Discurso narrativo y discurso fílmico en la obra de Javier Marías. Teoría y análisis

Zusammenfassung

The current doctoral thesis aims at researching the study of discursive aspects in Javier Marías' writing, one of the novelists of best European and worldwide projection in Spanish language. In a concrete form, the study focuses its attention on the problem of the inner speech as theoretical and analytical phenomena, with the purpose of offering its speech clues in two twinned arts: the novel and the cinema. The methodology comprises an eclectic model which associates, on the one hand, the Narratology with the Semiotic and reflects, on the other hand, about the inner speech theory within two semiotic systems: the literary and filmic studies. In structural terms, this thesis is divided in two major parts. In the first one, from a theoretical approach, different critical perspectives have been offered about the inner speech representation in the novel, according to the critical schools which support the literary epistemology of the twentieth century (Russian Formalism, Narratology, Russian Postformalism, Semiotic Theory of Culture, Literary Pragmatism or Bajtin's Theory of Polyphony). At the same time, this study evaluates the critical reception of monologue from the Marxist literary theory: Bajtin, Lukács and Adorno. It also examines the role of monologue in an avant-garde context. Subsequently, this dissertation provides an analytical study focused on Marías' novels: the dual voice in El siglo (1983), the hypothetical first person narration in El hombre sentimental (1986), the Oxford's cycle project integrated by Todas las almas (1989), Negra espalda del tiempo (1998) y Tu rostro mañana (2002-2007), the feminine María Dolz's monologue in Los enamoramientos (2011), the disembodied consciousness of Juan de Vere in Así empieza lo malo (2014) and the dual voice in Berta Isla (2017). Focusing on the second part, starting from Dolezel's theory of transduction (1986), this study examines the Marías' filmic poetic in the light of Jakobson's intersemiotic translation (1959). This dissertation assess the value of cinema in the cultural context of the post-Francoist Spain, its incidence in the journalistic articles and different essay testimonies by Javier Marías (Donde todo ha sucedido. Al salir del cine, 2005) and, last but not least, in his novels. In terms of the latter, the comparative analysis comprises several thematic axes: the classical Hollywood cinema in Los dominios del lobo (1971); the value judments against cinema in El siglo (1983); the filmic images in El hombre sentimental (1986); the traces of Macbeth (1948) by Orson Welles in Corazón tan blanco (1992); the films without voice in Mañana en la batalla piensa en mí (1994); the complex mix of filmic motifs from Mankiewicz and Hitchock in Oxford's cycle; the hitchcockian filmic keys in Así empieza lo malo (2014) and the cinematographic motif of waiting -filtered through El regreso de Martín Guerre (1982), by Daniel Vigne- in Berta Isla (2017). The final result is an interdisciplinary and polyhedral dissertation which consists in ten closely connected chapters: (1) "Justification", (2) "The Inner Speech in the Novel. Theoretical Focus", (3) "Critical Perspectives", (4) "The Reception of the Inner Speech in the Marxist Literary Theory", (5) "The Inner Speech in Javier Marías' Narrative Project", (6) "Cartography of Filmic Speech", (7) "Cinema from Cultural History, the Essay and the Novel", (8) "Criteria to Outline the Presence of Cinema in Marías' narrative", (9) "Comparative analysis: cinema and literature" and (10) "Conclusions". In synthesis, this dissertation has intended to study the narrative of Javier Marías from a broader view, with the purpose of redefining his place in the history of the Spanish novel and emphasizing its presence in the panorama of current narrative.