By Rosemary Clark
The prize-winning novelist Juan Mars?, born in Barcelona in 1933, is widely-read not just inside Spain but in addition in translation, for his frequently provocative portrayals of lifestyles in post-war Barcelona. Clark's learn 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 observation on political ideology, through which he's in a position to scan with outer truth and internal reconstructions of expertise. Dr Clark exhibits how spiritual and profane visions of affection are subtly intertwined, how the stories advised by means of young ones and the unconventional shape itself are interrelated, and eventually how various biblical topoi, starting from the backyard of Eden to the tune 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 los angeles vida cotidiana en los angeles Barcelona de posguerra. los angeles monograf?a de Clark analiza el profundo inter?s que sent?a Mars? por l. a. cultura renowned cat?lica y el nacionalcatolicismo - tanto en su forma espa?ola como en su forma catalana. Demuestra que los angeles 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 l. a. oscura historia de l. a. prima Montse, Si te dicen que ca? y Im?genes y recuerdos -- exploran los lindes entre los angeles realidad objetiva y l. a. reconstrucci?n sujetiva de aquella realidad en el mundo de los angeles ficci?n.
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Additional resources for Catholic Iconography in the Novels of Juan Marse (Monografias A)
263). Marés achieves carnivalesque freedom, but Norma has no voice of her own, only the borrowed voice of Normalisation. Nor has she freedom of movement, being doubly confined by her glasses, representing her literal and metaphorical shortsightedness, and by the glass walls of Marés’ goldfish-bowl where she serves for the voyeuristic games of Marés, first and foremost, but equally of all readers of the novel who speculate on her ‘lengua’ and ignore her silence. ], she has become ossified and dehumanized, transformed into a cultural archetype (her features are compared to those of the image of the Virgin of Montserrat and her voice offers a ‘sugestión ligeramente gaudiniana, como de cerámica troceada’.
As with Ultimas tardes and La oscura historia, critical attention has focused on El amante bilingüe (1990) almost to the exclusion of El embrujo de Shanghai (1993). 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).
23 ‘[Ultimas tardes] stresses the openly erotic moves of those at the periphery which both threaten and attract those at the centre’ (Morrow, p. 835). vp 23 May 2003 16:02:28 Color profile: Generic CMYK printer profile Composite Default screen 34 ROSEMARY CLARK depersonalised and therefore disempowered conduit for language and sex. She is ‘la lectrice à qui sont destinés les cahiers autobiographiques et devient, de ce fait, la lectrice des corps et langues de Marés puis de Faneca. Elle est le canal par lequel doit transiter toute parole pour être jugée’ (Vila, p.