Tesis para optar al grado de Magíster en Literatura mención Literatura Chilena e Hispanoamericana. / Por ello, planteamos que la obra de Arturo Pérez – Reverte presenta una nueva forma de entregar la narración, resultado de las visibles huellas de la novela de folletín y la novela policial que se aprecian en sus obras, dando como resultado una novela ágil y dinámica que logra configurar nuevas imágenes del ser hombre y del ser mujer en este nuevo milenio en que vivimos.

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-07-30Bitstream added on 2014-06-13T19:43:34Z : No. of bitstreams: 1 marcari_mfao_dr_assis.pdf: 912757 bytes, checksum: 6bbf978002f9f328f562b62463397b97 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem como objetivo analisar os seis romances que constituem a série El capitán Alatriste (1996-2006), do escritor espanhol Arturo Pérez-Reverte, com o intuito de comprovar a tese de que a reescritura do século XVII espanhol elaborada pela série tem a pretensão de veicular um conhecimento “objetivo e verdadeiro“ da história, por meio de uma visão monológica dos fatos históricos ficcionalizados, reafirmando, assim, pressupostos da narrativa histórica clássica. Para tanto, apoiamos nossa análise na investigação do hibridismo formal, que se configura por meio da exploração simultânea de gêneros, tais como a narrativa histórica, as memórias, o romance de formação, o romance picaresco e o romance-folhetim, cujo paradigma é ditado pela obra de Alexandre Dumas. Na análise da releitura do folhetim, servimo-nos das teorizações de Umberto Eco (1964 e 1978) sobre a literatura de massa, procurando demonstrar que as narrativas assumem formas recorrentes, nas quais detectamos homologias entre as estruturas narrativas, o enredo e as proposições ideólogicas do autor No exame dos procedimentos narrativos, analisamos, dentre outros aspectos, as características do personagem-narrador, o qual funciona como intérprete autorizado dos acontecimentos históricos ficcionalizados, na medida em que se configura também como porta-voz do sistema de valores preconizado nos romances. Assim sendo, demonstramos que a revisitação da história espanhola proposta pelos romances tende a enaltecer as dimensões heróicas da história imperial espanhola. / This research was carried out to analyze the six novels of the series El capitán Alatriste (1996- 2006), by the Spanish writer Arturo Pérez-Reverte, to prove the thesis that the rewriting of the Spanish 19th century organized by the series claims at spreading an “objective and true” knowledge of history, by means of a monological vision of historical facts turned into fiction, thus reaffirming the presuppositions of classical historical narrative. Therefore, our analysis is based on the investigation of the formal hybridism which is formed by means of the simultaneous exploitation of genres, such as the historical narrative, memoirs, the didactic novel, the picaresque novel and the serial novel whose paradigm is provided by Alexandre Dumas’ works. In the analysis of serial rewriting, we made use of Umberto Eco’s theorizations (1964 and 1978) about mass literature, trying to prove that narratives takes on recurrent forms, in which one may find out homologies between the narrative structures, the plot and the author’s ideological propositions. In the examination of the narrative procedures, among other features we analyzed the characteristics of the character-narrator, who acts as an authorized interpreter of the historical events turned into fiction, to the extent that he also takes the shape of a spokesman of value system confirmed in the novels. In that case, we proved that the revisiting of the Spanish history proposed in novels tends to exalt the heroic dimensions of the Spanish imperial history.

El húsar es la primera novela de Arturo Pérez-Reverte. Escrita en 1983 cuando el autoraún no tenía intención de dedicarse a la literatura, pasó prácticamente desapercibidapara crítica hasta que la publicación de La tabla de Flandes en 1990 disparó lapopularidad de un escritor que en 2003 acabaría ingresando en la Real AcademiaEspañola. Tan solo un año después, en 2004, vuelve a publicarse El húsar, esta vez condiferencias significativas respecto a la primera edición en la que es, hasta la fecha, laúnica obra revisada y corregida por el autor. El objetivo principal de este trabajo es analizar las diferencias textuales entre laspublicaciones de El húsar de 1983 y de 2004. Para ello, esta investigación 1) estudia lasvariantes que Pérez-Reverte introduce en 2004 en el texto de El húsar atendiendo a tresámbitos lingüísticos: el morfosintáctico, el ortográfico y el textual; y 2) clasifica lasvariantes según tres tipologías de reescritura: adición, sustitución y sustracción.Metodológicamente, este trabajo se acoge a los conceptos y prácticas de investigaciónde la crítica genética. / The Hussar is Arturo Pérez-Reverte's first novel. Written in 1983 when the author had still no intention of becoming a writer, it was barely noticed by critics until 1990's when the publication of The Chess Master triggered the popularity of a writer who joined the Spanish Royal Academy in 2003. One year later, in 2004, The Hussar was published again, this time with significant differences compared to the first edition and it the only work to date that has been revised and corrected by the author. The main objective of this paper is to analyze the textual differences between the publications of The hussar from 1983 and 2004. To do this, this research 1) studies the variants that Pérez-Reverte introduces in 2004 in the text of El hussar according to threelinguistic fields: morphosyntactic, orthographic and textual; and 2) classifies the variants according to three typologies of rewriting: addition, substitution and subtraction. Methodologically, this work is based on the concepts and research practices of genetic criticism.

Orientador: Antonio Roberto Esteves / Banca: Heloisa Costa Milton / Banca: Maria Dolores Aybar Ramirez / Banca: Silvia Inês Cárcamo / Banca: Lygia Rodrigues Vianna Peres / Resumo: Este trabalho tem como objetivo analisar os seis romances que constituem a série El capitán Alatriste (1996-2006), do escritor espanhol Arturo Pérez-Reverte, com o intuito de comprovar a tese de que a reescritura do século XVII espanhol elaborada pela série tem a pretensão de veicular um conhecimento "objetivo e verdadeiro" da história, por meio de uma visão monológica dos fatos históricos ficcionalizados, reafirmando, assim, pressupostos da narrativa histórica clássica. Para tanto, apoiamos nossa análise na investigação do hibridismo formal, que se configura por meio da exploração simultânea de gêneros, tais como a narrativa histórica, as memórias, o romance de formação, o romance picaresco e o romance-folhetim, cujo paradigma é ditado pela obra de Alexandre Dumas. Na análise da releitura do folhetim, servimo-nos das teorizações de Umberto Eco (1964 e 1978) sobre a literatura de massa, procurando demonstrar que as narrativas assumem formas recorrentes, nas quais detectamos homologias entre as estruturas narrativas, o enredo e as proposições ideólogicas do autor No exame dos procedimentos narrativos, analisamos, dentre outros aspectos, as características do personagem-narrador, o qual funciona como intérprete autorizado dos acontecimentos históricos ficcionalizados, na medida em que se configura também como porta-voz do sistema de valores preconizado nos romances. Assim sendo, demonstramos que a revisitação da história espanhola proposta pelos romances tende a enaltecer as dimensões heróicas da história imperial espanhola. / Abstract: This research was carried out to analyze the six novels of the series El capitán Alatriste (1996- 2006), by the Spanish writer Arturo Pérez-Reverte, to prove the thesis that the rewriting of the Spanish 19th century organized by the series claims at spreading an "objective and true" knowledge of history, by means of a monological vision of historical facts turned into fiction, thus reaffirming the presuppositions of classical historical narrative. Therefore, our analysis is based on the investigation of the formal hybridism which is formed by means of the simultaneous exploitation of genres, such as the historical narrative, memoirs, the didactic novel, the picaresque novel and the serial novel whose paradigm is provided by Alexandre Dumas' works. In the analysis of serial rewriting, we made use of Umberto Eco's theorizations (1964 and 1978) about mass literature, trying to prove that narratives takes on recurrent forms, in which one may find out homologies between the narrative structures, the plot and the author's ideological propositions. In the examination of the narrative procedures, among other features we analyzed the characteristics of the character-narrator, who acts as an authorized interpreter of the historical events turned into fiction, to the extent that he also takes the shape of a spokesman of value system confirmed in the novels. In that case, we proved that the revisiting of the Spanish history proposed in novels tends to exalt the heroic dimensions of the Spanish imperial history. / Doutor

Cette thèse analyse comment la fiction espagnole contemporaine renoue avec la tradition de l’exemplarité littéraire, à travers l’étude d’un corpus de sept œuvres publiées au tournant du XXe (1998-2004). Elle tente de mettre en lumière l’évolution de la notion d’exemplarité dans une perspective diachronique mais aussi synchronique, à travers le prisme du paradigme de pensée contemporain centré sur la notion d’individu. Les nouvelles modalités de l’exemplarité au sein de la prose narrative actuelle sont appréhendées à partir de la réactivation de son support traditionnel — la figure du héros — mais aussi des possibilités nouvelles qu’offrent le questionnement des frontières génériques et l’ambiguïté du pacte de lecture. Dans un monde dépourvu de consensus idéologique, les auteurs du corpus forgent leur propre grille d’interprétation du réel et substituent des réponses éthiques particulières, mais toutefois crédibles et acceptables par le lecteur, à l’imposition de vérités globales et universelles. L’exemplarité, telle qu’elle est à l’œuvre dans le roman actuel, entraîne alors une nouvelle forme d’engagement caractérisée par l’énoncé d’une éthique consubstantielle à la création littéraire. / This thesis analyses how the contemporary Spanish fiction revives the tradition of literary exemplarity, through the study of seven novels published at the turn of the XXth and the XXIst centuries (1998-2004). This work tries to underline the evolution of the exemplarity notion in both diachronic and synchronic perspectives, and the study of the current analytical paradigm focused on the individual. The new forms of exemplarity in contemporary literature are considered through the reactivation of its traditional shape —the hero— but also with the new possibilities given by the questioning of boundaries between genre and the ambivalence of the reading pact. In a world devoid of ideological consensus, the authors of the corpus shape their own frames of understanding. Rather than a universal moral, they suggest subjective ethical answers that can be shared by the reader. The exemplarity, in its actual forms, produces new types of commitment that are based on an ethic inseparable from literary creation.

“The Problem of Immigration and Contemporary Spanish Detective Fiction” examines the viability of the detective genre as a forum to dispute the commonly held perception of contemporary immigration to Spain as a problem. Focusing first on popular series of the Transition and Disenchantment periods that followed the death of Francisco Franco, I identify the detective novel, and in particular the hard-boiled variety on which the Spanish tradition is based, as an ideal space for discussions of otherness. In the 1990s, as large-scale immigration to Spain became an increasing reality, North Africans, Latin Americans, and Eastern Europeans joined minority groups already marginalised within Spain and became the focus of well-known authors such as Jorge Martínez Reverte, Arturo Pérez-Reverte, and Andreu Martín and relative newcomers Yolanda Soler Onís, José Javier Abasolo, Lorenzo Silva, and Antonio Lozano. All use the conventions of the detective genre––suspense, pursuit, intrigue––to address misconceptions about immigration and to reveal that the ultimate culprits in these stories are ill-willed traffickers, corrupt security agencies, and the widespread apathy of parts of the Spanish population and its government. Through the twists and turns of their storylines, these politically committed authors show that while immigrants may be forced to inhabit Spain’s underbelly, they are not single-handedly responsible for Spanish society’s perceived demise. My dissertation is informed by a multi-disciplinary approach that draws on media, cultural, socio-anthropological, and postcolonial studies. The connection between crime literature and the mass media is especially intriguing given the latter’s power of influence over the conceptualisation of immigration. The detective texts juxtapose the media of the post-modern electronic information age, which is by definition frontier-less, with a nation designing ever-stronger borders. While analysing the various borders that divide a national and global society in the entangled tale of immigration to Spain, and the discursive roles they play within the codified genre of crime fiction, I argue that these authors use the conventions of their medium to provide internal views of the process of immigration as an alternative to the voyeuristic daily reporting that otherwise threatens to desensitise the Spanish public to the topic altogether.

Cette thèse analyse comment la fiction espagnole contemporaine renoue avec la tradition de l'exemplarité littéraire, à travers l'étude d'un corpus de sept œuvres publiées au tournant du XXe (1998-2004). Elle tente de mettre en lumière l'évolution de la notion d'exemplarité dans une perspective diachronique mais aussi synchronique, à travers le prisme du paradigme de pensée contemporain centré sur la notion d'individu. Les nouvelles modalités de l'exemplarité au sein de la prose narrative actuelle sont appréhendées à partir de la réactivation de son support traditionnel -- la figure du héros -- mais aussi des possibilités nouvelles qu'offrent le questionnement des frontières génériques et l'ambiguïté du pacte de lecture. Dans un monde dépourvu de consensus idéologique, les auteurs du corpus forgent leur propre grille d'interprétation du réel et substituent des réponses éthiques particulières, mais toutefois crédibles et acceptables par le lecteur, à l'imposition de vérités globales et universelles. L'exemplarité, telle qu'elle est à l'œuvre dans le roman actuel, entraîne alors une nouvelle forme d'engagement caractérisée par l'énoncé d'une éthique consubstantielle à la création littéraire.

“The Problem of Immigration and Contemporary Spanish Detective Fiction” examines the viability of the detective genre as a forum to dispute the commonly held perception of contemporary immigration to Spain as a problem. Focusing first on popular series of the Transition and Disenchantment periods that followed the death of Francisco Franco, I identify the detective novel, and in particular the hard-boiled variety on which the Spanish tradition is based, as an ideal space for discussions of otherness. In the 1990s, as large-scale immigration to Spain became an increasing reality, North Africans, Latin Americans, and Eastern Europeans joined minority groups already marginalised within Spain and became the focus of well-known authors such as Jorge Martínez Reverte, Arturo Pérez-Reverte, and Andreu Martín and relative newcomers Yolanda Soler Onís, José Javier Abasolo, Lorenzo Silva, and Antonio Lozano. All use the conventions of the detective genre––suspense, pursuit, intrigue––to address misconceptions about immigration and to reveal that the ultimate culprits in these stories are ill-willed traffickers, corrupt security agencies, and the widespread apathy of parts of the Spanish population and its government. Through the twists and turns of their storylines, these politically committed authors show that while immigrants may be forced to inhabit Spain’s underbelly, they are not single-handedly responsible for Spanish society’s perceived demise. My dissertation is informed by a multi-disciplinary approach that draws on media, cultural, socio-anthropological, and postcolonial studies. The connection between crime literature and the mass media is especially intriguing given the latter’s power of influence over the conceptualisation of immigration. The detective texts juxtapose the media of the post-modern electronic information age, which is by definition frontier-less, with a nation designing ever-stronger borders. While analysing the various borders that divide a national and global society in the entangled tale of immigration to Spain, and the discursive roles they play within the codified genre of crime fiction, I argue that these authors use the conventions of their medium to provide internal views of the process of immigration as an alternative to the voyeuristic daily reporting that otherwise threatens to desensitise the Spanish public to the topic altogether.