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Narrativa De Mundos Imaginarios: Poética Para Una Épica Moderna

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Narrativa De Mundos Imaginarios: Poética Para Una Épica Moderna UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE LINGÜÍSTICA GENERAL, LENGUAS MODERNAS, LÓGICA Y FILOSOFÍA DE LA CIENCIA, TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA ÁREA DE TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA PROGRAMA DE DOCTORADO “Lenguajes y Manifestaciones Artísticas y Literarias” Tesis Doctoral “Narrativa de mundos imaginarios: Poética para una épica moderna. De La serpiente de Uróboros a La canción de hielo y fuego ” Doctorando: Roberto Cáceres Blanco Directores: Dr. Francisco-Javier Rodríguez Pequeño Dr. Juan Carlos Gómez Alonso Madrid, mayo de 2015 Tesis que, para la obtención del Título de Doctor, dentro del Programa de Doctorado “Lenguajes y Manifestaciones Artísticas y Literarias”, presenta el Licenciado Roberto Cáceres Blanco bajo la dirección del Doctor Francisco-Javier Rodríguez Pequeño y del Doctor Juan Carlos Gómez Alonso, Profesores Titulares de Teoría de la Literatura y Literatura Comparada de la Universidad Autónoma de Madrid. Vº Bº de los directores Índice INTRODUCCIÓN........................................................................................................................... 2 1. NARRATIVA DE MUNDOS IMAGINARIOS, ESTADO DE LA CUESTIÓN .......................... 10 1.1. LA IRRUPCIÓN DE UN GÉNERO MODERNO .......................................................................... 10 1.1.1. Propuestas descriptivas y denominación .................................................................. 10 1.1.2. Ideas sobre la gestación, evolución y orígenes de la narrativa de mundos imaginarios ........................................................................................................................... 21 1.2. CONCEPTOS ESENCIALES , FANTASÍA Y ÉPICA .................................................................... 29 1.2.1. Fantasía: teorías sobre lo fantástico y ubicación de la narrativa de mundos imaginarios al respecto ........................................................................................................ 30 1.2.2. Épica, la epopeya en el origen de la literatura narrativa y de la fantasía .................. 63 1.2.3. Narratividad, oralidad y épica .................................................................................... 70 1.2.4. Épica y Teoría de los géneros Literarios ................................................................... 76 2. LA HERENCIA DE LA TRADICIÓN ÉPICA ......................................................................... 105 2.1. EL HÉROE ...................................................................................................................... 105 2.1.1. El Héroe épico .......................................................................................................... 105 2.1.2. Caracterización del héroe en la narrativa de mundos imaginarios .......................... 126 2.2. ÉPICA MODERNA , CONTINUIDAD DE UNA ESTÉTICA DE LA TRADICIÓN .................................. 166 2.2.1. E. R. Eddison, de la inspiración de las sagas a la grandiosidad homérica ............ 166 2.2.2. Tolkien y la tradición épica germánica ..................................................................... 174 2.2.3. Homero y el mito de Troya en la obra de G.R.R. Martin ......................................... 200 3. MUNDOS IMAGINARIOS ..................................................................................................... 209 3.1. LA NECESIDAD DE UNA REALIDAD ALTERNATIVA ................................................................ 209 3.2. ESTÉTICA Y CONFIGURACIÓN DE LOS MUNDOS IMAGINARIOS .............................................. 216 3.2.1. Territorios y tiempos imaginarios ............................................................................. 216 3.2.2. Uróboros, el universo circular .................................................................................. 219 3.2.3. Sueño o Realidad ..................................................................................................... 226 3.2.4. Nombres y lenguas .................................................................................................. 231 3.2.5. Caracterización del mundo imaginario: geografía, mitología e historia ................... 242 4. MUNDOS ÉPICOS IMAGINARIOS Y MODERNIDAD ......................................................... 286 4.1. REALIDAD Y ÉPICA MODERNA ............................................................................................ 286 4.2. ORALIDAD , ÉPICA MODERNA Y JUEGOS DE ROL .................................................................. 301 4.3. CIENCIA -FICCIÓN , SUBGÉNEROS FANTÁSTICOS Y SU RELACIÓN CON LA NARRATIVA DE MUNDOS IMAGINARIOS ............................................................................................................................ 307 4.4. NARRATIVA DE MUNDOS IMAGINARIOS Y ARTE GRÁFICO ...................................................... 317 CONCLUSIONES...................................................................................................................... 324 REFERENCIAS ......................................................................................................................... 330 NOTAS: ..................................................................................................................................... 342 1 INTRODUCCIÓN Hoy en día la mayoría de las personas en nuestra sociedad conoce las narraciones de El Hobbit 1, El Señor de los Anillos 2 o Canción de hielo y fuego 3 —ya sea a través de su lectura, o de sus adaptaciones cinematográficas o televisivas—, y prácticamente todo el público (al margen de su especialización y conocimientos en materias como la Poética o la Teoría de los géneros literarios) comprende o intuye que estas obras constituyen un género o clase reconocible de narrativa (tanto en el ámbito literario como en el audiovisual). En la actualidad, estos títulos son grandes éxitos de ventas que facturan miles de ejemplares por todo el mundo y son traducidos a decenas de lenguas. Si visitamos cualquier librería (de carácter comercial y no especializada) de suficiente tamaño, junto a los libros de J.R.R. Tolkien y G.R.R. Martin nos asaltarán, desde las portadas de los gruesos volúmenes de alrededor, buen número de dragones, guerreros y caballeros, hechiceros encapuchados, espadas con inscripciones rúnicas, y medallones luminiscentes. Es cierto que junto a estos libros plagados de tópicos perfectamente reconocibles encontramos también, comúnmente, otros cuyas portadas contienen naves espaciales y robots (esto se debe a que, por motivos meramente comerciales, el sistema de catalogación de la industria editorial no suele disponer de una ubicación específica para este género y agrupa dichas obras en la sección de “Fantasía y Ciencia-Ficción” 4) pero, sin embargo, pocos lectores tienen alguna 1 Tolkien, John Ronald Reuen, El Hobbit , Barcelona, Minotauro, 2008, (1ª edición en inglés1937). 2 Tolkien, J.R.R., El señor de los anillos, Barcelona, Minotauro, La comunidad del anillo, 1977, (1ª edición en inglés1954). Las dos torres, 1979, (1ª edición en inglés1954). El retorno del rey, 1980, (1ª edición en inglés1955). 3 Martin, George R.R., Canción de hielo y fuego , Barcelona, Gigamesh, Juego de tronos, 2002, (1ª edición en inglés1996). Choque de reyes, 2003, (1ª edición en inglés1998). Tormenta de espadas , 2005, (1ª edición en inglés 2000). Festín de cuervos, 2007, (1ª edición en inglés 2005). Danza de dragones , 2012, (1ª edición en inglés 2011). 4 Trataremos sobre este tema en el capítulo 4.3. “Ciencia-ficción, subgéneros fantásticos y su relación con la narrativa de mundos imaginarios”. 2 dificultad para diferenciar genéricamente Yo Robot o Blade Runner de las Crónicas de la Dragonlance 5 o El temor de un hombre sabio 6. Aunque hay algunos autores que cultivan ambas formas narrativas y a pesar de la insistencia de la industria editorial en aunarlas bajo una sola etiqueta, el género “fantástico” A y, concretamente, la narrativa de mundos imaginarios, han tenido desde su origen un público propio. Un público muy consciente (aunque esta conciencia esté fundada en la intuición y no en un análisis riguroso de rasgos estéticos o formales) de la pertenencia de dichas obras a una categoría bien definida. El presente estudio pretende describir los rasgos estéticos y estructurales que —más allá de las coincidencias temáticas que favorecen esa “intuición” de género por parte del público común— definen verdaderamente la poética del género que (por razones que expondremos a continuación) vamos a denominar “narrativa de mundos imaginarios”. A pesar de la importancia de este género narrativo, uno de los más productivos y representativos de la modernidad, son escasos los estudios críticos o teóricos que se le han dedicado. La mayoría de los trabajos sobre “literatura fantástica” se centran en obras que apenas guardan relación con nuestro objeto de estudio (como pueden ser los relatos fantásticos de Edgar Allan Poe o las oscuras invenciones de Lovecraft), e incluso aquellos que versan particularmente sobre el propio concepto de “lo fantástico” tienden a pasar de puntillas por lo que denominan —de forma bastante imprecisa, como veremos más adelante— “cuentos de hadas”, “literatura feérica” o “literatura romanticista” 7. 5 Weiss, Margaret y Hickman, Tracy, Crónicas de la Dragonlance, Barcelona, Timun mas, El retorno de los dragones, 1984. La tumba de Huma, 1985. La Reina de la Oscuridad, 1985. 6 Rothfuss, Patrick, Crónica del asesino de reyes , Barcelona, Plaza & James:
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