The Concept of the Spanish Language in the Literary Works of C.J. Cela

The article examines C.J. Cela’s (Nobel Prize in Literature 1989) views of language and how these were reflected in his art. Writers who started creating and publishing during the first years of Francoist censorship were supposed, by literary community opinion, to ‘reinvent’ language (this trend is known as ‘adanismo’); Cela was one of them. He began as a surrealist and postist, had been interested in a taboo words, Latin American and Precastilian Spanish because interpreted those as enslaved not to dictionaries and government organizations, but to the dictates of a changing (extra)linguistic reality. He argued that consciousness is maked narrow- minded not by language as a structure, but by the idea that language is a structure that affects on consciousness in a unidirectional manner. Trends in language evolution, meanings of words are not prescribed in advance by human will or by the nature of named things, but are (re)defined by many factors. This throughts is the basic methodological idea of compiling Cela’s dictionaries of taboo vocabulary. The use of un-diccionaried word is associated with communicants' reflection about the context of speech and contributes to their (self)identification, subjectivization. In Latin American novels, Cela employs avant-gardist’s techniques pseudo-foreign language of the poet, atomizing language to its basic elements. In this way, Cela imitates Latin American dialects and reproduces the literary motif of the first word ever uttered by human (Adam): in Latin American literature, this motif signifies a question about the nature of existence and the character of the speaker.