AESTHETICS: BEAUTY AND THE SUBLIME IN THE REPRESENTATION OF VIOLENCE: AN ANALYSIS OF CONTEMPORARY FILM AND NOVEL IN SPAIN AND LATIN AMERICA DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Clara Irene Reyes, M. A. ** * * * The Ohio State University 2004 Dissertation Committee: Professor Samuel Amell, Adviser Approved by Professor Ileana Rodriguez _____________________________ Adviser Professor Ignacio Corona Spanish and Portuguese Department ABSTRACT This dissertation examines the aesthetic concepts of beauty and the sublime in the representation of violence, in several Latin American novels and films (Fernando Vallejo's La virgen de los sicarios (1994); Jorge Franco Ramos's Rosario Tijeras (1999); La virgen de los sicarios (2000), directed by Barbet Schoeder, and Rodrigo-D No Futuro (1990) directed by Víctor Gaviria, and Amores Perros (2000) directed by Alejandro González Irárritu); as well as in Spanish novels and films (Juan Marsé's, Si te dicen que caí (1973); Si te dicen que caí (1989), Amantes (1991) and Libertarias (1996), directed by Vicente Aranda). In the above-mentioned works, violence is a central theme. Through close analysis of these films and novels I explain how the violence depicted in them clearly serves an aesthetic purpose. To explain the aesthetic value of these films, I analyze them by means of classical definitions of the concepts of beauty and the sublime. I argue that these concepts relate to the aesthetics of pleasure, which are used by the authors and filmmakers to suture their readers and viewers into the text. I explain how the violence, cruelty, and brutality of war remain in the collective memory of the people of Colombia, Mexico and Spain and permeate their cultural representations. I also explain that cruelty is ii necessary for artistic creation and finally, I argue that this aesthetic creation serves a political purpose for a specific cultural identity. The works of Longinus, Edmund Burke and Immanuel Kant provide a theoretical framework to understand the identification of art and violence. Sigmund Freud’s theory of the libido and Jacques Lacan’s theory of the mirror stage, are examined to explain how film narratives and novels of violence can work at the unconscious level to suture the viewer to the text, providing a pleasurable experience closely tied to the sublime. Finally, Friederich Nietzsche's postulates on the need of the true artist to devoid himself of morality to be able to create serves to understand the task of these filmmakers and novelists who want to portray the crude reality of their countries. iii I dedicate this dissertation to my daughter Manuela And in loving memory of my father and sister iv ACKNOWLEDGMENTS To the Ohio State University for their financial support through the four- and-a-half years of my Ph. D. studies. To The Tinker Foundation for grants in the summer of 2001 to do research in Barcelona, Spain and in the summer of 2002 to do research in Santafé de Bogotá, Colombia. To The Karpus Foundation, for awards in the summers of 2001 and 2002. To the Loanne Crane Organization for a summer award in the year 2001. To Altusa, for their generous award in the winter of 2004. To the OIM for a travel grant to do my doctorate studies. Thanks to the above-mentioned foundations and organizations, I was able to carry out most of my research, do interviews, collect materials, and come into contact with and become familiar with the settings of my studies. To Samuel Amell for his encouragement, his permanent support and incredible faith in me. To Ileana Rodriguez for challenging me all the time to do my best and for helping me through my most difficult moments with many long and fun talks and tons of advice. To Ignacio Corona for helping me to complete this project successfully. v To Abril Trigo, Ignacio Corona, Stephen Summerhill for helping me and providing me with intellectual support during the difficult time of my general exams. Special thanks to Professor Summerhill for giving me invaluable advice on the theory of the sublime, and to Laura Podalsky for always providing me with challenging material to read. To Jan Macian for having been such a wonderful Academic Director and guide and for the support given during difficult times. To Deiter Wanner and the Spanish Department Staff, Susan, Melinda, Tammy and Judy for their generosity and affection. To Linda Mizejewski and Ron Greene who gave me the opportunity to learn more about film by letting me sit in their classes. To all my professors at OSU and OU. To Nancy Uvalle, Donna Villarreal, Julie Seter, EricTilson and Tracy Muñoz for helping me with edits and corrections, and for their priceless support and friendship. To Víctor Gaviria, Jorge Franco Ramos, Ricardo Rodríguez, Oscar Pinzón, Juan Diego Caícedo and Augusto Pinilla who graciously agreed to be interviewed about their experiences with film and violence, literature and violence and La Violencia in Colombia. To the wonderful friends who were not directly involved with this dissertation but who were always there to help me through my most difficult moments of crisis and who I will always be indebted to: María Tenorio and vi Rafael Pleitéz, Nancy Uvalle and Iván Ordóñez, Ileana and Roberto, Ana del Sarto and Abril, Jenny Fourman, Donna Villareal, Irene Ruiz, Ruth Guajardo, Tracy Muñoz, Tina and Jose, Nieves and Yuri, Rocio and Jorge, and James Unch. Lastly, and most importantly, to my family: my daughter, mother, brothers, sisters -in -law, and my nieces and nephew, who, despite the distance between us and very hard times, were always there for me with their constant and wonderful support and love. vii VITA 1977……………………………………….. B.A Psychology/HRI Management, Southwest State University, MN 1993 ............................................................. M.A Spanish, Ohio University, OH 1993.............................................................. M.A International Affairs, Ohio University, OH 2004 ............................................................. Lecturer, The Ohio State University 1999 – present............................................ Graduate Teaching Assistant in Spanish, The Ohio State University 1993-1999.................................................... Literature Teacher, The Anglo Colombian School, Bogota, Colombia 1992-1993.................................................... Graduate Teaching Assistant in Spanish, Ohio University 1991- 1992.................................................. Graduate Research Assistant in Latin American Studies, Ohio University 1986-1991........................................…....... Educational Advisor, The Fulbright Commission, Bogota, Colombia 1978- 1986................................................... Teacher of English as a Foreign Language, Bogota, Colombia FIELDS OF STUDY Major Field: Spanish and Portuguese viii TABLE OF CONTENTS Abstract………………………………………………………………………… ii Dedication……………………………………………………………………… iv Acknowledgments……………………………………………………………… v Vita………………………………………………………………………………..viii Preface……………………………………………………………………………. 1 Chapters 1. The theoretical foundations of aesthetics: Beauty, the Sublime and contemporary applications in film and literary theory.......................16 The Beautiful and the Sublime in Longinus, Edmund Burke and Immanuel Kant..........................................................................................20 Sigmund Freud on violence: Eros and Thanatos and the Oedipus Complex..................................................................................................... 30 Jacques Lacan: The Imaginary, the Symbolic and the Real................ 36 Nietzsche on the representation of violence and morality................ .40 Conclusion.................................................................................................42 2. A background to violence………………………………………………46 Violence in Colombia: La Violencia, guerrilla, warfare, narcotraffic..54 Violence in Spain: The Spanish Civil War............................................ 58 The Spanish Conquest and the Mexican Revolution.......................... 62 ix The Dirty War in Mexico: The massacre at Tlatelolco and the Revolutionary movements……………………………………………..65 Conclusion..................................................................................................70 3. Rosario, Rodrigo, Wilmer and Alexis- The children of violence................72 The sublime and beautiful RosarioTijeras.............................................85 Alexis and Wilmar – Two sublime objects of desire -La virgen de los sicarios.......................................................................................................102 La virgen de los sicarios: the movie, a spectacle of death................115 Rodrigo D- No Futuro- When the only thing that makes sense is to kill..............................................................................................................122 4. The pleasure of the voyeur ........................................................................... 135 Si te dicen que caí- When everyone becomes a voyeur....................137 Vicente Aranda’s look: Voyeurism, corruption, sexual degradation and torture in Si te dicen que caí.................................................................. 147 Amantes – The sublime experience of love, passion and death.......163 Libertarias- The sublimity of dying for freedom............................... 169 5. Alejandro