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Eduardo Mendoza's Barcelona Item Type text; Dissertation-Reproduction (electronic) Authors Oswald, Kalen R. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 01:27:19 Link to Item http://hdl.handle.net/10150/290668 INFORMATION TO USERS This manuscript has t)een reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiace, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. 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Ml 48106-1346 USA 800^1-0600 NOTE TO USERS This reproduction is the best copy available. UMI" EDUARDO MENDOZA'S BARCELONA By Kalen R. Oswald Copyright © Kalen R. Oswald 2001 A Dissertation Submitted to the Faculty of the DEPARTMENT OF SPANISH AND PORTUGUESE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College The University of Arizona 2001 UMI Number 3023522 Copyright 2001 by Oswald. Kalen Royce All rights reserved. (ft UMI UMI Microform 3023522 Copyright 2001 by Bell & Howell Information and Learning Company. Ail rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA « GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Kalen R. Oswald entitled EDUARDO MENDOZA'S BARCELONA and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy ^ /v—- Malcolm Alan Compltello Date Joan Gllab Amy R. Hllllafflsen Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and reconend that it be accepted as fulfilling the dissertation reauirement. "" Dissertation Director Malcolm Alan Compltello Date 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fuifilhnent of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the library. Brief quotations from this dissertation are allowable without special pemussion, provided that accurate acknowledgement of source is made. Requests for permission of extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. 4 ACKNOWLEDGEMENTS It would be impossible to acknowledge everyone who has influenced this project, but at least a few people deserve special recogm'tion. Since I was very young my family has instilled in me the desire to learn and helped me to gain an understanding of the value of education. From the time when my mother and sisters would read stories to me as a little boy to my brothers' present day counsel, they have been a life-long source of support and inspiration. I also owe a great deal to the fine teachers who, with much patience and dedication, have challenged me and helped me to succeed. 1 must especially acknowledge my father, a high school Spam'sh teacher for 34 years, for sparking my interest in the Spanish language and Hispanic cultures, and my brother-in-law. Brent, for his dedication and enthusiasm as my other high school Spam'sh teacher. Kevin Krogh at Utah State Um'versity also deserves credit for his mentoring and bis example in teaching excellence. It would have been impossible to finish this project with out the input and support of several people who have given freely of their time to discuss my work with me. Susan Larson, now at Fordham University, has been a great friend and mentor throughout graduate school and the dissertation process. Nuria Morgado has given me insights into, and photographs of, her native city of Barcelona that otherwise would have been impossible for me to acquire. Professor Joan Gilabert is one of the most fascinating people I have ever met. I am not sure why, but since I arrived in Arizona he has taken me under his wing and provided me with invaluable assistance on my scholarly projects— including the present one—and proffered amazing advice about the profession I have chosen and life in general. Professor Amy Williamsen's instruction and meticulous attention to detail has helped me so very much. She has also been a great source of support and understanding when life's difficulties would begin to weigh heavy on my shoulders. Professor Malcohn Compitello has, perhaps more than anyone else, worked with me to ensure my successful completion of my degree and a smooth transition to the professional ra^. He directed this dissertation with exemplary support, ideas, advice, instruction and motivation, and he has also provided me with countless opportunities to gain priceless experience in the field of Hispanism. For years he has treated me like the professional that I eventually want to become, in spite of all my shortcomings. I value greatly both his professional example and his personal fiiendship. 5 DEDICATION To my wonderful wife. Amy, who has sustained a super-human effort to hold everything together while I worked on this dissertation. She also functioned as my personal dictionary/thesaurus and she has quietly endured many of my one-sided conversations as I obsessed over this project. She is an amazing woman who deserves credit for any success that I nught ever enjoy. And to my two sons, Taylor and Kendall, for reminding me on a daily basis what life is all about. 6 TABLE OF CONTENTS LIST OF ILLUSTRATIONS 8 ABSTRACT 13 CHAPTER I Introduction: Eduardo Mendoza and the Urbanization of Consciousness 1.1 Eduardo Mendoza and his critics 15 1.2 The Urbanization of Consciousness, Spatial Practices and the Construction of Place 25 CHAPTER n The Urban Process and Place Construction in Barcelona 2.1 The Urban Process and Place Construction in Barcelona 40 2.2 The Development of Industry and Labor Movements 42 2.3 Barcelona's Politics and Catalan Nationalism 51 2.4 The Cerda Plan 56 2.5 Barcelona's Artistic Tradition 59 2.6 The World Fairs of 1888 and 1929 63 2.7 Oriol Bohigas and "los lapices de oro": 1980-1984 67 2.8 The 1992 Summer Olympic Games 71 2.9 Conclusion 77 2.10 Chapter n Images 81 CHAPTERm Anticipating Transformation: La verdad sobre el caso Savolta and La ciudad de los prodigios 3.1 Anticipating Transformation 102 3.2 La verdad sobre el caso Savolta f1975") 103 3.3 The State and Class 106 3.4 bidividualism and Class 110 3.5 Community, Family and Class 116 3.6 Urban Space and Class 119 3.7 T J, <ie los prodirios f 198g> 122 3.8 Individualism 124 3.9 Family and Community 127 3.10 Class and the State 129 3.11 Urban Space in Transformation 135 3.12 Ch^terin images 138 7 TABLE OF CONTENTS - Continued CHAPTER IV An Urban picaro in Transitional Barcelona: El misterio de la cripta embrujada and El laberinto de las aceitunas 4.1 An Urban picaro in Transitional Barcelona 144 4.2 Individualism 144 4.3 Class 153 4.4 Family and Community 160 4.5 The State 164 4.6 Conclusion 174 4.7 Chapter IV Images 179 CHAPTERV Mendoza^s Barcelona in the 1990s: Sin noticias de Curb and Una comedia lieera 5.1 Mendoza's Barcelona in the 1990s 185 5.2 Sin noticiiB de Gurb fl991'> 185 5.3 Individualism and Family 187 5.4 Class 190 5.5 Community and the State 192 5.6 An Optimistic View of Barcelona? 195 5.7 Una comedia lieera f 199g> 196 5.8 Class and Space 197 5.9 The State 201 5.10 CommuniQr and Family 205 5.11 Didividualism 207 5.12 Barcelonaof 1948 and 1996 209 5.13 The 1990s 211 5.14 Chapter V Images 215 CONCLUSION: Between Resistance and Commodification 1.1 Between Resistance and Commodification 221 12 Space .222 13 Place .226 1.4 The Urbanization of Consciousness and Commodified Resistance .230 WORKS CITED .231 8 LIST OF ILLUSTRATIONS FIGURE 2.1, The smoldering skyline of Barcelona during the Tragic Week of 1909 (Femandez-Aimesto 134) 81 FIGURE 2.2, Barcelonans dancing the Sardana 81 FIGURE 2.3, The Cerda Plan of 1959 (Teran 80) 82 FIGURE 2.4, Rovira i Trias's alternative for Barcelona's expansion (Term 81) 82 FIGURE 2.5, The congested Eixample 83 FIGURE 2.6, Plein Air, Ramon Casas (Cristina and Eduardo Mendoza 98) 83 FIGURE 2.7, Laboratorio de la Galette by Santiago Rusifiol (Cristina and Eduardo Mendoza99) 84 FIGURE 2.8, A poster by Alexandre de Riquer for one of Barcelona's art expositions (Cristina and Eduardo Mendoza 98) 84 FIGURE 2.9, Poble escalonat by Joaquim Mir (Cristina and Eduardo Mendoza 103).