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La Intertextualidad

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La Intertextualidad Dafne Solá Parera Tesis Doctoral En busca de un discurso identitario y canónico: la reescritura de Rhys y Coetzee en Wide Sargasso Sea y Foe Doctorado en Humanidades Departamento de Humanidades Universitat Pompeu Fabra 2005 Directora: Montserrat Cots Vicente Dipòsit legal: B.17810-2006 ISBN: 84-689-8235-0 Agradecimientos No puedo concluir esta tesis sin expresar mi más sincero agradecimiento a la Dra. Montserrat Cots Vicente, quien además de dirigir esta tesis con suma dedicación e interés me ha ofrecido su apoyo incondicional y su amistad. Asimismo, no quisiera olvidarme de todas aquellas personas del Departamento de Humanidades de la Universitat Pompeu Fabra que en algún momento u otro también me han ayudado. A mi marido, José Ramón, le agradezco ante todo que haya compartido conmigo la ilusión por este proyecto. Sus comentarios me aportaron un punto de vista externo a la investigación que me indujeron a reflexionar sobre la validez de mis planteamientos iniciales, un ejercicio siempre recomendable en el proceso de gestación de una tesis doctoral. No menos importante ha sido su colaboración en los aspectos técnicos de presentación y formato, de gran valor dadas las dificultades naturales de un documento de tal magnitud. Finalmente, quisiera expresar mi más sentido agradecimiento a mis padres, Josep y Montserrat, a quienes dedico esta tesis. Todo lo que ellos me han dado, amor, entrega, protección, etc., ha contribuido a mi solidez intelectual y emotiva, que ha sido crucial para este proyecto académico que ahora estoy a punto de concluir. Espero y deseo que yo sepa legar a mi hija, que nacerá pronto, todos esos grandes valores inculcados por ellos, y que esta tesis doctoral le transmita mi fe en el trabajo desinteresado y bien hecho como garantía de satisfacción personal y plenitud. Índice ÍNDICE INTRODUCCIÓN....................................................................................................................... 1 PRIMERA PARTE: ÁMBITO TEÓRICO ............................................................................ 17 CAPÍTULO 1: Justificación del corpus, hipótesis y metodología ............................................ 19 CAPÍTULO 2: El contexto teórico de la reescritura: la intertextualidad ............................... 30 2.1 Antecedentes históricos .............................................................................................. 32 2.2 El nacimiento de la teoría: Kristeva reescribiendo a Bajtín....................................... 39 2.3 Modelos teóricos a partir de las aportaciones de Kristeva.......................................... 44 2.3.1 Roland Barthes y la teoría del texto infinito .................................................... 44 2.3.2 La visión de la Rezeptionsästhetik en Michael Riffaterre ................................ 48 2.3.3 Contribuciones estructuralistas ........................................................................ 53 2.4 Últimas tendencias: la influencia reivindicada ............................................................ 65 2.4.1 Harold Bloom y el retorno de la influencia...................................................... 65 2.4.2 De la ansiedad de la autoría a los “double-voiced discourses”: aportaciones desde el margen ................................................................................................. 68 2.4.3 Posmodernidad e intertextualidad .................................................................... 71 CAPÍTULO 3: La praxis de la reescritura y su incidencia en la postcolonialidad................. 77 3.1 La reescritura como fenómeno ambivalente................................................................ 77 3.2 Modalidades de reescritura .......................................................................................... 86 3.2.1 La parodia ........................................................................................................ 87 3.2.2 El pastiche........................................................................................................ 96 3.2.3 La transposición ............................................................................................... 99 3.3 La reescritura en la novela postcolonial: alcance y ejemplos representativos ........... 105 SEGUNDA PARTE: ESTUDIO DE LOS HIPERTEXTOS: DOS TEMÁTICAS COLONIALES CON ESTRATEGIAS NARRATIVAS DISTINTAS............................... 119 CAPÍTULO 1: Una aproximación temática y narratológica.................................................. 121 1.1 El factor colonial en la temática de las obras............................................................. 121 1.2 La técnica narrativa.................................................................................................... 125 1.2.1 Focalización y voz.......................................................................................... 125 1.2.2 La modalidad narrativa................................................................................... 132 1.3 Tiempo y relato.......................................................................................................... 139 1.4 El tratamiento del espacio.......................................................................................... 144 1.5 Análisis de la pragmática discursiva.......................................................................... 148 1.6 Elementos simbólicos ................................................................................................ 155 1.7 Los personajes............................................................................................................ 166 i Índice 1.7.1 Identificación y forma de presentación .......................................................... 166 1.7.2 Densidad psicológica...................................................................................... 170 1.7.3 Funcionalidad................................................................................................. 174 CAPÍTULO 2: Una aproximación comparativa: paralelismos y divergencias..................... 179 2.1 Concordancias significativas entre Wide Sargasso Sea y Foe................................... 179 2.1.1 Dos obras con un final abierto........................................................................ 179 2.1.2 La repetición: una estrategia narrativa compartida ........................................ 184 2.1.3 Una simbología común................................................................................... 191 2.1.3.1 El mundo animal ................................................................................. 191 2.1.3.2 El espacio como elemento simbólico .................................................. 195 2.1.3.3 La simbología de los nombres propios................................................ 200 2.1.3.4 La presencia de lo esotérico ................................................................ 203 2.1.3.5 La simbología de las referencias literarias intratextuales.................... 206 2.2 Las peculiaridades intrínsecas de Wide Sargasso Sea y Foe ..................................... 207 2.2.1 El componente autobiográfico en Wide Sargasso Sea ................................... 208 2.2.2 El collage narrativo de Wide Sargasso Sea.................................................... 214 2.2.3 La abundante alusividad intertextual de Foe.................................................. 218 2.2.4 La condición metaficcional de Foe ................................................................ 223 TERCERA PARTE: EL EFECTO DE LOS HIPOTEXTOS EN LA CONFIGURACIÓN DE LA REESCRITURA......................................................................................................... 231 CAPÍTULO 1: Robinson Crusoe y Jane Eyre: hipotextos canónicos.................................... 233 1.1 Introducción al concepto de canonicidad................................................................... 233 1.1.1 El canon: su definición y características ........................................................ 233 1.1.2 La formación de la canonicidad ..................................................................... 236 1.2 Tradición e innovación en Daniel Defoe y Charlotte Brontë..................................... 241 1.2.1 Robinson Crusoe como alegoría puritana ...................................................... 242 1.2.2 La modernidad ideológica y formal de Robinson Crusoe.............................. 247 1.2.3 Jane Eyre: la osmosis de tradiciones literarias dieciochescas con el victorianismo ................................................................................................... 258 1.2.4 La reafirmación de una voz crítica femenina en Jane Eyre ........................... 266 1.3 Recepción y diseminación de las obras...................................................................... 271 1.3.1 Robinson Crusoe: un gran éxito editorial al margen del gusto clasicista....... 271 1.3.2 El auge de Jane Eyre y su posterior diseminación literaria............................ 276 CAPÍTULO 2: Reescribiendo a los maestros canónicos: Wide Sargasso Sea y Foe ............ 284 2.1 Wide Sargasso Sea: la rehabilitación de una mirada femenina “off-mainstream” .... 284 2.1.1 La recreación de los trópicos.......................................................................... 284 2.1.2 La revalorización de los personajes de Jane Eyre.......................................... 289 2.1.2.1 Antoinette Cosway: El desagravio a la mujer criolla ......................... 289 2.1.2.2 Rochester: De villano gótico a víctima...............................................
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