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UMI A Bell & Howell Information Company 300 North 2^ed) Road, Arm Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 EL CULTURALISMO EN LA POESIA DE JUAN GIL-ALBERT DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maria Paz Moreno ***** The Ohio State University 1999 Dissertation Committee: Professor Stephen Summerhill, Adviser Professor Elizabeth Davis Adviser Professor Salvador Garcia-Castaneda Department of Spanish & Portuguese UMI Number: 9931655 Copyright 1999 by Moreno, Maria Paz All rights reserved. UMI Microform 9931655 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Maria Paz Moreno 1999 ABSTRACT The poetry of Juan Gil-Albert is one of the richest, most unique and complex in Twentieth Century Spanish Literature. Unfortunately it has not been sufficiently studied, often considered by critics as “difficult” or uninteresting. The purpose of this study is to analyze the principles on which Gil-Albert’s poetry is based. The starting point of the analysis is the cultural references that Gil-Albert integrates into his poetic work. Using a predominantly formalist approach combined also with styhstics and traditional semiotics, I seek to show the recurrence o f such references and determine their relevance. The study is divided into two major parts. The first part, “Temas y formas del culturalismo gilalbertiano”, comprises chapters one through three. Here, I review previous definitions given for the term “culturalismo” and a new, more comprehensive definition is presented. In the second chapter I analyze the role of the cultural references integrated into Gil-Albert’s poetry. These references range fi-om Dante to Niezstche and firom the world of classical mythology to contemporary writers. Chapter three focuses on the use of myth in Gil-Albert’s poetry. The second part, “ El ser Mrico y su relaciôn con el culturalismo”, includes chapters four and five, introducing the subject of the author’s identity. It is shown here IX how the work becomes a system that serves as a means of self-identification. The cultural references build a universe in which the author places himself. Other issues also addressed throughout this study are the view of homosexual love in poetry, the search for an identity through the work of art, and the importance of both the geographical and the inner exiles lived by the author. The conclusion of my study summarizes the meaning and use of Gil-Albert’s “culturalismo.” Also, I estabhsh the importance and uniqueness of his poetic work in the panorama of modem Spanish Poetry, based on the fact that his was a “culturahsmo” avant la lettre that even preceded the coinage of the term. 1 X 1 A mi familia y a Eric. IV AGRADECDVnENTOS A mi director, Stephen Summerhill per su paciencia, su imprescindible ayuda y sus excelentes indicaciones. A Salvador Garcia Castaneda por sus impagables consejos. A José Carlos Rovira de la Universidad de Alicante por sus consejos y guia, y por proporcionarme valioso material bibliografico. A1 servicio de Inter Library Loan por su eficacia. A la Fundacion Juan Gil-Albert de Alicante y su director Adrian Espi, por su interés en el presente trabajo. A Suzanne Karpus y el Departamento de Espanol y Portugués deThe Ohio State University por la concesion de la beca Karpus. A John Crispin de Vanderbilt University por su apoyo e interés. A Juan Angel Castafio por su ayuda en la recopilacion de raro material bibliografico y su amistoso apoyo. A mis amigos en Alicante, Columbus y Nashville, por su imprescindible apoyo moral. A todos aquellos que de una u otra manera han hecho posible la realizacion de este trabajo. VITA July 14,1970 ............................................................ Bom - Murcia, Spain. June 1993.................................................................. Licenciatura, Spanish. Philology, University of Alicante. Fall 1993-present..................................................... Ph.D student. Department of Spanish & Portuguese, The Ohio State University. 1993-1995................................................................ Graduate Research Associate for Prof. Samuel Amell, The Ohio State University. FaU 1996.................................................................... Graduate Research Associate for Prof. Vicente Cantarino, The Ohio State University. FaU 1993-Spring 1997............................................... Graduate Teaching Associate, Department of Spanish & Portuguese, The Ohio State University. Winter 1996................................................................ Resident Director for the OSU Study Abroad Language Program in Cuemavaca, Mexico. FaU 1997-Spring 1999.............................................. Lecturer, Department of Spanish. & Portuguese, VanderbUt University. VI PUBLICATIONS Research Publication "La poesla de Juan Gil-Albert". Cârmenes. Revista de poesla I, December 1997. Review of El jardin quebrado. La Escuela de Barcelona y la cultura del medio siglo, by Laureano Bonet. Espana Contemporânea Spring 1997, Vol. X, 1. "Conversacion con Luis Garcia Montero". (Interview). Poiesis 4, Spring 1997. Review of Gil de Biedma: cartas y artfculos, by Joan Ferrate. Espana Contemporânea Spring 1996, Vol. X, I. Review of Juan Gil-Albert: Antologia Poetica, ed. Guillermo Camero. Espana Contemporânea Spring 1995, Vol. Vm, I. Original Works ‘Toemas escogidos”. Cârmenes. Revista de poesfa U, December 1998. “Equipaje en mano”, “La estacion de las lluvias” (original poems). Cuademos del matematico 18, May 1997. "Proposiciones honestas", "Soliloquio" (original poems). Torre de papel. Spring 1997, Vol. Vn, I. Mudanza en su costumbre,Lunara Poetry Prize 1994. Lunara series, Elche: Frutos Secos, 1996. La semilla bajo el asfalto. Finalist at "VU Certamen Juvenil de Poesia Miguel Hernandez". Alicante: Edited by the author, 1994. FIELDS OF STUDY Major Field: Spanish and Portuguese ABREVIATURAS UTILIZADAS OPC Obra poetica compléta OCP Obra compléta en prosa BV Breviarium Vitae CG Cronica General 7R 7 Romances de guerra VIT Variaciones sobre un tema inextinguible M Memorabilia V l X l INDICE Pagina A b stra ct ........................................................................................................................ ii Dedicatoria.................................................................................................................... iü Agradecimientos............................................................................................................ v V ita ................................................................................................................................ vi Abreviaturas utilizadas................................................................................................. viii Capitulos: Primera parte: Temas y formas del culturalismo gilalbertiano....................................... I L Introducciôn............................................................................................................2 1.1. Delimitaciôn de este estudio.....................................................................2 1.1.1 Propôsitos................................................................................... 2 1.1.2 Metodologia empleada...............................................................4 1.1.3 Defîniciôn del termine “culturalismo”...................................... 5 1.2. Estudios criticos........................................................................................ 13 1.2.1. El problema de la inclusion generacional................................. 13 1.2.2. Desde el “boom” de Gil-Albert: principales aportaciones criticas.......................................................................................... 16 1.3. Contexte histôrico y literario de Gil-Albert ............................................ 21 1.3.1. Los inicios: esteticismo, surréalisme y compromise...............21 1.3.2. El exiliez ocio creative ...............................................................35