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UNIVERSITY of CALIFORNIA RIVERSIDE (Re)Conceptualizing Violence in Contemporary Spanish Literature, Drama, and Film a Disse

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UNIVERSITY of CALIFORNIA RIVERSIDE (Re)Conceptualizing Violence in Contemporary Spanish Literature, Drama, and Film a Disse UNIVERSITY OF CALIFORNIA RIVERSIDE (Re)Conceptualizing Violence in Contemporary Spanish Literature, Drama, and Film A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Spanish by Matthew Carey Greenhalgh December 2019 Dissertation Committee: Dr. David K. Herzberger, Chairperson Dr. Benjamin M. Liu Dr. Alessandro Fornazzari Copyright by Matthew Carey Greenhalgh 2019 The Dissertation of Matthew Carey Greenhalgh is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGMENTS I want to thank the University of California, Riverside for giving me the opportunity to pursue graduate studies over the last three and half years. This university has given the opportunity to grow as an intellectual, educator, and person. I want to express my gratitude to the Department of Hispanic Studies. I have had tremendous support from faculty and fellow graduate students, many of whom I now count as friends. Graduate studies is a challenging, yet rewarding experience, and I can truly say that that has been the case. I must express gratitude towards the Department for providing the financial support that has made my studies possible. I am thankful for the opportunity that I have had to teach at a university as welcoming as the University of California, Riverside. I grew up in Utah, where I received my bachelor’s and master’s degrees, and found the experience here to be wonderful opportunity to learn from diverse faculty, staff, fellow graduate students, and of course my students. Teaching at UCR has been a wonderful experience, for which I will forever be indebted. I am grateful for my dissertation committee and the time and effort they have invested in this work and in me. I am fortunate to have such great faculty who provide me with crucial feedback. I want to recognize Dr. David K. Herzberger for being my mentor. From the first time I met him I knew that I wanted to work with him. Dr. Herzberger is a gifted writer but graciously shares his writing knowledge and experience. He has patiently guided me through the dissertation process—both iv research and writing—and provided irreplaceable insight that has influenced the way I approach critical analysis. He is just as talented in the classroom as he is a writer, and I look up to his ability to lead a classroom in the exploration of learning. David has left a profound impact on me as a student and an individual. It is an honor to work with him and consider him a mentor and friend. I want to thank Dr. Benjamin M. Liu for first welcoming me to the program when I came on a visit nearly four years ago. He has guided me through much of my experience as graduate student and has helped me to better understand opportunities for growth within the Department. I want to thank Dr. Alessandro Fornazzari for graciously joining the committee at a late hour. He is an excellent scholar and teacher, and I am lucky to have him on my committee. I must also express my gratitude to Dr. Christina Soto van der Plas, who previously served on my committee, for her tremendous support. I am grateful to come from a family that values and supports education. My parents, Phillip and Janice Greenhalgh, have long encouraged me to explore countless avenues of curiosity. Their support and love has provided with much of the foundation of who I am as a person, and for that I will always be grateful. My siblings—Paul, Jill, and Emily—had loved and supported me and I am fortunate to be their little brother. I am grateful for grandparents that are life-long learners, they motivate me to grow in my understanding of the world and my fellow man. I am thankful for my sister-in-law, Viridiana Martinez, who is as voracious as a learner as I have ever met. As a researcher and individual she inspires me with her work ethic v and determination. I am grateful to my mother-in-law, the late Teresa López Olay, for believing that learning is the key to life, “estudiar, estudiar. Porque este mundo se va a acabar.” I feel her love and support as I continue to develop as a scholar. I am humbled to know her and hope that I make her proud. I want to express my deepest gratitude towards my wife Alejandra Martinez. I have felt nothing but love and support from her in my academic pursuits. Alejandra loves learning and helping others learn. She has celebrated and cried with me, listened to my complaints, celebrated with me in my achievements and supported me in my failures. I could not ask for a better companion. Lastly, I want to thank my grandfather, L. Glade Greenhalgh, for the encouragement to continue with the topic of this dissertation at a time when I considered going a different direction. While at a family dinner, when Grandpa asked what the theme of my dissertation was on I struggled to answer. Countless colleagues, friends, family, and acquaintances had asked this question, and I was always apprehensive about answering, as often, when I explained that it is focused on violence, I received shocked responses and even preconceived notions that I enjoy violence. But as I sat there with Grandpa, a World War II veteran who has no training in Spanish Literature or culture, I could feel that what I was about to say would elicit a response that I was not sure that I was prepared to hear. I did not want to bring up a subject that would make him uncomfortable. Instead, Grandpa though for a moment and replied, “have you looked at Goya?” vi ABSTRACT OF THE DISSERTATION (Re)Conceptualizing Violence in Contemporary Spanish Literature, Drama, and Film by Matthew Carey Greenhalgh Doctor of Philosophy, Graduate Program in Spanish University of California, Riverside, December 2019 Dr. David K. Herzberger, Chairperson This project explores the impact and role that violence plays in Contemporary Peninsular Literature and Culture. I approach violence in three ways: language, torture, and situational ethics in a trilogy by Javier Marías, Tu rostro mañana; a play by Antonio Buero Vallejo, La doble historia del doctor Valmy; and two films, El laberinto del fauno, by Guillermo del Toro; and Goya en Burdeos by Carlos Saura. This analysis focuses on how representations of violence provide critical commentary against social injustices, oppressive political figures, and state- sanctioned censorship and torture. In Section One, I analyze the violent act of torture through its use as a literary and visual aesthetic. In Section Two, I examine how language is used to control others, and how it subsequently represents the oft- unnoticed beginning of oppression that trends towards violent action. Lastly, in Section Three, I focus on situational ethics to examine the impact that violence has on unique individuals—aggressors, victims, and witnesses. The four works I analyze vii each explore violence and test the justification of its use. Throughout this project, I maintain an understanding that the study of violence is a continually evolving field studied from varying disciplines. As a theme, these works critique how we view violence in the past and present, leading us to reconceptualize it as we move toward the future. viii Table of Contents Introduction 1 Subjective Violence 8 Objective Violence 13 Other perspectives 16 Subjective and Objective Violence in Contemporary Spanish Literature 17 Section 1 20 Violence and Torture in Contemporary Spanish Narrative, Drama, and Film 20 Chapter 1 25 Goya en Burdeos: Adapting the First Modern Spanish Critique of Violence 25 The Slaughtered Ox 28 Saura’s Adaptation of Goya’s “Disasters of War” 30 Conclusion 38 Chapter 2 42 Understanding Historical and Fictional Representations of Violence 42 in Tu rostro mañana 42 Tupra and the Sword 44 The Torture and Death of Emilio Marés 49 The Execution of Torrijos and His Companions at Málaga Beach 51 Jaime’s Confrontation with Custardoy 53 Conclusion 60 Chapter 3 63 The Pain of Torture: The Seen and Unseen Scars of Violence 63 in La doble historia del doctor Valmy 63 The Scars of Torture 64 Conclusion 81 Chapter 4 83 Man as Monster: Reimagining the Fairy Tale Villain in 83 El laberinto del fauno 83 Capitán Vidal 85 Torture and Murder 90 Man as Monster: The True Villain of Reality and Fantasy 97 Conclusion 104 Section Conclusion 107 Section 2 112 The Violence of Language 112 Chapter 5 119 ix Censorship in Tu rostro mañana and La doble 119 historia del doctor Valmy 119 “Careless Talk”: Discouraging Communication in Society 120 The Barriers of Censorship in Theatrical Expression 124 Verbal Coercion 130 Unreliable Characters 138 The Consequences of Language 151 Rostro and La doble historia as Literary Warnings 160 Section 3 164 The Situational Ethics of Violence 164 Chapter 6 169 Narrative Legacy in Tu rostro mañana 169 Narrative Horror 171 Chapter 7 185 (Un)Justifying Torture in Buero Vallejo’s La doble historia del Dr. Valmy 185 Justifying the Use of Torture 187 Accomplices of Violence 200 The Awakening of Conscience 203 The Audience as Representatives of Society 206 Chapter 8 209 The Need for Violence: The Post-Civil War Arena of Good versus Evil in Guillermo del Toro’s El laberinto del fauno 209 The Sadistic Nature of Capitan Vidal 212 The Justified Violence of Rebels 221 Conclusion 231 Section Conclusion 234 Conclusion 238 Bibliography 248 x List of Figures Figure 1 Slaughtered Ox ................................................................................................... 29 Figure 2 Saura's slaughtered ox ........................................................................................ 30 Figure 3 ............................................................................................................................. 37 Figure 4 ............................................................................................................................. 37 Figure 5 Fusilamiento de Torrijos y sus compañeros en las playas de Málaga ................. 52 Figure 6 ..........................................................................................................................
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