Publication: Reconocer lo invisible : miradas desde lo fantástico a la violencia estructural en la literatura contemporánea anglonorteamericana
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2022-08-30
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Universidad Complutense de Madrid
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Abstract
Esta tesis (Reconocer lo invisible. Miradas desde lo fantástico a la violencia estructural en la literatura contemporánea anglonorteamericana) pretende observar de qué manera determinados recursos propios de la literatura fantástica sirven a los escritores para reflexionar sobre la vinculación entre la violencia directa, estructural y cultural en tres obras narrativas: Sing, Unburied Sing (2017), de Jesmyn Ward, First Love: A Gothic Tale (1996), de Joyce Carol Oates, y Super-Cannes (2000), de J. G. Ballard. Según el análisis llevado a cabo por Johan Galtung de los tres tipos de violencia, podemos distinguir entre una violencia visible (directa), asociada al concepto de agresión, y dos invisibles: la violencia cultural, compuesta por las construcciones ideológicas respecto a una comunidad o grupo social, y la violencia estructural, aquella que, en muchas ocasiones desde las instituciones concretas de un estado, y apoyada en la mayoría de los casos en la violencia cultural, justifica tácticas como la exclusión, el aislamiento, la criminalización o la violencia directa contra los grupos oprimidos utilizando, contra las personas que habitan la periferia, mecanismos difíciles de rastrear para las que se sitúan en el centro. A partir de recursos tales como el del fantasma o el monstruo propios de la literatura gótica o el espacio cargado de elementos distópicos que reflexiona sobre la sociedad contemporánea, las obras que se analizan en esta tesis son capaces de hacer visibles para los lectores violencias que han sido invisibilizadas o escondidas por la sociedad, tanto a nivel cultural como por medio de sus instituciones...
This dissertation (Reconocer lo invisible. Miradas desde lo fantástico a la violencia estructural en la literatura contemporánea anglonorteamericana) seeks to observe how some resources of fantasy literature are used by writers to reflect on the link between direct, structural, and cultural violence in three narrative works: Sing, Unburied Sing (2017), by Jesmyn Ward, First Love: A Gothic Tale (1996), by Joyce Carol Oates, and Super-Cannes (2000), by J. G. Ballard. According to the analysis of the three types of violence carried out by Johan Galtung, we can distinguish between visible (direct) violence, associated with the concept of aggression, and two invisible ones: cultural violence, composed of ideological constructions regarding a community or social group; and structural violence, that which, often from the specific institutions of a state, and supported in most cases by cultural violence, is used to justify tactics such as exclusion, isolation, criminalization or direct violence against oppressed groups who inhabit the periphery: all of them mechanisms difficult to trace for those who are located in the center. Using resources such as that of the ghost or the monster, typical of Gothic literature, or the space which, loaded with dystopian elements, reflects on contemporary society, the works which are analyzed in this dissertation make violence (which has been made invisible or hidden by society, both culturally and through its institutions) visible to readers...
This dissertation (Reconocer lo invisible. Miradas desde lo fantástico a la violencia estructural en la literatura contemporánea anglonorteamericana) seeks to observe how some resources of fantasy literature are used by writers to reflect on the link between direct, structural, and cultural violence in three narrative works: Sing, Unburied Sing (2017), by Jesmyn Ward, First Love: A Gothic Tale (1996), by Joyce Carol Oates, and Super-Cannes (2000), by J. G. Ballard. According to the analysis of the three types of violence carried out by Johan Galtung, we can distinguish between visible (direct) violence, associated with the concept of aggression, and two invisible ones: cultural violence, composed of ideological constructions regarding a community or social group; and structural violence, that which, often from the specific institutions of a state, and supported in most cases by cultural violence, is used to justify tactics such as exclusion, isolation, criminalization or direct violence against oppressed groups who inhabit the periphery: all of them mechanisms difficult to trace for those who are located in the center. Using resources such as that of the ghost or the monster, typical of Gothic literature, or the space which, loaded with dystopian elements, reflects on contemporary society, the works which are analyzed in this dissertation make violence (which has been made invisible or hidden by society, both culturally and through its institutions) visible to readers...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, leída el 31-05-2022