Lenguaje gótico (femenino) y narraciones enmarcadas en The Weir, de Conor McPherson
Resumen En 1997, The Weir se convertiría en el primer gran éxito del joven dramaturgo irlandés Conor McPherson. Usando la poética de las narraciones enmarcadas, McPherson consigue dar una dimensionalidad inaudita a lo que se representa. Como ocurriera en la novela gótica, se apreciará cómo serán mujeres los necesarios conductos para que lo sobrenatural cobre forma en medio de lo cotidiano. Un hada, una anciana con tendencias alcohólicas, una niña acosada y una maestra rural serán las protagonistas de este camino. A través del personaje de Valerie, sin embargo, se irá viendo cómo esas mujeres dejan su papel tradicional de víctimas o entes pintorescos para convertirse en verdaderos narradores góticos. El objetivo de este artículo es doble, pues por un lado pretende analizar cómo esos personajes femeninos articulan la propia obra dándole una estructura perfectamente nivelada en un crescendo y, por otro, se pretende ver cómo el autor juega con la combinación del lenguaje dramático y el narrativo.
- Referencias
- Cómo citar
- Del mismo autor
- Métricas
AA. VV. Five Romantic Plays. 1768-1821. Oxford: Oxford University Press, 1998.
Baines, Paul y Edward Burns. «Introduction». En AA. VV. Five Romantic Plays. 1768-1821. Oxford: Oxford University Press, 1998, pp. vii-xxix.
Bobes Naves, María del Carmen. «El teatro». En Villanueva, Darío (coord.). Curso de teoría de la literatura. Madrid: Taurus, 1994, pp. 241-268.
Briggs, Katharine. The Fairies in Tradition and Literature. Londres: Routledge, 1967.
Buchanan, Jason. «Ruined Futures: Gentrification as Famine in Post-Celtic Tiger Irish Literature». Mfs Modern Fiction Studies, 2017, 63.1, pp. 50-72.
Correoso Rodenas, José Manuel. «Juan Pérez de Montalbán y Horace Walpole: dos receptores de la misma tradición». En Martínez Pereira, Ana, Esther Borrego Gutiérrez, María Dolores Martos Pérez e Inmaculada Osuna Rodríguez (eds.). En la Villa y Corte. Trigesima Aurea. Actas del XI Congreso de la Asociación Internacional Siglo de Oro (Madrid, 10-14 de julio de 2017). Madrid: Universidad Nacional de Educación a Distancia, 2020a, pp. 313-323.
Correoso-Rodenas, José Manuel. «William Dunlap’s Leicester; or, the Migration of Gothic Drama». International Journal of Language and Literature, 2020b, 8.2, pp. 21-30.
Cronin, Michael y Barbara O’Connor (eds.). Irish Tourism. Image, Culture and Identity. Bristol: Channel View Publications, 2003.
Davison, Carol Margaret. «The Gothic and Addiction». Gothic Studies, 2009, 11,2, pp. 1-8.
Douglas, Aileen. «“Whom gentler stars unite”: Fiction and Union in the Irish Novel». Irish University Review, 2011, 41.1, pp. 183-195.
Earnshaw, Steven. The Pub in Literature. England’s Altered State. Mánchester: Manchester University Press, 2000.
Eliade, Mircea. Das Heilige und das Profane Vom Wesen des Religiösen. Berlín: Insel Verlag, 2020.
Frank, Frederick S. «Gothic Drama (1768-1830)». En Thompson, Douglass H., Jack G. Voller y Frederick S. Franck (eds.). Gothic Writers. A Critical and Bibliographical Guide. Westport (CT): Greenwood Press, 2002, pp. 147-164.
Gillespie, Niall. «Irish Jacobin Gothic, c. 1796-1825». En Morin, Christina y Niall Gillespie (eds.). Irish Gothics. Genres, Forms, Modes, and Traditions, 1760-1890. Nueva York (NY): Palgrave Macmillan, 2014, pp. 58-73.
Gladwin, Derek. Contentious Terrains. Boglands, Ireland, Postcolonial Gothic. Cork: Cork University Press, 2016.
Grantham, Bill. «Craic in a box: Commodifying and exporting the Irish pub». Continuum. Journal of Media & Cultural Studies, 2009, 23.2, pp. 257-267.
Grene, Nicholas. «Ireland in Two Minds: Martin McDonagh and Conor McPherson». The Yearbook of English Studies, 2005, 35, pp. 298-311.
Grobe, Christopher A. «Love and Loneliness: Secular Morality in the Plays of Conor McPherson». The Princeton University Library Chronicle, 2007, 68.1-2, pp. 684-704.
Hart, Carina. «Gothic Folklore and Fairy Tale: Negative Nostalgia». Gothic Studies, 2020, 22.1, pp. 1-13.
Harte, Liam (ed.). The Oxford Handbook of Irish Modern Fiction. Oxford: Oxford University Press, 2020.
Haslam, Richard. «“Broad Farce and Thrilling Tragedy”: Mangan’s Fiction and Irish Gothic». Éire-Ireland, 2006, 4.3-4, pp. 215-244.
Hill, Christopher Austin. «But It Was Changing,» «And Now I Can’t Go Back»: Reflections of a Changing Ireland In the Work of Conor McPherson [MA Thesis presentada en Ohio State University, 2010].
James, Henry. The Turn of the Screw and The Aspern Papers. Londres: Penguin, 1986.
Jordan, Eamonn. «Pastoral Exhibits: Narrating Authenticities in Conor McPherson’s “The Weir”». Irish University Review, 2004, 34.2, pp. 351-368.
Jordan, Eamonn. «Lapsed, Augmented, and Eternal Christmases in the Theatre of Conor McPherson». Hjeas: Hungarian Journal of English and American Studies, 2017, 23.1, pp. 51-72.
Kerrane, Kevin. «The Structural Elegance of Conor McPherson’s The Weir». New Hibernia Review, 2006, 10.4, pp. 105-121.
Kiberd, Declan. After Ireland Writing the Nation from Beckett to the Present. Cambridge (ma): Harvard University Press, 2017.
Kileen, Jarlath. «Irish Gothic: A Theoretical Introduction». Irish Journal of Gothic and Horror Studies, 2006, 1, pp. 30-43.
Kileen, Jarlath. «Muscling Up: Bram Stoker and Irish Masculinity in The Snake’s Pass». En Morin, Christina y Niall Gillespie (eds.). Irish Gothics. Genres, Forms, Modes, and Traditions, 1760-1890. Nueva York (NY): Palgrave Macmillan, 2014a, pp. 168-187.
Kileen, Jarlath. The Emergence of Irish Gothic Fiction. History, Origins, Theory. Edimburgo: Edinburgh University Press, 2014b.
Kileen, Jarlath. «Irish Gothic Fiction». En Harte, Liam (ed.). The Oxford Handbook of Irish Modern Fiction. Oxford: Oxford University Press, 2020, pp. 49-68.
Kilfeather, Siobhán. «Terrific Register: The Gothicization of Atrocity in Irish Romanticism». boundary 2, 2004, 31.1, pp. 49-71.
LE Fanu, Joseph Sheridan. Best Ghost Stories. Nueva York (NY): Dover Publications, 1964.
Longhorn, David. «Conor McPherson (1971-)». The Green Book: Writings on Irish Gothic, Supernatural and Fantastic Literature, 2018, 11, pp. 85-90.
Losada, José Manuel. mitocrítica cultural. Una definición del mito. Madrid: Akal, 2022.
Maley, Patrick. «“The play is set in the theatre”: Conor McPherson and the late-modern humanism of the theatrical event». Irish Studies Review, 2014, 22.2, pp. 207-223.
Martínez Pereira, Ana, Esther Borrego Gutiérrez, María Dolores Martos Pérez e Inmaculada Osuna Rodríguez (eds.). En la Villa y Corte. Trigesima Aurea. Actas del XI Congreso de la Asociación Internacional Siglo de Oro (Madrid, 10-14 de julio de 2017). Madrid: Universidad Nacional de Educación a Distancia, 2020.
Mcgovern, Mark. «“The Cracked Pint Glass of the Servant”: The Irish Pub, Irish Identity and the Tourist Eye». En Cronin, Michael y Barbara O’Connor (eds.). Irish Tourism. Image, Culture and Identity. Bristol: Channel View Publications, 2003, pp. 83-103.
Mcnamara, Karen Hill. «From Fairies to Famine: How Cultural Identity is Constructed Through Irish and Irish American Children’s Literature». Children’s Folklore Review, 2003-2004, 26, pp. 77-90.
Mcpherson, Conor. The Weir. Nueva York (NY): Dramatists Play Service Inc., 1998.
Morin, Christina. «Theorizing “Gothic” in Eighteenth-Century Ireland». En Morin, Christina y Niall Gillespie (eds.). Irish Gothics. Genres, Forms, Modes, and Traditions, 1760-1890. Nueva York (NY): Palgrave Macmillan, 2014, pp. 13-33.
Morin, Christina. The Gothic Novel in Ireland, c. 1760-1829. Manchester: Manchester University Press, 2018.
Morin, Christina y Niall Gillespie (eds.). Irish Gothics. Genres, Forms, Modes, and Traditions, 1760-1890. Nueva York (NY): Palgrave Macmillan, 2014.
Morin, Emilie. «The Celtic Tiger, its phantoms, and Conor McPherson’s haunted rooms». Textual Practice, 2014, 26.6, pp. 1103-1122.
Naughton, Audrey. The Irish Pub: Past, Present – Whither the Future? [MA Thesis presentada en Galway Mayo Institute of Technology, 2011].
Norman, Mark. «Goldfields and the Gothic: A Hidden Heritage and Folklore». Folklore, 2018, 129.2, pp. 212-214.
O’Conor, Norreys Jephson. «The Early Irish Fairies and Fairyland». The Sewanee Review, 1920, 28.4, pp. 545-557.
Power, Albert. «Regina Maria Roche (1764-1845)». The Green Book: Writings on Irish Gothic, Supernatural and Fantastic Literature, 2018, 11, pp. 35-41.
Robitaillié, Audrey. «Away with the fairies»: the motif of fairy abduction and of the changeling, from Irish mythology to the Irish diaspora [Tesis doctoral presentada en Queen’s University Belfast, 2015].
Ryan, Owen. The Bardic Imperative in the Drama of Marina Carr and Conor McPherson [BA Tesis presentada en Dublin Business School, 2010].
Stoker, Bram. The Snake’s Pass. Syracuse (NY): Syracuse University Press, 2015.
Sugg, Richard. Fairies. A Dangerous History. Londres: Reaktion Books, 2018.
Takaki, Tomoko. «The Habitats of Fairies in Irish Folktales». International Journal of Social and Cultural Studies, 2009, 2, pp. 73-92.
Thompson, Douglass H., Jack G. Voller y Frederick S. Frank (eds.). Gothic Writers. A Critical and Bibliographical Guide. Westport (CT): Greenwood Press, 2002.
Warman, Brittany Browning. The Fae, the Fairy Tale, and the Gothic Aesthetic in Nineteenth-Century British Literature [Tesis doctoral presentada en Ohio State University, 2018].
Wilde, Lady. Ancient Legends, Mystic Charms, and Superstitions of Ireland. Londres: Ward and Downey, 1887.
Yeats, W. B. Fairy and Folk Tales of the Irish Peasantry. Londres: Walter Scott, 1888.
Baines, Paul y Edward Burns. «Introduction». En AA. VV. Five Romantic Plays. 1768-1821. Oxford: Oxford University Press, 1998, pp. vii-xxix.
Bobes Naves, María del Carmen. «El teatro». En Villanueva, Darío (coord.). Curso de teoría de la literatura. Madrid: Taurus, 1994, pp. 241-268.
Briggs, Katharine. The Fairies in Tradition and Literature. Londres: Routledge, 1967.
Buchanan, Jason. «Ruined Futures: Gentrification as Famine in Post-Celtic Tiger Irish Literature». Mfs Modern Fiction Studies, 2017, 63.1, pp. 50-72.
Correoso Rodenas, José Manuel. «Juan Pérez de Montalbán y Horace Walpole: dos receptores de la misma tradición». En Martínez Pereira, Ana, Esther Borrego Gutiérrez, María Dolores Martos Pérez e Inmaculada Osuna Rodríguez (eds.). En la Villa y Corte. Trigesima Aurea. Actas del XI Congreso de la Asociación Internacional Siglo de Oro (Madrid, 10-14 de julio de 2017). Madrid: Universidad Nacional de Educación a Distancia, 2020a, pp. 313-323.
Correoso-Rodenas, José Manuel. «William Dunlap’s Leicester; or, the Migration of Gothic Drama». International Journal of Language and Literature, 2020b, 8.2, pp. 21-30.
Cronin, Michael y Barbara O’Connor (eds.). Irish Tourism. Image, Culture and Identity. Bristol: Channel View Publications, 2003.
Davison, Carol Margaret. «The Gothic and Addiction». Gothic Studies, 2009, 11,2, pp. 1-8.
Douglas, Aileen. «“Whom gentler stars unite”: Fiction and Union in the Irish Novel». Irish University Review, 2011, 41.1, pp. 183-195.
Earnshaw, Steven. The Pub in Literature. England’s Altered State. Mánchester: Manchester University Press, 2000.
Eliade, Mircea. Das Heilige und das Profane Vom Wesen des Religiösen. Berlín: Insel Verlag, 2020.
Frank, Frederick S. «Gothic Drama (1768-1830)». En Thompson, Douglass H., Jack G. Voller y Frederick S. Franck (eds.). Gothic Writers. A Critical and Bibliographical Guide. Westport (CT): Greenwood Press, 2002, pp. 147-164.
Gillespie, Niall. «Irish Jacobin Gothic, c. 1796-1825». En Morin, Christina y Niall Gillespie (eds.). Irish Gothics. Genres, Forms, Modes, and Traditions, 1760-1890. Nueva York (NY): Palgrave Macmillan, 2014, pp. 58-73.
Gladwin, Derek. Contentious Terrains. Boglands, Ireland, Postcolonial Gothic. Cork: Cork University Press, 2016.
Grantham, Bill. «Craic in a box: Commodifying and exporting the Irish pub». Continuum. Journal of Media & Cultural Studies, 2009, 23.2, pp. 257-267.
Grene, Nicholas. «Ireland in Two Minds: Martin McDonagh and Conor McPherson». The Yearbook of English Studies, 2005, 35, pp. 298-311.
Grobe, Christopher A. «Love and Loneliness: Secular Morality in the Plays of Conor McPherson». The Princeton University Library Chronicle, 2007, 68.1-2, pp. 684-704.
Hart, Carina. «Gothic Folklore and Fairy Tale: Negative Nostalgia». Gothic Studies, 2020, 22.1, pp. 1-13.
Harte, Liam (ed.). The Oxford Handbook of Irish Modern Fiction. Oxford: Oxford University Press, 2020.
Haslam, Richard. «“Broad Farce and Thrilling Tragedy”: Mangan’s Fiction and Irish Gothic». Éire-Ireland, 2006, 4.3-4, pp. 215-244.
Hill, Christopher Austin. «But It Was Changing,» «And Now I Can’t Go Back»: Reflections of a Changing Ireland In the Work of Conor McPherson [MA Thesis presentada en Ohio State University, 2010].
James, Henry. The Turn of the Screw and The Aspern Papers. Londres: Penguin, 1986.
Jordan, Eamonn. «Pastoral Exhibits: Narrating Authenticities in Conor McPherson’s “The Weir”». Irish University Review, 2004, 34.2, pp. 351-368.
Jordan, Eamonn. «Lapsed, Augmented, and Eternal Christmases in the Theatre of Conor McPherson». Hjeas: Hungarian Journal of English and American Studies, 2017, 23.1, pp. 51-72.
Kerrane, Kevin. «The Structural Elegance of Conor McPherson’s The Weir». New Hibernia Review, 2006, 10.4, pp. 105-121.
Kiberd, Declan. After Ireland Writing the Nation from Beckett to the Present. Cambridge (ma): Harvard University Press, 2017.
Kileen, Jarlath. «Irish Gothic: A Theoretical Introduction». Irish Journal of Gothic and Horror Studies, 2006, 1, pp. 30-43.
Kileen, Jarlath. «Muscling Up: Bram Stoker and Irish Masculinity in The Snake’s Pass». En Morin, Christina y Niall Gillespie (eds.). Irish Gothics. Genres, Forms, Modes, and Traditions, 1760-1890. Nueva York (NY): Palgrave Macmillan, 2014a, pp. 168-187.
Kileen, Jarlath. The Emergence of Irish Gothic Fiction. History, Origins, Theory. Edimburgo: Edinburgh University Press, 2014b.
Kileen, Jarlath. «Irish Gothic Fiction». En Harte, Liam (ed.). The Oxford Handbook of Irish Modern Fiction. Oxford: Oxford University Press, 2020, pp. 49-68.
Kilfeather, Siobhán. «Terrific Register: The Gothicization of Atrocity in Irish Romanticism». boundary 2, 2004, 31.1, pp. 49-71.
LE Fanu, Joseph Sheridan. Best Ghost Stories. Nueva York (NY): Dover Publications, 1964.
Longhorn, David. «Conor McPherson (1971-)». The Green Book: Writings on Irish Gothic, Supernatural and Fantastic Literature, 2018, 11, pp. 85-90.
Losada, José Manuel. mitocrítica cultural. Una definición del mito. Madrid: Akal, 2022.
Maley, Patrick. «“The play is set in the theatre”: Conor McPherson and the late-modern humanism of the theatrical event». Irish Studies Review, 2014, 22.2, pp. 207-223.
Martínez Pereira, Ana, Esther Borrego Gutiérrez, María Dolores Martos Pérez e Inmaculada Osuna Rodríguez (eds.). En la Villa y Corte. Trigesima Aurea. Actas del XI Congreso de la Asociación Internacional Siglo de Oro (Madrid, 10-14 de julio de 2017). Madrid: Universidad Nacional de Educación a Distancia, 2020.
Mcgovern, Mark. «“The Cracked Pint Glass of the Servant”: The Irish Pub, Irish Identity and the Tourist Eye». En Cronin, Michael y Barbara O’Connor (eds.). Irish Tourism. Image, Culture and Identity. Bristol: Channel View Publications, 2003, pp. 83-103.
Mcnamara, Karen Hill. «From Fairies to Famine: How Cultural Identity is Constructed Through Irish and Irish American Children’s Literature». Children’s Folklore Review, 2003-2004, 26, pp. 77-90.
Mcpherson, Conor. The Weir. Nueva York (NY): Dramatists Play Service Inc., 1998.
Morin, Christina. «Theorizing “Gothic” in Eighteenth-Century Ireland». En Morin, Christina y Niall Gillespie (eds.). Irish Gothics. Genres, Forms, Modes, and Traditions, 1760-1890. Nueva York (NY): Palgrave Macmillan, 2014, pp. 13-33.
Morin, Christina. The Gothic Novel in Ireland, c. 1760-1829. Manchester: Manchester University Press, 2018.
Morin, Christina y Niall Gillespie (eds.). Irish Gothics. Genres, Forms, Modes, and Traditions, 1760-1890. Nueva York (NY): Palgrave Macmillan, 2014.
Morin, Emilie. «The Celtic Tiger, its phantoms, and Conor McPherson’s haunted rooms». Textual Practice, 2014, 26.6, pp. 1103-1122.
Naughton, Audrey. The Irish Pub: Past, Present – Whither the Future? [MA Thesis presentada en Galway Mayo Institute of Technology, 2011].
Norman, Mark. «Goldfields and the Gothic: A Hidden Heritage and Folklore». Folklore, 2018, 129.2, pp. 212-214.
O’Conor, Norreys Jephson. «The Early Irish Fairies and Fairyland». The Sewanee Review, 1920, 28.4, pp. 545-557.
Power, Albert. «Regina Maria Roche (1764-1845)». The Green Book: Writings on Irish Gothic, Supernatural and Fantastic Literature, 2018, 11, pp. 35-41.
Robitaillié, Audrey. «Away with the fairies»: the motif of fairy abduction and of the changeling, from Irish mythology to the Irish diaspora [Tesis doctoral presentada en Queen’s University Belfast, 2015].
Ryan, Owen. The Bardic Imperative in the Drama of Marina Carr and Conor McPherson [BA Tesis presentada en Dublin Business School, 2010].
Stoker, Bram. The Snake’s Pass. Syracuse (NY): Syracuse University Press, 2015.
Sugg, Richard. Fairies. A Dangerous History. Londres: Reaktion Books, 2018.
Takaki, Tomoko. «The Habitats of Fairies in Irish Folktales». International Journal of Social and Cultural Studies, 2009, 2, pp. 73-92.
Thompson, Douglass H., Jack G. Voller y Frederick S. Frank (eds.). Gothic Writers. A Critical and Bibliographical Guide. Westport (CT): Greenwood Press, 2002.
Warman, Brittany Browning. The Fae, the Fairy Tale, and the Gothic Aesthetic in Nineteenth-Century British Literature [Tesis doctoral presentada en Ohio State University, 2018].
Wilde, Lady. Ancient Legends, Mystic Charms, and Superstitions of Ireland. Londres: Ward and Downey, 1887.
Yeats, W. B. Fairy and Folk Tales of the Irish Peasantry. Londres: Walter Scott, 1888.
Correoso Rodenas, J. M. (2024). Lenguaje gótico (femenino) y narraciones enmarcadas en The Weir, de Conor McPherson. 1616: Anuario De Literatura Comparada, 14, 241–257. https://doi.org/10.14201/1616202414241257
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