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Forugh Farrojzad Y Alejandra Pizarnik: Obra Literaria Y Contexto Social

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Forugh Farrojzad Y Alejandra Pizarnik: Obra Literaria Y Contexto Social UNIVERSIDAD AUTÓNOMA DE MADRID DEPARTAMENTO DE FILOLOGÍA ESPAÑOLA FORUGH FARROJZAD Y ALEJANDRA PIZARNIK: OBRA LITERARIA Y CONTEXTO SOCIAL. ESTUDIO COMPARATIVO TESIS DOCTORAL Presentada por: Nafiseh Zifan Dirigida por: Dra. Dña. Selena Millares Martín Madrid 2019 UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE FILOLOGÍA ESPAÑOLA FORUGH FARROJZAD Y ALEJANDRA PIZARNIK: OBRA LITERARIA Y CONTEXTO SOCIAL. ESTUDIO COMPARATIVO TESIS DOCTORAL Presentada por: Nafiseh Zifan Dirigida por: Dra. Dña. Selena Millares Martín Madrid 2019 A mis padres, me gustaría agradecérles de todo corazón, pero para ustedes, mi querida esperanza, mi corazón no tiene fondo. i AGRADECIMIENTOS A Dios, el ser omnipotente que me ha dado la vida y me lleva cada día de las manos, por las grandes oportunidades que me da irradiando. A la admirable profesora, Dra. Selena Millares Martín, por su confianza en mi trabajo, su sabia dirección, sus valiosas aportaciones y su apoyo constante, así como por la amabilidad y el cariño que ha mostrado durante esta larga andadura por los caminos del conocimiento y de la complicidad intelectual. A mis padres y hermanos, por su colaboración y compasión, y su apoyo incondicional en cumplir con excelencia el desarrollo de esta tesis. Espero que este diminuto trabajo pueda agradecer una pequeña parte de sus esfuerzos. A mi amiga Karina, por su compañía y atención en este trabajo. A todas aquellas personas que de una u otra forma estuvieron relacionadas y me apoyaron de manera desinteresada. A todos ellos muchas gracias. ii ÍNDICE INTRODUCCIÓN 1 I. LA POESÍA A ESCALA GLOBAL: SITUACIÓN SOCIAL E HISTÓRICA DE LAS POETAS CONTEMPORÁNEAS 1. Introducción 10 2. La literatura contemporánea argentina y su contexto social en la segunda mitad del siglo XX 15 2.1. Contexto histórico 17 2.2. El realismo mágico y el boom latinoamericano 24 3. La poesía contemporánea persa y su contexto social en la segunda mitad del siglo XX 28 3.1. La evolución histórica de la literatura antigua persa 30 3.2. La evolución de la poesía persa y la Nueva Poesía 37 4. La situación social y el lugar de la mujer en la sociedad literaria 43 4.1. En Argentina 47 4.2. En Irán 53 5. Conclusiones: hacia la modernidad 60 II. LA POESÍA COMO DESTINO: ELEMENTOS HISTÓRICOS Y BIOGRÁFICOS 1. Introducción 64 2. Forugh Farrojzad: el hada princesa de la poesía persa 69 3. Alejandra Pizarnik: la poeta maldita 77 4. Conclusiones: características y contexto social y literario de las poetas 88 III. CONTEXTO LITERARIO: POESÍA Y CONOCIMIENTO 1. Introducción 92 iii 2. Forugh Farrojzad 97 2.1. La forma de la poesía: del ritmo métrico a una nueva terminología 103 2.2. Adscripciones e influencias: de romanticismo a vanguardia 116 3. Alejandra Pizarnik 123 3.1. La forma de la poesía: de la búsqueda de una voz propia al silencio 131 3.2. Adscripciones e influencias: más allá del surrealismo 147 4. Conclusiones: la palabra como destino 159 IV. ESBOZO DE UNA LINEA POÉTICA: POESÍA Y PENSAMIENTO 1. Introducción 166 2. Forugh Farrojzad 173 2.1. El amor: de tradición a modernidad 177 2.1.1. Periodo de insensatez y perplejidad 177 2.1.2. Periodo de madurez y entereza 202 2.2. Cosmovisión: de rebelión a estimar los valores sociales 219 2.3. La muerte: de desesperación a decadencia 243 3. Alejandra Pizarnik 270 3.1. El amor: de ilusión a abatimiento 274 3.2. Cosmovisión: el abismo de la locura 300 3.3. La muerte: del temor al suicidio 319 4. Conclusiones: lo que ha sido 351 V. CONCLUSIONES Enfrentamiento de dos miradas 357 BIBLIOGRAFÍA 369 APÉNDICE: POESÍA SELECCIONADA DE FORUGH FARROJZAD 397 CAUTIVA 398 iv Cautiva 399 Despedida 401 Fuga y dolor 402 La figura oculta 404 LA PARED 405 El pecado 406 Bañarse 407 La pared 409 REBELIÓN 410 Rebelión de Dios 411 Un poema para ti 413 NUEVO NACIMIENTO 416 El viento nos llevará 417 En las aguas verdes del verano 418 Muros fronterizos 421 Mi amante 424 En las frías calles de la noche 427 Versículos mundanos 429 Visita por la noche 433 La alucinación verde 436 Pareja 441 La conquista del jardín 442 La rosa 445 El pájaro solamente era un pájaro 446 Saludaré de nuevo al sol 447 Nuevo nacimiento 448 CREAMOS EN EL COMIENZO DE LA ESTACIÓN FRÍA 451 v Creamos en el comienzo de la estación fría 452 Siento pena por el huerto 462 El pájaro es mortal 465 vi INTRODUCCIÓN Con los avances tecnológicos desarrollados actualmente, el acercamiento entre las diversas culturas del mundo ha sido inevitable. La globalización junto a los estudios interdisciplinarios, han ocasionado cambios en el ámbito literario, afectando al fortalecimiento de la “literatura comparada”. La unidad de perspectiva – en la cual, los escritores en diversos idiomas se inspiran en una fuente común y enfrentan experiencias, emocionales e intelectuales, similares – fomenta la necesidad de analizar las diferentes fuentes literarias del mundo. La literatura comparada adopta toda la literatura mundial como una sola. Su objetivo es analizar la relación existente entre una y otra literatura de manera sistemática. La herramienta principal para abarcar el logro total de la literatura en todo el mundo, es mediante la comparación; así lo explica Eliot: que la comparación y el análisis son las herramientas principales de la crítica1. Es evidente que existía la concentración en la literatura comparada desde la antigüedad, pero en la época contemporánea, este aspecto se considera de mayor importancia ya que se desea establecer nuevas bases de investigación para consolidar las normas y los procedimientos. La literatura comparada, según Villegas, nos ayuda a “reconocer vínculos de orden estético, social, individual, y político”2. Si en algún momento se creyó que la interacción y la coexistencia con la literatura mundial socavaría la literatura nacional y la conduciría a su desaparición y eliminación en el ámbito de la literatura mundial, hoy, seguramente todo el mundo estaría convencido de que el objetivo de la literatura de otros países es influir en la literatura nacional, y posteriormente, abrir nuevos espacios frente a ella: no solo mantenerla alejada del aislamiento, sino además, provocar su progreso y prosperidad. Si nuestra intención es hacer un estudio de literatura comparada, es necesario centrarse en la relación entre la historia y la cultura de las naciones de los autores. En otras palabras, la literatura comparada es la imagen y el reflejo de la literatura y la cultura de una nación en otra nación o naciones. Lo que representa la identidad nacional de un país es la rama cultural de ese país. En 1 Thomas Stearns Eliot, The Sacred Wood. Essays on Poetry and Criticism, London: Methuen & Co., 1972, p. 96. 2 Irlanda Villegas y David Reyes, ¿Qué es la literatura comparada? Impresiones actuales. Veracruz: Universidad Veracruzana, 2014, p. 9. 1 este punto, cabe mencionar que una de las manifestaciones de la cultura de cada nación es la literatura de esa nación. La literatura y especialmente la poesía, con todas sus dependencias sociales, culturales, geográficas y con toda su multiplicidad y divergencias, es el lenguaje común para expresar el dolor, los sueños y los sentimientos de su gente. El poeta en su poesía refleja los problemas culturales y hasta políticos de la sociedad, entonces su obra se convierte en un elemento global que representa de manera oportuna los aspectos culturales y tradicionales de esa patria. Las similitudes escondidas detrás de las cortinas de las diferencias lingüísticas y culturales necesitan ser descubiertas, registradas y analizadas. Por lo tanto, si nuestro conocimiento se incrementa en el campo literario, poético y artístico, sin duda, podemos tener un mejor juicio sobre cada país y su civilización. Otro punto digno de mención es que el investigador que se dedica al estudio de la literatura comparada, en primer lugar, debería tener la habilidad de leer y entender los textos literarios en la lengua original; porque cada lengua tiene sus características especiales y la comprensión de los textos se hace posible a través del lenguaje original. Así mismo, cabe mencionar que tal vez la intención de este trabajo no sea mejorar el conocimiento sobre las naciones argentina e iraní, pero con enfocarnos en la vida y obras de las dos poetas, Forugh Farrojzad y Alejandra Pizarnik, se manifiesta la gran influencia que puede tener la literatura de estas naciones en el desarrollo literario de otros países. El lenguaje y la literatura de una nación no pueden seguir su camino sin la influencia de otras culturas. La literatura de cada comunidad ha afectado a otras, y este efecto se evidencia cuando se trata de comparar la literatura de una nación con la literatura de otras naciones. El campo de la literatura comparada, lamentablemente, no se ha trabajado mucho en Irán; a pesar de que este país tiene antecedentes literarios muy predominantes en el mundo. Cabe aclarar que en el mundo literario, la poesía clásica de Irán ha sido considerada de mayor interés, y de menor aprecio la poesía contemporánea y moderna. Así mismo, la novela latinoamericana ha sido considerado por parte de los críticos literarios de Irán, y no mucho conocimiento sobre la poesía de ese continente. En la indagación realizada se destaca la escasez de estudios críticos que tengan como objeto de análisis el nexo entre una poeta oriental y otra occidental o latinoamericana. Abundan los estudios críticos sobre Forugh Farrojzad y Alejandra Pizarnik, pero hasta el día de hoy, no se ha hecho un estudio comparativo entre ellas, y que es algo muy interesante, porque ellas 2 vivían en la misma época, tenían un punto de vista y sentimientos parecidos, fallecieron jóvenes, y vivieron en dos mundos diferentes. Hasta ahora, los trabajos que se han realizado son parciales, como traducciones de unos poemas de Farrojzad en español por parte de Clara Janes3, y en Irán, unas tesis comparando las obras de Farrojzad con poetas de Occidente como Silvia Plath y Lesya Ukrainka.
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