Publication: La voz infantil en Carmen Martín Gaite
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2023-10-20
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Universidad Complutense de Madrid
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Abstract
La Obra de Carmen Martín Gaite (1925-2000), autora salmantina de la Generación del Medio Siglo, abarca varios géneros literarios y da prueba de muchas técnicas literarias y narrativas. De sus múltiples estudios y sus lecturas teóricas derivaron sus más prestigiosas obras como, por ejemplo, El balneario (1955), Entre visillos (1958), El cuarto de atrás (1978), Caperucita en Manhattan (1990), Lo raro es vivir (1997) y Los parentescos (2001, de modo póstumo). Después de haber estudiado, en un tiempo anterior, la cuestión de la identidad en algunas de sus obras, esta tesis tiene como objetivo volcarse más precisamente en la infancia, en la presencia física o no del protagonista niño, desde la edad joven hasta el final de la adolescencia. Primero, proponemos un breve recorrido sobre la vida personal de nuestra autora quien creció, en la época franquista, como mujer de letras gracias a un grupo de amigos universitarios con los que empezó a escribir sus primeros relatos breves. En ellos- donde reflejaba la vida cotidiana y la rutina de la gente de aquel periodo- observaremos también la importancia del personaje niño quien parece luchar, muy a menudo en silencio, frente a la falta de consideración de los adultos. En el análisis de las traducciones de Cuentos victorianos ingleses o del francés Le Petit Chaperon Rouge de Charles Perrault, queremos hacer hincapié sobre el estilo y la manera de transcribir la personalidad de cada protagonista niño, a través de su rebeldía, su sed de libertad, la manera de entender la vida y de crecer. La temática de la infancia alcanza su punto máximo con la novela de 1990, Caperucita en Manhattan, donde la autora consigue relatar el mundo real mediante la voz infantil de la protagonista niña Sara Allen. En cada uno de los textos elegidos, se distingue una imagen de "choque" entre el mundo de los niños y el de los adultos, la realidad; un "choque" que permite denunciar e ilustrar la dificultad para un niño de ser y volverse alguien.
The work of Carmen Martín Gaite (1925-2000), author from Salamanca of the Generación del Medio Siglo, covers several genres and gives proof of many literary and narrative techniques. Of her multiple studies and her theoretical readings derived her most prestigious works such as, for example, El balneario (1955), Entre visillos (1958), El cuarto de atras (1978), Caperucita en Manhattan (1990), Lo raro es vivir (1997) and Los parentescos (2001, posthumously).After having studied, previously, the question of identity in some of her works, this thesis aims to focus more precisely on childhood, on the physical presence or not of the child protagonist, from the young age to the end of adolescence. First of all, we propose a brief overview on the personal life of the author who grew up in Franco's era as a woman of letters, thanks to a group of university friends with whom she began to write her first short stories. In them, in which she reflected the daily life and routine of the people of that period, we will observe the importance of the child character that seems to struggle, very often in silence, against of the lack of consideration of the adults.Within the analysis of the translations of the English Cuentos victorianos or the French Charles Perrault’s Le petit chaperon rouge, we would like to emphasize the style and the way of transcribing the personality of each child protagonist, through his rebelliousness, his thirst for freedom, his way to understand life and to grow up. The theme of childhood reaches its peak with the 1990 novel, Caperucita in Manhattan, where the author manages to relate the real world through the child’s voice of the young protagonist, Sara Allen.Within every one of the chosen texts it can be distinguished a picture of a clash between the world of the children and the real world of the adults. A clash that allows to denounce and to illustrate the difficulty for a child to be and to become someone.
The work of Carmen Martín Gaite (1925-2000), author from Salamanca of the Generación del Medio Siglo, covers several genres and gives proof of many literary and narrative techniques. Of her multiple studies and her theoretical readings derived her most prestigious works such as, for example, El balneario (1955), Entre visillos (1958), El cuarto de atras (1978), Caperucita en Manhattan (1990), Lo raro es vivir (1997) and Los parentescos (2001, posthumously).After having studied, previously, the question of identity in some of her works, this thesis aims to focus more precisely on childhood, on the physical presence or not of the child protagonist, from the young age to the end of adolescence. First of all, we propose a brief overview on the personal life of the author who grew up in Franco's era as a woman of letters, thanks to a group of university friends with whom she began to write her first short stories. In them, in which she reflected the daily life and routine of the people of that period, we will observe the importance of the child character that seems to struggle, very often in silence, against of the lack of consideration of the adults.Within the analysis of the translations of the English Cuentos victorianos or the French Charles Perrault’s Le petit chaperon rouge, we would like to emphasize the style and the way of transcribing the personality of each child protagonist, through his rebelliousness, his thirst for freedom, his way to understand life and to grow up. The theme of childhood reaches its peak with the 1990 novel, Caperucita in Manhattan, where the author manages to relate the real world through the child’s voice of the young protagonist, Sara Allen.Within every one of the chosen texts it can be distinguished a picture of a clash between the world of the children and the real world of the adults. A clash that allows to denounce and to illustrate the difficulty for a child to be and to become someone.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, leída el 23-05-2023