Dissertations / Theses on the topic 'Javier Marías'

L'étude de la répétition dans l'œuvre de Javier Marías prend ici appui sur Negra espalda del tiempo (1999) ; elle permet de dégager à partir de ce seul ouvrage une poétique de la répétition originale. Dans cette thèse, nous nous sommes d'abord employé à répertorier les différentes modalités de répétition dans le texte : elles peuvent être contextuelles, textuelles ou intertextuelles, si l'on veut bien admettre que l'intertextualité est une forme de répétition qui opère au sein de la Littérature, en général. Notre choix s'est porté sur Negra espalda del tiempo car cet ouvrage atypique accumule les procédés répétitifs d'écriture, mais se caractérise également par un discours de type théorique/essayistique sur la répétition, fondée sur une approche kierkegaardienne de la notion : la répétition est en effet considérée comme vide de sens si elle est envisagée comme retour du même. Ainsi, dans la suite de ce travail, nous nous sommes attaché à analyser le rejet par le narrateur/auteur de la répétition lorsqu'elle est motivée par un sentiment de nostalgie et donc liée à une conception de l'individu fondée sur l'identité. Puis nous nous sommes intéressé à la conception de la répétition revendiquée par ce même narrateur/auteur comme originale et propre : la répétition comme fondement d'une poétique de la variation sous trois angles, l'énonciation, la narration, la thématisation. La répétition est ainsi à l'origine d'une écriture de la fiction dont l'intention est de représenter la variation infinie de l'Etre. La répétition finit par traduire paradoxalement une forme d'immanence de l'être, fondé sur un principe désigné comme " analectique ". Ainsi, l'écriture du romancier espagnol se voit ramener à une réflexion métaphysique qui le libère d'une approche trop psychologisante, souvent utilisée par la critique.

The job of a conference interpreter in its entirety is not widely known. Most people are unaware of what it means to work as an interpreter. Why is this so? Over time, this profession has been described using various stereotypes that seek to over-generalise the job and undermine the image an interpreter truly holds. This has caused interpreters to become virtually invisible to the public eye, unseen players in the intercultural communication process that they work to establish. Nevertheless, there are some cases in which these undetectable individuals suddenly become noticed. This is when interpreters are fully represented in works of art. In this dissertation, I will provide you with a general description of how the interpreter is described in movies and novels, and then continue to focus on Javier Marías’ novel Corazón tan blanco. I will analyse the various elements of the novel in detail that can relate to interpreting directly or indirectly, using theories of interpreting studies to establish my overall claim. The comparison between Marías’ fictional interpreter and the reality of interpreting provides a multitude of insights on how an interpreter is perceived and can ultimately lead to a stronger understanding of the overall profession. The harsh parody provided by Marías doesn’t have the intention of impairing the interpreter’s image, it utilises a character deeply linked to languages in order to investigate how words, lies and secrets have the capability of affecting people’s everyday lives.

Largement inspirée des travaux de Vincent Jouve, l'étude a dégagé les trois instances (lisant, lectant, lu) convoquées par la lecture, afin d'aborder les principaux aspects liés à la (re)construction du personnage. D'abord envisagé comme représentation de personne, il pose le problème de l'illusion de réel ; il est ensuite appréhendé comme lieu d'interprétation des sens du texte, régi par des contraintes génériques (nouvelle et fantastique) qui pèsent sur lui mais qui, sous la plume de J. Marias, deviennent les formidables instruments d'une écriture ludique omniprésente. Enfin, parce que son élaboration obéit à des critères narratifs, culturels, émotionnels et inconscients, le personnage permet à l'écrivain de se livre à de subtils jeux de manipulation qui influencent directement la réception. Chaque instance pouvant être plus ou moins investie, elles révèlent le profil d'un Lecteur Modèle (Eco) et les stratégies inscrites dans l'oeuvre.

Les quatre romans de javier marias, todas las almas, corazon tan blanco, manana en la batalla la piensa en mi et negra espalda del tiempo, se trouvent relies par les themes du secret et de la verite. Mais ce n'est pas le seul lien. D'un point de vue stylistique, l'usage des figures de repetition et, surtout, de la reecriture, a cree des liens non seulement entre eux mais aussi avec l'oeuvre journalistique. Les reprises de phrases et de pensees, enoncees tant par les personnages/narrateurs dans les trames de fiction que par l'auteur dans les textes de non-fiction, ont determine la naissance d'un espace autobiographique a l'interieur des romans qui, associe au paratexte - articles, conferences, entrevues - a contribue a la creation d'un univers propre a l'auteur. C'est dans cet univers litteraire que marias est devenu personnage de fiction, lorsque le personnage/narrateur de negra espalda del tiempo a pris son nom ainsi qu'une partie de ses souvenirs. Ce roman, que nous avons qualifie d'autofiction, est en fait l'exemple le plus acheve du principe d'ambivalence propre a l'auteur qui, avec lui, devoile une partie de sa verite tout en la presentant comme une fiction. Ainsi, la verite reste toujours liee au secret, dans la litterature comme dans la vie.

La tesis analiza el contexto histórico y estético desde el cual situar la complejidad de la escritura literaria de Javier Marías. Se centra en los años formativos del novelista y propone una reconstrucción de los elementos genéticos de su poética literaria. La tesis consta de dos partes diferenciadas. En la primera de ellas se abarca el periodo 1970- 1975. Se estudia ahí el campo literario español de los años finales del franquismo y se muestra cómo las publicaciones del autor en ese tiempo son una consecuencia y a la vez una reacción a las transformaciones que se vivieron en España. En la segunda parte, se analizan las tres novelas publicadas por Marías entre 1975 y 1986, constatando cómo en su obra se armonizan elementos eminentemente narrativos con el rigor estilístico propio de la alta literatura, dando lugar a la «poética integradora» que ha definido su obra de madurez.
This thesis analyzes the historical and esthetical context in which to pinpoint the complexity of Javier Marías’ literary writing. It focuses on the novelist’s formative years and proposes a reconstruction of the genetical elements of his literary poetics. The thesis comprises two distinct parts. The first one covers the period 1970-1975. There, the Spanish literary field of late francoism is studied, while placing the emphasis in showing how the author’s publications are a reflection and, at the same time, a reaction to the transformations which the country experienced during those years. In the second part, the three novels published by Marías between 1975 and 1986 are analysed with the aim of showing how his work brings into harmony elements which are basically narrative (focused on storytelling) with the stylistic standards that define high literature, resulting in what might be called an «integrational poetics» that has characterized his approach to literary writing in his mature or later works.

L'etude de la repetition dans negra espalda del tiempo de javier marias permet de degager les principes d'une poetique originale. Le repertoire des differentes modalites de repetition dans le texte constitue la premiere partie de notre travail : elles sont contextuelles, textuelles ou intertextuelles, si l'on veut bien admettre que l'intertextualite est une forme de repetition qui opere dans la litterature. Ce texte se caracterise egalement par un discours theorique portant sur la repetition : celle-ci est consideree comme sterile dans la mesure ou elle est envisagee comme retour de l'identique. En accord avec cette condamnation de la repetition, liee a une approche dichotomique kierkegaardienne, la deuxieme partie montre ses aspects negatifs a travers l'analyse de comportements nostalgiques face a la mort et a l'oubli, lies a une representation de l'individu fondee sur l'identite et stigmatises par le narrateur/auteur. La troisieme partie aborde au contraire la repetition comme avenement de la difference et tente de definir une poetique de la variation, a partir d'une quadruple approche : notre analyse porte sur l'enonciation, la narration, la thematisation: la recurrence est a l'origine d'une ecriture fictionnelle qui debouche sur l'affirmation d'une variation infinie de l'etre. La metaphore shakespearienne qui donne son titre au texte, et que l'on trouve egalement dans l'oeuvre de borges, designe en effet l'ensemble des choses que nous ne percevons pas. La repetition traduit cette immanence en fonctionnant selon un principe analectique qui definit donc la poetique de la negra espalda
The analysis of repetition in negra espalda del tiempo by javier marias permits to bring out the principles of an original poetics. The repertory of the different forms of repetition in the text constitutes the first part of our work: they are contextual textual or intertextual, if we admitt that intertextuality is repetition inside litterature. This text is also characterized by a theoretic discourse about repetition: it is regarded as unproductive, because it is considered as the return of identity. According to that censure, linked to a dichotomic kierkegaardian approach of repetition, the second part shows its negative aspects through the analysis of nostalgic behaviours facing death anf forgetting, in relation with a representation of individuality based upon identity, and condemned by the narrator/author. On the contrary, the third part contemplates repetition as the advent of difference and tries to definy a poetics of variation from a quadruple approach: our analysis relates to enunciation, narration, topics. Recurrence opens on a fictionnal writing based upon the affirmation of the infinite variation of being. Indeed, the shakespearian metaphor title designates the ensemble of the things we do not perceive. The repetition traduces this immanence by definying an analectic writing that characterizes the negra espalda poetics

Javier Marías has explained many times that working as a translator of literary works from English into Spanish helped shape him as a writer. This study explores those claims by analysing two things: firstly, his translations themselves; and secondly, seeing how those translations have left discernible traces in his own fiction.

En el presente trabajo se pretende aclarar la relación entre dos novelas contemporáneas escritas por el el español Javier Marías. Se parte de la idea planteada por el autor mismo, que una de sus obras, Negra Espalda del tiempo (1998), se publicó con el propósito de aclarar la relación entre realidad y ficción en uno de sus libros anteriores, Todas las almas (1989). Tomado frecuentemente por un roman à clef, Todas las almas es una obra donde la relación entre autor y narrador es poco clara y se quiere saber si Negra espalda del tiempo realmente sirve para aclarar la relación entre realidad y ficción y con eso la relación entre autor y narrador en Todas las almas. Se defiende la hipótesis de que Negra espalda del tiempo llevaría más rasgos autobiográficos y que la relación entre narrador y autor sería más clara para poder servir como clave al otro libro. Tras un análisis comparativo de la poética y la autoficción en ambas obras, se llega a la conclución de que Negra espalda del tiempo sí aclara la relación entre realidad y ficción en Todas las Almas. Sin embargo, finalmente se concluye que la relación entre autor y narrador resulta más complicada en Negra espalda del tiempo que en Todas las almas.

Nihilism is a popular and heavily studied topic which is prominently displayed in Javier Marí­as' novel Berta Isla. In this article, both Nietzschean and Heideggerian concepts of nihilism will be identified and analyzed within the context of Marí­­as's novel. Through textual analysis, the origin of nihilism will be explored as it relates to the will to power and valuative schema of the individual. It will be suggested that nihilism stems from valuative thinking induced by the herd-mentality of a community and that the fulfillment of such is the acceptance of absolute truth grounded in being and becoming.

Javier Marias is a major contemporary Spanish and European writer. This thesis is the first full-length study of his work in any language. It is an exploration of his development as a writer as reflected in his seven novels to date. The main focus of the analyses is on the form and stylistic development of the novels. Stylistic aspects which are discussed include imitative writing, sentence structure, and repetition. Major narrative themes such as truth, love, and death are treated as these relate to, and arise from, the novels' form. In order to foreground Marias' novelistic evolution, each novel is discussed chronologically. Chapter 1 examines Marias' first two novels, Los dominios del lobo (1971) and Travesia del horizonte (1972), in the context of his, and his generation's (the novisimos), rejection of Spanishness (lo español). It demonstrates the novels' imitative nature through their indebtedness to foreign influences. Chapter II analyzes the crystallization, in El siglo (1983), of the author's realization of the primacy of manner over matter in his writing through what I identify as the novel's baroque form. Chapter III explores the importance of the creative imagination as reflected in the invention and the narrative of El hombre sentimental (1986). Chapter IV investigates the question of autobiography and fiction in Todas las almas (1989), showing that what is important is not the origin of the material, but rather the imaginative processes of association which enmesh it into the narrative fabric. Chapter V studies the significance of the various types of repetition (for example, words, phrases, and images) and their effects (for example, emphasis, foreshadowing, and structural unification) in Corazón tan blanco(1992). Finally, Chapter VI traces the configuration of a distinct and significant Weltanschauung in Muñana en la batalla piensa en mi (1994), the interconnectedness of the world. This is shown to be the result of a synthesis of elements and stylistic features highlighted in previous works, such as digression, association, repetition, or the creative imagination.

La corrida occupe à maints égards une place singulière dans la production littéraire de la poésie, de l'essai et du roman. L'étude réalisée, limitée au seul genre romanesque, a tenté de mettre en lumière la caractéristique du roman tauromachique espagnol des années 50 ; elle s'est surtout attachée à cerner au plus près les " figuras " de l'époque mais aussi à définir l'évolution du spectacle tauromachique qui est indissociable du contexte socio-économique compte tenu de la corrélation évidente existant entre ce dernier et le pouvoir politique franquiste. Ce constat étant fait, il semblait pertinent de délimiter le contexte littéraire dans lequel s'inscrivaient les trois œuvres retenues, puis de mettre en relief leurs traits saillants. Cette première étape achevée, l'analyse du " diestro ", personnage central du roman tauromachique, a constitué une étape décisive dans l'aboutissement de cette étude. Sa comparaison avec le héros romantique qui a servi de modèle à de nombreux auteurs de romans tauromachiques antérieurs aux années 50, a apporté la preuve irrécusable que le " torero " ne s'apparentait plus à l'archétype traditionnel et que sa trajectoire vitale était empreinte de crises existentielles, lesquelles n'étaient point étrangères à l'évolution du spectacle de la corrida, à son processus de " dégradation ". Inévitablement liée au contexte socio-économique et portant les stigmates de la guerre civile espagnole, la corrida qui inspire le roman tauromachique espagnol des années 50, met en exergue la rupture qui est manifeste avec le roman tauromachique traditionnel qui privilégiait le caractère mythique de la corrida et du " matador ".

Traces in the landscape. Permanencies and absences as guidelines for the interpretation of the coastal territory. La Guardia - San Javier section. For the Province of Santa Fe, the occupation of floodable areas is a fact in appearance as usual as inevitable, as the its geography is determined by the presence of the strong River Paraná, which defines its East limit with the provinces of Entre Ríos and Corrientes. A series of smaller streams integrate its fluvial system, and in the coast of this river and its tributary there are located important cities, urban centers of medium and minor hierarchy that have also contributed to the particular definition of the territory and coastal landscape. Historically the river is the axis of the communications and the economy of these urban centers and the territories that support them, but also is a potential threat dueto its periodic level rise and the floods it causes. This is the reason why different disciplines and practices involved in the conformation of these areas of high hydric vulnerability are frequently compelled to problematize their knowledge and traditions, matter that this research focuses operating from the field of urbanism and territorial history on a concrete fragment of this territory, between La Guardia and San Javier. In this context, the research intends to identify and comprehend which are the spatial particularities that the coast has acquired in the processes that have determined its construction, that differentiate it and provide its identity. In other words, to explain which are the features that manifest a specific construction culture (fluvial) and distinguish it from the interior (mediterranean) of the Province. In order to accomplish this, the research carefully observes the contemporary landscape, intending to find material and immaterial vestiges, signals or marks of permanencies and hints of ancient occupations that enrich a first, general and inattentive glance, giving special relevance to the physical object orto the vestiges of its presence, understanding that its existence allows to confirm the hypothetical statements of this research, specially the development of its strategies of construction and of its persistence. For the theoretical trame the contributions from the field of urbanism have been relevant, but also of geography, hydric sciences and other disciplines. Also, the notions of territory, landscape, cultural landscape and resilience have been very important. For the methodology, the use of territorial history, multi-scalar analysis and indicia! analysis have been central. The strategies of interpretation and design presented in the research are potentially replicable not only the north and south of the area under analysis, but also to other coastal situations and of interaction with bodies of water. Among the conclusions of major importance that this research arrives it is relevant to highlight the persistence of sorne territorial elements set up by the Hispanic colonization, the recognition of the area landscape as a particular and unique construction in the Province of Santa Fe, strongly determined by t he incomplete modernization of the nineteenth century coastal colonies, the identification of the elements that conform the landscape -natural and manmade- and the development of strategies of resilience or adaptation to the hydric demands, the landscape inter-scalar relationships, and the revision of the concept of corridor to interpret and intervene on the area and its replacement by the idea of rhizome.
La ocupación de áreas inundables es para la provincia de Santa Fe un hecho en apariencia tan habitual como inevitable, ya que la propia geografia provincial se encuentra ideterminada por la presencia del caudaloso río Paraná que conforma su límite Este con las provincias de Entre Ríos y Corrientes. Una serie de cursos menores integran su sistema fluvial y en la ribera de este río y de sus afluentes se han emplazado ciudades importantes, núcleos urbanos de jerarquía intermedia y menor que han contribuido también a modelar particularmente el territorio yel paisaje ribereño. Históricamente el río es el eje de las comunicaciones y la economía de estas localidades y los territorios que las sustentan, pero también una latente amenaza dado que son periódicas sus crecidas y las inundaciones que provoca. Es por ello que las distintas disciplinas y prácticas involucradas en la conformación de estas áreas de alta vulnerabilidad hídrica se ven frecuentemente compelidas a problematizar sus saberes y tradiciones, cuestión que esta investigación aborda operando desde el campo del urbanismo y la historia territorial en un fragmento concreto de este territorio comprendido entre las localidades de La Guardia y San Javier. En este contexto se trata de identificar y comprender cuáles son las particularidades espaciales que ha adquirido la ribera en los procesos que determinaron su construcción, que la diferencian y le otorgan identidad. En otras palabras, explicar cuáles son los rasgos que manifiestan una cultura de construcción específica (fluvial) y que la distinguen del interior (mediterráneo) de la provincia. Para lograrlo observa cuidadosamente el paisaje contemporáneo, tratando de encontrar vestigios materiales e inmateriales, señales o marcas de permanencias e indicios de antiguas ocupaciones que enriquecen una primera mirada general y algo desatenta, dando especial relevancia al objeto fisico o a los vestigios de su presencia, entendiendo que su existencia permite confirmar los enunciados hipotéticos de este trabajo, especialmente el desarrollo de sus estrategias de construcción yde su persistencia. Para el marco teórico han sido muy relevantes los aportes provenientes del campo del urbanismo pero también de la geografia, de las ciencias hídricas y de otras disciplinas, y muy importantes las nociones de territorio, paisaje, paisaje cultural, resiliencia. Para la metodología ha sido central la utilización de la historia territorial, del análisis multi-escalar y el análisis indicia!. Las estrategias de interpretación y proyecto presentada en la investigación son potencialmente replicables no sólo hacia el norte y sur del área analizada, sino también en otras situaciones de ribera, costa e interacción con cuerpos de agua. Entre las conclusiones de mayor importancia a las que llega la investigación interesa destacar, la persistencia de algunos elementos territoriales instalados por la colonización hispana, la ponderación del paisaje del área como una construcción particular y única de la provincia de Santa Fe fuertemente signada por la modernización incompleta de las colonias decimónicas ribereñas, la identificación de los elementos conformadores del paisaje -naturales y antrópicos- y el desarrollo de estrategias de resiliencia o adapatación ante las demandas hídricas, las relaciones inter-escaleres del paisaje, la revisión del concepto de corredor para interpretar y actuar sobre el área y su reemplazo por la idea de rizoma.

This dissertation analyzes the treatment of memory by four authors of the same generation—all born in the 1950's—in four novels of the late 1980's and 1990's: El jinete polaco by Antonio Muñoz Molina, El lápiz del carpintero by Manuel Rivas, Todas las almas by Javier Marías, and La lluvia amarilla by Julio Llamazares. Using Walter Benjamin's dialectics of melancholia as a framework, the first chapter studies how contemporary Spanish historiography and literature recreate recent Spanish history. The study focuses on the representation of the change from a rural country with an oral and collective memory to a society that undergoes a fast process of modernization and, almost simultaneously, postmodernization. The subsequent chapters analyze the novels using the principles of the deconstruction of Jacques Derrida and post-deconstructivist theories, which postulate a new understanding of the subject based on an ethical relationship with the Other. These chapters further observe a melancholic relationship with the past. This sensation of loss leads the narrators to search for their past in a series of objects which materialize the loss of meaning and the presence of the past in the present. Their narratives are a work of mourning which simultaneously recreates and listens to the voices of the dead informing the narrator's self. The dissertation points out the difference between the sense of melancholia present in the novels of Muñoz Molina, Rivas and Llamazares, which is caused by a historical trauma, and the sense of melancholia created in Marias' work, this one the effect of a transhistorical or structural trauma. Likewise, while in El jinete polaco, El lápiz del carpintero and La lluvia amarilla the work of memory is based on an ethical relationship with the past, in Todas las almas the constructive work of memory adopts a more ludic tone.

abstract: Venezuelan maraca playing is largely unknown to musicians with Western Art Music backgrounds. While some composers utilize the instrument and its associated performance practices, the resources available to learn about the subject are limited and scattered. Through research, observations, and studying with correspondences, this document will explore the vastness of Venezuelan musical concepts and maraca techniques to seek out common goals and generate a resource that is accessible to musicians and musicologists. A large part of this research will focus on the Contemporary Music in the Western tradition that has been inspired by Venezuelan maraca playing. I will explain the context in which this music is commonly found and how to apply it to a contemporary setting. The individuals I interviewed span a variety of backgrounds and expertise. All have extensive experience in Venezuelan maraca traditions. Their individual points of view will give unique perspectives to help affix the music of the past to the creation of music in the future. The limited resources on this subject inhibit education, performance quality, new music, and further research. Ultimately, my document and recordings will provide imperative examples to help develop a greater understanding of an understudied Venezuelan art form.
Dissertation/Thesis
recording of Music for Botany
recording of Javier Alvarez's Temazcal
D.M.A. Music 2012

碩士
淡江大學
西班牙語文學系碩士班
100
Javier Marias is one of brilliant Spanish writers in the academic circle and also in the literature market in the world. Each of his literary works always has a great influence and attention to the literary market. As the novel A heart so white, which the theme is focused about lots of international awards. Besides, as soon was published, this novel was translated over twenty five languages. So it can prove that this novel is qualified and suitable for this thesis by public and literary circle. This thesis is divided in three chapters. The first of them, it will introduce the novel which we’re going to analyze and also introduce its author. We’ll take a brief to introduce the author Javier Marias, and also his famous writing techniques; furthermore, based on this information we will understand the story’s structure and the content. Moreover, we will discuss about the author’s importance of the recent type of narrative in the literature in the world, through the literary documents and criticisms. In the second chapter, we’re going to introduce the concept of Carl Gustav Jung’s analytical psychology. First of all, we will offer some viewpoints of Jung about literary category in psychology and then, we will highlight out his outstanding points of psychology, such as the analytical psychology, the collective unconscious, the archetype with the shadow, the person, the animas and the animus; and we’ll explain each concept of them and its’ application. In the next chapter, in accordance with the Jung’s theory and the principal character’s descriptions, we’ll distinguish each character into every type of analytical psychology; besides, we also will analyze their personality and act by their personal experiences, issues, and complicated relationship of context. Therefore, we shouldn’t only take consideration the character’s personality or their sensations, but also include the external influence and experience, and that will be the neutral and equilibrium. Consequently, we would like to offer a psychological analysis of character reflecting the real problem, which is happening in our country in the present century. On the other hand, we wish wake up the people who live in our world, to make they can move to some place that reflecting himself and face to his real voice in the deep heart, so that we achieve to the goal that called self-perception.