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El Imaginario Lingüístico En La Literatura Y El Cine

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El Imaginario Lingüístico En La Literatura Y El Cine TESIS DOCTORAL EL IMAGINARIO LINGÜÍSTICO EN LA LITERATURA Y EL CINE DEL ÉLFICO AL DOTHRAKI Leticia Gándara Fernández Programa de Doctorado en Lenguas y Culturas 2018 TESIS DOCTORAL EL IMAGINARIO LINGÜÍSTICO EN LA LITERATURA Y EL CINE DEL ÉLFICO AL DOTHRAKI Leticia Gándara Fernández Programa de Doctorado en Lenguas y Culturas Conformidad de la Directora Dra. Dª Carmen Galán Rodríguez 2018 AGRADECIMIENTOS Todo aquel que haya pasado por la apasionante e inolvidable experiencia de elaborar una tesis doctoral, sabrá reconocer que, una vez que se coloca el punto final, vienen a la memoria las personas que, de una manera u otra, han contribuido a que esto sea posible. Me gustaría agradecer, en primer lugar, el apoyo que siempre he recibido de mi directora, Carmen Galán Rodríguez, quien me abrió las puertas de este mundo de lenguas, que yo desconocía al principio, en el que he encontrado mi camino. Gracias por tu confianza, por tu sabiduría y tus consejos y, por supuesto, por enseñarme a creer en las palabras. Gracias, por valorarme. Igualmente estoy en deuda con muchos de los profesores e investigadores de la Facultad de Filosofía y Letras de la Universidad de Extremadura, especialmente con los del Departamento de Filología Hispánica y Lingüística General, quienes durante años me han formado profesional y personalmente. Desde el doctor Miguel Ángel Lama, con quien aprendí a vivir la literatura de una manera especial y a quien siempre le estaré agradecida, a cada una de las voces que han conseguido transmitirme su pasión por obras como el Popol Vuh, por la yod, por los fonemas o por el teatro barroco. Debo mostrar mi agradecimiento también a mis compañeros, tanto a los que comenzaron conmigo esta andadura, como a los que aún se encuentran en camino, en especial a Ana y Alberto, con quienes he compartido buenos y malos momentos. Y gracias, por supuesto, a mi familia y amigos, a quien debo pedir disculpas por haberles robado un tiempo precioso que les pertenecía a ellos y que espero devolverles. Gracias a mi madre, mi gran apoyo, que hoy ve un sueño cumplido; tus brazos han sido mi mayor consuelo desde mi niñez. También a mi padre, de quien he aprendido que por muy grande que sea la montaña, siempre hay un camino para conquistar la cima. No puedo olvidarme de mi hermano, quien consigue siempre sacarme una sonrisa, y de María, mi alma gemela, no solo por valorarme, sino también por enseñarme a que yo misma me valore. Finalmente, gracias a ti, Juan Carlos, que has vivido conmigo esta aventura. Quiero agradecerte todos estos años a mi lado, en los que no solo has sabido apoyarme y respetarme, sino también devolverme la ilusión en aquellos momentos en los que la creía perdida. Gracias por todo el tiempo hemos vivido juntos y por todo el que aún nos falta; por esos sueños que nos quedan por cumplir. A todos: muchas gracias por haber colaborado en esta tesis doctoral. Es vuestra. RESUMEN La presente tesis doctoral constituye un análisis lingüístico de las principales lenguas artificiales creadas para la literatura y el cine desde mediados del siglo XX hasta la actualidad. Para ello, se ha realizado una selección de varias lenguas presentes en obras literarias y audiovisuales atendiendo a su grado de desarrollo, a su complejidad lingüística y al impacto que han tenido en la cultura popular. Como parte de la literatura, analizamos las creaciones lingüísticas de J.R.R. Tolkien y el láadan de S. Haden Elgin. Con respecto al cine, los sistemas lingüísticos seleccionados son: el klingon, el pársel, el na‘vi, el dothraki y las lenguas valyrias. Finalmente, nuestro estudio nos permite observar qué métodos y criterios han utilizado estos inventores de lenguas para elaborar estos sistemas con los que generalmente pretenden conseguir un determinado efecto en función de la cultura a la que se encuentren asociados. PALABRAS CLAVE Lenguas artificiales, Lenguas artísticas, Tolkien. ABSTRACT The attached doctoral thesis contains a linguistic analysis of the principal artificial languages created for literature and film since the middle of the 20th Century until present day. For this, a selection was made of various languages that appear in literary works and the impact they have had on popular culture. In books, we analyse the linguistic creations of J.R.R Tolkien and the láadan by Suzette Haden Elgin. For film, the chosen linguistic systems were: Klingon, Parsel, Na‘vi, Dothraki and the Valerian languages. Finally, our study allowed us to observe which methods and criteria that these language creators used to build these systems and the effect they tried to achieve depending on the associated culture. KEYWORDS Artificial Languages, Conlangs, Tolkien. ÍNDICE DE CONTENIDOS CAPÍTULO I. INTRODUCCIÓN .......................................................................................................... 13 1. OBJETIVOS E HIPÓPTESIS DE LA INVESTIGACIÓN ............................................. 17 2. METODOLOGÍA Y ESTRUCTURA DE LA TESIS ..................................................... 18 3. ANTECEDENTES Y ESTADO DE LOS ESTUDIOS SOBRE EL TEMA ................... 20 3.1. ESTUDIOS SOBRE LENGUAS ARTIFICIALES .................................................................. 21 3.2. ESTUDIOS SOBRE LAS LENGUAS CREADAS DESDE MEDIADOS DEL SIGLO XX ............ 24 CAPÍTULO II. MARCO TEÓRICO: ORIGEN, TIPOLOGÍA Y EVOLUCIÓN DE LAS LENGUAS ARTIFICIALES ........................................................................ 29 1. DEFINICIÓN DE «LENGUA ARTIFICIAL» ............................................................... 31 2. ORIGEN Y EVOLUCIÓN DE LAS LENGUAS ARTIFICIALES ............................... 33 2.1. DE LA LINGUA ADÁMICA A LA BÚSQUEDA DE UNA LENGUA UNIVERSAL ................. 33 2.2. ORIGEN DE LOS PRIMEROS SISTEMAS LINGÜÍSTICOS ARTIFICIALES ............................ 37 2.3. LAS IRREGULARIDADES DE LAS LENGUAS NATURALES .............................................. 40 3. CLASIFICACIÓN DE LOS SISTEMAS LINGÜÍSTICOS ARTIFICIALES ............... 43 3.1. SISTEMAS LINGÜÍSTICOS A PRIORI ............................................................................... 44 3.2. SISTEMAS «MIXTOS» .................................................................................................... 46 3.3. LENGUAS A POSTERIORI .............................................................................................. 47 4. PROBLEMAS TERMINOLÓGICOS ............................................................................. 49 CAPÍTULO III. EL IMAGINARIO LINGÜÍSTICO EN LA LITERATURA ..................................... 55 1. J.R.R. TOLKIEN Y LA INVENCIÓN DE LENGUAS ................................................. 63 1.1. LA REVELACIÓN DE UN VICIO SECRETO ...................................................................... 71 1.2. UN ESCONDIDO ARTESANO: J.R.R. TOLKIEN Y LA INVENCIÓN LINGÜÍSTICA .............................................................................................. 79 1.2.1 El árbol lingüístico de J.R.R. Tolkien .......................................................... 84 1.2.2. Mitología y lenguaje .................................................................................... 87 1.3. LAS LENGUAS INVENTADAS EN EL HOBBIT Y EL SEÑOR DE LOS ANILLOS .............................................................................................. 89 1.3.1. El Señor de los Anillos: la comunidad de las lenguas ................................ 93 1.3.2. El quenya y el sindarin: las dos lenguas ................................................. 102 1.3.2.1. Fonética ......................................................................................... 103 1.3.2.2. Morfosintaxis ................................................................................ 107 2. LÁADAN ........................................................................................................................ 113 2.1. UNA LENGUA DE MUJERES: LENGUA MATERNA COMO LABORATORIO DE «EXPERIMENTACIÓN MENTAL» .......................................................... 115 2.2. GRAMÁTICA Y LÉXICO DEL LÁADAN ........................................................................ 119 2.3. LA HIPÓTESIS DEL RELATIVISMO LINGÜÍSTICO EN LENGUA MATERNA ..................... 129 CAPÍTULO IV. EL IMAGINARIO LINGÜÍSTICO EN EL CINE ................................................... 131 1. KLINGON ...................................................................................................................... 137 1.1. INTRODUCCIÓN ......................................................................................................... 139 1.2. PROCESO DE CREACIÓN ............................................................................................ 139 1.3. ANÁLISIS LINGUÍSTICO ............................................................................................. 141 1.3.1. Fonología ..................................................................................................... 141 1.3.2. Morfología .................................................................................................. 144 1.3.3. Sintaxis ........................................................................................................ 146 1.3.4. Léxico ........................................................................................................... 149 2. PÁRSEL ........................................................................................................................... 151 2.1. INTRODUCCIÓN ........................................................................................................
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