Publication: La pintura y la reinvención estética de la realidad en tres novelas de Vargas Llosa
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2018-03-12
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Universidad Complutense de Madrid
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Abstract
El objetivo de este trabajo es el análisis intermedial de tres novelas de Mario Vargas Llosa: Elogio de la madrastra, Los cuadernos de don Rigoberto y El Paraíso en la otra esquina. En concreto, se estudia la representación de imágenes (pinturas) en el texto literario en todos sus aspectos. Empezamos explicando la metodología, ya que los críticos literarios no siempre están de acuerdo sobre las posibilidades y los resultados de un análisis interdisciplinar de esta índole, utilizando principalmente las propuestas de la semiótica y la narratología. La relación imagen /texto en las tres novelas se explica a través de dos esquemas: "creación /recepción" y "descripción /narración /teatralización". Se observa la totalidad del proceso, desde sus orígenes cuando al artista le inspira cierta historia o imagen, hasta el final cuando la pintura vuelve a la vida al encontrarse con el observador, a menudo revisitando el proceso creativo original. Un elemento importante a tener en cuenta en el trabajo es el modo de estructurar las novelas y la comunicación de éstas con el lector. Vargas Llosa utiliza algunas de sus técnicas narrativas típicas, escondiendo y revelando piezas de la historia de manera intermitente. Las obras se estructuran en varios niveles, distinguiendo, por regla general, entre la realidad ficcional de un lado y el mundo de la pintura, fantasía y recuerdos del otro. Sin embargo, dichos niveles no operan de manera separada y el papel del lector es clave a la hora de armar el puzle y sumar diferentes realidades a fin de obtener la visión de la totalidad. Al mismo tiempo, el lector debe tener presentes distintos tipos de intertextualidad, puesto que ellos añaden componentes a esta compleja estructura. Finalmente, analizamos una serie de temas como transgresión, erotismo, primitivismo, utopías, fantasía o rebelión que acompañan la ficción literaria y artística en estas novelas. La pintura canaliza lo irracional de modo parecido a cómo lo hace la ficción, por lo que hay que examinar todos esos motivos reflejados tanto en la historia principal como en las subordinadas. De ahí que cada imagen artística se utiliza en estas novelas para expresar los pensamientos recurrentes del autor sobre el papel de la ficción en nuestro mundo. Aunque Vargas Llosa advierte sobre la peligrosidad de tomar la fantasía al pie de la letra, creemos que reivindica el valor de la ficción como la única manera de vivir todas las vidas que deseamos, pero no podemos vivir.
This work focuses on intermedial analysis of three novels by Mario Vargas Llosa: In Praise of the Stepmother, The Notebooks of Don Rigoberto and The Way to Paradise. Specifically, it addresses the representation of visual images (paintings) in a literary text in all its aspects. We start by explaining the methodology, as the literary critics do not always agree on the possibilities and outcomes of such an inderdiciplinary analysis, and the principal approaches used are semiotics and narratology. The relation image/text in the three novels is explained through a scheme "creation/reception", as well as that of "description/narration/dramatisation". The whole process is observed, from the very beginning, when an artist is inspired by a certain story or visual image, until the end, when the painting meets the observer and comes back to life again, often by reliving the initial process of creation. A relevant element to be taken into account in this analysis is how these novels are structured and how they address the reader. Vargas Llosa uses some of his typical narrative techniques aimed at intermittent hiding and revealing of pieces of the story. The novels are structured on different levels, distinguishing, as a rule, between the fictional reality on one hand, and the world of paintings, fantasy and memories on the other. However, they do not operate separately and the reader has a crucial role, as he/she has to assemble the puzzle and add up different realities in order to obtain the complete picture. At the same time, the reader must also take into account many different forms of intertextuality, as they produce additional elements in this complex structure. Finally we analyse a number of subjects -such as transgression, eroticism, primitivism, utopias, fantasy or rebellion- which accompany the literary and the artistic fiction throughout the novels. A painting channels the irrational in a similar way that a fiction does, so all these motives reflected both in the principal story and in the sub-narratives, must be taken into account. The painting is to the fiction what the fiction is to our reality. Therefore, each artistic image is used in these novels to express the authors recurrent thoughts about the role of fiction in our world. Although Vargas Llosa warns against taking fantasies too literally, we believe that he makes a stand in favour of of the fiction, as it is the only way to live all the lives we wish for, but cannot have.
This work focuses on intermedial analysis of three novels by Mario Vargas Llosa: In Praise of the Stepmother, The Notebooks of Don Rigoberto and The Way to Paradise. Specifically, it addresses the representation of visual images (paintings) in a literary text in all its aspects. We start by explaining the methodology, as the literary critics do not always agree on the possibilities and outcomes of such an inderdiciplinary analysis, and the principal approaches used are semiotics and narratology. The relation image/text in the three novels is explained through a scheme "creation/reception", as well as that of "description/narration/dramatisation". The whole process is observed, from the very beginning, when an artist is inspired by a certain story or visual image, until the end, when the painting meets the observer and comes back to life again, often by reliving the initial process of creation. A relevant element to be taken into account in this analysis is how these novels are structured and how they address the reader. Vargas Llosa uses some of his typical narrative techniques aimed at intermittent hiding and revealing of pieces of the story. The novels are structured on different levels, distinguishing, as a rule, between the fictional reality on one hand, and the world of paintings, fantasy and memories on the other. However, they do not operate separately and the reader has a crucial role, as he/she has to assemble the puzzle and add up different realities in order to obtain the complete picture. At the same time, the reader must also take into account many different forms of intertextuality, as they produce additional elements in this complex structure. Finally we analyse a number of subjects -such as transgression, eroticism, primitivism, utopias, fantasy or rebellion- which accompany the literary and the artistic fiction throughout the novels. A painting channels the irrational in a similar way that a fiction does, so all these motives reflected both in the principal story and in the sub-narratives, must be taken into account. The painting is to the fiction what the fiction is to our reality. Therefore, each artistic image is used in these novels to express the authors recurrent thoughts about the role of fiction in our world. Although Vargas Llosa warns against taking fantasies too literally, we believe that he makes a stand in favour of of the fiction, as it is the only way to live all the lives we wish for, but cannot have.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española IV, leída el 20/10/2017