El Tema De La Ciudad En La Literatura De La Posguerra Est Estrechamente

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El Tema De La Ciudad En La Literatura De La Posguerra Est Estrechamente SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... "Barcelona múltiple: transformaciones urbanas, ciudadanos, visitantes e inmigrantes. De ‘ciudad condal’ vencida a urbe postolímpica" A Dissertation Presented by Natalia Núñez Bargueño to The Graduate School In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Hispanic Languages and Literature Stony Brook University December 2007 Stony Brook University The Graduate School Natalia Núñez Bargueño We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Daniela Flesler- Dissertation Advisor Assistant Professor, Hispanic Languages and Literature Kathleen Vernon-Chairperson of Defense Associate Professor, Hispanic Languages and Literature Lou Charnon-Deutsch Professor, Hispanic Languages and Literature Adrián Pérez Melgosa Assistant Professor, Hispanic Languages and Literature Teresa Vilarós Sixth Century Professor of Hispanic Studies and Modern Thought University of Aberdeen This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation "Barcelona múltiple: transformaciones urbanas, ciudadanos, visitantes e inmigrantes. De ‘ciudad condal’ vencida a urbe postolímpica" by Natalia Núñez Bargueño Doctor of Philosophy in Hispanic Languages and Literature Stony Brook University 2007 This Dissertation examines how the development of Barcelona, first as an industrial city and then as a spectacular and hi-tech urban center, has been highly influenced by its relationship with visitors and immigrants. The burning of churches in 1835 and the destruction of the city walls in 1854 inaugurated Barcelona’s modern existence as a metropolis where urban space is, both symbolically and economically, extremely contested. Although the main battles were about social and economic differences (i.e. between the upper and lower classes), the fact that Barcelona was the capital of the nation of Catalonia (repressed by the Spanish State) made the native population deeply perceptive of cultural differences. As a consequence, socio-economic and political tensions between the locals and the newcomers were often seen in terms of ethnic difference. At the same time, whereas immigrants were portrayed both as a menace to Barcelona’s local culture and international image, the arrival of international capital and visitors was highly welcomed. In this project I analyze novels by Carmen Laforet, Juan Goytisolo, Juan Marsé and Manuel Vázquez Montalbán, as well as a number of films from the 1990s, which use the experience of the immigrant as a stand point from which to express criticism to the city’s official model of development and to the hegemonic concept of Catalan culture. The tension between “locals” and immigrants, echoed in the city’s urban planning, contradicts the internationally acclaimed “Barcelona model,” as several critics have demonstrated (Mcdonnogh 1999, Balibrea 2004, Eaude 2006). By representing the challenges undergone by the “charnego” (Spanish immigrant, mainly of Andalusian origin) in the 60s, his assimilation to Catalan culture during the transition to democracy, and the arrival of a new type of “charnego,” of international origin, in the 1990s, these texts illustrate the continuity of the cultural tension that has divided the city (Vilarós 2003). This Dissertation, thus, charts the way novels and films see the development of Barcelona as an urban center constantly shaped by and against its reception of “outsiders” in the period that spans from the end of the civil war in 1939 to the present. iii Table of Contents Introducción: Barcelona desde la perspectiva del visitante ………………………… 1 1 Espacios fantasmagóricos en la Barcelona de la posguerra …………….. 21 1.1. Espacios y personajes fantasmagóricos en la ciudad censurada: Nada de Carmen Laforet………………………………………………………………26 1.2. El espacio urbano traumático en la ciudad vencida: Si te dicen que caí de Juan Marsé……………………………………………………………………53 2 Historias de un desarrollo desigual: contradicciones en la Barcelona del boom económico ………………….…………………………….……….…. 82 2.1. Desencuentros en la ciudad: Últimas tardes con Teresa de Juan Marsé…….85 2.2. La ciudad vendida: Fiestas y Señas de identidad de Juan Goytisolo……….116 2.2.1 La ciudad como espacio fronterizo: Fiestas de Juan Goytisolo………...…120 2.2.2. La geometría caótica de la ciudad: Señas de identidad de Juan Goytisolo.135 3 Barcelona durante la transición democrática: entre la utopía y el desencanto……………………………………………………………..………..152 3.1. Cadáveres y muertos vivientes en la ciudad desencantada: Los mares del Sur de Manuel Vázquez Montalbán………………………….....154 3.2 "Normalizando" Barcelona: El amante bilingüe de Juan Marsé……………178 4 Los nuevos inmigrantes en la Barcelona olímpica y postolímpica………….…..212 4.1.1 Laberinto griego de Manuel Vázquez Montalbán: Barcelona en obras 1985-1992…………………………………………………………………217 4.1.2. Carnavales deportivos: Barcelona ’92 en Sabotaje Olímpico de Manuel Vázquez Montalbán..................................................................................231 4.2. Los nuevos “otros catalanes:” el Forum de las culturas, En Construcción de José Luis Guerín y Cartas de Alou de Montxo Armendáriz……………..…..246 Conclusión: una ciudad escenario………………………………………………………269 Bibliografía………………………………………………………………………………276 iv Introducción Barcelona desde la perspectiva del visitante The barrio... those districts which never appear on postcards and which the great majority of tourists, Olympic or not, never see. In these barrios you should try to respect the legitimate disorder of life, worlds away from the admirable but hypocritical standards of beauty (Manuel Vázquez Montalbán, Barcelonas, 202) Barcelona es una de las ciudades de mayor renombre de la Península Ibérica. Su particular situación geográfica (su proximidad a Francia y al continente Europeo), la belleza del entorno natural en que se sitúa (rodeada al norte por montañas y al lado opuesto por el mar Mediterráneo), así como la historia de sus gentes (emprendedoras y revolucionarias), han fascinado el imaginario colectivo de sus habitantes y visitantes. Esta fascinación se refleja en la cantidad de obras que escogen a Barcelona como lugar protagonista en que desarrollar su acción: desde la corta pero crucial visita del Quijote que Miguel de Cervantes incluye al final de su libro, pasando por las odas que le escriben sus poetas, entre ellas la de Maragall, una de las más famosas, así como por el homenaje que la dedicó George Orwell, la educación sentimental adquirida en el “barrio chino” por Jean Genet, hasta llegar, entre otras muchas, a la película que actualmente rueda en sus calles el prestigioso director Woody Allen. Además de ser cautivadora, Barcelona es, social, cultural e históricamente, una urbe compleja: conocida como la más europea de las ciudades españolas, la metrópolis se siente simultáneamente mediterránea y continental, y se construye paralelamente como la orgullosa capital de la nación catalana, y como el centro urbano más cosmopolita de la península. 1 Durante el siglo XIX la población de Barcelona aumenta drásticamente. La necesidad de procurar un espacio adecuado para la creciente población de la urbe dio lugar a la campaña por derribar las murallas medievales, las cuales eran percibidas por el gobierno central como un elemento necesario para la contención de la ciudad, pero, al constreñir a su población en condiciones insalubres, daban lugar a devastadoras epidemias. En el manifiesto creado para la ocasión los ciudadanos pedían abrir su ciudad para recibir el aire curativo del Mediterráneo, para poder construir una ciudad más habitable. La destrucción de las murallas es el acto fundacional sobre el que está basada la noción de la Barcelona moderna. Los factores implicados en el cambio espacial, tales como la respuesta general a una presencia amenazadora en el exterior, el deseo de adaptar su espacio al sentimiento de progreso que comparten sus ciudadanos, el levantamiento urbano, la destrucción como forma de creación, son elementos que se repetirán a lo largo de siglo y medio. Como aparece reflejado en el mito de la “tierra de paso” de Vicens Vives, la faceta más internacional Barcelona se la debe a su situación geográfica. A través de esta metáfora Vives quiso imaginar una versión plural de la historia de la nación catalana en la que la ciudad portuaria de Barcelona jugaría un papel principal como receptora de numerosas culturas que, a lo largo de los siglos, la han “visitado” pacífica o violentamente. La inmigración y el turismo son dos articulaciones modernas de esta llegada de “visitantes” a la metrópolis.1 Los inmigrantes han desarrollado un papel 1 Por razones de espacio, no ha sido posible dar al tema del turismo el mismo tratamiento exhaustivo que se ha dado al tema de la inmigración. El turismo es una manifestación del ocio burgués derivado de la revolución industrial y de los avances en las comunicaciones. En el siglo diecinueve surgen diferentes tipos de viajes turísticos, entre los que se encuentran la vuelta por los países europeos (típica de los intelectuales y bohemios de la época), así como también la estancia en ciudades de reposo tales como Bath en el Reino Unido y
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