By Rosemary Clark
The prize-winning novelist Juan Mars?, born in Barcelona in 1933, is widely-read not just inside of Spain but additionally in translation, for his frequently provocative portrayals of existence in post-war Barcelona. Clark's examine discusses Mars?'s engagement with Catholic pop culture, Spanish nationwide Catholicism and Catalan Catholic Nationalism, exploring his subversion of iconic imagery as an ironic sub-textual remark on political ideology, wherein he's capable of scan with outer truth and internal reconstructions of expertise. Dr Clark indicates how non secular and profane visions of affection are subtly intertwined, how the stories instructed via kids and the unconventional shape itself are interrelated, and at last how a number of biblical topoi, starting from the backyard of Eden to the track of Songs, are deployed in Mars?'s fiction. specific recognition is paid to l. a. oscura historia de l. a. prima Montse, Si te dicen que ca and Im genes y recuerdos. ROSEMARY CLARK lectures within the division of Spanish and Portuguese, college of Cambridge. El novelista Juan Mars?, nacido en Barcelona en 1933 y ganador de varios premios internacionales, es un autor muy le?do no solamente en Espa?a sino tambi?n en otros pa?ses del mundo, a trav?s de traducciones, y su obra se aprecia especialmente por sus descripciones provocativas de l. a. vida cotidiana en los angeles Barcelona de posguerra. l. a. monograf?a de Clark analiza el profundo inter?s que sent?a Mars? por los angeles cultura renowned cat?lica y el nacionalcatolicismo - tanto en su forma espa?ola como en su forma catalana. Demuestra que l. a. manera en que Mars? utiliza los ?conos y las proyeciones visuales del Catolicismo constituye un comentario ir?nico y sutil sobre l. a. ideolog?a pol?tica de l. a. ?poca franquista. Las novelas de Mars? - especialmente los angeles oscura historia de los angeles prima Montse, Si te dicen que ca? y Im?genes y recuerdos -- exploran los lindes entre los angeles realidad objetiva y los angeles reconstrucci?n sujetiva de aquella realidad en el mundo de l. a. ficci?n.
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Extra resources for Catholic Iconography in the Novels of Juan Marse (Monografias A)
Qué clase de novio tengo? No te comprendo, la verdad’ (EJ, p. 36). Her persistence reveals her need to fit a stereotype framed in the gaze of another: ‘su deseo de que la imaginaran poseída, segura y feliz’ (EJ, p. 115). Martín both denies and exploits performance. His screening off of the other’s gaze and dark glasses, like his reluctance to undress on a hot beach, can be taken as a paranoid desire for concealment,28 or as playing a ‘film noir’ mystery man: in either case his act is as calculated as Tina’s: sin mirar a nadie y sabiéndose observado.
51). This emphasis on politics has meant that the ‘etapa importante de mi adolescencia’ has been passed over, although it is through the inarticulateness and self-absorption of adolescence that Marsé explores the interaction between self-determining monologue, shared or competing dialogue, and silence that provides a seamlessly shifting narrative focus throughout his writing. 9 Ángelo Morino, ‘Una conversación con Juan Marsé’, El Viejo Topo (4 January 1977), pp. 41–4. Marsé mentions the critic José María Castellet who, he claims, tried to label his work as social realism, and takes a kind of literary vengeance on what he calls ‘una especie de patriarca de este movimiento, como demuestra su libro La hora del lector, que yo ironizo en Ultimas tardes con Teresa’ (quoted in Morino, p.
21 Norma Valentí is put forward in the novel as an authority figure to be subverted. Resina states that ‘Her name, in fact, stands for the 1983 Language Normalization Law’ but is critical of what he sees as Marsé’s dishonest recourse to ‘the Sociolinguistic Fiction’: his ‘avoidance of history, his substitution of allusion and myth for fully-fledged depiction, his recourse to comic book models and to Hollywood films as so many narrative tools which make for good fiction but poor sociology’ (Resina).
Catholic Iconography in the Novels of Juan Marse (Monografias A) by Rosemary Clark