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Texto Completo Libro (Pdf) EL JUEGO INTELECTUAL Ironía y textualidad en las narraciones breves de Vladimir Nabokov BIBLIOTECA DE INVESTIGACIÓN n.º 35 Asunción Barreras Gómez EL JUEGO INTELECTUAL Ironía y textualidad en las narraciones breves de Vladimir Nabokov UNIVERSIDAD DE LA RIOJA SERVICIO DE PUBLICACIONES 2014 El juego intelectual. Ironía y textualidad en las narraciones breves de Vladimir Nabokov de Asunción Barreras Gómez (publicado por la Universidad de La Rioja) se encuentra bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2014 publicaciones.unirioja.es E-mail: [email protected] ISBN: 978-84-697-0742-5 A Ana María, Santiago y Rufino There are three kinds of novelists —storytellers, teachers and enchanters; a major writer combines all three, but it is the enchanter in him that predominates, and makes him a major writer. Vladimir Nabokov. ÍNDICE 1. Introducción ................................................................................... 11 2. Vladimir Nabokov.......................................................................... 13 2.1. Apuntes biográficos................................................................... 13 2.2. Europa: puente entre la literatura rusa y la estadounidense . 19 2.3. Su obra literaria ......................................................................... 24 2.4. Nabokov y la crítica.................................................................. 29 2.4.1. Su narrativa breve y la crítica......................................... 32 3. Fundamentación, hipótesis y metodología .............................. 37 3.1. La pragmática y su interés en el estudio de la ironía ............ 37 3.2. La narratología y el estudio de la ironía ................................ 40 3.3. El concepto de la ironía ........................................................... 45 3.3.1. Aproximación y exposición general .............................. 45 3.3.2. La ironía como figura retórica........................................ 48 3.3.3. Los participantes de la ironía ......................................... 55 3.3.4. Los vehículos de la ironía: estructuras narrativas, lingüísticas y géneros literarios...................................... 57 3.3.4.1. Discurso directo ............................................... 58 3.3.4.2. El uso de comillas de distancia....................... 59 3.3.4.3. Cambio de código lingüístico o registro. Utilización de dialectos ................................... 60 3.3.4.4. Colocación inusual de palabras ...................... 61 3.3.4.5. Énfasis semántico ............................................. 61 3.3.4.6. La parodia......................................................... 62 3.3.4.7. Discurso indirecto ............................................ 63 3.3.4.8. Estilo indirecto libre......................................... 65 3.3.4.9. Narración débil................................................. 67 3.3.4.10. Enunciación enunciada ................................... 68 3.3.4.11. Conclusión ....................................................... 70 3.3.5. Tipos de ironía ............................................................... 71 9 ASUNCIÓN BARRERAS GÓMEZ 3.4. Hipótesis y metodología ........................................................... 75 3.4.1. Organización del análisis ............................................... 77 4. Análisis de los relatos del primer periodo ruso (años veinte).......................................................................... 81 4.1. “Russian Spoken Here” (1923) ................................................. 82 4.2. “The Thunderstorm” (1924)...................................................... 91 4.3. “The Dragon” (1924)................................................................. 98 4.4. “La Veneziana” (1924)............................................................... 104 4.5. “Details of a Sunset” (1924)...................................................... 113 4.6. “The Return of Chorb” (1925) .................................................. 120 4.7. “A Nursery Tale” (1926)............................................................ 127 4.8. “An Affair of Honor” (1927) ..................................................... 135 5. Análisis de los relatos del segundo periodo ruso (años treinta)......................................................................... 145 5.1. “Terra Incognita” (1931)............................................................ 145 5.2. “Perfection” (1932) .................................................................... 152 5.3. “Recruiting” (1935) .................................................................... 158 5.4. “Vasiliy Shishkov” (1939) .......................................................... 167 5.5. “Mademoiselle O” (1939).......................................................... 173 6. Análisis de los relatos del periodo americano. ....................... 185 6.1. “That in Aleppo Once” (1942) ................................................. 185 6.2. “The Assistant Producer” (1943)............................................... 195 6.3. “Conversation Piece, 1945” (1945) ........................................... 203 6.4. “Signs and Symbols” (1948)...................................................... 214 6.5. “The Vane Sisters” (1951).......................................................... 220 6.6. “Lance” (1952) ........................................................................... 227 6.7. “Scenes from the Life of a Double Monster” (1958)............... 235 7. Las dimensiones irónicas de los relatos de Nabokov: a modo de conclusión........................................... 243 7.1. Análisis conjunto de los resultados obtenidos ........................ 243 7.2. Desarrollo del uso de la ironía en Nabokov........................... 255 7.3. La ironía como juego en Nabokov .......................................... 258 7.4. Ecos, reflejos y máscaras de Nabokov en su obra breve....... 260 7.5. Enunciadores y narradores en Nabokov ................................. 264 7.6. El lector de los relatos de Nabokov ........................................ 267 7.7. Nota sobre las influencias literarias rusas en los relatos de Nabokov................................................................... 271 8. Bibliografía...................................................................................... 277 10 1. Introducción Pretende esta introducción dar cuenta de los temas generales, de la estruc- tura y de la organización en diversos capítulos de este trabajo, que lleva por título El juego intelectual. Ironía y textualidad en las narraciones breves de Vladimir Nabokov. El primer capítulo, “Vladimir Nabokov”, se dedica a la bio- grafía del autor y su época de expatriado ruso; además, aporta una bibliogra- fía de su obra literaria. Es una forma de acercarse al autor y a su producción literaria, así como de comprender la importancia que tuvo en su vida el exilio de su Rusia natal. Como se verá, esta situación supuso su emigración a Berlín y, finalmente, a Estados Unidos. Sin embargo, este hecho también conllevó una expatriación espiritual de Rusia, sus costumbres y su cultura, ya que este país se había transformado en la URSS y su Rusia había dejado de existir, al parecer, para siempre. Esta separación definitiva le hizo mostrarse nostálgico e irónico, y le obligó a adaptarse a la nueva situación, hasta el punto de aca- bar escribiendo en inglés para sobrevivir como escritor. En este mismo capítulo también repasaremos la recepción obtenida por su obra en “Nabokov y la crítica”, así como los principales estudios literarios que se le han dedicado. En esta sección se muestran diversas tendencias que responden a las escuelas teóricas que han sido más relevantes en estas déca- das. Especial atención se ha prestado a la sección dedicada al estudio de la crítica específica de la narrativa breve de Nabokov, por ser ella el objeto de este estudio. Finalmente, aportaremos una información básica de referencia a esta parte de la obra de Nabokov. El capítulo “Fundamentación, hipótesis y metodología” responde a la necesidad de especificar la base científica de una investigación de estas carac- terísticas y el procedimiento de su estudio. Se explica en él por qué la prag- mática y la narratología sustentan el estudio de la ironía y su aplicación en las narraciones breves de Nabokov. Se especifican las características de este tropo, los participantes en los procesos comunicativos donde interviene esta figura retórica1 y los tipos de ironía. Se estudian las estructuras narrativas y lingüísti- 1 Se trata de una figura retórica para la retórica tradicional, pero que conviene estu- diarla con instrumentos que rebasan esta perspectiva. 11 ASUNCIÓN BARRERAS GÓMEZ cas, así como los géneros literarios que tipifican el uso de dicho tropo. En la sección metodológica se detalla el objeto de este estudio y las razones de su elección. Además, se comenta la organización y procedimiento que se sigue en los análisis posteriores. Los siguientes capítulos (cuatro, cinco y seis) son los más extensos y están compuestos por los análisis de los relatos de Nabokov. Los hemos dividido en tres etapas diferenciadas: “Primer periodo ruso, años veinte”, “Segundo perio- do ruso, años treinta” y “Periodo americano”. De esta forma, se distingue una primera etapa en la que se empieza a formar como
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