O presente trabalho propõe uma tradução anotada e comentada da obra El amante bilingüe (1990), de Juan Marsé. Escritor espanhol atuante até os dias de hoje, Marsé é pouco conhecido do leitor brasileiro, fato que parece reforçado pela escassa tradução de sua obra. Especificamente no que se refere a El amante bilingüe, Marsé oferece um olhar questionador sobre as incongruências que permeiam a transição democrática pós-franquismo e os anos subsequentes, agravadas pela divisão econômica, social, cultural e geográfica verificada em Barcelona, espaço narrativo da obra. Tais conteúdos estão ligados não somente ao desenvolvimento do enredo centrado na cisão identitária sofrida pelo protagonista como à estrutura da obra, revelando-se em sua linguagem e nos recursos estilísticos utilizados. Escrita predominantemente em castelhano, a obra traduz certa sensibilidade à cultura catalã, de natureza bilíngue e, além disso, traz um dialeto literário como recriação da variante dos imigrantes provenientes do sul da Espanha. Espelhando a multiplicidade cultural do contexto retratado, esta pluralidade de linguagens e representações constitui-se como fonte de problematização, tanto no nível da narrativa como em relação ao ato tradutório. Desta forma, entende-se que o texto traduzido deverá prever a contextualização de um panorama bastante complexo, que possa oferecer recursos iniciais de leitura e indicar caminhos de análise. Entretanto, para além do movimento contextual, a tradução do romance pretende sugerir a discussão sobre temas como as identidades culturais, sociais e históricas espelhados na crise vivenciada pelo protagonista e na tensão provocada pela pluralidade linguística presente no texto. A busca por uma tradução ética procura assim responder aos recursos estéticos empregados pelo autor e à possível universalidade da obra. / The present work proposes an annotated translation and commentary of Juan Marsé\'s 1990 El amante bilingüe. Probably due to scarce translations of his work, Marsé, a Spanish writer still active nowadays, is little known to the Brazilian reader. With respect to El amante bilingüe, specifically, Marsé offers an inquiring look into the incongruities that permeate the post-Franco democratic transition, and subsequent years, which are aggravated by economic, social, geographical and cultural division in Barcelona, the work\'s narrative space. Such contents are connected not only to the development of the plot - centered on the identity split the protagonist undergoes but also to the structure of the work, revealing themselves through the language and stylistic features employed. Predominantly written in Castilian, the work translates certain sensitivity to Catalan culture, bilingual in nature. In addition, it holds a literary dialect as a re-creation of the southern Spanish immigrants\' variant. The plurality of languages and representations constitute a source for inquiries, both in terms of narrative and in relation to the translation process, mirroring the multiplicity of the cultural context it depicts. In this way, we understand that the translated text should provide for the contextualization of a fairly complex landscape that can offer initial reading resources and indicate paths for analysis. However, beyond the contextual movement, the translation of the novel means to suggest a discussion on topics such as the cultural, social and historical identities mirrored in the crisis experienced by the protagonist and the tension caused by the multiple languages of the text. The search for an ethical translation seeks to respond to the aesthetic resources employed by the author and the possible universality of the work.

O presente trabalho propõe uma tradução anotada e comentada da obra El amante bilingüe (1990), de Juan Marsé. Escritor espanhol atuante até os dias de hoje, Marsé é pouco conhecido do leitor brasileiro, fato que parece reforçado pela escassa tradução de sua obra. Especificamente no que se refere a El amante bilingüe, Marsé oferece um olhar questionador sobre as incongruências que permeiam a transição democrática pós-franquismo e os anos subsequentes, agravadas pela divisão econômica, social, cultural e geográfica verificada em Barcelona, espaço narrativo da obra. Tais conteúdos estão ligados não somente ao desenvolvimento do enredo centrado na cisão identitária sofrida pelo protagonista como à estrutura da obra, revelando-se em sua linguagem e nos recursos estilísticos utilizados. Escrita predominantemente em castelhano, a obra traduz certa sensibilidade à cultura catalã, de natureza bilíngue e, além disso, traz um dialeto literário como recriação da variante dos imigrantes provenientes do sul da Espanha. Espelhando a multiplicidade cultural do contexto retratado, esta pluralidade de linguagens e representações constitui-se como fonte de problematização, tanto no nível da narrativa como em relação ao ato tradutório. Desta forma, entende-se que o texto traduzido deverá prever a contextualização de um panorama bastante complexo, que possa oferecer recursos iniciais de leitura e indicar caminhos de análise. Entretanto, para além do movimento contextual, a tradução do romance pretende sugerir a discussão sobre temas como as identidades culturais, sociais e históricas espelhados na crise vivenciada pelo protagonista e na tensão provocada pela pluralidade linguística presente no texto. A busca por uma tradução ética procura assim responder aos recursos estéticos empregados pelo autor e à possível universalidade da obra. / The present work proposes an annotated translation and commentary of Juan Marsé\'s 1990 El amante bilingüe. Probably due to scarce translations of his work, Marsé, a Spanish writer still active nowadays, is little known to the Brazilian reader. With respect to El amante bilingüe, specifically, Marsé offers an inquiring look into the incongruities that permeate the post-Franco democratic transition, and subsequent years, which are aggravated by economic, social, geographical and cultural division in Barcelona, the work\'s narrative space. Such contents are connected not only to the development of the plot - centered on the identity split the protagonist undergoes but also to the structure of the work, revealing themselves through the language and stylistic features employed. Predominantly written in Castilian, the work translates certain sensitivity to Catalan culture, bilingual in nature. In addition, it holds a literary dialect as a re-creation of the southern Spanish immigrants\' variant. The plurality of languages and representations constitute a source for inquiries, both in terms of narrative and in relation to the translation process, mirroring the multiplicity of the cultural context it depicts. In this way, we understand that the translated text should provide for the contextualization of a fairly complex landscape that can offer initial reading resources and indicate paths for analysis. However, beyond the contextual movement, the translation of the novel means to suggest a discussion on topics such as the cultural, social and historical identities mirrored in the crisis experienced by the protagonist and the tension caused by the multiple languages of the text. The search for an ethical translation seeks to respond to the aesthetic resources employed by the author and the possible universality of the work.

Juan Marse is generally acknowledged to be one of Spain's leading writers, his work having achieved both critical acclaim and popular success. Despite this author's extensive use of references and allusion to, and quotations from, others' texts, previous research on Marse's novels has largely ignored the important role played by intertextuality in his work. This thesis explores Marse's use of others' texts in five of his later novels, viz. Ultimas tardes con Teresa (1965), La oscura historia de in prima Montse (1970), Si to diesen que cai (1973), La muchacha de las bragas de oro (1978) and Un dia volvere (1982). A general overview of theories of intertextuality is followed by a detailed discussion of Gerard Genette's theory of hypertextuality, as discussed in his work Palimpsestes: La litterature au second degre (1982). It is his theoretical model and terminology, together with insights from Linda Hutcheon's book, A Theory of Parody: The Teachings of Twentieth-Century Art Forms (1985), which inform the detailed analysis of Marse's novels which makes up the greater part of this thesis. This analysis focusses on Marse's extensive hypertextual use not only of literary texts but also of films, pictures, comic books and song lyrics. It also examines the ways in which Marse signals the presence of these borrowed texts to his readers and considers the connections in his work between metafiction and hypertextuality. It is argued in conclusion that hypertextual analysis of Marsd's later novels reveals hidden dimensions in the author's work not previously commented on in other critical studies of Marse's fiction.

This thesis consists of a close reading of the representation of the Spanish Civil War in selected novels of Juan Marse (1933-) and Claude Simon (1913-). It explores how this representation, ultimately, reveals the traces of their different intellectual contexts. The initial comparison questions whether Marse's representation of the Spanish revolution in Barcelona implies, like Simon's account, a negative representation of the concept of political engagement and a similar historical pessimism. It goes on to discuss how this negative view is shaped by the writers' respective historical contexts and aesthetics. Secondly, since, to varying degrees, the novels studied make the reader critically aware of processes of narrativisation and representation, and of issues of narrative reliability and authority, the thesis explores the extent to which their representations of the Civil War are 'anti-realist'. In order to do so, it initially locates the question of 'realism' or 'anti-realism' in the texts within a wider theoretical framework: that of the critique of realism within poststructuralist French theory after Barthes. The latter debate over referentiality in literary realism also underpins ongoing critical debates over the status of history as a text. This thesis, thirdly, considers whether both writers' representations of the Civil War and of historical processes suggest a particular attitude towards the writing of history, namely whether and to what extent Simon's and Marse's representations of the war problematize the relationship between their historical referent - the events of the war and/or its aftermath - and its narration and interpretation. In particular, it asks whether Marse's texts involve the kind of rejection of progressive historical 'meta-narratives' which is implicit and explicit in Simon's representation of the Civil War, but also whether Simon's texts do, in fact, not simply undermine this model of historical causality but posit an alternative, anti-progressive historical telos.

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abstract: The temple of the Sagrada Familia, by Gaudí, is nowadays one of the most emblematic buildings of Barcelona, and the most visited monument in Spain. Despite the high popularity surrounding the name of the architect, his great work, still unfinished, has divided public opinion in the city for decades and has starred since its inception in a complex and paradoxical cultural phenomenon. My object of study consists of four major novels of modern Spanish narrative (Antagonía [1973-81], by Luis Goytisolo, La ciudad de los prodigios [1986], by Eduardo Mendoza, Campo cerrado [1943], by Max Aub and El amante bilingüe [1990], by Juan Marsé): all of them stand out because of the interartistic dialogue they establish with the famous building, which is referred to more or less extensively in their plots. The study will prove that the textual references to the Sagrada Familia in each particular case contain important interpretive keys that illuminate the discursive characterization of the texts while at the same time opening a new avenue for reading them. To this end, I start by situating my object of interest within the studies on the literary city, a field where Barcelona has a unique tradition of reflecting on its novel. Then I trace the cultural reception of the Sagrada Familia as evidenced in literary testimonies of the early twentieth century, and continue by documenting the presence of the building in modern, post-Civil War narrative. After that, I explain the conceptual notions and terms on the phenomenon of the intersection between architecture and literature, which will guide the analysis of the texts. Finally, I carry out the literary analysis of the four aforementioned novels. The Sagrada Familia, as well as showing itself to be a versatile metafictional emblem at four different times in modern Spanish narrative, illustrates the possibilities of a literary analysis that takes into account the architectural component of the texts in order to illuminate their comprehension and their characterization. / Dissertation/Thesis / Doctoral Dissertation Spanish 2015