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El Multiverso, Icono Del Diálogo Transdisciplinario: Una Aproximación En Las Obras De Jorge Luis Borges, Yasutaka Tsutsui Y Gr

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El Multiverso, Icono Del Diálogo Transdisciplinario: Una Aproximación En Las Obras De Jorge Luis Borges, Yasutaka Tsutsui Y Gr ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en Departamento de Filología Española Programa de doctorado en Teoría de la Literatura y Literatura Comparada TESIS DOCTORAL EL MULTIVERSO, ICONO DEL DIÁLOGO TRANSDISCIPLINARIO: UNA APROXIMACIÓN EN LAS OBRAS DE JORGE LUIS BORGES, YASUTAKA TSUTSUI Y GRANT MORRISON Lizbeth Angélica Cabrera Torrecilla Directores de tesis: Antonio Penedo Picos Sara Martín Alegre Universitat Autònoma de Barcelona, 2017 AGRADECIMIENTOS Esta tesis ha sido escrita gracias a la subvención del Consejo Nacional de Ciencia y Tecnología (CONACyT) y la Secretaría de Educación Pública (SEP), México. Agradezco profundamente la inestimable labor de mis directores, el Dr. Antonio Penedo y la Dra. Sara Martín Alegre, sin su asesoramiento, confianza y paciencia, este trabajo no hubiera sido posible. Muchas otras personas también se han visto involucradas en el desarrollo de esta investigación de manera directa o indirecta: el Dr. Manuel Cruz, por sus cátedras, recomendaciones y escucha. Mis queridos Juan y Vero, que con su incondicional apoyo me han acompañado en el duro proceso de adaptación a un nuevo contexto. Especialmente a mi amado Edu, por todas las risas, las maravillosas ideas, desvelos, inspiración y abrazos que dieron forma a este trabajo. Finalmente, dedico esta tesis a mi adorado hermano, por su ánimo y su cariño y, principalmente, a Norma, mi amada madre y pilar en la vida, por su incondicional apoyo, amor y confianza en todos mis proyectos. Alors, dans un autre angle de la feuille, je dessinai mon vieux système solaire, avec ses planètes principales. J’indiquai la Terre et je retournai le doigt contre ma prope poitrine. La Planète des singes (1963), Pierre Boulle. CONTENIDOS ÍNDICE DE ILUSTRACIONES .............................................................. 11 INTRODUCCIÓN ...................................................................................... 1 0.1. Conceptualizaciones del multiverso ................................................................... 1 0.2. Por una dialéctica transdisciplinaria del universo múltiple .............................. 12 0.3. Las diferentes posibilidades de erigir un multiverso ........................................ 16 0.4. El multiverso como representación de la transdisciplinariedad ....................... 19 0.5. What if a Multiverse?... Genealogía del multiverso ......................................... 27 CAPÍTULO 1 E PLURIBUS UNUM: EL MUNDO INTERIOR COMO ESPEJO Y MAPA DEL SUPERIOR EN TRES CUENTOS DE JORGE LUIS BORGES, “EL LABERINTO DE LOS SENDEROS QUE SE BIFURCAN”, “EL ALEPH” Y “TLÖN, UQBAR, ORBIS TERTIUS” ..................................................................................................................... 45 1.1. Preámbulo ......................................................................................................... 45 1.2. Perdidos en el laberinto: Un acercamiento a los motivos en Borges ............... 46 1.3. Del gusto por el extravío: “El jardín de los senderos que se bifurcan” ............ 64 1.3.1. Multi-bifurcaciones: Repeticiones desde la fractura ................................ 69 1.3.2. Apuntes finales: El laberinto como multiverso ........................................ 81 1.4. “El Aleph”: Una aproximación desde sus propiedades geométricas ............... 85 1.4.1. En búsqueda de “El aleph”: Una segmentación del multiverso ............... 94 1.4.2. Los mundanos objetos estéticos: Una conclusión a “El Aleph” ............. 102 1.5. Una definición de lo imaginable: “Tlön, Uqbar, Orbis Tertius” .................... 110 1.5.1. Diagramas abstractos: Los posibles multiversos lógicos ....................... 113 1.5.2. Miradas prospectivas: Una conclusión al multiverso imaginario ........... 120 1.6. Multiversos discretos: Conclusiones generales sobre los tres cuentos borgesianos ..................................................................................................... 128 CAPÍTULO 2 LA EXTENSIÓN DEL INTERIOR HACIA EL ESPACIO EXTERIOR: EL JUEGO DIALOGADO ENTRE EL SUJETO Y LA PSIQUE, LA VIGILIA Y EL SUEÑO EN PAPRIKA DE YASUTAKA TSUTSUI ................................................................................................. 133 2.1. Preámbulo ....................................................................................................... 133 2.2. Cruzando el umbral: Un acercamiento a la ficción de Paprika ..................... 134 2.3. Descifrando otros mundos: Paprika, la detective de sueños .......................... 152 2.4. Paprika: El Doppelgänger de otro universo ................................................... 165 2.5. Topología onírica: El sueño como mundo paralelo ........................................ 177 2.6. El sueño dentro del sueño: Paprika en su versión animada ........................... 184 2.6.1. Discurriendo entre dos mundos: Una aventura arriesgada ..................... 193 2.6.2. El espejo del quiasmo: Una glosa a la ética onírica ............................... 202 2.7. De vuelta a despertar: Conclusiones a Paprika .............................................. 212 CAPÍTULO 3 LOS DOS SENTIDOS DEL PORTAL: LA PERVERSA ESTRUCTURA NARRATIVA EN THE MULTIVERSITY DE GRANT MORRISON ........................................................................................... 217 3.1. Preámbulo ....................................................................................................... 217 3.2. De dibujos y palabras: Un acercamiento al mundo del cómic ....................... 218 3.3. Cartografías del multiverso: La continua representación mutable ................. 238 3.4. El loop refrencial: Narrativas del multiverso ................................................. 253 3.5. Problemas de identidad: ¿Quién es quién en The Multiversity? ..................... 265 3.5.1. El superhéroe lector: Salvando la ficción ............................................... 265 3.5.2. Los lectores villanos: Abatiendo los mundos posibles ........................... 274 3.6. Encarnando y desencarnando una idea: El ente de “Ultracomics” ................ 282 3.7. El inicio del fin: Inciso a los motivos generales ............................................. 290 3.8. La invasiva dimensión del multiverso: Concluyamos The Multiversity ........ 298 CONCLUSIONES .................................................................................. 303 BIBLIOGRAFÍA .................................................................................... 315 ÍNDICE DE ILUSTRACIONES Ilustración 1: Universo bifurcado según la ‘Many Worlds of Quantum Mechanics’. .... 71 Ilustración 2: Plano del laberinto del ‘Jardín-Isla de Citerea’, Francesco Colonna. ...... 84 Ilustración 3: Grabado de Flammarion, 1888. Autor desconocido. ................................ 94 Ilustración 4: Max Tegmark, “Parallel Universes”, ‘Scientific American’, 2003. ......... 95 Ilustración 5: Ejemplificación del concepto de ‘Inconmensurabilidad’ según Paul Feyerabend. ............................................................................................ 114 Ilustración 6: M.C. Escher. Three Worlds. ................................................................... 126 Ilustración 7: Emergiendo de lo mínimo. Satoshi Kon, ‘Paprika’. ............................... 148 Ilustración 8: Mujer mariposa. Satoshi Kon, ‘Paprika’. ............................................... 164 Ilustración 9: Álterego. Satoshi Kon, ‘Paprika’. .......................................................... 166 Ilustración 10: Espejismos. Satoshi Kon, ‘Paprika’. .................................................... 172 Ilustración 11: William Blake, ‘Newton’ (1804); ‘Nebuchadnezzar’ (1795). .............. 181 Ilustración 12: Invasión onírica. Satoshi Kon, ‘Paprika’. ............................................ 182 Ilustración 13: Christopher Nolan, ‘Inception’. Satoshi Kon, ’Paprika’. ..................... 191 Ilustración 14: NASA. Teleportación cuántica. ............................................................ 197 Ilustración 15: El desfile de sueños. Satoshi Kon, ‘Paprika’. ...................................... 198 Ilustración 16: Paprika vence al mal. Satoshi Kon, ‘Paprika’. ...................................... 211 Ilustración 17: Tierra paralela. World's Finest Comics #148, 1965. ............................. 236 Ilustración 18: Mapa del multiverso de ‘The Multiversity’. ........................................ 242 Ilustración 19: Grant Morrison & Markus To. “La Guía del Multiverso”, #6.............. 243 Ilustración 20: Grant Morrison & Doug Mahnke. “Ultracomics”, #8. ......................... 244 Ilustración 21: Grant Morrison & Doug Mahnke. “Ultracomics”, #8. ......................... 248 Ilustración 22: Grant Morrison & Ivan Reis. “Justicia Encarnada”, #9. ...................... 250 Ilustración 23: Grant Morrison & Ivan Reis. “El Multiverso”, #1. .............................. 251 Ilustración 24: Torus y Doble Torus. ...........................................................................
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