Dissertations / Theses on the topic 'Camilo José Cela'

La nouvelle et les genres brefs en général occupent une proportion écrasante dans la production littéraire de Camilo José Cela dont on connaît mieux les récits de voyage et les romans. Pourtant, la poétique de la nouvelle dépasse les frontières de ce genre et informe l'oeuvre entière de cet auteur. Ce constat invite à examiner quelles relations se tissent par ce biais entre les différents genres, par delà les spécificités génériques. Pour ce faire, on se penche d'abord sur la notion de genre littéraire et on s'interroge sur la position adoptée par l'écrivain lui-même sur cette question. Les paratextes, lieux privilégiés de la réflexion métanarrative, ne cessent de récuser le cloisonnement de la littérature en catégories étanches et les positions normatives. Aussi bien dans le roman que dans le récit de voyage et le roman, C. J. Cela développe une poétique du fragment et de la discontinuité. Ses oeuvres se construisent sur la base d'unités narratives brèves disposées selon le principe de la parataxe. Cette organisation visible dans la présentation typographique des oeuvres est renforcée par l'intégration de marériaux divers qui constituent autant d'éléments de discontinuité dans les textes. Si C. J. Cela nomme "apuntes", c'est-à-dire "notes", ses nouvelles, cette appellation pourrait être aussi appliquée au roman qui évacue toute véritable intrigue et au récit de voyage qui le réduit au minimum. En l'absence d'une véritable intrigue qui puisse remplir la fonction de force centripète dans le récit, l'épisode et le tableau l'emportent sur la trame, le détail occupe le premier plan tandis que la stylisation réduit à quelques traits le monde représenté. Quelle que soit l'appartenance générique d'une oeuvre, son écriture est marquée du sceau du "dire bref" dont participe encore l'oralité du discours. Cet art de la briéveté imprime un style unique aux oeuvres de cet écrivain<br>Camillo José Cela's travel narratives and novels are very well known. However, the short story and other short literary works, that occupy a considerable proportion of his writing, shape his poetics. In his works, the poetics of the short story go beyond the boundaries of this genre and give meaning to the author's entire production. This statement invites one to examine which connections exist between the different genres beyond the generic specificities. To accomplish this, one focuses first on the notion of literary genre and one examines Cela's position with regard to this question. The paratext, privileged domain of the metanarrative discourse, constantly rejects normative postures and the separation of literature into establishes categories. In the travel narrative as well as in the novel, C. J. Cela exhibits a poetic of fragment and discontinuity. His works are constructed using brief narrative elements arranged according to the principe of the paratexis. This structure, evident in the typographic presentation of the works, is reinforced by the integration of diverse materials which constitue so many components of discontinuity in the text. If Cela calls his short stories "apuntes", that is, "notes", this label could also be applied to the novel, which renounces any real plot, and to the travel narrative which reduces the plot to the minimum. In the absence of a true plot which might serve as a centripetal force in the narrative, the episode and the scene trump the plot. Detail and anecdote ocupy the first place while stylization reduces the universe that he paints to a few touches. Whatever the generic connection of a work, C. J. Cela's writing style is characterized by the concise discourse in which the oral speech is a substantial component. This practice of brevity brands a style unique to this writer's literary creation

El presente trabajo tiene el objetivo de analizar los rasgos humorísticos y figuras retóricas en La Colmena de Camilo José Cela. La tesina se basa en las teorías de la superioridad, de la descarga, de la incongruencia y las teorías sociológicas y antropológicas según el estudio de José Antonio Llera. Nuestra investigación ha examinado particularmente el humor negro, grotesco y la ironía presente en la obra de Cela. Hemos podido concluir y afirmar que Cela usa el humor y la ironía a través de descripciones grotescas las cuales forman parte de su critica social y como mecanismo de defensa. Hemos establecido que el autor usa el humor para reflejar su propia elección subjetiva de la realidad de la posguerra. Finalmente hemos constatado que el humor es algo añadido lo cual se muestra a través de sus comentarios omniscientes.

<p>Para estudiar cómo se presenta la relación entre Ficción e Historia o entre Ficción y Memoria del pasado reciente en la novela contemporánea de lengua castellana, se ha optado por Mazurca para dos muertos de Camilo José Cela, que toca la época de la Guerra Civil española. El objetivo es hacer un análisis sobre las voces narrativas; para esto se ha usado un método narratológico. Se ha partido de la premisa de que la novela en cuestión es una construcción de una polifonía de voces que abarca el dialogismo. Se mantiene la hipótesis de que la diversidad de voces y el dialogismo se hallan inmersos en los testimonios directos de los acontecimientos acaecidos durante la Guerra Civil, de los que, sin embargo, se obtiene una perspectiva limitada: cada una de las voces se distingue, pero existe una relación o conexión temática entre ellas. La historia se enfoca desde una visión y un punto de vista de un primer narrador desde donde se aborda el conjunto de la historia; este utiliza numerosos modalizadores para orientar a los lectores en su dirección de opinión. Así elabora el discurso a partir de la información recabada desde las voces narrativas que completan el punto de vista del primer narrador desde diferentes perspectivas. Por eso se sostiene, en las conclusiones, que el diálogo y la polifonía son un modo de organización estructural, pero que, también, sirven como herramientas con las que se enfoca la historia desde el ángulo subjetivo de un narrador. Se subraya, además, lo magistral logrado en la trancripción de una realidad oral y la representación verosímil de la historia.</p>

Thesis (Ph. D.)--University of Kentucky, 2005.<br>Title from document title page (viewed on November 1, 2005). Document formatted into pages; contains v, 209 p. : ill. Includes abstract and vita. Includes bibliographical references (p. 196-208).

Num primeiro momento, este trabalho apresenta de forma sucinta, informativa e crítica, os vários livros do escritor português Antunes da Silva, preparando assim a análise pormenorizada que se segue de Gaimirra, onde se salientam as linhas semânticas e estilísticas que permitem inserir este livro de contos na estética neorrealista. A abordagem do romance La Família de Pascual Duarte, do autor espanhol Camilo José Cela, que surge depois da leitura de Gaimirra, destina-se a estabelecer com esta obra lusa dissonâncias e afinidades, para que, através das perspetivas contidas nestes dois discursos literários e até das emanadas a partir deles, se reconstitua uma imagem da realidade vivida nas primeiras décadas do século XX, no Alentejo e na Extremadura espanhola, território ibérico a que estamos física e afetivamente ligados. /ABSTRACT - In a first moment, this essay presents in an informative, succinct and critical way, several books of Antunes da Silva, a portuguese writer, leading up to the analysis of Gaimirra, where is shown semantic and stylistic lines which includes this book of fair-tales into the new-realistic movement. The broach of the novel La Familia de Pascual Duarte from the spanish author Camilo José Cela appears after the reading of the book Gaimirra and establishes with the portuguese written work some similarities and dissonances, therefore, from the perspectives of these two literary discourses and fiom their analysis, it will be possible to create a lived image of reality of the first decades of the twenty century in Alentejo and in the spanish Extremadura, an Iberic land which we are physical and psychological connected to.

És una investigació, anàlisis, i aproximació a l’obra gràfica de l’artista mallorquí, del segle XX, Pere Quetglas, conegut pel pseudònim de “Xam”. La seva activitat s'ha sistematitzat sobre la base la biografia, tècniques treballades i el seu entorn. Xam, es va exercitar en la caricatura, el dibuix, el cartell, el gravat xilogràfic, la pintura, els monotips, la serigrafia i en el gravat calcogràfic. Del conjunt de tota la seva producció l’autor se centra en l'obra gràfica produïda a partir de 1944, quan pot datar-se la seva primera xilografia, i la seva defunció, l’any 2001, en el qual realitza la seva última litografia. El treball s'insereix en un àmbit sense tradició immediata sobre l'obra gràfica a Mallorca, pràcticament desapareguda després de la important impremta Guasp. S'han pogut documentar més de 400 matrius. Alhora, s'han treballat les estampacions d'aquestes, que ascendeixen a 600 estampes calcogràfiques, xilogràfiques, serigràfiques i litogràfiques.<br>Es una investigación, análisis, y aproximación a la obra gráfica del artista mallorquín, del siglo XX, Pedro Quetglas, conocido por el seudónimo de “Xam”. Su actividad se ha sistematizado en base a la biografía, técnicas trabajadas y a su entorno. Xam, se ejercitó en la caricatura, el dibujo, el cartel, el grabado xilográfico, la pintura, los monotipos, la serigrafía y en el grabado calcográfico. Del conjunto de toda su producción se centra en la obra gráfica producida a partir de 1944, cuando puede datarse su primera xilografía, y su fallecimiento, en 2001, en el cual realiza su última litografía. La tarea se inserta en un ámbito sin tradición inmediata sobre la obra gráfica en Mallorca, prácticamente desaparecida tras la importante imprenta Guasp. Se han podido documentar más de 400 matrices. A su vez, se han trabajado las estampaciones de estas, que ascienden a 600 estampas calcográficas, xilográficas, serigráficas y litográficas.<br>The thesis is research, analysis and approach to the graphic work of the Majorcan artist of the 20th century, Pedro Quetglas, known by his pseudonym "Xam". Xam worked in several art fields, such as caricature, drawing, designing and painting posters, woodcut, painting, monotype, serigraphy and calcography engraving. From the sum of his work the thesis is centred in the graphic work produced between 1944, when we can date the first xylography, and his death, 2001, when he finished his last lithography. The task was inserted in a field without immediate tradition on the graphic work in Mallorca, which practically went missing after the important Guasp printing house closed down. It has been possible to document more than 400 blocks and, at the same time, the prints of those which add up to 600 prints on chalcography, xylography, serigraphy and lithography.

碩士<br>靜宜大學<br>西班牙語文學系研究所<br>97<br>Winner of the 1989 Nobel Prize in Literature, Camilo José Cela was one of the most important Spanish writers of the 20th century for his unique style and mastery of words. With over 50 years of dedicated writing, La familia de Pascual Duarte (1942) is among the most prominent and famous of his works. Another important aspect of his literary output is the so-called travel literature, which opens up a new era for spanish travel literature. In Taiwan, there’s no lack of writers of travel writing, and it has become a new kind of literary genre. Its wide range, various forms and different types show its rich content. However, in Spain, travel literature was first seem in the picaresque novels of the 16th and 17th century which was also known as the Spanish Golden Age (Siglo de Oro). In the Century of Light (Siglo de las Luces) of the18th century and the Silver Age (Edad de Plata) of the 19th century, travel literature endured a time of change, and finally took its definitive form in the 20th century, during which period the most important figure was Cela. Therefore, aiming to accquire a better knowledge of travel literature, the present thesis choose Cela’s Viaje a La Alcarria as its centre of investigation. Viaje a la Alcarria is the account of Cela’s walking tour – the itinerary of which wasn’t planned beforehand - of Alcarria in 1946. After the journey, Cela reaccounts what he saw en route in a third person perspective, it also records the daily lives of the people of Alcarria. The present thesis analizes Viaje a la Alcarria according to the concepts of travel literature. It is comprised of 3 chapters, excluding the introduction and conclusion. Every chapter is divided into 3 sections. The first chapter looks at the biography of the author, his travel writings, and criticisms; the second chapter touches the definition and content of travel literature, it also talks about the history of spanish travel literature; the third chapter, being the focal point of the whole thesis, deals with the story of the book, it also analyzes the text through the concepts of travel literature, and talks about what’s beyond the letters. With the present thesis, it is hoped that by studying the history, concepts and criticisms of spanish travel literature, taiwanese readers will have a better understanding of and appreciate the beauties of spanish literature.

For my thesis I investigate the negative social phenomena described in Camilo José Cela's novel, "La familia de Pascual Duarte" [Pascual Duarte's Family] (1942), namely the existentialist feelings of an individual, violence and crime, cynicism and indifference, the submisive role of women in society and machismo. After analyzing the circumstances and motivations of the characters, I present a brief portrayal of peasant life in Southern Spain around the time of the Civil War. My analysis demonstrates that there is a close interrelationship among the social phenomena listed above, since ultimately they derive from the same root factors. My paper examines the unique nature of this rural community, its customs and particularly its moral values. Individual pride and prestige are key virtues, but they rest solely on the opinions of one's neighbors in the community. Under the surface there is only hypocrisy, prejudice and malice. The characters in the novel are biased and superstitious. They blindly accept the reality of miracles and supernatural phenomena, as well as foreboding omens. A harsh and cruel feudalism still overshadows the country, reflecting its inhabitants' primitivism and lack of culture. The community's struggle to provide the basic necessities to all its members precludes the possibility that the...

碩士<br>靜宜大學<br>西班牙語文學系研究所<br>97<br>The spanish writer Camilo José Cela was born in a middle class family and had a wealthy and smooth life. When he was twenty years old, the civil war broke out in Spain, he went to the battlefield, experienced the post war situation which was miserable and affected to its people in all aspects. After that, he began his writing based on the background of civil war. In 1492 he published the first long novel─The Family of Pascual Duarte. Right away this work got the attention of all society and become a sensation in the spanish literature forum, and also firmly established his inmortal status in spanish literature history. This novel not only brought him fame but also led a literature contemporary trend in realistic novles that descriped the postwar situation. Throught out his lifetime he devoted himself in writing and also kept a keen eye in the european contemporary culture. And he become a productive writer and at the same time he was also variable in writing styles. In his novels, the first work that taiwanese reader contacted was The Family of Pascual Duarte, which was translared into chinese in the year 1973. Thus I choose this work and together with the three following published translations as the study subjets and focused on the translations of proper nouns. Among the translation study I sorted out the different translations of names and geographical names, further more I analized the different style and characteristics presented in the three versions.