Papers by Eloi Grasset
Cuadernos de Estudios MVM, vol. 7, n.1 , 2023
Este artículo se ocupa de L'art del menjar a Catalunya [El arte de comer en Catalunya] (Vázquez M... more Este artículo se ocupa de L'art del menjar a Catalunya [El arte de comer en Catalunya] (Vázquez Montalbán, 1977), a la luz del promocionado vínculo entre cultura, política e identidad que se aspiraba a consolidar en Cataluña durante los años de la Transición. El libro, publicado originalmente en catalán en 1977, fue el primero sobre gastronomía del autor y ha sido siempre leído como una pieza central en el reestablecimiento simbólico de la cultura catalana después de Franco. Si bien no se puede negar que el volumen colaboró en el proceso de recuperación de las señas de identidad catalana, la lectura que aquí se propone aspira a matizar ese lugar común. Leído hoy, el libro, que el propio V. Montalbán definió como una “crónica de la resistencia de las señales de identidad gastronómica catalana”, sorprende por el valor políticamente subversivo y poco autocomplaciente que demuestra. Como se expone en el artículo, a la conocida postura crítica de MVM respecto a la disolución de la izquierda y a las inercias creadas por la sociedad de consumo, en L'art del menjar a Catalunya se le añade, por primera vez, una lectura recelosa y distante del autor respecto al esencialismo asociado a las particiones identitarias que se promocionaban desde algunos sectores del catalanismo político. En la primera parte, el artículo analiza la función provocativa que tiene la gastronomía dentro del imaginario montalbaniano. En la segunda, se destaca el valor subversivo que la ironía cumple en L'art del menjar a Catalunya. Como se demuestra a través de distintos ejemplos pertenecientes al volumen estudiado, el autor se sirve de la ironía para confrontar una visión jerárquica de la cultura y señalar la trascendencia de los distintos procesos de hibridación cultural que se habían producido en la sociedad catalana durante la dictadura. Aprovechando parte del legado de autores como Josep Pla, la singular aproximación a la gastornomía catalana que hace Manuel Vázquez Montalbán sirve para que, indirectamente, consiga exponer sus dudas tanto en lo que se refiere al contexto político del momento, como a sus propias convicciones ideológicas.
Tropelías. Revista de Teoría de la Literatura y Literatura Comparada, 2020
Abstract: Este artículo trata de contextualizar la publicación de la antología Nueve novísimos po... more Abstract: Este artículo trata de contextualizar la publicación de la antología Nueve novísimos poetas españoles atendiendo a circunstancias como el papel que jugó Pere Gimferrer como interlocutor privilegiado de Josep Maria Castellet, el pesimista diagnóstico que se hacía de la poesía española o las posiciones políticas de los intelectuales en los últimos años del régimen franquista. Palabras clave: Josep Maria Castellet, Novísimos, poesía española del siglo XX.
Abstract: This paper tries to contextualize the publication of the anthology Nueve novísimos poetas españoles taking into account circumstances such as the role played by Pere Gimferrer as the privileged interlocutor of Josep Maria Castellet, the pessimistic diagnosis that was made of Spanish poetry or the political positions of the intellectuals in the last years of the Franco regime.
Juan de la Cuesta, 2017
This article presents an intriguing reflection on the relationships between literature and film t... more This article presents an intriguing reflection on the relationships between literature and film through an analysis of Honor de Cavalleria [Honor of the Knights] (2006, dir. Albert Serra). Grasset locates the film in the context of the adaptations of Don Quixote and introduces a paradox. Whereas a conventional film adaptation of Don Quixote would be a transposition to the medium of film of the account of Don Quixote’s deeds and adventures, Serra’s film is precisely the opposite: it is a cinematographic account of what is not told in Cervantes’s novel (for example, Don Quixote and Sancho Panza’s banal, quotidian activities). In spite of that, the novel is still the necessary “background” for any action that happens in the film. As Grasset explains, Serra’s film is constructed from the understanding that modern cinema no longer attempts to construct a conventional fiction, but instead wants to make explicit the confusion between document and fiction. These flickering intrusions of the real into the fictional space are something that cinema learns very late, but literature had already understood long before, precisely with Don Quixote.
Cet article veut interroger le statut du souvenir dans l’écriture de Nina Bouraoui et, en même ... more Cet article veut interroger le statut du souvenir dans l’écriture de Nina Bouraoui et, en même temps, prêter attention à la recherche de stabilisation identitaire qui se produit dans Mes mauvaises pensées (2005).
L’obra literària de Vicent Andrés Estellés. Gèneres, tradicions, poètiques i estil, 2013
Pel que fa a la literatura, el concepte de tradició pot esdevenir problemàtic si només ha de serv... more Pel que fa a la literatura, el concepte de tradició pot esdevenir problemàtic si només ha de servir per a resseguir quins són els deutes que té un escriptor amb la història literària que el precedeix. No és aquesta la intenció d'aquest article. És a dir que tota al·lusió que fem aquí a la tradició no servirà per a justificar certs aspectes de la poètica d'Estellés sinó, en tot cas, per a poder comprendre'n alguna cosa més.
Lecturas de la comunidad desde el género, 2012
Aquest article s'ocupa de la recepció del poeta Joan Maragall a França. A través del repàs cronol... more Aquest article s'ocupa de la recepció del poeta Joan Maragall a França. A través del repàs cronològic de les traduccions i els textos crítics sobre l'autor que van apareixent, volem identificar la imatge que la tradició francesa ha anat bastint del poeta català. A més, pararem atenció a quins diferents aspectes de la seva poètica −ideològic, estètic...− es van destacant a mesura que passen els anys.
Catalan Review, Volume 25, 2011
This article analyzes Pere Gimferrer’s Dietari exploring the relation between fictional and aut... more This article analyzes Pere Gimferrer’s Dietari exploring the relation between fictional and autobiographical genres. It shows how the writer subverts generic stratification by defining the characteristics of autobiographical writing. Distinguishing two types of text in the Dietari, “associative”, which corresponds to the expectations of the genre, and “dissociative”, through which the author challenges established conventions, this analysis focuses on the latter and explains in detail the fictional changes that take place. Finally, this reading proposes Gimferrer’s Dietari as a literary space that should be used to question the very notion of the genre of autobiography.
Conference Presentations by Eloi Grasset
Jorge Semprún is part of a group of “stateless” writers such as S. Beckett, E. Ionesco or E. Cior... more Jorge Semprún is part of a group of “stateless” writers such as S. Beckett, E. Ionesco or E. Cioran, among others, who, after the Second World War, became part of the French cultural system. These writers discarded their primary language and started writing in French.
In the case of Jorge Semprún, choosing French as a literary language helped him to take some distance from two major events that determined his life: on the one hand, his experience as an inmate at Buchenwald (1944 - 1945) – and, on the other hand, his experience as a clandestine operative for the Spanish Communist Party (1953-1962). It was not until 1963 when he published his first book (in French), Le grand voyage. This book although clearly autobiographical, evoking events and memories related to his dreadful experience in a concentration camp, was subtitled roman [Novel], and that is because the narrator -emphasizing repeatedly that he is writing many years after the journey-, exploits the distance between his personal experience and its fictional representation.
Acknowledging this distance, and focusing on Le grand voyage (1963), “L’écriture ou la vie” (1994) [Literature or Life], and “”Adieu vive clarté” (1998), this paper tries to examine in which sense writing in French is also crucial in the reconfiguration of Sempún’s memory. From my point of view, this change of language – from Spanish to French – insists on Semprún’s necessity to create a personal literary space, even if it implies an irreversible process of dislocation. It is in that sense that, according to Deleuze and Guattari (1980), we can refer to Semprún’s literature as a “minor” literature.
If we consider that posthumanism tries to demolish the discursive processes that have historicall... more If we consider that posthumanism tries to demolish the discursive processes that have historically presented the human as unique and above other life forms, this paper will call attention to the ways in which the emergence of new forms of the human and the machinic have an impact on emotions.
Book Reviews by Eloi Grasset
Columna, Barcelona, 2013 225 pàgs.
Feminismo/s 17, junio 2011, pp. 335-337 Eloi Grasset Morell. «Literatura i feminisme» L'hora viol... more Feminismo/s 17, junio 2011, pp. 335-337 Eloi Grasset Morell. «Literatura i feminisme» L'hora violeta de Montserrat Roig (Tarragona, Ed. Arola, 2010, 328 p.)
Books by Eloi Grasset
Editorial Renacimiento, 2020
"La trama mortal" pretende esclarecer la relevancia de Pere Gimferrer (n. 1945) en la recomposici... more "La trama mortal" pretende esclarecer la relevancia de Pere Gimferrer (n. 1945) en la recomposición de las tradiciones culturales española y catalana a partir de los años sesenta. Que a día de hoy no exista ningún estudio dedicado a evaluar tanto su trayectoria intelectual como la extensión política de su influencia supone una anomalía que este libro aspira a corregir. Partiendo de sus primeras reseñas cinematográficas en Tarrasa Información en 1962, y llegando hasta su ingreso en la Real Academia Española en 1985, el estudio de las distintas problemáticas abordadas en "La trama mortal" -sociológicas, políticas, históricas y literarias- sirve para dilucidar la importante incidencia de Gimferrer en veinte años de la vida cultural peninsular. La mirada apaisada que este libro ofrece justifica que en sus páginas aparezcan nombres como los de Octavio Paz, Jaime Gil de Biedma, Josep Maria Castellet, Manuel Vázquez Montalbán, Gabriel Ferrater o Antoni Tàpies.
Even though texts continue to exert an indelible attraction, we face now an important displacemen... more Even though texts continue to exert an indelible attraction, we face now an important displacement of the role that literary culture has played in our civilization for the last centuries. Considering that Don Quixote is probably the most universally-recognized figure in literature, we thought that it would be fascinating to explore in which ways the visual media (Images, Films, etc.) has been taking advantage of this uncommon character to reread and reinterpret him.
Quan i qui va començar a llegir Marcel Proust a Barcelona?
Cap a l’any 1918, des de l’Ateneu Bar... more Quan i qui va començar a llegir Marcel Proust a Barcelona?
Cap a l’any 1918, des de l’Ateneu Barcelonès, el doctor Borralleras es va dedicar a divulgar À la Recherche du temps perdu. Pla i Sagarra es van convertir en entusiastes proustians, coincidint amb el moment que la lectura de Proust començava a imposar-se a França, poc abans de la mort del novel·lista el 1922. Gaziel i Villalonga també van convertir-se en propagandistes de l’autor francès.
Hi va haver veus negatives, sovint per raons morals (Montoliu, Rucabado o Junoy), però el nom de Proust es va imposar com un dels grans clàssics de la novel·la moderna, afavorit per les traduccions i les interpretacions més diverses. Bofill i Ferro, Espriu, Ors, Rodoreda, Fuster, Sarrahima, Riera, Gimferrer... i fins i tot Dalí han contribuït que Marcel Proust formi part de la cultura catalana.
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Papers by Eloi Grasset
Abstract: This paper tries to contextualize the publication of the anthology Nueve novísimos poetas españoles taking into account circumstances such as the role played by Pere Gimferrer as the privileged interlocutor of Josep Maria Castellet, the pessimistic diagnosis that was made of Spanish poetry or the political positions of the intellectuals in the last years of the Franco regime.
Conference Presentations by Eloi Grasset
In the case of Jorge Semprún, choosing French as a literary language helped him to take some distance from two major events that determined his life: on the one hand, his experience as an inmate at Buchenwald (1944 - 1945) – and, on the other hand, his experience as a clandestine operative for the Spanish Communist Party (1953-1962). It was not until 1963 when he published his first book (in French), Le grand voyage. This book although clearly autobiographical, evoking events and memories related to his dreadful experience in a concentration camp, was subtitled roman [Novel], and that is because the narrator -emphasizing repeatedly that he is writing many years after the journey-, exploits the distance between his personal experience and its fictional representation.
Acknowledging this distance, and focusing on Le grand voyage (1963), “L’écriture ou la vie” (1994) [Literature or Life], and “”Adieu vive clarté” (1998), this paper tries to examine in which sense writing in French is also crucial in the reconfiguration of Sempún’s memory. From my point of view, this change of language – from Spanish to French – insists on Semprún’s necessity to create a personal literary space, even if it implies an irreversible process of dislocation. It is in that sense that, according to Deleuze and Guattari (1980), we can refer to Semprún’s literature as a “minor” literature.
Book Reviews by Eloi Grasset
Books by Eloi Grasset
Cap a l’any 1918, des de l’Ateneu Barcelonès, el doctor Borralleras es va dedicar a divulgar À la Recherche du temps perdu. Pla i Sagarra es van convertir en entusiastes proustians, coincidint amb el moment que la lectura de Proust començava a imposar-se a França, poc abans de la mort del novel·lista el 1922. Gaziel i Villalonga també van convertir-se en propagandistes de l’autor francès.
Hi va haver veus negatives, sovint per raons morals (Montoliu, Rucabado o Junoy), però el nom de Proust es va imposar com un dels grans clàssics de la novel·la moderna, afavorit per les traduccions i les interpretacions més diverses. Bofill i Ferro, Espriu, Ors, Rodoreda, Fuster, Sarrahima, Riera, Gimferrer... i fins i tot Dalí han contribuït que Marcel Proust formi part de la cultura catalana.
Abstract: This paper tries to contextualize the publication of the anthology Nueve novísimos poetas españoles taking into account circumstances such as the role played by Pere Gimferrer as the privileged interlocutor of Josep Maria Castellet, the pessimistic diagnosis that was made of Spanish poetry or the political positions of the intellectuals in the last years of the Franco regime.
In the case of Jorge Semprún, choosing French as a literary language helped him to take some distance from two major events that determined his life: on the one hand, his experience as an inmate at Buchenwald (1944 - 1945) – and, on the other hand, his experience as a clandestine operative for the Spanish Communist Party (1953-1962). It was not until 1963 when he published his first book (in French), Le grand voyage. This book although clearly autobiographical, evoking events and memories related to his dreadful experience in a concentration camp, was subtitled roman [Novel], and that is because the narrator -emphasizing repeatedly that he is writing many years after the journey-, exploits the distance between his personal experience and its fictional representation.
Acknowledging this distance, and focusing on Le grand voyage (1963), “L’écriture ou la vie” (1994) [Literature or Life], and “”Adieu vive clarté” (1998), this paper tries to examine in which sense writing in French is also crucial in the reconfiguration of Sempún’s memory. From my point of view, this change of language – from Spanish to French – insists on Semprún’s necessity to create a personal literary space, even if it implies an irreversible process of dislocation. It is in that sense that, according to Deleuze and Guattari (1980), we can refer to Semprún’s literature as a “minor” literature.
Cap a l’any 1918, des de l’Ateneu Barcelonès, el doctor Borralleras es va dedicar a divulgar À la Recherche du temps perdu. Pla i Sagarra es van convertir en entusiastes proustians, coincidint amb el moment que la lectura de Proust començava a imposar-se a França, poc abans de la mort del novel·lista el 1922. Gaziel i Villalonga també van convertir-se en propagandistes de l’autor francès.
Hi va haver veus negatives, sovint per raons morals (Montoliu, Rucabado o Junoy), però el nom de Proust es va imposar com un dels grans clàssics de la novel·la moderna, afavorit per les traduccions i les interpretacions més diverses. Bofill i Ferro, Espriu, Ors, Rodoreda, Fuster, Sarrahima, Riera, Gimferrer... i fins i tot Dalí han contribuït que Marcel Proust formi part de la cultura catalana.