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University of California UNIVERSITY OF CALIFORNIA Los Angeles Hurts So Good: Representations of Sadomasochism in Spanish Novels (1883-2012) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Hispanic Languages and Literatures by Eilene Jamie Powell 2015 © Copyright by Eilene Jamie Powell 2015 ABSTRACT OF THE DISSERTATION Hurts So Good: Representations of Sadomasochism in Spanish Novels (1883-2012) by Eilene Jamie Powell Doctor of Philosophy in Hispanic Languages and Literatures University of California, Los Angeles, 2015 Professor Jesús Torrecilla, Co-chair Professor Silvia Bermúdez, Co-chair This dissertation analyzes how, for over a century, Spanish novels have used sadomasochism (the derivation of pleasure through physical and/ or psychological pain) to criticize the Catholic Church from an anticlerical position, to denounce Francoism, and to sublimate the political left’s disillusionment with the post-Franco democratic era into an alternative sexual revolution. First, in the introduction, I review sadomasochism theory, both international and Spanish. Next, chapter one shows how Armando Palacio Valdés’s Marta y María (1883), Emilia Pardo Bazán’s Dulce Dueño (1911), and Victor Ripalda’s El pájaro azul (c.1930) use “holy sadomasochism” the confluence of religion and sadomasochism, through religious flagellation to promote an anticlerical agenda, especially in relation to women. Chapter two reveals how Juan Marsé’s Si te dicen que caí (Mexico, 1973. Spain, 1976) and Isaac Rosa’s El vano ayer (2004) use representations of sadomasochism in war and politics to denounce Francoism. Chapter three ii explores the possibility of the use of BDSM (Bondage and Discipline, Dominance and Submission, Sadism and Masochism) as a sublimation of the left’s desencanto with the democratic era into an alternative sexual revolution in the post-Franco democratic-era erotic novels Pedro Sempere’s Fritzcollage (1982), Almudena Grandes’s Las edades de Lulú (1989), and Luisgé Martín’s La mujer de sombra (2012). iii The dissertation of Eilene Jamie Powell is approved. Héctor Calderón Barbara Fuchs Roberta Johnson Silvia Bermúdez, Committee Co-chair Jesús Torrecilla, Committee Co-chair University of California, Los Angeles 2015 iv Table of Contents Introduction………………………………………………………………………………………..1 Chapter One. Holy Sadomasochism: Ironic Hagiography in Armando Palacio Valdés’s Marta y María (1883), Emilia Pardo Bazán’s Dulce Dueño (1911), and Víctor Ripalda’s El pájaro azul (c.1930)…………………………………………………………………………………………..27 Chapter Two. Sadomasochism in War and Politics: FETishizing Francoism in Civil War Propaganda, Juan Marsé’s Si te dicen que caí (1973 Mexico, 1976 Spain), and Isaac Rosa’s El vano ayer (2004)…………………………………………………………………………………79 Chapter Three. Sexual Healing: Sadomasochistic Fable, Fairy Tales, and Sexual Play in Pedro Sempere’s Fritzcollage (1982), Almudena Grandes’s Las edades de Lulú (1989), and Luisgé Martín’s La mujer de sombra (2012)……………………………………………………….…..133 Conclusion……………………………………………………………………………………...174 Works Cited……………………………………………………………………………….……184 v List of Figures Chapter One. Figure 1. L’estasi de Santa Teresa. Gian Lorenzo Bernini…......................................................31 Figure 2. Drawing of María flagellated by her maid. Included in Armando Palacio Valdés’s Marta y María (1883)…………………….……………………………………………………..46 Figure 3. Santa Catalina. Included in Marina Mayoral’s edition of Emilia Pardo Bazán’s Dulce Dueño………………………………………………………………………………..………….60 Figure 4. La flagelación eróticorreligiosa. Included in San de Velilla’s La flagelación erótica en las escuelas, en los conventos y casas de corrección; en las carceles y en los presidios; en la alcoba conyugal, en las mancebias, etc., etc…………………………………………………….60 Figure 6. Drawing from El pájaro azul (c.1930) by Victor Ripalda…………………………….73 Figure 7. La flagelación como penitencia (Grabado del siglo XVII). Included in San de Velilla’s La flagelación erótica………………………………………………………….…………...……73 Chapter Two. Figure 1. Spanish Civil War Political propaganda……………………………………………….84 Figure 2. Spanish Civil War Political propaganda……………………………………………….84 Figure 3. Spanish Civil War Political propaganda……………………………………………….85 Figure 4. Spanish Civil War Political propaganda………………….……………………………87 Figure 5. Spanish Civil War Political propaganda……...………….………………………….…87 Figure 6. Spanish Civil War Political propaganda……………………………………………….91 Figure 7. Spanish Civil War Political propaganda……………………………………………….91 Figure 8. Spanish Civil War Political propaganda……………………………………………….92 Figure 9. Spanish Civil War Political propaganda……………………………………………….92 vi Figure 10. Spanish Civil War Political propaganda……………..……………………………….92 Figure 11. Spanish Civil War Political propaganda……………………………………..……….92 Figure 12. Spanish Civil War Political propaganda……………………………………..……….93 Chapter Three. Figure 1. La flagelación erótica. Antonio San de Velilla. La flagelación erótica……..….…...138 Figure 2. La flagelación y el amor. (De la obra Flagellantes et Flagellées). Antonio San de Velilla’s La flagelación erótica….………………………………………………………...……138 Conclusion. Figure 1. Cover of El Jueves. November 30, 2011……………………………………………..175 vii Acknowledgements I wish to acknowledge Silvia Bermúdez and Jesús Torrecilla, my co-chairs. Thank you Barbara Fuchs, for staying the course, and Héctor Calderón, for supporting my project. Special thanks to Roberta Johnson, whose continued support throughout this project I have found invaluable. Special thanks to the UCLA Center for European and Eurasian Studies, the Ben and Rue Pine Travel Award, and the Shirley Arora Fellowship for funding which allowed me to complete important research. Finally, although I have attempted to acknowledge all parties for material used within this thesis, please note that all text and images reproduced within this dissertation are used under the Fair Use and Copyright Law for Teachers, the 75 Years Law, and are for non- profit, educational and research purposes only. viii VITA Education: National-Louis University. Chicago, IL, USA. Master of Arts degree in Secondary Education: Foreign Language Graduation: August 2009 Texas Woman’s University. Denton, TX, USA. Concentration: Bilingual Education Coursework: 27 graduate hours. Distance Education. Summer 2004, Summer 2005, Spring 2006, Fall 2006. Universitat Autónoma de Barcelona. Barcelona, Spain. Concentration: Literary Translation Fall 2005, Winter 2006. New York University. Madrid, Spain. Master of Arts degree in Spanish Literature Thesis: “Los caminos de Andrea y Natalia a voces ecofeministas en Nada de Carmen Laforet y La plaza del Diamante de Mercè Rodoreda.” [“Andrea and Natalia’s Paths to Ecofeminist Voices in Carmen Laforet’s Nada y Mercè Rodoreda’s La plaza del Diamante.”] Graduation: September 2006. Universitat de Barcelona. Barcelona, Spain. Hispanic Studies Spring – Summer 2004. Texas Woman’s University. Denton, TX, USA. Bachelor of Arts degree in English Summa cum Laude Minor: Philosophy/ Psychology Graduation: August 2003. Universidad Internacional. Cuernavaca, Mexico. August 2003. Universidad de Barcelona. Barcelona, Spain. June – July 2003. Employment History: University of California, Los Angeles 7/2014 – Present Coordinator of the Test of Oral Proficiency Los Angeles, CA University of California, Los Angeles 9/2010 – Present Teaching Fellow Los Angeles, CA ix Chicago Public Schools 6/2007 – 6/2009 George Leland Elementary Chicago, IL Teacher East-West University 9/2006 – 6/2007 Adjunct Professor Chicago, IL Kendall College 1/2007 – 9/2007 Adjunct Professor Chicago, IL Publications: La Regenta. Leopoldo Alas (Clarín). Introduction and Critical Edition by Eilene Powell and Maite Zubiaurre. Miami: Stockcero, 2013. La Novela Sugestiva. Co-author. Eilene Powell, Amanda Valenzuela, and Maite Zubiaurre. Madrid: Consejo Superior de Investigaciones Cientificas, 2012. The 24-Hr. Micro-Elit Project. Co-author. Ed. Dene Grigar. May be found at http://web.me.com/dgrigar/24-Hr._Micro-Elit_Project/Blog/Blog.html. Conference Presentations: “Holy BDSM in Emilia Pardo Bazán’s Dulce Dueño.” Conference Theme: Discourses of Peripheral Sexualities in Hispanic Studies. Presented at Florida Atlantic University, Boca Raton, Florida. April 18, 2014. “Feminist BDSM (Bondage and Discipline, Dominance and Submission, Sadism and Masochism) in Emilia Pardo Bazán’s Dulce Dueño.” Conference Theme: Feminism. Presented at Asociación Internacional de Literatura y Cultura Femenina Hispánica at Pomona College, California. October 10, 2013. “Memories of Dominance and Submission: Fascist Sadomasochism in Juan Marsé’s Si te dicen que caí and Isaac Rosa’s El vano ayer.” Conference Theme: “Sex and Sexuality in Hispanic Film and Literature. Presented at California State University, Long Beach. March 16, 2012. “Hurts So Good: Representations of Sadomasochism in Spain’s Silver Age.” Conference Theme: “Hispanic Literature.” Presented at the XXXVII International Symposium of Hispanic Literature at California State University, Dominguez Hills. March 8, 2012. “Ethical Sex?: Representations of Non-heteronormative Sexualities in La Novela de Hoy.” Conference Theme: “Cultural and Ethical Expressions.” Presented at Asociación Internacional de Literatura y Cultura Femenina Hispánica at University of Texas at Austin. October 14, 2010. x Introduction Years ago while discussing Almudena Grandes’ Las edades de Lulú (1989), a colleague qualified the novel as pure pornography. True, there is a lot of what most people
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