[EN] ABSTRACT «Antonio López in El sol del membrillo : a lesson in architecture» is the title of these reflections, and sums up the intentions that animate the work: on the occasion of the 1992 Víctor Erice's film shows the Manchego artist while confronting the task of painting in the fall a quince tree planted by him in the back garden of his own house, the essay ponders the possibility of a parallel reading between the painter's thinking and way of doing, matching the way of looking of the Basque film director, and the profession of architecture. The discussion is unfolded in three common areas to the arts of painting, cinema and architecture: memory, integrity and reality. For this purpose, there are used fifteen architecture works which are contemplated under those categories. This travel on revelation, on stripping, in which spheres and works are finally mixed, constitutes after all a hopscotch game. Keywords: Antonio López; El sol del membrillo; Víctor Erice; architecture and memory; architecture and integrity; architecture and reality; architecture and shadow; architecture and time. / [ES] RESUMEN «Antonio López en El sol del membrillo : una lección de arquitectura» es el título de estas reflexiones, y resume bien los propósitos que animan el trabajo: con motivo de la película de Víctor Erice de 1992, que muestra al artista manchego enfrentado a la tarea de pintar en otoño un membrillero plantado por él tiempo atrás en el jardín de su casa, el ensayo sopesa la posibilidad de una lectura paralela entre el pensamiento y la manera de hacer del pintor, coincidentes con la mirada cinematográfica del director vasco, y el oficio de la arquitectura. La discusión se desenvuelve en tres ámbitos comunes a las artes de la pintura, el cine y la arquitectura: la memoria, la entereza y la realidad. Y para ello se esgrimen un total de quince obras de arquitectura contempladas bajo tales categorías. Este viaje de revelación, de despojamiento, donde los ámbitos y las obras acaban entreverados, conforma después de todo una rayuela. Palabras clave: Antonio López; El sol del membrillo; Víctor Erice; arquitectura y memoria; arquitectura y entereza; arquitectura y realidad; arquitectura y sombra; arquitectura y tiempo. / [CAT] RESUM «Antonio López en El sol del membrillo : una lliçó d'arquitectura» és el títol d'aquestes reflexions, i resumeix bé els propòsits que animen aquest treball: amb motiu de la pel·lícula de Víctor Erice de 1992, que mostra a l'artista manxec enfrontat a la tasca de pintar a la tardor un codonyer plantat per ell mateix temps endarrere al jardí de la seua casa, l'assaig sospesa la possibilitat d'una lectura paral·lela entre el pensament i la manera de fer del pintor, coincidents amb la mirada cinematogràfica del director basc, i l'ofici de l'arquitectura. La discussió es desenrotlla en tres àmbits comuns a les arts de la pintura, el cinema i l'arquitectura: la memòria, l'enteresa i la realitat. I amb aquesta finalitat s'esgrimeixen un total de quinze obres d'arquitectura contemplades sota aquelles categories. Aquest viatge de revelació, de despullament, on els àmbits i les obres acaben entremesclats, conforma després de tot un joc de xarranca. Paraules clau: Antonio López; El sol del membrillo; Víctor Erice; arquitectura i memòria; arquitectura i enteresa; arquitectura i realitat; arquitectura i ombra; arquitectura i temps. / Nieto Edo, FJ. (2016). Antonio López en "El sol del membrillo": una lección de arquitectura [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61483 / TESIS

This dissertation investigates the literary and cinematic use of the child’s perspective to present the Mexican Revolution and the Spanish Civil War and their aftermath in several Mexican, Spanish, and international (Mexican-Spanish collaborative) narratives of the 20th and early 21st Centuries written by adult authors and filmmakers, and targeted for adult audiences. The Mexican narratives are Cartucho and Las manos de mamá by Nellie Campobello, Balún Canán by Rosario Castellanos, and Bandidos, a film by Luis Estrada; selected Spanish works are El espíritu de la colmena by Víctor Erice, Cría cuervos by Carlos Saura, and El sur by Adelaida García Morales; and both international works are films by Guillermo del Toro, El espinazo del diablo and El laberinto del fauno. I attempt to determine the textual or cinematic function of the child as first person (homodiegetic) narrative viewer in these works, and I study the different ways in which this child’s point of view is constructed in order to depict the overwhelming tragedy of war. I note patterns and diversities in subject matter presented by the narrative voice, and observe the characteristics of the child narrative viewer’s world and priorities (as presented by the authors and filmmakers), paying careful attention to how each perceives and understands his or her country’s violent upheaval and its aftermath. The theoretical framework of this investigation draws mainly from trauma theory, Gothic studies, and the tradition of the fairy tale. I illustrate how within the war narrative in addition to the author’s/filmmaker’s desire to recreate the sentiment that a child would evoke in adult readers and viewers, the child narrative viewer is employed for three main reasons: to play upon or against preexisting notions of the child’s innocence; to represent (possibly subversively) the nation; and as therapeutic means of returning to a paradise lost or creating a paradise never experienced. / text