자료유형  

 학위논문

Control Number  

0017163216

International Standard Book Number  

9798384031420

Dewey Decimal Classification Number  

800

Main Entry-Personal Name  

Ruiz Garcia, Fernando.

Publication, Distribution, etc. (Imprint  

[S.l.] : Temple University., 2024

Publication, Distribution, etc. (Imprint  

Ann Arbor : ProQuest Dissertations & Theses, 2024

Physical Description  

588 p.

General Note  

Source: Dissertations Abstracts International, Volume: 86-03, Section: A.

General Note  

Advisor: Pereiro Otero, Jose Manuel.

Dissertation Note  

Thesis (Ph.D.)--Temple University, 2024.

Summary, Etc.  

요약Invisible Specters: Representations of the Fantastic and the Ghost in 20th -Century Spain (1920-1946) seeks to make a significant scholarly contribution within two specific areas of theoretical interest: on the one hand, the critical discourses on the fantastic and, on the other, the relationship between these analytical approaches and the representation of spectral apparitions. Although phantasms are commonly cited as the paradigmatic example of the fantastic, the intrinsic affinity between the two ideas has not been properly addressed and should start with a consideration of their shared etymological origin in reference to fantasy. It would seem that the ghost has a privileged position inside the fantastic genre due to the tension its apparition establishes between a natural and a supernatural order. However, this dissertation argues that, while seemingly questioning any possibility to reconcile these two realms, specters may very well be considered the actual and primordial source of the fantastic. The disquiet their presence conjures implies the invocation of jurisdictions whose incompatibility is analogous to the perturbation of a religious miracle or the distress of a sovereign interruption. In this way, the coming and going of ghosts incorporates not only the transgression that characterizes the fantastic as a literary and film genre but also the religious, metaphysical, ontological, and epistemological repercussions entailed by the intrusive dynamic of otherworldly apparitions.By engaging the notions on hauntology and spectrality proposed by the French philosopher of Algerian origin Jacques Derrida (1930-2004), this dissertation reassesses the interdependence between the fantastic and ghosts within the Spanish tradition. Since there is a commonly held belief about the intrinsic realist nature of Spain's art and culture, the selection of works to be analyzed challenges this conception. The creative corpus to be discussed includes three significant twentieth-century examples of ghostly representations while acknowledging that the fantastic is by definition a popular, although, marginal genre. In fact, several of the creators included in this project have been related not to the canonical and universally praised Generation of '27, but to an alternative, or "other," Generation of '27. As some of these works cross the boundaries established by the Spanish Civil War, the project suggests that there is a chronological continuity which indicates the fantastic's ability to endure the most traumatic historical events. In this instance, the purpose is to examine not only literary representations, but also film adaptations and other visual materials related to the selected corpus. A particularly intriguing notion to be pursued involves the relationship between technology and spectrality. Likewise, the parodic character of the fantastic as frequently noted in Spanish culture is a significant point of reflection. Besides the introduction, the project follows a structure in three chapters and, in addition to a number of visual materials, uses as backbone one play, one novel, and one collection of short stories, all of which had a film version produced in the early 1940s. This graphic component emphasizes that the cornerstone of both the fantastic and the phantasm is the notion of becoming visible and appearing.The methodological and critical introduction discusses the existence and heritage of the fantastic in Spanish literature while presenting some of the different theories about the genre. It further examines the role that the ghost has had on the field of scholarly criticism and considers the theoretical and philosophical postulates on spectrality as established by Jacques Derrida. Among other aspects, it pays attention to time disturbances, the paradoxical embodiment of the invisible, and the idea of the "visor effect" in respect to heteronomic relations.The first chapter of the dissertation analyzes both the play Los habitantes de la casa deshabitada (1942), written by the playwright Enrique Jardiel Poncela (1901-1952), and the 1946 film of the same title directed by the filmmaker Gonzalo Pardo Delgras (1897-1984). One  of the most successful works by Jardiel Poncela, this comedy has had an enduring popular appeal, as manifested in its repeated stagings since its premiere. Thus, when available, the chapter examines photographs and depictions of these versions. The play represents events that take place during a night in which an unlikely duo of protagonists comes across an old house that has been apparently uninhabited for years. At first glance, the isolated manor is the home of ghosts and other supernatural beings, but the action will clarify the true nature of these apparitions. The analysis of Gothic motifs and other parodic devices set the stage for considering other ghostly apparitions that are not fake in the following chapters. The second chapter focuses on the novel La torre de los siete jorobados (1920), by the Madrid-born author Emilio Carrere (1881-1947), and its ensuing film adaptation directed in 1944 by the Count, diplomat, writer, and filmmaker Edgar Neville (1899-1967). Additionally, the chapter considers the recent comic book version which was published in 2021 by the graphic artist David Lorenzo (1971-). Despite being separated by many decades, the novel and its subsequent adaptations closely follow the ideas on the fantastic as developed by the Bulgarian-French philosopher Tvetzan Todorov (1939-2017). In this instance, the ghostly apparition who sets in motion the events provides a significant counterpoint to the simulated specters studied in the previous chapter.The final section focuses on examining the anthology of short stories Fantasmas (1930), written by the Galician journalist and author Wenceslao Fernandez Florez (1885-1964). One of these stories has a film adaptation with the title El destino se disculpa, which was directed in 1945 by the screenwriter and filmmaker Jose Luis Saenz de Heredia (1911-1992). The visual component of this chapter will be supplied by the illustrations Salvador Bartolozzi Rubio (1882- 1950) prepared for the 1930 edition of the work. Fantasmas portrays supernatural apparitions as capable of interaction as any other human character; in fact, some of these entities are the protagonists of the stories. The visionary exercise of the author is of particular interest here. His imagination offers unprecedented glimpses about the innerworkings of the ghostly realm while exploring the challenges and fraught relation with technology that affects and conditions the laws of spectrality. The dissertation finishes with a conclusion and the subsequent list of works cited.

Subject Added Entry-Topical Term  

Literature.

Subject Added Entry-Topical Term  

French literature.

Subject Added Entry-Topical Term  

Epistemology.

Subject Added Entry-Topical Term  

Metaphysics.

Subject Added Entry-Topical Term  

Philosophy.

Index Term-Uncontrolled  

Espectro

Index Term-Uncontrolled  

Fantasma

Index Term-Uncontrolled  

Fantastico

Index Term-Uncontrolled  

Peninsular

Index Term-Uncontrolled  

Siglo XX

Index Term-Uncontrolled  

Spectrum

Index Term-Uncontrolled  

Ghost

Index Term-Uncontrolled  

Fantastic

Added Entry-Corporate Name  

Temple University Spanish

Host Item Entry  

Dissertations Abstracts International. 86-03A.

Electronic Location and Access  

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Control Number  

joongbu:656464