Publication: Tres novelas del posboom latinoamericano y sus versiones fílmicas (Puig, Skármeta y Mastretta)
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2017-04-07
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Universidad Complutense de Madrid
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Abstract
Esta tesis se propone realizar el análisis de tres novelas representativas del postboom latinoamericano y de los trasvases fílmicos a los cuales dichas obras literarias han dado lugar. Las obras precursoras son: “El beso de la mujer araña” (1976), de Manuel Puig; “El cartero de Neruda (Ardiente Paciencia)” (1985), de Antonio Skármeta; y “Arráncame la vida” (1985), de Ángeles Mastretta. Las respectivas adaptaciones cinematográficas son: “El beso de la mujer araña” (1985), de Héctor Babenco; “Il postino” (1994), de Michel Radford; y “Arráncame la vida” (2008), de Roberto Sneider. Éste es, pues, un análisis de carácter comparativo en el cual se rastrearán las relaciones entre dichos textos literarios y sus trasvases. El primer capítulo, “Consideraciones generales sobre la adaptación cinematográfica: Hacia un marco teórico-metodológico”, procura presentar una metodología crítica para llevar a cabo los análisis propuestos. Interesa aquí rastrear el diálogo estético entre el texto cinematográfico y el literario. Y dado que se presta especial atención a las transformaciones llevadas a cabo en las adaptaciones, se proponen hipótesis interpretativas que procuran dar cuenta de los cambios en cuestión. Para tal efecto, se acude a la noción de “poética de autor” ―en su doble carácter temático y representacional― con el objetivo de observar de qué modo cada trasvase ha tomado o no en cuenta la cosmovisión que subyace al texto literario precursor; es decir, de qué modo se produce el diálogo estético al que aludimos. En este orden de ideas, el acercamiento a la “poética de autor” que rige el trabajo ficcional de Puig, Skármeta y Mastretta nos ha llevado a realizar una lectura extensiva de sus respectivas obras literarias...
This thesis proposes the analysis of three representative novels of the Latin American post-boom and their film adaptations. The precursor novels include: “El beso de la mujer araña” (1976), by Manuel Puig; “El cartero de Neruda (Ardiente paciencia)” (1985), by Antonio Skármeta; and “Arráncame la vida” (1985), by Angeles Mastretta. The respective film adaptations include: “El beso de la mujer araña” (1985) by Hector Babenco; “Il Postino” (1994), by Michel Radford; and “Arráncame la vida” (2008) by Roberto Sneider. This is, then, an analysis of comparative nature, in which the relations between literary texts and such adaptations will be studied. The first chapter, “Consideraciones generales sobre la adaptación cinematográfica: Hacia un marco teórico-metodológico”, seeks to provide a critical method to carry out the proposed analyzes. The interest here is to trace the aesthetic dialogue between film and literary text. Since special attention is paid to the transformations carried out in adaptations, we provide interpretative hypotheses that attempt to account for the changes in question. To this end, we turn to the notion of “the poetry of the autor” in its dual meaning: thematic and representational, in order to observe how each adaptation has taken into account or not the worldview underlying the precursor literary text, ie how the aesthetic dialogue that we alluded occurs. Therefore, the approach to the “poetry of the autor” that governs the fictional work of Puig, Skármeta and Mastretta has led us to make an extensive reading of their literary works...
This thesis proposes the analysis of three representative novels of the Latin American post-boom and their film adaptations. The precursor novels include: “El beso de la mujer araña” (1976), by Manuel Puig; “El cartero de Neruda (Ardiente paciencia)” (1985), by Antonio Skármeta; and “Arráncame la vida” (1985), by Angeles Mastretta. The respective film adaptations include: “El beso de la mujer araña” (1985) by Hector Babenco; “Il Postino” (1994), by Michel Radford; and “Arráncame la vida” (2008) by Roberto Sneider. This is, then, an analysis of comparative nature, in which the relations between literary texts and such adaptations will be studied. The first chapter, “Consideraciones generales sobre la adaptación cinematográfica: Hacia un marco teórico-metodológico”, seeks to provide a critical method to carry out the proposed analyzes. The interest here is to trace the aesthetic dialogue between film and literary text. Since special attention is paid to the transformations carried out in adaptations, we provide interpretative hypotheses that attempt to account for the changes in question. To this end, we turn to the notion of “the poetry of the autor” in its dual meaning: thematic and representational, in order to observe how each adaptation has taken into account or not the worldview underlying the precursor literary text, ie how the aesthetic dialogue that we alluded occurs. Therefore, the approach to the “poetry of the autor” that governs the fictional work of Puig, Skármeta and Mastretta has led us to make an extensive reading of their literary works...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Filología Española III (Lengua y Literatura), leída el 21/01/2016