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És l'amor una escriptura? Una interpretació de l'amor com a tecnologia d'escriptura en l'obra de Marina Tsvetàieva, Franz Kafka i Clarice Lispector
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[cat] Aquesta tesi doctoral estudia l’amor com una tecnologia d’escriptura, mitjançant el diàleg amb les propostes hegemòniques dels estudis contemporanis sobre l’amor, principalment la sociològica, encapçalada per Eva Illouz, i proposa tres aproximacions a tall d’exemple d’aquesta nova interpretació a partir de l’obra de tres autors del segle XX: Marina Tsvetàieva, Franz Kafka i Clarice Lispector. L’anàlisi consisteix en una primera part d’aproximació comparatista que repassa les disciplines contemporànies que exploren l’amor, alhora que desenvolupa la proposta del concepte “tecnologia d’escriptura”, traçant la genealogia del terme des de Martin Heidegger a Walter J. Ong. Posteriorment, la recerca indaga en tres poètiques canòniques que no han estat historiades com a poètiques de l’amor, fet que demostra l’oblit constitutiu de la literatura com a disciplina que pensa l’amor, i indaga en la manera com el concepte “tecnologia d’escriptura” il·lumina prismes oblidats de l’experiència amorosa en paral·lel a l’escriptura. El recorregut inicial permet comprendre el menysteniment contemporani de la literatura per a declinar l’amor malgrat el lligam històric de tots dos fenòmens. Posteriorment, encunyar el terme “tecnologia d’escriptura” pretén recuperar aquesta dimensió oblidada en els estudis recents: el terme aprofundeix en la dimensió artificial i escriptural de l’amor, a la vegada que incideix en la rellevància que té per a la construcció subjectiva i social de l’individu com una tecnologia del jo que s’articula amb l’escriptura. El terme, alhora, es planteja com un marc de lectura a través del qual s’apropa a l’obra de Marina Tsvetàieva –considerada per Joseph Brodsky com una “tecnologia”–, la correspondència amorosa de Franz Kafka –qualificada per Elias Canetti com una “obra literària”– i alguns contes de Clarice Lispector –emblema de l’écriture féminine, segons Hélène Cixous, terme que comparteix diverses qualitats amb el de “tecnologia d’escriptura”. Tots trets autors tenen en comú la relació complexa amb la llengua d’escriptura, la idea d’origen i l’enunciació escriptural de l’amor, incidint tots ells en la dimensió artificial tant de l’escriptura com de l’experiència amorosa, més enllà de formar part, cadascú en el seu sistema literari, d’una “literatura menor”, en els termes de Deleuze i Guattari. Així doncs, la lectura triangulada demostra la necessitat d’ampliar les preguntes i les respostes sobre l’amor contemporani tot recuperant l’estudi del text literari a través d’un concepte que explora la seva dimensió artificial, protètica i de construcció subjectiva, social i col·lectiva.
[eng] This doctoral thesis examines love as a writing technology. It engages with dominant approaches in contemporary studies of love—particularly the sociological perspective associated with Eva Illouz—and proposes three illustrative avenues through which this interpretation may be developed, drawing on the works of three twentieth-century authors: Marina Tsvetaeva, Franz Kafka, and Clarice Lispector. The study begins with a comparative section that reviews contemporary disciplinary approaches to love, while also elaborating the concept of “writing technology” by tracing its genealogy from Martin Heidegger to Walter J. Ong. It then turns to an analysis of three canonical poetics that have not traditionally been historicised as poetics of love, thereby revealing a broader neglect of literature as a discipline capable of reflecting on love. In this context, the thesis demonstrates how the concept of “writing technology” illuminates overlooked dimensions of the experience of love as it unfolds in parallel with writing. This initial framework serves to account for the contemporary marginalisation of literature’s role in articulating love, despite the longstanding historical relationship between the two. The coining of the term “writing technology” seeks to recover this neglected dimension by foregrounding the artificial and scriptural aspects of love, while emphasising its significance in the subjective and social construction of the individual as a technology of the self articulated through writing. At the same time, the term functions as an interpretative framework through which to approach the work of Marina Tsvetaeva—described by Joseph Brodsky as a “technology”—the love letters of Franz Kafka—characterised by Elias Canetti as a “literary work”—and selected short stories by Clarice Lispector, identified by Hélène Cixous as emblematic of écriture féminine, a concept that shares several features with that of “writing technology”. These three authors exhibit a complex relationship with language, origin, and the written expression of love, each emphasising the artificial dimension of both writing and the experience of love. This emphasis extends beyond their positioning, within their respective literary systems, as instances of what Deleuze and Guattari term “minor literature”. Taken together, this triangulated reading underscores the need to expand the conceptual frameworks through which contemporary love is examined. It advocates a renewed engagement with the literary text through a concept that foregrounds its artificial and prosthetic dimensions, as well as its role in the subjective, social, and collective construction of experience
[eng] This doctoral thesis examines love as a writing technology. It engages with dominant approaches in contemporary studies of love—particularly the sociological perspective associated with Eva Illouz—and proposes three illustrative avenues through which this interpretation may be developed, drawing on the works of three twentieth-century authors: Marina Tsvetaeva, Franz Kafka, and Clarice Lispector. The study begins with a comparative section that reviews contemporary disciplinary approaches to love, while also elaborating the concept of “writing technology” by tracing its genealogy from Martin Heidegger to Walter J. Ong. It then turns to an analysis of three canonical poetics that have not traditionally been historicised as poetics of love, thereby revealing a broader neglect of literature as a discipline capable of reflecting on love. In this context, the thesis demonstrates how the concept of “writing technology” illuminates overlooked dimensions of the experience of love as it unfolds in parallel with writing. This initial framework serves to account for the contemporary marginalisation of literature’s role in articulating love, despite the longstanding historical relationship between the two. The coining of the term “writing technology” seeks to recover this neglected dimension by foregrounding the artificial and scriptural aspects of love, while emphasising its significance in the subjective and social construction of the individual as a technology of the self articulated through writing. At the same time, the term functions as an interpretative framework through which to approach the work of Marina Tsvetaeva—described by Joseph Brodsky as a “technology”—the love letters of Franz Kafka—characterised by Elias Canetti as a “literary work”—and selected short stories by Clarice Lispector, identified by Hélène Cixous as emblematic of écriture féminine, a concept that shares several features with that of “writing technology”. These three authors exhibit a complex relationship with language, origin, and the written expression of love, each emphasising the artificial dimension of both writing and the experience of love. This emphasis extends beyond their positioning, within their respective literary systems, as instances of what Deleuze and Guattari term “minor literature”. Taken together, this triangulated reading underscores the need to expand the conceptual frameworks through which contemporary love is examined. It advocates a renewed engagement with the literary text through a concept that foregrounds its artificial and prosthetic dimensions, as well as its role in the subjective, social, and collective construction of experience
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GUASCH, Pol. És l'amor una escriptura? Una interpretació de l'amor com a tecnologia d'escriptura en l'obra de Marina Tsvetàieva, Franz Kafka i Clarice Lispector. [consulted: 5 of November of 2026]. Available at: https://hdl.handle.net/2445/232604