Bernardo Carvalho, Eduardo Lago Y Mario Bellatín
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UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA TESIS DOCTORAL Intertextualidad, dialogismo y poética cognitiva en la novela contemporánea: Bernardo Carvalho, Eduardo Lago y Mario Bellatín MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Daniel Arrieta Domínguez Director Antonio Garrido Domínguez Madrid, 2015 © Daniel Arrieta Domínguez, 2015 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA DOCTORADO EN ESTUDIOS LITERARIOS INTERTEXTUALIDAD, DIALOGISMO Y POÉTICA COGNITIVA EN LA NOVE LA CONTEMPORÁNEA: BERNARDO CARVALHO, E DUARDO LAGO Y MARIO BELLATÍN DANIEL ARRIETA DOMÍNGUEZ TESIS DE DOCTORADO DIRIGIDA POR EL PROFE SOR DOCTOR ANTONIO GARRIDO DOMÍNGUEZ 2 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA PHD. PROGRAM IN LITERARY STUDIES INTERTEXTUALITY , DIALOGISM AND COGNIT IVE POETICS IN THE CONTEMPORARY NOVEL: BERNARDO CARVALHO, E DUARDO LAGO AND MARIO BELLATÍN DANIEL ARRIETA DOMÍNGUEZ PHD DISSERTATION ADVISED BY PROFESSOR ANTONIO GARRIDO DOMÍNGUEZ 3 4 A mis padres 5 6 ÍNDICE Página SUMMARY (English)…………………………………………………..………… 11 I. INTRODUCCIÓN………………………………………………………... 15 1. DEL PROCESO Y AGRADECIMIENTOS…………………………………… 17 2. HIPÓTESIS DE PARTIDA Y OBJETIVOS…………………………………… 20 3. METODOLOGÍA Y ORGANIZACIÓN……………………………………… 23 4. AUTORES, CAMPOS LITERARIOS Y ESTADO DE LA CUESTIÓN…………… 27 4.1. Bernardo Carvalho…………………………………………….. 27 4.2. Eduardo Lago………………………………………………….. 37 4.3. Mario Bellatín…………………………………………………. 44 II. MODELO TEÓRICO…………………………………………………….. 49 1. EL DIALOGISMO BAJTINIANO COMO PRECURSOR DEL CONCEPTO DE INTERTEXTUALIDAD…………………………………………………… 51 2. DE LAS INFLUENCIAS Y REPERTORIOS LITERARIOS A LA TRANSTEXTUALIDAD………………………………………………….. 58 3. POÉTICA COGNITIVA, GÉNEROS LITERARIOS E INTERTEXTUALIDAD…… 69 7 III. O SOL SE PÕE EM SÃO PAULO: DIÁLOGOS INTERTEXTUALES ENTRE ANTÍPODAS GEOGRÁFICAS Y CULTURALES…………… 85 1. UNA LECTURA BAJTINIANA…………………………………………… 89 1.1. Dialogismo, plurilingüismo y bivocalidad…………………... 89 1.2. El cronotopo nikkei………………………………………….. 101 1.3. El doble: de la carnavalización de Bajtín a los mundos ficcionales de Doležel………………..………………………. 108 2. EL HIPERTEXTO BRASILEÑO DE TANIZAKI JUNICHIRÔ………………… 118 2.1. El palimpsesto genettiano.…………………………… …….. 118 2.2. Temas y motivos como diálogo intertextual………………… 138 IV. SIEMPRE SUPE QUE VOLVERÍA A VERTE, AURORA LEE: ESQUEMAS COGNITIVOS, INTERTEXTUALIDAD E INTERMEDIALIDAD…………………………………………………. 147 1. RUPTURA DE ESQUEMAS COGNITIVOS Y TRANSGRESIÓN DE GÉNEROS EN DOS NOVELAS HÍBRIDAS: PALE FIRE Y AURORA LEE….…………… 151 2. UNA LECTURA TRANSTEXTUAL DE NABOKOV………………………… 172 2.1. The original of Laura, intermedialidad y corporeización del texto……………………………………………………… 172 2.2. Aurora Lee, resolviendo el puzzle nabokoviano……………. 186 3. EL DOBLE Y LA POÉTICA COGNITIVA………………………………..... 198 8 V. EL MUNDO FICCIONAL JAPONÉS DE MARIO BELLATÍN………. 207 1. EL JARDÍN DE LA SEÑORA MURAKAMI: RELACIONES JAPÓN-OCCIDENTE A TRAVÉS DE LA INTERTEXTUALIDAD………………………………. 211 2. NAGAOKA SHIKI: UNA NARIZ DE FICCIÓN…………………………….. 232 2.1. Metáfora cognitiva y narración……………………………… 232 2.2. Intertextualidad e intermedialidad ..…………………………. 244 VI. CONCLUSIONES………….……………………………….…………... 269 CONCLUSION (English)……………….………………………………. 279 ANEXO 1: CINCO HIPERTEXTOS FÍLMICOS DE MANJI, DE TANIZAKI JUNICHIRÔ…… 289 ANEXO 2: CONTEXTO HISTÓRICO-CULTURAL JAPONÉS…………………………… 319 VII. BIBLIOGRAFÍA…………………………………………………………. 335 9 10 SUMMARY (English) INTERTEXTUALITY , DIALOGISM , AND COGNITIVE POETICS IN THE CONTEMPORARY NOVEL : BERNARDO CARVALHO , EDUARDO LAGO , AND MARIO BELLATÍN This dissertation examines the use of intertextuality in four novels by three contemporary authors: Brazilian Bernardo Carvalho, Spanish Eduardo Lago and Mexican- Peruvian Mario Bellatín. We analyze the construction of their stories, specifically the transformation of their hypotexts, the use of figures in loan , and the ideological dialogue that is maintained with previous worldviews. Bakhtinian concepts of dialogism, polyphony, chronotope and carnavalization facilitate the understanding of intertextuality as a creative interpretation of former texts; as a critical comment; and as a Genettian supplément that leads to the production of personal fictional worlds. An intertextual analysis of the novels will allow us to: 1) Understand the writing of each of these novels as a transformation starting from hypotexts or intertexts that generates a web of new meanings. 2) Explore the ideological, philosophical or literary discussion promoted by those new works. 3) Analyze the intertextual reading process as an active practice which implies the use of cognitive schemas and leads to reading expectations that will or will not be met. In the case of O sol se põe em São Paulo , Japanese writer Tanizaki Junichirô’s Manji and Sasameyuki are intertextually used by Carvalho to engage in an implicit debate about identity, suicide and fiction, discussed metanarratively. O sol ’s metafictional characteristic, 11 which presents the narration to readers as the process itself of the writing of a novel, is also studied in the present dissertation: its narrator reflects on that process generating a sensation of circularity and assuming the uncertainties of every literary work. It emerges as an incomplete fictional world, a feature which will be shared with Lago and Bellatín. In O sol , apart from the World War II main plot line, there is a parallel contemporary plot which is read as a detective story. Other inserted genres such as the epistolary form or the drama are also found in the novel. These genres and their conventions, echoes of other times and themes, relate to each other dialogically giving rise to a multilingual novel. By studying the transformations suffered by actantial figures, plot and subplots in Lago’s novel, we observe the re-valorization experienced by some characters and its consequences in terms of thematic structure: the forged identity is epitomized in the Setsuko/Mitsuyo double character; the East/West opposition is stressed; and death and suicide emerge as key elements to denounce undemocratic societies. A chronotopic analysis of O sol takes us to put emphasis on the main character’s hybridity in terms of ethnicity: he and his travel from Brazil to Japan in search of the end of the story he was being told by an old Japanese woman, will constitute what we have called the nikkei chronotope, showing the confrontation of different spaces, eras and ideologies. On the other hand, an analysis in the Annex 1 of five film adaptations from Manji leads us to explore inter-artistic semiotic connections and to present readings of Tanizaki alternative to Carvalho’s. Eduardo Lago’s Siempre supe que volvería a verte, Aurora Lee is studied in this work through the schema theory as structurally symmetric to Vladimir Nabokov’s Pale Fire , which is mentioned in several occasions in Lago’s novel. In our study, the field of cognitive poetics is considered a supportive theoretical tool to follow the cognitive process of the intertextual 12 reading: the transgression of genres in both novels causes the reader to be aware of the metatextual apparatus in the book. At the same time, cognitive neuroscience and linguistics which explain the complexities of the brain and the perception of self prove to be useful in the analysis of the figure of the double in Lago’s and Carvalho’s novels. The posthumous publication of The original of Laura with Nabokov’s own calligraphy and scribble led Lago to thematize and recreate in his novel a similar embodiment of text , which we study through the concept of intermediality as a mechanism which plays an important role in the intertextual understanding of the novel. Lago also uses as a hypotext a novel by Raymond Chandler, The Big Sleep , whose characters and plots are parodied, to the point that Aurora Lee ’s coincidences with the hard-boiled detective-story genre are commented by its characters themselves. Aurora Lee ’s complex intertextual construction from the above commented three novels is parallel in its own structure, generated from heterogeneous materials such as diaries, emails, telephonic transcriptions, business cards, letters, and journal articles, among others. All of them converge into the plot to gradually create in the reader’s mind a fabula. The reader contributes with her own cognitive schemas from the genres and headers that keep on arising in the novel. However, the book’s open ending doesn’t allow a clear resolution, the same way Nabokov’s Pale Fire and The Original of Laura do not lead to a sole and definitive conclusion. In El jardín de la señora Murakami , with the initial presentation of a Japanese context that gradually gets deformed into an orientalized enumeration of invented customs, Bellatín reflects on ‘the literary’, on the intertextual use of external materials and their insertion into another book: once inside the novel, those materials can be metamorphosed to the writer’s will –who doesn’t control all aspects of narration himself because the slightest change in a 13 detail of the plot can change the story thoroughly–. The novel establishes itself as an autonomous entity, far from the historical-cultural contexts so common in the realist novel. However, it is still part of Bellatín’s literary Japanese universe, which, in turn, reveals his whole artistic work and relates thematically to Latin America. Cognitive metaphor theory is used to explain Bellatín’s Nagaoka Shiki: una nariz de ficción ’s motif of the nose as the introduction of Western ideas in Japan. The text, based on an