La metàfora de l’amic i l’amat: amància i literatura en l’obra de ramon llull
- Autores: Arnau Vives Piñas
- Directores de la Tesis: Albert Soler Llopart (dir. tes.), Lola Badia Pàmies (codir. tes.)
- Lectura: En la Universitat de Barcelona ( España ) en 2021
- Idioma: español
- Programa de doctorado: Programa de Doctorado en Estudios Lingüísticos, Literarios y Culturales por la Universidad de Barcelona
- Materias:
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- Resumen
This thesis studies the meaning and the unfolding of the image pertaining to the Lover (Cat. amic) and the Beloved (Cat. amat), an emblematic expression of the literature produced by Ramon Llull. The works which deploy this image delineate an art of loving God, namely, amància, while also constituting a vademecum for contemplatives, itself endowed with a specifically literary dimension, a dimension wherein aesthetic communication serves as an intellectual tool aimed at securing spiritual transformation. Within this context, the Lover symbolically represents the successful practitioner of Llull’s Art; the narrative in which the Lover is involved consists in that of the fulfilment of those human beings who follow the path laid out by the Lullian Art, in such a way that this Lover becomes a literary exemplification of the application of the Artistic method. The works pertaining to amància thus reveal a reciprocal link between literature and the art of contemplation.
Our analysis of the image’s unfolding is performed by using as its starting point the 3,029 sentences regarding the Lover and the Beloved that have been identified within Ramon Llull’s Catalan oeuvre. These sentences have been systematically compiled within the Digital Corpus of the Lover and the Beloved (Corpus Digital d’Amic i Amat or CDAIA), an electronic reference tool containing a complete anthology of the relevant “amative” texts, organised thematically and Artistically, all of which has been achieved via the application thereto of semantic tags. On the above basis, a hermeneutical analysis of the corpus has been formulated in order to define the meanings attributable to the image. At the very beginning of Llull’s writerly production, the literary metaphor is forged, namely, that of the friendship between the Lover, i.e. the devout contemplative, and the Beloved (or God Himself). To this metaphor, new semantic fields, contexts and characters are progressively added, all of which lend increasing shape to the leitmotif operative within a schema of Christic friendship obtaining between human beings and God. In this way is the literary theme – an account, that is, the story of a spiritual adventure – built up, a theme wherein that original image ultimately assumes symbolic and archetypal characteristics. These three dimensions (metaphor, theme and symbol) reveal the complexity pertaining to the image of the Lover as a literary and epistemological device within Llull’s literary production. Our analysis has enabled us to elicit the thematic, Artistic and formal components of the corpus, as well as to discern the evolution of the Art and the forms of writing employed in each work. In so doing, it has revealed four phases associated with the unfolding of the image. These phases consist of: a) the earliest formulation of the metaphor in the Llibre de contemplació (Book of Contemplation); b) the definition of the theme in the Llibre d’amic e amat (Book of the Lover and the Beloved); c) the systematisation of the method of contemplation in the Art amativa (Amative Art); and d) the combination of the pedagogical vademecum pertaining to the method in question with the account narrated in relation to the Lover, a combination encountered in the Arbre de filosofia d’amor (Tree of the Philosophy of Love), a work wherein the theme reaches its narrative conclusion.
This thesis lays stress upon the literary nature of the image as well as upon the symbolic function thereof, while modifying the biographical and mystical perspective that has traditionally been adopted towards a number of “amative” works. The present study contributes towards our understanding of Llull’s writings, writings invariably linked to the role of his Art, and it presents a novel interpretative framework whereby to reappraise the autobiographical and mystical conception – as well as that pertaining to the friendship (or amistat) of Christ – associated with the Lover (or amic). We thus venture a new reading of a motif which lays bare the unique formulation of vernacular literature undertaken by Llull, a formulation wherein it was made possible for his readers, by virtue of the Art and their understanding of literature considered as a spiritual practice, to reintroduce order into their powers of cognition, will and agency, and thus to achieve the fullness of their faculties, as well as to know and love God.
