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Tesis Doctoral UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA TESIS DOCTORAL Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Marta Asunción Alonso Moreno Directora María Dolores Picazo González Madrid, 2018 © Marta Asunción Alonso Moreno, 2017 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA NEGRITUD, SORORIDAD Y MEMORIA: POÉTICAS Y POLÍTICAS DE LA DIFERENCIA EN LA NARRATIVA DE MARYSE CONDÉ TESIS DOCTORAL presentada por MARTA ASUNCIÓN ALONSO MORENO dirigida por la Doctora y Catedrática Mª Dolores Picazo González Madrid, 2017 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. 2 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA NEGRITUD, SORORIDAD Y MEMORIA: POÉTICAS Y POLÍTICAS DE LA DIFERENCIA EN LA NARRATIVA DE MARYSE CONDÉ TESIS DOCTORAL presentada por MARTA ASUNCIÓN ALONSO MORENO dirigida por la Doctora y Catedrática Mª Dolores Picazo González Madrid, 2017 3 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. 4 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. 5 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. Aunque Don Quijote saliese del ingenio de Cervantes, Don Quijote es inmensamente superior a Cervantes. Y es que, en rigor, no puede decirse que Don Quijote sea hijo de Cervantes; pues si éste fue su padre, fue su madre el pueblo en que vivió y de que vivió Cervantes, y Don Quijote tiene mucho más de su madre que no de su padre. Miguel de Unamuno. *** Fanm tonbé pa janmé dézespéwé. Proverbio créole. *** So, here you are too foreign for home too foreign for here. Never enough for both. Diaspora blues, Iljeoma Umebinyo (poeta nigeriana). 6 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. AGRADECIMIENTOS Gracias a Maryse Condé por su disponibilidad para responder a nuestras preguntas, por su trato siempre amable en nuestros intercambios epistolares y, sobre todo, por tantas horas de lectura feliz. Gracias a nuestras brujas por su valiosa tutela, su apoyo y su ejemplo en el camino de las letras y la vida. Gracias a absolutamente todas ellas: desde Doña Cati, educadora infantil en el C.E.I.P. Emilia Pardo Bazán de Leganés en los años ‘90; hasta Mª Dolores Picazo González, Lourdes Carriedo López y Mercedes Roland Quintanilla, hadas francófilas en la Facultad de Filología de la Universidad Complutense de Madrid; pasando por Luisa Herrero, que enseñó Lengua y Literatura en el Instituto Arquitecto Peridis de Leganés, donde nos presentó a la pastora Marcela. Gracias a mi habitanta. Gracias a Silvia y Asunción. Gracias a Eugenio. Todas las gracias a Martín. 7 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. ÍNDICE RESUMEN: pp. 12-16 ABSTRACT: pp. 16-20 0. INTRODUCCIÓN: pp. 20-60 _________________________________________________________________ 0. 1. Marco teórico y aspectos metodológicos: pp. 20-30 0.2. Estado de la cuestión condeana: pp. 30-34 0.3. Objetivos generales y pertinencia científica: pp. 35-37 0.4. Objetivos específicos: pp. 37-56 0.5. Presentación del corpus de estudio y de la obra condeana: pp. 56-58 0.6. Estructura de la tesis: pp. 58 y 59 0.7. Otros apuntes: p. 60 1. CAPÍTULO I: ESBOZO BIOBLIOBIOGRÁFICO DE LA AUTORA: pp. 60-96 _________________________________________________________________ 1.1. Un ancho espacio y un largo tiempo: pp. 60-64 1.2. Marise Liliane Appolline Boucolon: une enfance créole: pp. 64-71 1.3. Maryse Condé como nómada y (auto)exiliada: pp. 71-82 1.4. El compromiso y el desencanto en Maryse Condé: de poéticas y políticas: pp. 82-96 2. CAPÍTULO II: LA DIFERENCIA DE LA NEGRITUD: pp. 96-131 _________________________________________________________________ 2.1. La crítica a la aculturación y la política de la resistencia: negro no es (sólo) un color: pp. 96-100 2.2. Sobre las poéticas y políticas de la créolité, la antillanidad y la americanidad: pp. 100-105 2.3. Sobre las poéticas y políticas de la migración, el nomadismo y la apatría: pp. 105-112 8 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. 2.4. La problematización narrativa de la sociedad guadalupeña: pp. 112-117 2.4.1. La escritura mestiza o el “canibalismo literario”: pp. 117-125 2.4.2. Estudio empírico de los créolismes condeanos: pp. 125-131 3. CAPÍTULO III: LA DIFERENCIA SEXUAL: pp. 131-310 _________________________________________________________________ 3.1. La lucha por una isla propia: poética y política de la insularidad: pp. 143-161 3.2. La tierra, la carne, el fruto y el agua: mujeres re-productoras o “vegetarianas” versus mujeres productoras o “caníbales”: pp. 161-200 3.2.1. Las magas productoras de letras: pp. 200-202 3.2.1. A. De manifiestos y (las) manifestantes: pp. 202-208 3.2.2. B. Las mujeres que leen y escriben son peligrosas: p. 208-212 3.2.2. C. Las mujeres negras, que leen y escriben, son aún más peligrosas: pp. 212-215 3.2.2. Las magas productoras de música: pp. 215-233 3.2.2. A. El cuento créole como canción de cuna y vínculo entre “mujeres-junco”: pp. 233-235 3.2.2. B. Música sacra y música clásica: pp. 235-242 3.2.2. C. Jazz y Blues: el Renacimiento de Harlem: pp. 243-247 3.2.2. D. Habaneras, boleros, Swing y música romántica: pp. 247-254 3.2.2. E. El Reggae y el Rastafarismo: pp. 254-260 3.2.2. F. Gospel, cultura Pop y Rap: pp. 260 y 261 3.2.2. G. Ritmos africanos, sones antillanos y otros ecos: pp. 261 y 262 3.3. Un manifiesto pacifista de feminismo hedonista: las guerras del cuerpo y la salud del placer: pp. 262-269 3.4. Los retos de la sororidad, el empoderamiento y el capital cultural femeninos: pp. 269-303 3.4.1. Sobre el arquetipo de las abuelas-madre: pp. 304-310 9 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. 4. CAPÍTULO IV: LA DIFERENCIA DE LA MEMORIA: pp. 311-405 ________________________________________________________________ 4.1. Memoria histórica versus Memoria colectiva: ficción histórica, (meta)ficción historiográfica, intrahistoria, memoria por procuración y otros retos “líquidos” en la narrativa condeana: 4.1.1. Crítica a la historiografía colonial: pp. 311- 318 4.1.1.A. Territorialización y fragmentación de la memoria: p. 318 4.1.1.B. Rehabilitación y reescritura de las historias nacionales antillanas: pp. 318-320 4.1.1.B.1. Guadalupe y Martinica: pp. 320-324 4.1.1.B.2. Haití: pp. 324-339 4.1.1.B.3. Jamaica y Barbados: pp. 339-345 4.1.1. C. Rehabilitación y reescritura de las historias nacionales africanas: Costa de Marfil, Guinea, Gana, Senegal, Sudán y Sudáfrica: pp. 345-347 4.1.1.D. Rehabilitación y reescritura de la memoria familiar: la responsabilidad de la literatura: pp. 347-352 4.1.1.D.1. Sobre la (auto)biografía y los mecanismos de la autoficción: pp. 353-354 4.1.1.D.2. Sobre “el año del ciclón”: pp. 354-355 4.1.1.D.3. Sobre el poder memorístico de fotos y efigies: pp. 355-368 4.1.1.D.4. Sobre literatura epistolar y literatura íntima: pp. 368-373 4.1.1.D.5. Sobre el uso de la prensa y los archivos: entre “mediación” y “mediatización” intercultural: pp. 373-385 4.1.1.D.6. Sobre el intertexto proustiano: nuevos lazos de sororidad con las Antillas de Simone Schwarz-Bart, Gisèle Pineau, Françoise Ega, Michèle Maillet y Susanne Dracius-Pinalie: pp. 385-401 4.2. El legado de Maryse Condé en los años de la “Ley Taubira”: pp. 401-405 10 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. 5. CONCLUSIONES: pp. 406-411 _________________________________________________________________ 6. RECOMENDACIONES: pp. 411-412 _________________________________________________________________ 7. FUENTES LITERARIAS: pp. 413-421 _________________________________________________________________ 8. REFERENCIAS BIBLIOGRÁFICAS: pp. 421-448 _________________________________________________________________ 8.1. Monografías: pp. 421-437 8.2. Tesis doctorales: pp. 437-438 8.3. Artículos y estudios en prensa especializada: pp. 438-446 8.4. Capítulos de libro: pp. 447-448 9. REFERENCIAS SITOGRÁFICAS: pp. 448-456 _________________________________________________________________ 10. REFERENCIAS VIDEOGRÁFICAS: pp. 456-458 _________________________________________________________________ 11. REFERENCIAS DISCOGRÁFICAS: pp. 458-460 _________________________________________________________________ 12. DOCUMENTOS ANEXOS: pp. 461-536 _________________________________________________________________ 12.1. Sumario del glosario alfabético de créolismes condeanos: pp. 461-463 12.2. Glosario alfabético de créolismes condeanos: pp. 464-517 12.3. Entrevista inédita con Maryse Condé: pp. 518-520 12.4. Texto oficial de la llamada “Ley Taubira”: pp. 521-524 12.5. Fotografías: pp. 525-532 12.6. Nubes de palabras: p. 533 12.7. Dos listas de reproducción: Músicas condeanas y Entrevistas varias a Maryse Condé: p. 534 12.8. Poema Todas las Maryse del mundo: pp. 535-536 11 Negritud, sororidad y memoria: poéticas y políticas de la diferencia en la narrativa de Maryse Condé; Marta Asunción Alonso Moreno, UCM, 2017. RESUMEN La presente tesis doctoral propone una lectura crítica, en términos de diferencia(s), de la obra narrativa de la prolífica y exitosa autora guadalupeña Maryse Condé (Pointe-à-Pitre, 1934) tanto en su dimensión estética (poética) como en su trasfondo ideológico (político).
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