Dissertations / Theses on the topic 'Carmen Laforet'

Nada é considerada a primeira referência de romance do realismo existencialista do pósguerra civil espanhol. Em 1944, mesmo ano de seu lançamento, obteve o reconhecimento por parte da crítica especializada, com a primeira edição do Prêmio Nadal de Literatura. Hoje, é objeto de estudo dos que se ocupam com sua crítica e parte obrigatória de qualquer antologia ou história da literatura espanhola do século XX. O objetivo desta dissertação é fazer uma tradução da obra Nada, de Carmen Laforet. Relataremos os impasses que foram enfrentados nesta versão, seja na manutenção do estilo, seja na escolha do léxico, na fluidez do texto, nas estruturas gramaticais e semânticas do romance. A proposta é a de seguir o caminho sinuoso e complexo da tradução, mantendo o sentido e o tom do texto de partida. A pesquisa realizada junto aos teóricos sobre tradução fez-nos perceber a impossibilidade de postular uma única teoria que consiga resolver todas as facetas do processo tradutório. Uma vez que não há regras para todos os casos, sobram-nos como consolo os empíricos conselhos sobre literalidade e fidelidade, destinados a quem se aventura no universo da tradução.
\'Nada\' is considered to be the first framework for the existentialist realism of the Spanish postcivil war. In 1944, same year of its launch, it won recognition by the literary critic when it received the first edition of the Nadal prize of literature. Today it is object of study of the ones who occupy with its critique, and compulsory part of any anthology or 20th century Spanish literature history. The aim of this dissertation is to make a translation of the work Nada by Carmen Laforet. We will relate the impasse faced in this version, either in keeping the style, in the lexical choice, in the fluency of the text,or in the grammatical and semantical structures of the novel.The proposal is to follow the sinous and complex path of translation, maintaining the sense and the tone of the original. The research elaborated on translation by the theorists made us perceive the impossibility of postulating a single theory that is able to resolve all the facets of the translating process. Since there are no rules for all cases, we are left, as consolation, with the empirical advice on what is literal and faithful, aimed at whom takes risks in the universe of translation.

La tesis se centra en uno de los aspectos menos considerados de la escritora hasta ahora: su narrativa breve, escrita en un corto periodo de tiempo, entre 1952 y 1954, y bajo unas condiciones de espíritu que resultan perfectamente aislables del conjunto de su obra. En ella apreciamos la suave ironía con que tiñe sus narraciones, su reacción ante la belleza de la Naturaleza, su amor a la libertad y sobre todo la búsqueda de una bondad y verdad interior vinculada al amor y a la etapa religiosa vivida por la escritora en este periodo. En particular nos hemos centrado en los personajes femeninos de sus novelas cortas, pues al igual que ocurre en la mayor parte de su obra, son ellos los que aportan con mayor profundidad un conocimiento psicológico del ser humano. El análisis de su narrativa breve nos ha proporcionado fundadas bases para una interpretación más ajustada de la Carmen Laforet real, hasta hace poco reducida a su creación más inmortal, la frágil Andrea de Nada. Se ha demostrado cómo Carmen Laforet ha sido no solamente la autora de Nada, sino una valiosa escritora de novelas cortas y de cuentos, menos considerados por la crítica pero altamente representativos de su quehacer. Dicha narrativa breve la sitúa como una mujer de su época que, sin embargo, rehúye el compromiso ideológico o el realismo social, que se impone en los años cincuenta, para sumergirse en la búsqueda de una verdad humana que carece de color político y sí aporta, en cambio, una reflexión sobre la honestidad, la hipocresía, la ambición o la abnegación como hechos fundamentales en las vidas de los seres reales. Laforet es una excelente escritora de relatos breves a los que, sin embargo, ella no concede demasiada importancia. Su periodo de creación en este género es sumamente limitado, como se ha dicho. Nunca más vuelve a escribir narrativa breve, pero la novela corta le sirve para dar forma a sus nuevas creencias y necesidades religiosas. Y de ahí la aportación sutil de Laforet a una narrativa católica que en los años 50 ha tenido en ella y en su narrativa breve a una de sus más importantes representantes. La tesis ha abordado también diversos temas relacionados con la época de la posguerra, que sirven de telón de fondo en las novelas de Laforet como el hambre, las penurias, la miseria, la lucha por la supervivencia, la falta de medios, etc. Sus ideales resultan próximos a los ideales de San Francisco de Asís y que lamentablemente la crítica no valoró en su momento de manera oportuna, según creemos; las siete novelas cortas estudiadas – “El piano”, “La llamada”, “El viaje divertido”, “La niña”, “Los emplazados”, “El último verano” y “Un noviazgo” muestran prioritariamente temas como el desarrollo de la propia identidad, la autonomía personal, los valores cristianos y la represión social; algunas de sus narraciones breves realizan aportaciones importantes al tema del feminismo y de crítica social, presente en mucha de su obra. Aunque muy matizados por temas específicos de la religión católica como la caridad, el amor o el sacrificio, derivados de la propia conversión de la escritora en diciembre de 1951, no es nada difícil detectar la crítica social en los escritos breves de Carmen Laforet, aunque la mayoría de los expertos a menudo no hayan incidido en este particular. ¬La tesis se centra en las siete novelas cortas mencionadas, aunque mantiene correspondencias con su literatura cuentística y hace referencias a su narrativa.
The thesis centres on one of the author’s least recognised areas until now: her short stories, written in the brief period of time between 1952 and 1954, and under the spiritual conditions which appear as entirely distinct from those experienced in her main body of work. In this piece we can appreciate the smooth irony which runs through her narrative, her reaction towards the beauty of nature, her love of freedom and, above all, her search for righteousness and inner truth connected to the love and religious phase experienced by the writer during this period. In particular, we have focussed on the female characters in her short stories as it is those that demonstrate most profoundly the writer’s understanding of the human condition. It is shown that Carmen Laforet isn’t only the author of Nada but a valuable writer of novellas and short stories which are less well-known critically but highly representative of her craft. The thesis also approaches different related themes from the post-war era, that serve as a backdrop to the novels of Laforet alongside famine, scarcity, misery, the fight for survival, lack of means, etc. Her ideals surface as similar to those of St Francis of Assisi but regrettably this remained unnoticed by the critics of the time. The seven short stories studied – El piano, La llamada, El viaje divertido, La nina, Los emplazados, El ultimo verano and Un noviazgo primarily show themes like the development of one’s own identity, personal autonomy, Christian values and social repression; some of her short stories bring out important contributions on the theme of feminism and social criticism, and these are present in much of her work.

O trabalho propõe-se a analisar os romances Nada (1945), de Carmen Laforet e Tiempo de Silencio (1962), de Luis Martín-Santos para examinar o traço singular da construção de ambas obras, qual seja, a apropriação das séries de gravuras Los Caprichos e Los Desastres de la Guerra de Goya. Em Nada, abordamos a integração do aspecto monstruoso ao espaço romanesco, o apagamento da fronteira entre o mundo onírico e o real, a representação fragmentária e a diluição dos limites entre o passado da matéria narrada e o tempo da narração. Em Tiempo de Silencio, analisamos os procedimentos de redução do espaço, o uso do extracampo, da animalização e de imagens expansivas, caracterizados pela apropriação de imagens, procedimentos e temas provenientes do universo goyesco. A partir da análise desses elementos, observamos que, ao incorporarem as gravuras na composição desses dois romances, os autores criam uma dimensão ampliada do horror da guerra e, ao mesmo tempo, sugerem uma interpretação da história contemporânea como um movimento de continuidade do \"desastre espanhol\", desde o século XIX até o pós-guerra civil espanhola.
The proposed study aims at analyzing the novels Nothing (1945), written by Carmen Laforet, and Time of Silence (1962), by Luis Martín-Santos, in order to examine both works construction singularity; that is to say, the appropriation of the engravings series of Goya\'s The Caprices and The disasters of the war. In Nada, we deal with the integration from the monstrous aspect to the novelistic space, the suppression of the frontier between the oneiric and the real worlds, the fragmented representation and the dilution of the limits between the subject matter narrated and the time of narration. In Time of Silence, we analyze the procedures of space reduction, the use of field work, of animalization and expansive images characterized by the representation appropriation, procedures and themes provided by the Goyan universe. Taking the analysis of these elements into consideration, we observe that the authors, through the pictures incorporation within the composition of these two novels, create an amplified dimension of the horror of war, and at the same time, they suggest an interpretation of contemporary history as a continuity movement of the \"Spanish disaster\" since 19th Century up to the Spanish civil post-war.

This thesis is about 'new' metaphor, conceived and created by authors, often called 'original metaphor' in the world of Translation Studies. It is the most extreme form of figurative language, ‘often dramatic and shocking in effect’ Newmark (1982, p.84). The translation of original metaphor can produce unexpected juxtapositions of language, suggesting as many different results as there are translators, Nevertheless, many theorists (e.g. Reiss, 1971; Newmark, 1988; Ribé, 1997) say this type of metaphor should be translated ‘literally’, or word for word as far as possible, suggesting there might be uniformity between translators’ solutions. This study investigates how literary translators approach this challenge, focusing on Spanish-English translations of a novel containing plenty of original metaphors: Nada (1945), by Spanish author Carmen Laforet (1921-2004). Original metaphors from the text are compared to four published English translations by Inez Muñoz (1958), Charles Franklin Payne (1964), Glafyra Ennis (1993) and Edith Grossman (2007) in a corpus based study. It shows that they use a variety of methods to translate the metaphors, but translate 'literally' in well over half of them. In a two-part translation exercise and questionnaire, professional literary translators are asked to translate some of these metaphors. Again, many different strategies are employed, but over half of them are translated as literally as possible within the confines of English grammar and syntax. Although this investigation is limited to one author and language pair, it gives a clear indication that although literary translators vary exceedingly in their solutions, on the whole they prefer to translate original metaphors as literally as possible. Given that the essence of original metaphor is that it reflects the author’s personality, this demonstrates literary translators’ seeming desire to reproduce an author’s distinctive character as exactly as possible for their readers. The finding is applied to a new English translation of the first part of La isla y los demonios, Laforet’s second novel, which forms the practice part of this PhD. A literal strategy has been used to translate the original metaphors in the text, some of which have then been reviewed by an experienced editor of literary texts in English for a further insight into their acceptability.

As of the 19th C up until our present day, big cities have set the stage for many literary works, and Barcelona is no exception to this occurrence.  This study aims to address the urban imagery of a postwar Barcelona through the walks described in three novels, written by Spanish women writers. Each one will be analyzed both individually and contrastively. The necessary comparisons will be established and we will further prove the suitability of the theories of Certau, Lefebvre and Lynch. Finally, we will establish the appropriate conclusions derived from our investigation.
Las grandes metrópolis han sido escenario de multitud de narraciones desde el s. XIX hasta la actualidad y Barcelona no es ninguna excepción de ello. Este estudio se aborda el imaginario urbano de la Barcelona de postguerra en los paseos descritos en tres novelas de escritoras españolas, analizándolas individual y contrastivamente. Se procede a establecer las comparaciones necesarias y se observa la idoneidad de algunas teorías de Certeau, Lefebvre y de Lynch. Se aportan, por fin, las conclusiones pertinentes

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Bachelors
Arts and Sciences
Foreign Languages and Literatures

碩士
輔仁大學
西班牙語文研究所
80
I. Introduccion A. El mundo novelesco de Carmen Laforet B. Temas y argumentos C. Tiempo y espacio II. La figura femenina de las tres novelas A. La situacion social y la mujer B. Un mundo femenino III. Analisis de las tres protagonistas A. La joven -Andrea (Nada) ▔▔ 1. Apariencia 2. Personalidad 3. Amistad y amor 4. Proceso de maduracion B. La muchacha -Marta (La isla y los demonios) ▔▔▔▔▔▔▔▔▔▔▔ 1. Apariencia 2. Personalidad 3. Amistad y amor 4. Proceso de maduracion C. La mujer -Paulina (La mujer nueva) ▔▔▔▔▔▔▔ 1. Apariencia 2. Personalidad 3. Amor y matrimonio 4. Sentimiento religioso IV. Analisis de los personajes secundarios femeninos A. Las mujeres vulgares 1. Gloria (Nada) ▔▔ 2. Pino (La isla y los demonios) ▔▔▔▔▔▔▔▔▔▔▔ 3. Honesta (La isla y los demonios) ▔▔▔▔▔▔▔▔▔▔▔ 4. Antonia (Nada) ▔▔ B. Las mujers religiosas 1. Angustias (Nada) ▔▔ 2. Blanca (La mujer nueva) ▔▔▔▔▔▔▔ C. Las madres abnegadas 1. La abuela (Nada) ▔▔ 2. Vicenta (La isla y los demonios) ▔▔▔▔▔▔▔▔▔▔▔ D. Las mujeres energicas 1. Mariana ▔▔▔▔ 2. Matilde ▔▔▔▔ V. Conclusion VI. Bibliografia

碩士
淡江大學
西班牙語文學系碩士班
101
This thesis focuses on the Spanish postwar female bildungsroman (growing-up novel), and takes Carmen Laforet’s Nada and Maruja Torres’s Un calor tan cercano as examples. Chapter 1 refers to the Spanish postwar literature and the female bildungsroman in the same era. Chapter 2 is divided into three sections. The first section is a brief introduction of Carmen Laforet’s life and works. The second section deals with the atmosphere in the house where main characters live in. The last section relates to the writing style and main characters of this novel Nada. Chapter 3 is divided into three sections as well. Maruja Torres’s life and works are presented in the first section. The second section describes the area “BARRIO” where main characters live around. The last section relates to the writing style and the main characters of novel Un calor tan cercano. Chapter 4, coming along with three sections, is the comparison of female characters, novelistic themes, and living space in the outstanding works. The first two sections are concerned with the comparison of female characters and novelistic themes. Barcelona, as a living space in both two novels, is the topic of discussion in the last section.