Juan Ramón Jiménez, traductor del misterio: Hacia una tipología de símbolos poéticos
Despite the considerable and often valuable studies devoted to the work of Juan Ramón Jiménez, there are only a few on the element of mystery and they do not offer firm results or a corpus of texts on this element. The present work aims to provide this based on the theory of the fantastic, which foc...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | España |
| Institución: | Universidad de Valladolid |
| Repositorio: | UVaDOC. Repositorio Documental de la Universidad de Valladolid |
| OAI Identifier: | oai:uvadoc.uva.es:10324/59786 |
| Acceso en línea: | https://doi.org/10.35376/10324/59786 https://uvadoc.uva.es/handle/10324/59786 |
| Access Level: | acceso abierto |
| Palabra clave: | Jiménez, Juan Ramón (1881-1958) Juan Ramón Jiménez The Strange Lo extraño 5701.0 Lengua y Literatura |
| Sumario: | Despite the considerable and often valuable studies devoted to the work of Juan Ramón Jiménez, there are only a few on the element of mystery and they do not offer firm results or a corpus of texts on this element. The present work aims to provide this based on the theory of the fantastic, which focuses on the unknown. To do so, it starts by presenting some of the most influential theoretical approaches to the fantastic in the academic field. From them, a position is taken on this, and it is compared with our proposals of the strange (revising the Todorov model) and the term mysterious that we coin here. Fantastic literature, which is often to be found in prose fiction, creates an intratextual reality that copies the extratextual and is destabilised by an extraordinary phenomenon. This makes the characters and/or the reader doubt the physical laws they had trusted. Consequently, they feel insecure in their everyday lives—an experience that is known as the Freudian «Unheimliches». In the narrative and lyrical genres, the strange puts certain characters or voices that fail in adapting to their surroundings because of their odd personality and/or appearance in the spotlight. Their presence may provoke the «Unheimliches» or, conversely, what we call the «Heimliches»—the feeling of being at home in our world despite its secrets. Lastly, the mysterious approaches the mystery from the lyrical poetry and its symbols, which we read metaphorically, and tends to unleash the «Heimliches» in the lyrical subject, and perhaps in the reader, too. To come to a better understanding of the mystery in Jiménez’s work, a study is carried out on the poet’s theoretical and artistic texts and on how the artistic movements surrounding him (Romanticism, Symbolism and Modernism) deal with the unknown. In an examination of the former, a series of symbols related to mystery are provided, which are separated into two groups: motifs (death, dreams, the Work and the poetic self, solitude and silence, voices and music, scents, light, nature, artifical nature, and old buildings) and beings (religious and mythological, ghosts and apparitions, strange beings, children, women, and the double). Moreover, the development of the treatment of mystery in the three periods of Juan Ramón (the sensitive, from 1898 to 1916; the intellectual, from 1916 to 1936; and the sufficient or true, from 1937 to 1958) are examined. Finally, our theoretical approach to the fantastic, the strange and the mysterious is applied to Jiménez to find out if these three manifestations are present in his work. An appendix with the dates of Juan Ramón’s publications and the corpus of texts that has served as the basis of this thesis is included and it is organised considering the symbols analysed. |
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