The subversion of language in the novel

The subversion of language in the novel policy. The case of some texts Spain's war Maryse Bertrand de Muñoz, Université de Montréal In Spain discussed between 1936 and 1939 the great ideas of the century XX: communism, fascism, socialism, democracy, monarchism, anarchism. The conflict was essentially ideological, and during decades many books on the subject of political passion overflowed. Even in creative literature, the same phenomenon was felt: from a first moment to last much of the century, many novels Civil War inspired an ideal advocate and adopt a tone controversial, combative. The political struggle may appear directly even in a fiction book, encouraging the reader to take as an example the characters, but also can work in reverse, inventing protagonists who apparently support either side but making them act in ways that create a reaction in the recipient contrary. The irony, sarcasm, insistence overlap in defects inadmissible in a hero, contradiction, and these are found in many of these texts, but particularly in four novels take as examples of subversion of political language: Memories of an intellectual Franco (1972), Angel Palomino Memories a fascist Spanish (1976) by Fernando Gonzalez, Autobiography of General Franco (1992), Manuel Vazquez Montalban, and Madrid 1940. Memoirs of a young fascist (1993) of Francisco Umbral.1 The pitfalls of the historical novel - and of course the novels studied here belong to the genre - are numerous and are not less the dangers of 'political novel' subgenre of the novel ideological. This, as the historical novel has aroused skepticism of many critics: its complexity is large, it uses two registers, the policy and fiction. And if to this is added the history, as is the case of interest here, become three and the literary value the texts can be very problematic. The political novel about both the ideological novel - in which you want to advocate one idea, a dream, a thesis, often to the detriment of the properly novel - as a social novel, in the sense of wanting not only witness but to denounce a situation that appears intolerable, this complaint becomes so strong that often outweighs other aspects. In it everything is subject to the demonstration of a political ideal: the characters, structure, style are subordinate to the thesis UA-43237634-1 want to try. It denigrates the enemy and praising the fellow, the tone is often inflamed, rhetorical style, the ideas brought up one end and, above all, the intention is polémica.2 The object of all political novel, then, is to fight for or against the power established, and intentionality may be evident, but it can also that is not very distinct from the structure of the text. Best narrative works are always polyvalent, and the reader must discover and restore the true sense that he wanted to give the autor.Ya that ambiguity is the essence of the text as signifying process, ambiguity that lies at the heart of critical reading, the reader not know which way to look. So, condemned to look at the two directions at once, so it covers his eyes is the process of transformation, training through writing and beyond it, differently of Reality. ' Said Julia Kristeva in 1969, after Bakhtin, that every text is a "dialogic space 'that can run on different isotopies and give in different readings, until completely opuestas.4 Therefore, the Reading should be prudent and to detect any subversion of reality described, any violation of the codes to which is subjected the text: 'The subversion is thus a process, a decoding of the real and recoding it gives a new meaning '.5 In the texts chosen seems evident the need to move, for interpretation, to what Antonio Gómez-Moriana called the 'paradigmatic axis - axis selection - the syntagmatic axis - the axis of the combination - to make clear a new dimension to our study of text, which we will call interdiscursivity '.6 novels González Vázquez Montalbán Threshold and seek to reverse the proposed codes, subvert stereotypes of the times of Franco, deconstruct the discourse key to better highlight their inconsistencies and errors, while Palomino that proceed in reverse: the main character pretends to be numerous claims against Franco but addiction is perceived Ruling regime. We propose to analyze on these different speech marks, which are noticed in loans to employees thematic and linguistic level. In the four texts studied, we enter a world conditioned by the dichotomy good / bad or winners / losers. In Memoirs of an intellectual Franco, 'The children of the victors began to think independently and dispassionately judge their parents. The children of the vanquished fear laughed that cradled his childhood and aspired to restore their parents' (271), while in Memories of a Spanish fascist 'The streets of the capital were full of "poor"' and 'Begging among the children of the "red" was held high' (166). The Autobiography of General Franco tells us to 'finish hatred on the war, you [Franco] applied hatred of extermination, the sadism of taking the enemy any structuring her Tweets by @twitter