o económico? ............................................................................ 59 1.4.3. La brecha social: de lo estructural a lo directo ..................................................................... 66 1.5. Violencia cultural .....................................................................................................................68 1.5.1. La propaganda: violencia cultural de la revolución ............................................................ 73 1.6. Origen de la violencia: el contexto como detonador ........................................................84 CAPÍTULO 2 EL TRAUMA: NARRACIÓN DE LA VIOLENCIA ................................................... 89 2.1. A la caza del trauma: los avatares de una definición ......................................................94 2.1.1. La base freudiana de las teorías actuales ................................................................................ 96 2.1.2. Dos referencias de los enfoques actuales: principales rasgos y problemas .............. 109 2.1.3. Trauma en la teoría literaria ..................................................................................................... 115 2.2. Trauma y violencia ............................................................................................................... 117 2.2.1. Trauma psicosocial, político, colectivo y cultural ............................................................ 118 2.2.2. Ruptura del tejido social ........................................................................................................... 123 2.2.3. Miedo: trauma real e imaginado ............................................................................................. 132 2.2.4. Trauma en la memoria colectiva ............................................................................................ 138 2.3. Trauma y literatura .............................................................................................................. 149 2.3.1. Investigación literaria del trauma ........................................................................................... 150 CAPÍTULO 3 YU HUA Y EL MARCO GENERAL DE LA LITERATURA CHINA CONTEMPORÁNEA ........................................................................................................ 159 3.1. PRIMEROS AÑOS HASTA LA REVOLUCIÓN CULTURAL ............................... 163 3.1.1. Los años de formación a lo largo de la Revolución Cultural ........................................ 166 3.1.2. Final de la Revolución Cultural y la primera etapa formativa ...................................... 177 3.2. EL FIN DE LA REVOLUCIÓN Y EL PRINCIPIO DEL FANTASMA CULTURAL................................................................................................................................... 179 3.2.1. Subir a las aulas y bajar de las montañas ........................................................................... 184 3.2.2. El comienzo de la Nueva Era .................................................................................................. 186 3.2.3. La búsqueda de una nueva voz ............................................................................................... 197 3.2.4. Separatistas literarios ................................................................................................................. 199 3.3. DE LA UTOPÍA CULTURAL A LA CULTURA DE MERCADO ......................... 218 3.3.1. Tiananmen 1989: del origen a la masacre invisible ......................................................... 219 3.3.2. Post-nueva era: hacia la comercialización........................................................................... 225 3.3.3. Yu Hua y su nueva narrativa ................................................................................................... 246 3.4. Nuevo milenio, nueva voz .................................................................................................... 252 3.4.1. Hacia la globalización literaria ............................................................................................... 253 3.4.2. La discordancia social del milagro económico .................................................................. 259 3.5. Intelectuales, internet y las nuevas maneras de (ex)presión ...................................... 270 CAPÍTULO 4 ANÁLISIS: DE LO DIRECTO A LO ESTRUCTURAL ......................................... 279 2 4.1. VANGUARDIA: LA DISTORSIÓN DE LA VIOLENCIA ....................................... 279 4.1.1. Punto de partida: “Salir de casa y emprender un largo
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