Publication: El texto cifrado en la obra de David Mitrani Arenal
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2023-10-19
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Universidad Complutense de Madrid
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Abstract
Hacer un análisis diacrónico de la literatura social de la Cuba post-revolucionaria, incluyendo sus diferentes etapas, escritores más significativos, características más destacadas. Dentro de ese contexto someter la literatura de David Mitrani Arenal a un análisis semántico desde las estructuras más simples del texto narrativo: el lenguaje con todos sus componentes, hasta la más compleja: cuento, novela. Todo sistema opresivo, sea social o cultural, genera un arte de doble lectura; ocurrió en la Rusia estalinista, en la Italia fascista, en la Alemania nazi, en la España de Franco. Al escritor, disidente o apologético, pero libre por índole, le urge expresarse y para ello, si se lo impiden, hallará un modo de hacerlo. Dejará su verdad dispersa en palabras, frases sediciosas, símbolos, pergeñada en una lectura del texto que, tal vez refiriéndose a un universo distópico, remitirá a la situación actual que lo oprime. Cierto que la libertad sería considerada mejor terreno para el creador, pero esta es una opción no siempre disponible para él. La cárcel creativa engendra una estética distinta que convertirá cualquier intento de interpretación en acto lúdico. El artista obligado a ser comercial, pero cuya índole no lo es, deslizará una historia cifrada detrás de la narración que para sobrevivir está obligado a vender. Asimismo, quien escribe compulsado por un sistema opresivo, también escribirá su denuncia con las mismas palabras y las mismas estructuras narrativas con que silencia la opresión. Los lectores entienden, pero no saben explicar. El escritor no quiere explicar, no sabe explicar, tiene la intuición, eso sí, de cómo sortear la tapia y el alambrado que lo nimba.
To make a diachronic analysis of the social literature of post-revolutionary Cuba, including its different stages, most significant writers, most outstanding characteristics. Within this context, to submit David Mitrani Arenal's literature to a semantic analysis from the simplest structures of the narrative text: the language with all its components, to the most complex: story, novel. Every oppressive system, whether social or cultural, generates an art of double reading; it happened in Stalinist Russia, in Fascist Italy, in Nazi Germany, in Franco's Spain. The writer, dissident or apologetic, but free by nature, is urged to express himself and, if he is prevented from doing so, he will find a way to do so. He will leave his truth dispersed in words, seditious phrases, symbols, conceived in a reading of the text that, perhaps referring to a dystopian universe, will refer to the current situation that oppresses him. It is true that freedom would be considered better ground for the creator but this is an option not always available to him. The creative prison, generates a different aesthetic that will turn any attempt of interpretation into a playful act. The artist, who is forced to be commercial but whose nature is not commercial, will slip a coded story behind the narrative that he is forced to sell in order to survive. Likewise, the one who writes, compelled by an oppressive system, will also write his denunciation with the same words and the same narrative structures with which he silences the oppression. The readers understand but cannot explain. The writer doesn't want to explain, he doesn't know how to explain, he has the intuition, however, of how to get around the wall and the fence that nimbles him.
To make a diachronic analysis of the social literature of post-revolutionary Cuba, including its different stages, most significant writers, most outstanding characteristics. Within this context, to submit David Mitrani Arenal's literature to a semantic analysis from the simplest structures of the narrative text: the language with all its components, to the most complex: story, novel. Every oppressive system, whether social or cultural, generates an art of double reading; it happened in Stalinist Russia, in Fascist Italy, in Nazi Germany, in Franco's Spain. The writer, dissident or apologetic, but free by nature, is urged to express himself and, if he is prevented from doing so, he will find a way to do so. He will leave his truth dispersed in words, seditious phrases, symbols, conceived in a reading of the text that, perhaps referring to a dystopian universe, will refer to the current situation that oppresses him. It is true that freedom would be considered better ground for the creator but this is an option not always available to him. The creative prison, generates a different aesthetic that will turn any attempt of interpretation into a playful act. The artist, who is forced to be commercial but whose nature is not commercial, will slip a coded story behind the narrative that he is forced to sell in order to survive. Likewise, the one who writes, compelled by an oppressive system, will also write his denunciation with the same words and the same narrative structures with which he silences the oppression. The readers understand but cannot explain. The writer doesn't want to explain, he doesn't know how to explain, he has the intuition, however, of how to get around the wall and the fence that nimbles him.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología , leída el 02-06-2023