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La Unidad Literaria En La Obra De Trumañ Capote

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La Unidad Literaria En La Obra De Trumañ Capote ELENA ORTELLS MONTÓN FICCIÓN Y NO-FICCIÓN: LA UNIDAD LITERARIA EN LA OBRA DE TRUMAÑ CAPOTE Anejo n.° XXXII de la Revista CUADERNOS DE FILOLOGÍA DEPARTAMENTO DE FILOLOGÍA INGLESA Y ALEMANA (Literatura norteamericana) FACULTAT DE FILOLOGÍA UNIVERSITAT DE VALENCIA ÍNDICE INTRODUCCIÓN 1 CAPÍTULO 1. LA UNIDAD DE TEMAS EN LA OBRA LITERARIA DE TRUMAN CAPOTE 14 1.1. La teoría literaria de Truman Capote: el conflicto entre ficción y no-ficción 15 X 1.2. Las "dark short stories" 22 1.2.1. "Miriam" y "A Tree of Night" 24 1.2.2. "The Headless Hawk" y "Shut a Final Door" 26 1.2.3. "Master Misery" 31 1.3. Las "daylight stories" 33 1.3.1. "My Side of the Matter" 34 1.3.2. "Jug of Sil ver" y "Children on Their Birthdays" 35 1.4. Other Voices, Other Rooms 38 1.5. "A Diamond Guitar" 46 1.6. Local Color 47 1.7. The Grass Harp 51 1.8. "House of Flowers" 57 1.9. Evocaciones autobiográficas: "A Christmas Memory", The Thanksgiving Visitor, "Dazzle" y One Christmas 58 1.10. The Muses Are Heard 63 1.11. "The Duke in His Domain" 66 1.12. Observations 71 1.13. Breakfast at Tiffany's 71 1.14. "Among the Paths to Edén" 75 1.15. In Cold Blood 76 * 1.16. Music for Chamaleons 84 1.17. Answered Prayers 92 CAPÍTULO 2. LA MIRADA DEL NARRADOR 2.1. La problemática identificación autor/narrador 95 ,A 2.2. Hacia una clasificación de la figura del narrador 97 >0 2.2.1. Narradores heterodiegéticos 99 2.2.2. Narradores homodiegéticos 116 2.2.2.1. El narrador homodiegético como protagonista 116 2.2.2.2. El narrador homodiegético como testimonio u observador 120 CAPÍTULO 3. HACIA EL ESTABLECIMIENTO DE UNA TIPOLOGÍA DE PERSONAJES 3.1. El personaje como máscara del autor y la confusión entre persona y personaje 139 3.2. Hacia una tipología de personajes anteriores a In Cold Blood. 142 3.2.1. El niño como buscador 137 3.2.2. La víctima y el verdugo 150 3.2.3. Los vagabundos de espíritu libre 156 3.2.4. Los buscadores de sueños 160 3.2.5. El artista 163 3.3. La reiteración de tipos en In Cold Blood. 166 3.4. Hacia una tipología de personajes posterior a In Cold Blood. 174 3.4.1. Los retratos de artistas tras In Cold Blood 174 3.4.2. Music for Chamaleons 177 3.4.3. Answered Prayers 183 CAPÍTULO 4. EL ESTILO LITERARIO 4.1. La importancia del estilo en la carrera literaria de Truman Capote 186 4.2. La evolución estilística de Capote desde sus orígenes hasta Answered Prayers 187 4.3. La reiteración metafórica y simbólica en su producción artística 191 4.3.1. Las resonancias simbólicas de la naturaleza y de la fenomenología atmosférica 192 4.3.2. La guitarra como alivio de soledad 196 4.3.3. Ojos y espejos como reflejo de estados interiores 197 4.3.4. Las serpientes como proyección de pesadillas 199 4.3.5. Los sueños como representación de estados emocionales 200 4.4. Los problemas en los usos simbólicos 201 CAPITULO 5. CONCLUSIONES 207 BIBLIOGRAFÍA. Bibliografía primaria 211 Bibliografía secundaria de carácter general 212 Bibliografía secundaria biográfica y crítica específica sobre Truman Capote 219.
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