By Rosemary Clark
The prize-winning novelist Juan Mars?, born in Barcelona in 1933, is widely-read not just inside Spain but additionally in translation, for his frequently provocative portrayals of existence in post-war Barcelona. Clark's examine 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 statement on political ideology, in which he's capable of test with outer truth and internal reconstructions of expertise. Dr Clark indicates how spiritual and profane visions of affection are subtly intertwined, how the stories instructed via young children and the unconventional shape itself are interrelated, and at last how various biblical topoi, starting from the backyard of Eden to the music of Songs, are deployed in Mars?'s fiction. specific awareness is paid to los angeles oscura historia de los angeles prima Montse, Si te dicen que ca and Im genes y recuerdos. ROSEMARY CLARK lectures within the division of Spanish and Portuguese, collage 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 los angeles 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 los angeles 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 los angeles reconstrucci?n sujetiva de aquella realidad en el mundo de los angeles ficci?n.
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Extra resources for Catholic Iconography in the Novels of Juan Marse (Monografias A)
He described Andrés, Tina and Martín as: ‘tres muchachos que existen a la deriva, sin energías, sin proyectos, sin trabajo. Lo único que les une y aparta, que les distrae y preocupa, es un solo juguete peligroso: Eros’ (Sobejano, p. 447). This drastically reductionist interpretation ignores differences between the three young people and in their capacity to play. It also neglects the implications for Marsé’s storytelling of their triangular relationship. My reading will argue that storytelling, not sex, is the toy in the title, and that far from being a sterile pastime, storytelling gives Andrés and Tina a taste of autonomy in their own play areas.
Andrés le miró de soslayo y sonrió ligeramente. (EJ, p. 27) Andrés responds, but watching Martín’s performance, perceives an invisible barrier between them like a glass screen. Their childhood closeness has not lasted on into adulthood. It is glimpsed in brief eye-contact, when Martín does finally undress on the beach and experiences a sense of release – in Andrés’s perception, at least: por un momento pareció desarmado, sin afectación ni postura y con un aire insólitamente inédito en sus bellas y graves facciones, como cansadas ya de retorcerse y falsearse a sí mismas contínuamente: así le vio Andrés durante unos segundos; y en seguida enfundó y guardó en su americana las gafas negras.
Sinnigen, p. 115) Emphasising the creative, aesthetic aspect of Ultimas tardes as well as a dialectical, ethical purpose, Shirley Mangini González presents this work as a ‘novela de contraola’ which playfully challenges existing assumptions on literature and thereby undermines the political and social premises behind such assumptions (a notion I shall expand upon in Chapters 2 and 3). 13 This mixing of genres offers readers figures they think they recognise but disconcerts with unexpected relationships and circumstances that seem familiar but are out of context.