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Si us plau utilitzeu sempre aquest identificador per citar o enllaçar aquest document: https://hdl.handle.net/2445/41628
A propòsit del «Cicle de Flo La Vigne», de Llorenç Villalonga
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[cat] En relació amb les novel·les de Llorenç Villalonga que integren l’anomenat Cicle de Flo la Vigne, aquesta tesi en caracteritza el context històric, analitza el concepte novel·lesc de l’autor, fa una anàlisi detallada de cadascuna de les novel·les i es detura en la recepció crítica coetània que tingueren.
Els principals resultats i conclusions que s’han obtingut de l’anàlisi de les dades són els següents. Tot i que el sintagma és operatiu, no existeix realment un Cicle de Flo la Vigne, sinó la novel·la de Flo i el cicle de la decadència d’Occident. En la seva pràctica novel·lística, Villalonga no es va ajustar a les seves propostes teòriques. Temàticament, Villalonga és un compulsiu, la seva obra gira obsessivament a l’entorn de la mort individual i col·lectiva; totes les seves creacions són un pretext per incidir en aquest tema, al qual adequa materials de la més diversa procedència encara que els hagi de tergiversar. Així, conscient de la pròpia mort, l’amor a ell mateix l’empeny a aconseguir la immortalitat a través de la literatura. Al llarg d’aquesta cerca de la immortalitat, Villalonga esdevindrà un cronista i un vaticinador; a més, molt més racionalista que retrògrad, es convertirà en un pioner de l’ecologia i evolucionarà cap al pancatalanisme. Tant com s’ha negat aquesta darrera adscripció, s’ha suggerit l’homosexualitat de Villalonga; tanmateix, Villalonga no fou homosexual, sinó homòfil. Per acabar, s’han obtingut algunes conclusions que són les de més transcendència. Tradicionalment s’ha considerat l’obra de Villalonga dividida entre les obres que fan l’elegia del passat i les que fan la sàtira del present. Aquesta divisió és operativa, però té les seves limitacions. Hi ha elegia a Bearn, en efecte, però també n’hi ha a Lulú regina, tot i que sigui futura. Afirmem que hi ha una línia força més significativa que divideix en dos l’obra de Villalonga, la qual està sempre lligada a la voluntat de pervivència. D’una banda, la crònica escatològica, que connecta amb la pervivència literària. De l’altra, la literatura memorialista, que li permet la supervivència personal; privat de la biologia, li quedava la literatura: Les fures, El misantrop, L’àngel rebel, Falses memòries de Salvador Orlan. En aquest context, L’àngel rebel és una obra doblement singular. En primer lloc, perquè participa dels dos fronts productius esmentats: el memorialista i l’escatològic. En segon lloc, perquè recull la negativa de Porcel, la qual constitueix, de fet, l’empenta que impulsarà Villalonga a completar el seu gran cicle escatològic: Don Toni de Bearn, Obdúlia de Montcada, la Lilí, les Lulús, Andrea Víctrix.
Així, usar el sintagma l’autor de Bearn com a perífrasi sinònima de Villalonga és correcte, però si es fa servir com a sinècdoque descriptiva de la seva obra s’està caient en un reduccionisme inacceptable: quan s’ha llegit Bearn, tot just si s’ha començat a llegir Villalonga.
[eng] In connection with the novels that make up the so-called Villalonga Cicle de Flo la Vigne, this thesis characterizes the historical context, analyzes the novelistic concept of the author, makes a detailed analysis of each novel and stops in the contemporary critique re-conception that they had. The main results and conclusions obtained from the analysis of the data are the following ones. Although the syntagma is operating, there isn’t actually a Cicle de Flo la Vigne, but the novel Flo and the West decline cycle. In his novelistic practice, Villalonga did not fit to his theoretical proposals. Thematically, Villalonga is compulsive, his work revolves around the individual and collective death; all his creations are a pretext to talk about this issue, which adapt materials of many different origins, even if he has to distort them. So, aware of his own death, love to himself pushes him to achieve the immortality through the literature. Along this immortality search, Villalonga will become a journalist and a predictor, much more rationalist than retrograde, will become an ecology pioneer and will evolve to pancatalanism. As much as this latest relevance has been refused, has been suggested Villalonga homosexuality, however Villalonga was not gay but homophile. To finish, some obtained conclusions are momentous. Traditionally, Villalonga work has been considered divided between the works that make an elegy of the past and the ones that make a satire of the present. This division is operational, but has its limitations. There is indeed an elegy in Bearn, but there are also in Lulú regina, even if it’s located in the future. We affirm that there is a much more significant line that divides the work of Villalonga, which is always linked to the will to survive. On the one hand, the eschatological chronic, which connects with the literature survival. On the other hand, the memorialist literature, which allows him the personal survival; as he had a lack of biology, he had the literature: Les fures, El misantrop, L’àngel rebel, Falses memories de Salvador Orlan. In this context, L’àngel rebel is a doubly unique work. First, because it participates in both of the two mentioned productive points: the memorialist and the scatological. Secondly, because it takes the negative of Porcel, which is, in fact, the push to boost Villalonga to complete his great eschatological cycle: Don Toni de Bearn, Obdúlia de Montcada, Lilí, Lulús, Andrea Víctrix. So, use the syntagma “the autor of Bearn” as a synonymous phrase for Villalonga is correct, but if it is used as a descriptive synecdoche of his work is to fall into an unacceptable reductionism: when you have read Bearn, you have just started reading Villalonga.
[eng] In connection with the novels that make up the so-called Villalonga Cicle de Flo la Vigne, this thesis characterizes the historical context, analyzes the novelistic concept of the author, makes a detailed analysis of each novel and stops in the contemporary critique re-conception that they had. The main results and conclusions obtained from the analysis of the data are the following ones. Although the syntagma is operating, there isn’t actually a Cicle de Flo la Vigne, but the novel Flo and the West decline cycle. In his novelistic practice, Villalonga did not fit to his theoretical proposals. Thematically, Villalonga is compulsive, his work revolves around the individual and collective death; all his creations are a pretext to talk about this issue, which adapt materials of many different origins, even if he has to distort them. So, aware of his own death, love to himself pushes him to achieve the immortality through the literature. Along this immortality search, Villalonga will become a journalist and a predictor, much more rationalist than retrograde, will become an ecology pioneer and will evolve to pancatalanism. As much as this latest relevance has been refused, has been suggested Villalonga homosexuality, however Villalonga was not gay but homophile. To finish, some obtained conclusions are momentous. Traditionally, Villalonga work has been considered divided between the works that make an elegy of the past and the ones that make a satire of the present. This division is operational, but has its limitations. There is indeed an elegy in Bearn, but there are also in Lulú regina, even if it’s located in the future. We affirm that there is a much more significant line that divides the work of Villalonga, which is always linked to the will to survive. On the one hand, the eschatological chronic, which connects with the literature survival. On the other hand, the memorialist literature, which allows him the personal survival; as he had a lack of biology, he had the literature: Les fures, El misantrop, L’àngel rebel, Falses memories de Salvador Orlan. In this context, L’àngel rebel is a doubly unique work. First, because it participates in both of the two mentioned productive points: the memorialist and the scatological. Secondly, because it takes the negative of Porcel, which is, in fact, the push to boost Villalonga to complete his great eschatological cycle: Don Toni de Bearn, Obdúlia de Montcada, Lilí, Lulús, Andrea Víctrix. So, use the syntagma “the autor of Bearn” as a synonymous phrase for Villalonga is correct, but if it is used as a descriptive synecdoche of his work is to fall into an unacceptable reductionism: when you have read Bearn, you have just started reading Villalonga.
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MAS CANALS, Víctor de. A propòsit del «Cicle de Flo La Vigne», de Llorenç Villalonga. [consulta: 6 de gener de 2026]. [Disponible a: https://hdl.handle.net/2445/41628]