?Historias no narradas? Intencion y forma en la novela realista espanola (Spanish text, Juan Valera, Emilia Pardo Bazan, Carmen Laforet, Miguel Delibes).

摘要

Compared to the transparency characteristic of a non-literary work, literary texts are aesthetic craftings where meaning often gets expressed in a concealed way. In narrative, two of the most distinguished features are the linear organization of events and the telling itself of those events. When analyzed as part of a larger context, each narrative is irremediably connected to time, author, and conscious or subconsciously, to ideology itself.; This dissertation attempts to study, some of the different shapes modern “realist novels” develop through a semiotic study and reinterpretation of four intriguing texts: Juan Valera's Pepita Jiménez and Emilia Pardo Bazán's Los pazos de Ulloa in the 19th century, Nada by Carmen Laforet and Miguel Delibes' Cinco horas con Mario in the 20th. My point of departure is the examination of modern literature not as the diaphanous, impartial activity which a committed, progresist author would like to say he or she embarks in, but as terrain of potential ideological conflict that needs of careful resolution between creator, characters, reader and text.; Beyond the main story, in the four texts selected there is a latent, difficult conflict, extratextual in nature, which is not presented openly. It surfaces as a second “narrative,” told in a subtle way but revealing important information about the ideological frame from which the writing emerged. My interest lies in the analysis of the narrative strategies devised in order to present and handle a similar human struggle—the conflict between love and power—and whether or not we can consider them successful in the end. Product or reaction to the constraints intrinsic in ideology, the internal coherence of each text is more completely determined by what it excludes as much as what it includes: how and which events get narrated are ultimately, for us readers, as important as the (apparent) story itself.