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El Comportamiento Cosmopolita Del Yo Autobiográfico En Los Libros De Viajes De Bill Bryson

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El Comportamiento Cosmopolita Del Yo Autobiográfico En Los Libros De Viajes De Bill Bryson UNIVERSIDAD DE LAS PALMAS DE GRAN CANARIA nDepartament o de Filología Moderna D/D°..!^^^^íiíííñi...{^^f^:^í?....^..é:í^:^. SECRETARIO/A DEL DEPARTAMENTO DE ...^£¡^.újkJí-...../í^aA(í:i^. DE LA UNIVERSIDAD DE LAS PALMAS DE GRAN CANARIA, CERTIFICA, Que el Consejo de Doctores del Departamento en su sesión de fecha ..:?.^.C4ÍÍ^/{°^?..... tomó el acuerdo de dar el consentimi Pa a su tramitación, a la tesis doctoral titulad ./Sí^...-^^¿«í?:í?v.C.'' presentada por la doctbranda D^.4:.•í./-s?^..^íVr?.>í?i4t...^f^.?^ ^ ^dirigida por el Doctor ^áfp:?.'í<.<^.y:/.rf?^íí^v^^ Y para que así conste, y a efectos de lo previsto en el Art° 73.2 del Reglamento de Estudios de Doctorado de esta Universidad, firmo la presente en Las Palmas de Gran Canaria, a^... de .^.^fíí^ de dos mil <?*:f^.... UNIVERSIDAD DE LAS PALMAS DE GRAN CANARIA DEPARTAMENTO DE FILOLOGÍA MODERNA PROGRAMA DE DOCTORADO: ESTUDIOS INTERDISCIPLINARES DE LENGUA, LITERATURA, CULTURA Y TRADUCCIÓN /5UNIVERSIDA, D DE LAS PALMAS DE GRAN CANARIA TESIS DOCTORAL EL COMPORTAMIENTO COSMOPOLITA DEL YO AUTOBIOGRÁFICO EN LOS LIBROS DE VIAJES DE BILL BRYSON -- X • Realizada por M" DEL PINO SANTANA QUINTANA Dirigida por Dr. D. SANTIAGO J. HENRÍQUEZ JIMÉNEZ Dr D. Santiago J. D^ M" del Pino Santana Henríquez Jiménez Quintana Las Palmas de Gran Canaria, noviembre de 2005. .SV>f ; ;^-i'1'.;3Tl:Cí. ü;-!!VcHy!TñR: 1 LAS»'AI.M . lANASI,* JN."Doaiii;ji4.. ,Q, _ : N." Copia IS^ & 6 Bt?. EL COMPORTAMIENTO COSMOPOLITA DEL YO AUTOBIOGRÁFICO EN LOS LIBROS DE VIAJES DE BILL BRYSON AFrauny Agradecimientos En primer lugar, quiero agradecer a la Universidad de Las Palmas de Gran Canaria la concesión de una Beca de Postgrado de cuatro años que me permitió llevar a cabo el presente estudio, brindándome, además, la oportunidad de realizar diversos viajes de investigación y participar en una serie de conferencias en las que pude mostrar la evolución de mi trabajo. Me gustaría, en segundo lugar, mostrar mi más profundo agradecimiento a mi director, el profesor Santiago Henríquez Jiménez, quien me sugirió el tema de este trabajo y cuyos comentarios e indicaciones fijeron de gran ayuda a la hora de elaborarlo. Igualmente, quiero dar las gracias al profesor José Rodríguez Herrera, por su apoyo y su amistad; a los profesores Francisco Ponce Lang-Lenton y Daniel Fyfe, por su generoso interés y sus sabios consejos; y a la profesora Pilar González de la Rosa, por todos esos años en los que compartimos despacho. Quiero también dar las gracias a Rosa, a Carolina y a Cristina, que siempre me han alentado en mi trabajo y, sobre todo, a Pablo, por toda su dedicación y por nuestros incontables viajes. También quiero dar las gracias a mis padres y a mi hermano, sin cuya presencia no habria sido posible este trabajo. A ellos, claro, está dedicado. Y también a Mingo, que me enseñó a tirar con una bola alta a la luna, a oírla caer en el patio de al lado y a echarme en el césped pensando "mañana voy a buscarla". índice L INTRODUCCIÓN 17 Ll. Sobre el género de viajes, la movilidad y los desplazamientos: el estado de la cuestión 19 1.2. Libros de viajes y novelas de viajes: hacia un modelo de objetivación distinta del género 29 1.3. El contexto de los libros de viajes recientes 40 L4. Bill Bryson: primer acercamiento 55 n. LA OBRA LITERARIA DE BILL BRYSON Y LA CRÍTICA 63 n.l. Clasificación de las fuentes 65 n.2. La trayectoria literaria de Bill Bryson 81 n.3. La obra de Bill Bryson en el contexto de la narrativa de viajes británica contemporánea 91 II.3.1. Aspectos más estudiados 95 n.3.2. Cuestiones desatendidas 98 II.4. La recepción académica sobre el componente autobiográfico en los libros de viajes 101 n.5. Sobre la presencia cosmopolita del yo 109 n.6. Nota final a II 117 m. LOS LIBROS DE VL\JES DE BILL BRYSON 121 ni.l. Destinos, senderos, paisajes, descubrimientos...: tradición y contemporaneidad del género 123 III.2. Bill Bryson: un caso de integración y simultaneidad 127 in.3. La obra viajera de Bill Bryson 136 III.3.1. The Lost Continent: Trovéis in Small Town America 148 ULi.l. Neither Here Ñor There. Trovéis in Europe 161 IIL3.3. Notes from a Small Island 174 ULiA.AWalkititheWoods 185 JIL3.5. Down Under 197 JIL3.6. Bill Bryson'sAfricanDiary 208 IIL4. A modo de resumen 213 IV. LOS VIAJES DE BILL BRYSON: ENTRE LA IDEA DEL HOGAR Y | EL CONCEPTO DE LO EXTRANJERO 217| i IV.l. Sobre la noción del hogar 219 i IV.1.1. La reescritura del hogar 225 | IV.1.2. La nostalgia del hogar y el sentimiento patriótico 2361 rV.2. La tierra extranjera, el yo y el encuentro con el otro 2431 IV.2.1. El descubrimiento del otro 247| rv.2.2. El otro frente al yo 2561 IV.3. El espíritu cosmopolita 268f IV.3.1. La tradición transatlántica 2761 IV.3.2. El yo cosmopolita en la obra de Bill Bryson 2863 IV.4. Como conclusión a IV 306 V. CONCLUSIONES 311 VI. BIBLIOGRAFÍA CITADA 331 VLl. Obras primarias 333 VI.2. Obras secundarias 333 "Hay que escoger entie el museo y la vida.' Paul Morand, Venecias. INTRODUCCIÓN El comportamiento cosmopolita del yo autobiográfico en los libros de viajes de Bill Bryson I.l. Sobre el género de viajes, la movilidad y los desplazamientos: el estado de la cuestión "Añer we leam «to be» and «to have» in a new language, we leam «to go»." Maiy B. Campbell, The Witness andthe Other World. La importancia que ha tenido el viaje en la vida activa de una buena parte de la humanidad y, desde luego, en el devenir literario, es un hecho perfectamente constatado en la historia cultural de los pueblos, países, regiones y civilizaciones. El viaje forma parte del comportamiento natural del hombre como un ser siempre en movimiento, y esta naturaleza nómada del individuo, bajo una multiplicidad de manifestaciones viajeras, ha quedado reflejada en la literatura de todos los tiempos. Como eje estructurador de historias novelescas, el viaje ha sido uno de los puntos de partida de las mejores y más antiguas historias mitológicas; Ulises, Teseo, Edipo..., quizás sea a los griegos, como afirma Lorenzo Silva', a quienes debamos el sustento inicial del viaje literario en su más amplia expresión. La practicidad que reporta la guía de viajes y el viaje geográfico, o de "exploración", iniciado por Heródoto en su Historia {Circa 440 a.C), tienen sus raíces en el universo griego. La narración basada en esa experiencia personal de la que convenientemente participará el viajero moderno y la construcción del relato de viajes en su forma más ficticia, es decir, en la forma de la fábula mitológica de textos consagrados como la Odisea y la Eneida de Homero o la Anábasis de Jenofonte, confirman el papel desempeñado por la cultura griega en la fiíndación del género. Estas y otras obras ajoidarán, con el tiempo, a sentar las bases de todas aquellas publicaciones posteriores en las que el tema del viaje determinará el desarrollo de la narración. En el periodo medieval, tanto los humildes itinerarios referidos por los peregrinos, como las crónicas guerreras^ y los relatos de otros periplos de mayor riesgo y notoriedad como los realizados por Marco Polo, Sir John Mandeville o Ibn ' Tanto Lorenzo Silva como Percy G. Adams presentan un estudio cronológico de todas aquellas obras que, desde la Antigüedad hasta la Modernidad, han Aindamentado su temática en tomo al topos viajero, ya sean éstas de caiácter ficticio o, por el contrario, consideradas como relatos auténticos. ^ Monserrat Pana, en su introducción a El Viatge com a font de saber (2002), da cuenta de cronistas medievales que fueron asimismo grandes viajeros, como Joinville y Froissart. Este último, sin ir más lejos, fiíe el cronista de la Guerra de los Cien afios y "imo de los escritores más viajeros de la alta Edad Media. Pasó gran parte de su vida recorriendo Francia, Inglaterra, viajó a Alemania, a Italia, a Espaíla; siempre bizcando información y hablando con los posibles testimonios de sus crónicas" (2002:9). 19 M' del Pino Santana Quintana Battutah, son muestra del empleo de la literatura para transmitir nociones y experiencias del mundo exterior. La Edad Media es una continuación de las narraciones propias de la Antigüedad en cuanto al valor utilitario de los escritos se refiere; aunque bien es cierto que la credibilidad de los viajes del famoso aventurero y comerciante veneciano Marco Polo fue tan cuestionada en su tiempo que la fiínción de la narración era más bien la de sorprender al lector de aquella y otras épocas sucesivas^. La obra viajera de Mandeville, por otro lado, como la de Marco Polo, ya presentaba el tema esencial de todos los libros de viajes de la época: la mirabilia. Se trata de una expresión que aparecía con bastante fi^ecuencia en los libros de viajes de la Edad Media y que Claude Kappler define como "algo que sorprende porque no pertenece al curso ordinario de las cosas, pero que no se ofi'ece como blanco a la duda sistemática" (1986:126)'*. El aspecto utilitario del relato de viajes se agudiza, no obstante, en la era de los grandes descubrimientos. Las Cartas y los Diarios de Cristóbal Colón, las Cartas de relación de Hernán Cortés y las exploraciones de Vasco De Gama, entre muchos otros, inauguran lo que Lorenzo Silva refiere como "gestas descubridoras", es decir, "diarios de a bordo, memoriales, cartas y relaciones" (2000:29). Las narraciones producidas a raíz de los descubrimientos no sólo atestiguan las penurias de las ^ El tema de la credibilidad en los libros de viajes cuenta con una amplia obra crítica.
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