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Hibridacion Linguistica.Pdf Universidad de Huelva Departamento de Filología Inglesa Hibridación lingüística y cultural en autores norteamericanos de origen español Memoria para optar al grado de doctora presentada por: Mercedes Guinea Ulecia Fecha de lectura: 8 de febrero de 2016 Bajo la dirección de la doctora: María Losada Friend Huelva, 2016 BoletínRAMÓN UNIVERSIDAD DE HUELVA Mercedes Guinea Ulecia Hibridación lingüística y cultural en autores norteamericanos de origen español Tesis de doctorado Programa Enseñanza de Lenguas y Canon Literario Occidental Directora: María Losada Friend - 1- - 2- INDICE 1. Introducción .............................................................................................................. 5 2. Prudencio de Pereda y Windmills in Brooklyn. ........................................................ 8 2.1. Vida y trayectoria literaria. .............................................................................. 10 2.1.1. Nacimiento y familia ................................................................................ 11 2.1.2. Estudios, vocación literaria y activismo político ...................................... 13 2.1.2.1. Pereda, radical ................................................................................... 14 2.1.2.2. Hemingway: The Spanish Earth ........................................................ 16 2.1.3. Guerra y adaptación .................................................................................. 20 2.1.4. Bibliotecario y escritor ............................................................................. 23 2.2. Escritos. ........................................................................................................... 26 2.2.1. Cuentos ..................................................................................................... 28 2.2.1.1. Los cuentos de Pereda en revistas, antologías y novelas. .................. 28 2.2.1.2. Realismo y autobiografismo .............................................................. 32 2.2.1.3. Los relatos españoles de Prudencio de Pereda .................................. 33 2.2.2. Novelas ..................................................................................................... 37 2.2.2.1. All the Girls We Loved (1948). .......................................................... 37 2.2.2.2. Fiesta: A Novel of Modern Spain (1953). ......................................... 49 2.2.3. Traducciones, reseñas y otros ................................................................... 73 2.2.3.1. De Pereda, Traductor ......................................................................... 73 2.2.3.2. Crítico y polemista............................................................................. 77 2.3. Windmills in Brooklyn ..................................................................................... 79 2.3.1. El contexto histórico y cultural de la novela: los emigrantes españoles en los Estados Unidos ............................................................................................. 79 2.3.1.1. La emigración española a Estados Unidos ........................................ 80 2.3.1.2. La colonia española en Nueva York .................................................. 87 2.3.2. Estudio literario ........................................................................................ 93 2.3.2.1. Historia del texto ............................................................................... 93 2.3.2.2. Argumento y estructura ..................................................................... 95 2.3.3. Personajes ............................................................................................... 101 2.3.3.1. El narrador ....................................................................................... 103 2.3.3.2. El abuelo .......................................................................................... 105 2.3.3.3. Agapito ............................................................................................ 108 2.3.3.4. Otros personajes .............................................................................. 112 2.3.4. Temas ..................................................................................................... 113 2.3.5. Crítica y recepción .................................................................................. 121 2.3.6. Traducción y lenguas en contacto .......................................................... 124 2.3.6.1. Lengua e identidad........................................................................... 125 2.3.6.2. ―He said in Spanish‖ ........................................................................ 135 2.3.6.3. En español en el original. ................................................................ 142 2.3.6.4. Texto híbrido y traducción. ............................................................. 150 3. Felipe Alfau y Locos ............................................................................................ 157 3.1. Vida de Felipe Alfau...................................................................................... 160 3.2. Locos. (1936) ................................................................................................. 178 3.2.1. Historia del texto .................................................................................... 178 3.2.2. ―Un autor a merced de sus personajes‖ .................................................. 180 3.2.2.1. Narrador y personajes ...................................................................... 191 3.2.2.2. Metaficción ...................................................................................... 201 3.2.2.3. Novela y colección de relatos. ......................................................... 205 - 3- 3.2.2.4. Una meditación sobre la identidad .................................................. 208 3.2.3. ―An extraordinary land without present reality‖: España en Locos ....... 211 3.2.3.1. Alfau y España ................................................................................ 211 3.2.3.2. El español en Locos ......................................................................... 222 3.2.3.3. Locos y la literatura española .......................................................... 228 3.2.3.3.1. De la picaresca a Gómez de la Serna ........................................ 228 3.2.3.3.2. Locura y magia en Toledo: la huella cervantina en Locos ....... 238 4. Conclusión ............................................................................................................ 248 5. Bibliografía ........................................................................................................... 252 PRUDENCIO DE PEREDA ................................................................................ 252 1. Obras de Prudencio de Pereda ...................................................................... 252 2. Traducciones ................................................................................................. 252 3. Artículos y reseñas ....................................................................................... 252 4. Obras citadas ................................................................................................ 252 FELIPE ALFAU ................................................................................................... 261 1. Obras de Felipe Alfau ................................................................................... 261 2. Fragmentos recogidos en antologías............................................................. 262 3. Traducciones ................................................................................................. 262 4. Entrevistas .................................................................................................... 262 5. Obras citadas ................................................................................................ 263 Relatos de Prudencio de Pereda........................................................................ 268 - 4- 1. Introducción Hasta la fecha, la cultura de los españoles residentes en los Estados Unidos apenas ha recibido atención. Sólo iniciativas recientes como las promovidas por el profesor James D. Fernández en la New York University1, que ha continuado en el terreno de la sociabilidad y la cultura los estudios que en su día iniciara Germán Rueda (1992) sobre la sociología de la inmigración española a los Estados Unidos. Explorado como parte de distintos proyectos de investigación sobre la cultura hispana en los Estados Unidos, como los dirigidos por Nicholas Kanellos, el conglomerado de centros culturales, circuitos teatrales y musicales, prensa, editoriales de carácter específicamente español está en gran medida aún por estudiar. Otro tanto puede decirse de la literatura escrita por y sobre los inmigrantes y, en general, residentes españoles, un campo del que consideramos debe excluirse explícitamente, por muchos puntos de contacto que se puedan advertir con ella, el de la producción literaria del exilio español afincado en los Estados Unidos, por ejemplo la de Pedro Salinas, y no sólo por tratarse de grupos que responden a motivaciones muy diferentes (entre los inmigrantes hubo numerosos partidarios de la sublevación militar en 1936), sino por su carácter circunstancial. Tampoco incluimos a quienes trabajaron temporalmente en los Estados Unidos para después regresar a España donde eventualmente publicaron textos inspirados en su experiencia norteamericana, como Enrique Jardiel
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