Edited By Nadia Mékouar-Hertzberg
Siguiendo estos planteamientos, ahondándolos y matizándolos, los artículos exploran la obra de Clara Janés en su variedad y complejidad. El conjunto cuenta con dos textos teóricos y poéticos de la propia autora que abren unas perspectivas imprescindibles, luminosas y emocionantes no sólo sobre la dialéctica verdades/secretos sino también sobre los profundos resortes de la creación.
This volume focuses on the texts of the Spanish author Clara Janés. The collection grows out of a meeting between European and North American researchers, all of them specialists in Janés’s extensive work. The unifying theme of this book is the dialectic between truths and secrets that permeates this author’s work. In her numerous publications, secrets are not an element that the author tries to share, but a «bifid» mechanism that reveals true meaning. The secret becomes a textual dimension, and it keeps intact both its revealing potential as well as other promises of indefinite truths.
Following these approaches, the articles explore the works of Clara Janés in their variety and complexity. In addition, the collection has two theoretical and poetic texts by Clara Janés. These texts are indispensable to open exciting perspectives not only on the dialectic about truths and secrets but also on Janés’s creative depth.
SHARON KEEFE UGALDE
, TEXAS STATE UNIVERSITY
Ophelia and the Autobiographical Narratives of Clara Janés*1
The fair Ophelia! Nymph, in thy orison
In Shakespeare’s drama (Hamlet,1603) Ophelia is a secondary character, overshadowed by Hamlet’s irresolvable dilemma, stage presence and unforgettable soliloquy, but over the centuries writers, painters and popular culture have transformed her into a modern myth, related to, but independent from her role in Hamlet. During the Nineteenth Century the combination of beauty, innocence and suppressed eroticism made Ophelia an irresistible lure for the male gaze, and by the late Twentieth Century she attracted the eyes of feminists armed with revisionist strategies. Among recent authors who succumb to her appeal is Clara Janés (Barcelona, 1940). Even before the publication of La voz de Ofelia in 2005, there is a striking presence of the Shakespearean figure in the author’s works: in poems, “La locura penetra” (Libro de alienaciones, 1980) and “A un muchacho que imaginó ser Hamlet” (Vivir, 1983); in the autobiographical novel Los caballos del sueño (1989); in the memoir Jardín y laberinto (1990); and in essays “El ser o no ser de la escritura” (1993), “Mi modo de entrar en el mundo de Shakespeare” (1997) and “Ofelia, un encuentro sin fin” (2008). The prominence of Ophelia in Janés’ oeuvre makes the question of her significance an enticing one. Who is this Ophelia? Does she resemble Shakespeare’s poor girl, who goes mad and commits suicide? Is she the fictionalization of...
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