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By Rosemary Clark

The prize-winning novelist Juan Mars?, born in Barcelona in 1933, is widely-read not just inside of Spain but in addition in translation, for his frequently provocative portrayals of existence in post-war Barcelona. Clark's learn discusses Mars?'s engagement with Catholic pop culture, Spanish nationwide Catholicism and Catalan Catholic Nationalism, exploring his subversion of iconic imagery as an ironic sub-textual statement on political ideology, wherein he's in a position to scan with outer truth and internal reconstructions of expertise. Dr Clark indicates how spiritual and profane visions of affection are subtly intertwined, how the stories instructed via young ones and the radical shape itself are interrelated, and eventually how numerous biblical topoi, starting from the backyard of Eden to the tune of Songs, are deployed in Mars?'s fiction. specific recognition is paid to los angeles oscura historia de l. a. prima Montse, Si te dicen que ca and Im genes y recuerdos. ROSEMARY CLARK lectures within the division of Spanish and Portuguese, collage of Cambridge. El novelista Juan Mars?, nacido en Barcelona en 1933 y ganador de varios premios internacionales, es un autor muy le?do no solamente en Espa?a sino tambi?n en otros pa?ses del mundo, a trav?s de traducciones, y su obra se aprecia especialmente por sus descripciones provocativas de los angeles vida cotidiana en l. a. Barcelona de posguerra. l. a. monograf?a de Clark analiza el profundo inter?s que sent?a Mars? por los angeles cultura well known cat?lica y el nacionalcatolicismo - tanto en su forma espa?ola como en su forma catalana. Demuestra que l. a. manera en que Mars? utiliza los ?conos y las proyeciones visuales del Catolicismo constituye un comentario ir?nico y sutil sobre l. a. ideolog?a pol?tica de los angeles ?poca franquista. Las novelas de Mars? - especialmente los angeles oscura historia de los angeles prima Montse, Si te dicen que ca? y Im?genes y recuerdos -- exploran los lindes entre los angeles realidad objetiva y los angeles reconstrucci?n sujetiva de aquella realidad en el mundo de l. a. ficci?n.

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Extra info for Catholic Iconography in the Novels of Juan Marse (Monografias A)

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His own start as a novelist is literally and metaphorically mirrored in Andrés’ storytelling games. Conversely, Andrés’ determination to tell his own story in defiance of other narratives that would shape it differently, provides a model for Marsé’s approach to narrative in his novels: first as defensive, then inventive deception. Finally, Andrés’ exploration of images of Tina, which becomes a form of dependency on her, illustrates the dilemma of the narrator who is both manipulator and manipulated, like a spectator gazing at an aquarium.

51). This emphasis on politics has meant that the ‘etapa importante de mi adolescencia’ has been passed over, although it is through the inarticulateness and self-absorption of adolescence that Marsé explores the interaction between self-determining monologue, shared or competing dialogue, and silence that provides a seamlessly shifting narrative focus throughout his writing. 9 Ángelo Morino, ‘Una conversación con Juan Marsé’, El Viejo Topo (4 January 1977), pp. 41–4. Marsé mentions the critic José María Castellet who, he claims, tried to label his work as social realism, and takes a kind of literary vengeance on what he calls ‘una especie de patriarca de este movimiento, como demuestra su libro La hora del lector, que yo ironizo en Ultimas tardes con Teresa’ (quoted in Morino, p.

Porque nunca más volveremos a vernos y ... –No diga tonterías. Ya está bien de jugar, ¿no crees? (EJ, p. ’ (EJ, p. 177). ]. Los últimos abrazos fueron como nuevos, y otra vez empezaron a sentir los dos la necesidad, mirándose a los ojos. (EJ, p. 179) Marsé would later describe a similar process of exploring self imaging involving Manolo and Teresa in Ultimas tardes con Teresa (1965). vp 23 May 2003 16:02:30 Color profile: Generic CMYK printer profile Composite Default screen 40 ROSEMARY CLARK then explain that ‘En cierta manera la novela no es otra cosa que una historia de dos mitos, la fricción de esos dos mitos y las chispas que surgen de esa fricción física y mítica’ (Sinnigen, p.

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