Publication: Diálogo y dialogismo en la obra de Katalin Molnár
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2017-11-13
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Universidad Complutense de Madrid
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Abstract
El objetivo principal de esta tesis consiste en analizar la obra de Katalin Molnár (1951) desde el punto de vista del dialogismo bajtiniano para demostrar cómo se organiza el diálogo entre los textos, las instancias narrativas, las lenguas y los lenguajes. El translingüismo (Steven Kellman, The translingual imagination, 2000) de la escritora franco-húngara – dicho de otro modo, su pertenencia a varias culturas y a varias lenguas – es interpretado como la fuente del hibridismo dialógico de sus textos. Katalin Molnár nació en Budapest, Hungría. Tras su formación en la Universidad, a la edad de veintiocho años se fue a vivir a París donde se encuentra actualmente también. Empezó a escribir y a publicar en húngaro en los años 80. Pertenecía al círculo de la revista de exilio Magyar Műhely donde muchos de sus textos fueron publicados. Participó también en los encuentros organizados por este círculo haciendo performances, conferencias y lecturas. En la misma época empezó a escribir en francés. Pero hasta 1995 no publicó su primer libro en francés. A partir de aquel momento todas sus obras independientes fueron editadas en francés, así como la mayoría de los textos publicados en revistas y antologías. En 1997 cofundó la revista poézi prolétèr con Christophe Tarkos y Pascal Doury. En resumen, dos épocas se distinguen claramente y casi simétricamente en la carrera literaria de Molnár. Pero el paso del húngaro al francés, de Magyar Műhely a poézi prolétèr, se llevó a cabo lentamente, sin ruptura evidente. Efectivamente, las dos revistas y los dos círculos se pueden calificar experimentales o neo-vanguardistas. Experimentan con la visualidad y la sonoridad del texto literario, emplean técnicas y juegos “inventados” por los representantes de los movimientos vanguardistas. La escritora franco-húngara comparte sus reflexiones teóricas, que ella misma desarrolla en sus artículos, y aplica a sus obras sus innovaciones formales y lingüísticas...
This work attempts to expose the dialogue between texts, enunciative instances, languages and tongues in the oeuvre of Katalin Molnár (1951-) through the lens of Bakhtinian dialogism. The Franco-Hungarian writer’s translingualism (Steven Kellman, The translingual imagination, 2000) – meaning that she belongs to multiple cultures and languages – is interpreted as the source of the dialogical hybridism of her texts. Katalin Molnár was born in Budapest, Hungary. After finishing her university studies, at the age of twenty-eight, she moved to Paris where she still lives today. She started to write and publish in Hungarian in the 1980s. She was an active contributor of the exile literary review Magyar Műhely, which published many of her works. She also participated in and presented at the group’s meetings, conferences and readings. She started to write in French during this period, but it was only in 1995 that she published her first book in French. All of her subsequent independent works and most of her texts published in reviews and anthologies appeared only in French. In 1997 she cofounded the literary review poézi prolétèr with Christophe Tarkos and Pascal Doury. Molnár’s literary career is defined by two clearly and almost symmetrically distinguishable artistic periods. However, the shift from Hungarian to French, from Magyar Műhely to poézi prolétèr, was slow and without a clear rupture. In fact, both literary reviews, both circles can be described as experimental or neo-avant-gardist. They both experiment with the visuality and the sonority of literary texts and use techniques and games invented by the representatives of avant-garde movements. The Franco-Hungarian writer shares their theoretical reflections, which she elaborates on in her articles and their formal and linguistic innovations, which she applies in her works...
This work attempts to expose the dialogue between texts, enunciative instances, languages and tongues in the oeuvre of Katalin Molnár (1951-) through the lens of Bakhtinian dialogism. The Franco-Hungarian writer’s translingualism (Steven Kellman, The translingual imagination, 2000) – meaning that she belongs to multiple cultures and languages – is interpreted as the source of the dialogical hybridism of her texts. Katalin Molnár was born in Budapest, Hungary. After finishing her university studies, at the age of twenty-eight, she moved to Paris where she still lives today. She started to write and publish in Hungarian in the 1980s. She was an active contributor of the exile literary review Magyar Műhely, which published many of her works. She also participated in and presented at the group’s meetings, conferences and readings. She started to write in French during this period, but it was only in 1995 that she published her first book in French. All of her subsequent independent works and most of her texts published in reviews and anthologies appeared only in French. In 1997 she cofounded the literary review poézi prolétèr with Christophe Tarkos and Pascal Doury. Molnár’s literary career is defined by two clearly and almost symmetrically distinguishable artistic periods. However, the shift from Hungarian to French, from Magyar Műhely to poézi prolétèr, was slow and without a clear rupture. In fact, both literary reviews, both circles can be described as experimental or neo-avant-gardist. They both experiment with the visuality and the sonority of literary texts and use techniques and games invented by the representatives of avant-garde movements. The Franco-Hungarian writer shares their theoretical reflections, which she elaborates on in her articles and their formal and linguistic innovations, which she applies in her works...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Francesa, leída el 12-06-2017