Publication: Narrativas policiacas de la palabra a la imagen: novela francesa, cine y videojuegos del s. XX al s. XXI
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2018-03-13
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Universidad Complutense de madrid
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Abstract
El presente trabajo doctoral pretende explorar el espacio de la ficción policiaca cuando adquiere una naturaleza experimental entre los siglos XX y XXI con carácter transnacional y transmedial, más concretamente en la narrativa francesa, el cine estadounidense y los videojuegos. Para ello, hemos seleccionado un corpus de novelas, películas y videojuegos que consideramos representativos del fenómeno que estudiamos (la experimentación con el género policiaco) y al tiempo prestigiosos (avalados por premios y crítica especializada). Para determinar con exactitud los cambios que se operan en estas narraciones o artefactos culturales con respecto a la tradición policiaca inmediata o lejana ha resultado determinante la diferenciación entre dos niveles en toda obra policiaca tradicional: el plano hermenéutico y el plano heurístico. Síntesis: Dedicamos nuestro primer capítulo al estudio de estos planos en la novela policiaca puzle o enigma, junto con el concepto de fairplay, pues serán fundamentales a la hora de estudiar los cambios que se operan en la morfología y sintaxis policiaca de un medio a otro, así como su metamorfosis tras la distorsión a la que nuestros autores puedan someterlos. En el segundo capítulo centramos nuestro análisis en el fenómeno literario francés con la novela Je m’en vais de Jean Echenoz. En ella prestamos atención a los procedimientos de la parodia, la hibridación genérica y la destrucción del género policiaco. Nos servimos para ello fundamentalmente de la narratología puesto que en la novela se trabaja fundamentalmente la oscilación temporal, espacial y actancial, tres motivos que se prestan a la perfección al análisis narratológico. Nuestro tercer capítulo se consagra al segundo autor francés, Daniel Pennac y su novela Au bonheur des ogres. En él examinamos el procedimiento de yuxtaposición genérica y los juegos metaliterarios que lleva a cabo con el código policiaco para concluir que el nivel de experimentación con el género policiaco está a un nivel parejo al de Echenoz, pese a ser dos escritores considerados como de literatura popular (Pennac) y de alta literatura (Echenoz). Empleamos en este capítulo un enfoque de teoría de géneros e ideológico para desentrañar la construcción de la novela como yuxtaposición de géneros y temas...
The current Ph.D. thesis aims to explore the space of detective fiction as it acquires an experimental nature between the 20th and 21th centuries, displaying both a transnational and transmedia character, particularly in the French narrative, American cinema and video games. In order to do so, we have gathered a corpus of novels, films and video games that we consider as representative of the phenomenon we are analyzing (that is, the metaphysical detective story), while at the same time being renowned (well endorsed by prizes and criticism). The difference between the two levels informing every traditional detective story, that is, hermeneutics and heuristics, proved itself as an unvaluable tool to precisely dissect every shift operating in these narratives or cultural artifacts as they diverge from their recent or past detective tradition. Synthesis: we focus in our first chapter on the study of these two levels in the whodunnit, as well as on the concept of fairplay, since these elements will be pivotal when it comes to determining which changes are taking place in the morphology and syntax of the detective story as it is translated from one media to another. The metamorphosis of hermeneutics and heuristics will also be taken into account, as our authors will twist them once and again. We turn our attention to the French literary phenomenon in the second chapther with the novel Je m’en vais by Jean Echenoz. We will analyze the procedures of parody, genre hybridization and destruction of the detective story inside it. We will resort to narratology in order to do so, since the novel is fundamentally built on the oscillation of time, space and characters, so these are three topics that perfectly fit the narratological approach. The third chapter is devoted to our second French writer, Daniel Pennac, and his novel Au bonheur des ogres. We will analyze all along the chapter the procedure of genre juxtaposition as well as the metaliterary games the writer carries out on the detective story. Our conclusion will be that Pennac’s experimentation stands at the same level as Echenoz’s, despite being considered a midbrow writer when compared to Echenoz, which rightfully belongs to the so called highbrow culture. We put in play in this chapter a genre study and ideology approach in order to sort out the construction of the novel as a juxtaposition of genres and themes...
The current Ph.D. thesis aims to explore the space of detective fiction as it acquires an experimental nature between the 20th and 21th centuries, displaying both a transnational and transmedia character, particularly in the French narrative, American cinema and video games. In order to do so, we have gathered a corpus of novels, films and video games that we consider as representative of the phenomenon we are analyzing (that is, the metaphysical detective story), while at the same time being renowned (well endorsed by prizes and criticism). The difference between the two levels informing every traditional detective story, that is, hermeneutics and heuristics, proved itself as an unvaluable tool to precisely dissect every shift operating in these narratives or cultural artifacts as they diverge from their recent or past detective tradition. Synthesis: we focus in our first chapter on the study of these two levels in the whodunnit, as well as on the concept of fairplay, since these elements will be pivotal when it comes to determining which changes are taking place in the morphology and syntax of the detective story as it is translated from one media to another. The metamorphosis of hermeneutics and heuristics will also be taken into account, as our authors will twist them once and again. We turn our attention to the French literary phenomenon in the second chapther with the novel Je m’en vais by Jean Echenoz. We will analyze the procedures of parody, genre hybridization and destruction of the detective story inside it. We will resort to narratology in order to do so, since the novel is fundamentally built on the oscillation of time, space and characters, so these are three topics that perfectly fit the narratological approach. The third chapter is devoted to our second French writer, Daniel Pennac, and his novel Au bonheur des ogres. We will analyze all along the chapter the procedure of genre juxtaposition as well as the metaliterary games the writer carries out on the detective story. Our conclusion will be that Pennac’s experimentation stands at the same level as Echenoz’s, despite being considered a midbrow writer when compared to Echenoz, which rightfully belongs to the so called highbrow culture. We put in play in this chapter a genre study and ideology approach in order to sort out the construction of the novel as a juxtaposition of genres and themes...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Francesa, leída el 26/05/2017