Sumario:
Amaltea. Revista de Mitocrítica
Servicio de Publicaciones de la Universidad Complutense de Madrid
Más información / TEXTO COMPLETO
Nº 1 (2009)
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Editorial 74 KB
Presentación 93 KB
Sumario 93 KB / Summary 93 KB
Uma aproximação à problemática do labirinto em alguns andamentos diacrónicos de inspiração helénica (de Ovidio a Pausânias e de Boccacio e Agricola a Valkenborch) - An Approach to the Problematic of the Labyrinth in Some Diachronic Movements of Hellenic Inspiration (from Ovid to Pausanias and from Boccacio and Agricola to Valkenborch). 677 KB
CADAFAZ DE MATOS, Manuel
1
Palabras Clave: Mitologia clássica; Labirinto; Filosofia grega; Desejo mimético; Construção mental
Classical mythology;Llabirynth; Greek philosophy; Mimetic desire; Mental construction
Resumen: Entre o século I e o século XX, o labirinto exerceu um notório interesse para um grande número de intelectuais europeus, tais como o poeta romano Ovídio (século I); o pensador helénico Pausânias (séc. II);o teórico de mitos italiano e escritor, Giovanni Boccaccio (séc. XIV); ou o compositor erudito flamengo Alexander Agricola (séc. XV). O autor deste estudo, numa análise diacrónica, passa ainda em perspectiva os contributios de dois pintores flamengos do séc. XVI, Lucas I van Valkenborch e Hans Bol, os quais, depois de terem sofrido alguns anos de exílio, exprimiram, em algumas das suas pinturas, os seus sentimentos acerca do labirinto e dos mitos de Dédalo e de Ícaro.
Between the first and the XX centuries, the labyrinth had exerced a curious interest to a great number of European intellectuals, such as poets, like the Roman poet, Ovide (I century); the Hellenic thinker, Pausanias (II century); the Italian theorician of myths and writer, Giovanni Boccaccio (XIV century); or the Flemish erudite musical composer, Alexander Agricola (XV century). The author of this study, in a diachronic point of view, analyses also the contribution two Flemish painters in the XVI century, Lucas I van Valkenborch and Hans Bol, who, after suffering some years in the exile, has expressed, in their pictures, their feelings about the labyrinth and about the Daedale and Icare myths.
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La imagen del laberinto en las novelas regionatas de Juan Benet - The Image of the Labyrinth in Juan Benet’s Región Novels. 636 KB
CARRERA, Miguel
23
Palabras Clave: Juan Benet; Región; Laberinto; Irracionalidad; Desmitificación
Juan Benet; Región; Labyrinth; Irrationality; Demythification
Resumen: Es un lugar común definir la obra de Juan Benet como “laberíntica”. Ello se debe a su notable complejidad, pero también a otros factores de tipo estructural y temático. Por otro lado, las correspondencias con el mito de Teseo y el Minotauro dan lugar a una fecunda y reveladora analogía. Es nuestra intención, pues, unificar las novelas del ciclo de Región bajo dicho concepto desde el plano de la lectura hasta el del contenido, igualando, en la medida de lo posible, las perspectivas de autor, lector y personajes. En todos los niveles, el motivo del laberinto alude directamente a dos de los pilares de la literatura benetiana: la irracionalidad y la desmitificación.
It is a common place to describe Benet’s works as “labyrinthine”. This is based on their remarkable complexity, but also on other structural and thematic factors. Besides, the correspondences with Theseus and the Minotaur’s myth give rise to a fruitful and revealing analogy. It is our intention, thus, to unify the novels of the Región saga under such concept, from the reading level to their content, making equal, as far as possible, the author’s, the reader’s and the characters’ perspectives. Throughout all these levels, the labyrinth motif refers to two of the main traits of the Benetian literature: irrationality and demythification.
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El laberinto como símbolo del referente inexistente: una comparación entre Borges y Buzzativalkeborch - The Labyrinth like Symbol of the Non-Existent Modal: a Comparison between Borges and Buzzati. 219 KB
CORIASSO, Cristina
43
Palabras Clave: Buzzati; Borges; Laberinto; Desierto
Buzzati; Borges; Labyrinth; Steppe.
Resumen: Borges, en el prólogo de su Biblioteca personal, estableciendo una analogía entre Dino Buzzati y Kafka, ha manifestado su admiración por el uso de lo fantástico en El desierto de los tártaros (1940). Apoyándonos en este juicio y en la marcada tendencia de un autor como Borges a la integración de los distintos materiales culturales en su propio universo literario, hemos comparado, a través de la metáfora del laberinto como símbolo del referente inexistente, el cuento “Los dos reyes y los dos laberintos” (El Aleph), con I sette messaggeri, cuento prohemio de La boutique del mistero. La idea de un universo como laberinto espacio-temporal en que el hombre trata de introducir un orden en el caos, una estructura finita que defina lo infinito, una medición del tiempo que acote lo eterno, subyace en ambos relatos; sin embargo, más allá del escepticismo con que Borges plantea sus enigmas filosóficos, encontramos en Buzzati una actitud de apertura al misterio, de interrogación expectante, que impregna su cuento de un profundo lirismo.
Borges, in the prologue of his Personal Library, establishing an analogy between Dino Buzzati and Kafka, has shown his admiration for the use of the fantastic thing in The Tartar Steppe (1940). Relying on this judgment and on the marked trend of an author as Borges to the integration of the different cultural materials on his own literary universe, we have compared, across the metaphor of the labyrinth as symbol of the non-existent modal, the story “The Two Kings and Their Two Labyrinths” (El Aleph), with I sette messaggeri, exordial story of La boutique del mistero. The idea of a universe like labyrinth temporary-space in which the man tries to introduce an order in the chaos, a finite structure that defines the infinite thing, a measurement of the time that annotates the eternal thing, sublies in both statements; nevertheless, beyond the skepticism with which Borges raises his philosophical cruxes, we find in Buzzati an attitude of opening to the mystery, of expectant interrogation, which impregnates his story of a deep lyricism.
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L'emploi du temps ou l'écriture labyrinthique - L’Emploi du temps or The Labyrinth of a Writing. 607 KB
EL MOURA, Dalia
49
Palabras Clave: Labyrinthe; Irradiation; Projection; Enlisement; Enchevêtrement; Stagnation; Initiation; Fil d’Ariane; Écriture; Temps; Mémoire; Construction; Quête; Réflexion; Inachèvement
Labyrinth; Irradiation; Projection; Stagnation; Tangle; Initiation; Ariadne’s thread; Writing; Time; Memory; Construction; Quest; Reflexion; Incompletion
Resumen: La littérature du XXème siècle propose une infinité de récurrences mythiques dues d’une part à la valeur symbolique du récit mythique et d’autre part à sa valeur structurante. Ainsi, le texte de L’Emploi du temps de Michel Butor (1956) qui réitère le mythe du labyrinthe, se voit fortement imprégné autant par l’« épaisseur sémantique » du mythe telle que la conçoit Gilbert Durand, que par sa structure inhérente qui sert de structure de base au roman. Le mythe du labyrinthe se reflète sur la ville de Bleston, faisant de celle-ci une allégorie du dédale mythique dans lequel se perd Jacques Revel. Pour échapper à cette cité infernale, Revel entreprend la construction d’un récit dont l’écriture prendra au fur et à mesure un aspect essentiellement labyrinthique. Le mythe du labyrinthe « langage préexistant au texte, mais diffus dans le texte » (Brunel 1992 : 61), transforme le « récit d’une aventure » en « aventure d’un récit » (Dällenbach 1997 : 154). Le roman s’avère donc être une recherche permanente de la sortie du dédale, quête inaboutie puisque le roman moderne du XXème siècle se veut le reflet de cette recherche inépuisée et inépuisable.
The literature of the twentieth century proposes an infinity of mythical recurrences due on one hand to the symbolic value of the mythical account and on the other hand to its structuring value. Thus, the text of L’Emploi du temps by Michel Butor (1956) which reiterates the myth of the labyrinth, sees itself strongly as much impregnated by the “semantic thickness” of the myth such as Gilbert Durand conceives it, that by its inherent structure which is used as basic structure for the novel. The myth of the labyrinth is reflected on the town of Bleston, making it an allegory of the mythical maze in which Jacques Revel loses himself. To escape this infernal city, Revel undertakes the construction of an account whose writing will take an increasingly labyrinthian aspect. The myth of the labyrinth “language preexistent to the text, but diffuse in the text” (Brunel 1992: 61), transforms the “account of an adventure” into the “adventure of an account” (Dällenbach 1997: 154). The novel thus proves to be a permanent research of the exit of the maze, but this search appears to be abortive since the modern novel of the twentieth century wants to be the reflection of this unexhausted and inexhaustible research.
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Il mito come strumento di scrittura contemporanea nei romanzi di Alain Nadaud - The Use of Myth as a Contemporary Writing Tool in Alain Nadaud’s Novels. 348 KB
GALLI PELLEGRINI, Rosa
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Palabras Clave: Mito; Nadaud; Scrittura
Myth; Nadaud; Writing
Resumen: L’opera di Alain Nadaud è giustamente definita come una proposta contemporanea del romanzo filosofico. In particolare, nel suo percorso narrativo Nadaud persegue una ricerca costante sull’origine, l’essenza e il senso della scrittura. Per trasmettere il contenuto di questa problematica, molto attuale nel pensiero filosofico contemporaneo, lo scrittore riutilizza con abbondanza la tematica mitologica familiare al lettore occidentale.
Alain Nadaud literary work can be rightly defined as a contemporary proposal for philosophical novel. In particularly, during his fiction journey Nadaud constantly pursues a search about the origin, the essence and the sense of writing. To pass on the content of such topics, extremely relevant in contemporary philosophical thinking, the writer plenty reutilizes mythological themes well known by western readers.
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Laberintos y metamorfosis: Estéticas en tensión en Jorge Luis Borges y Silvina Ocampo - Labyrinths and Metamorphoses: Esthetics in Tension in Jorge Luis Borges and Silvina Ocampo. 434 KB
GARCÍA ARDEO, Mariano
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Palabras Clave: Laberinto; Metamorfosis; Silvina Ocampo
Labyrinth; Metamorphosis; Silvina Ocampo
Resumen: Proponemos aquí una confrontación de dos mitemas que, siguiendo a Foucault, articulan la fabulación occidental, el laberinto y la metamorfosis, para demostrar que la inclinación por uno u otro determina una estética particular. Como ilustración, nos valemos de las obras de Jorge Luis Borges y de Silvina Ocampo, aunque sólo desarrollaremos un análisis exhaustivo de la obra de Ocampo con herramientas estructuralistas y deconstructivas, y elementos de mitocrítica.
We propose in this study the confrontation of two mythemes that, following Foucault, articulate Occidental fabulation: the labyrinth and the metamorphosis, in order to demonstrate that the inclination for one or the other determinates a particular esthetic. For doing so, we will take Jorge Luis Borges’ and Silvina Ocampo’s works, though we will only carry out an exhaustive analysis of Ocampo’s work with structuralist and deconstructive tools, as well as some mythocritic elements.
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Convertir el caos en cosmos: la lógica del laberinto en Apocalipsis cum figuris de Luisa Josefina Hernández - Turning Chaos into Cosmos: Labyrinth Logic in Apocalipsis cum figuris by Luisa Josefina Hernández. 381 KB
GONZÁLEZ TREVIÑO, Ana Elena
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Palabras Clave: Ficción medieval; Novela mexicana contemporánea; Luisa Josefina Hernández; Laberinto
Medieval fiction; Contemporary Mexican novel; Luisa Josefina Hernández; Labyrinth
Resumen: En este artículo rastreo el modo en que la novela de ficción medieval Apocalipsis cum figuris (1982), de Luisa Josefina Hernández, contiene motivos laberínticos recurrentes que giran en torno al concepto de la circunambulación y las repeticiones cíclicas de conductas atávicas. Los personajes sólo pueden escapar de éstas accediendo a la lógica del laberinto. La subversión de los convencionalismos novelescos y míticos, así como el distanciamiento casi científico adoptado por la narradora, contribuyen al tono contemporáneo de la obra sin sacrificar por ello su diseño redentor.
In this article I trace the way in which Luisa Josefina Hernández’s medieval fiction, Apocalipsis cum figuris, contains recurring labyrinth motifs, especially surrounding the concept of circumambulation and the cyclical repetition of atavistic conduct. Characters are only capable of transcending atavism by surrendering to the logic of the labyrinth. By subverting both novelistic and mythical conventions, and through the narrator’s quasi-scientific detachment, the author establishes a contemporary tone without thereby sacrificing the redeeming design of the novel.
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El laberinto de Creta en la Odisea de Nikos Kazantzakis - The Cretan Labyrinth in Nikos Kazantzakis’ Odyssey. 830 KB
GONZÁLEZ VAQUERIZO, Helena
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Palabras Clave: Literatura; siglo XX; Tradición clásica; Mitología; Laberinto; Creta; Ritual; Baile
Literature; 20th century; Classical tradition; Mythology; Labyrinth; Crete; Ritual; Dance
Resumen: A lo largo de la tradición, la literatura occidental ha derivado muchos de sus grandes temas de la mitología clásica. Este artículo aborda la recepción de uno de esos temas, el del laberinto cretense, en la Odisea (1938), obra fundamental de un destacado exponente de la literatura del siglo XX: Nikos Kazantzakis (1884-1957). Los vínculos entre los cantos IV-VIII del poema y el mito del laberinto serán analizados en este artículo a través de los elementos del baile, el toro, la caverna y el sacrificio, así como de los personajes de Odiseo (Teseo), Dijtena (Ariadna) e Idomeneo (Minotauro).
Throughout tradition western Literature has drawn many of its main themes from classical mythology. This article addresses the reception of one of those themes, the Cretan labyrinth, in the Odyssey (1938), a key work of an outstanding exponent of the 20th century Literature: Nikos Kazantzakis (1984-1957). The links between the books IV-VIII of the poem and the myth of the labyrinth will be analyzed in this article through the elements of the dance, the bull, the cavern and the sacrifice, as well as through the characters of Odysseus (Theseus), Diktena (Ariadne) and Idomeneus (Minotaur).
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Ariane de J. M. G. Le Clézio y la reescritura del mito del minotauro en el laberinto de una barriada alienante y fantasmal - J.M.G. Le Clézio’s Ariane and the Rewriting of the Myth of the Minotaur in the Labyrinth of a Ghostly Slum. 619 KB
HERRERO CECILIA, Juan
115
Palabras Clave: Mitocrítica; Literatura comparada; Literatura francesa; Le Clézio
Mythocriticism; Comparative literature; French literature; Le Clézio.
Resumen: Aplicando una metodología inspirada en las teorías de mitocrítica de Brunel y de Siganos, hemos tratado de poner de relieve la particular actividad de reescritura del mito del Laberinto y del Minotauro que J.M.G. Le Clézio ha realizado en un relato titulado Ariane. Aquí el Laberinto adopta la forma de un barrio deshumanizado de viviendas sociales en la periferia de una ciudad contemporánea. En esa barriada va a tener lugar la trágica historia de la joven Christine, perseguida por grupo de moteros que actúa por la noche como “un rebaño de bestias salvajes”. La reescritura se produce adoptando una vía implícita, alusiva y analógica por medio de ciertas imágenes y asociaciones que el discurso del narrador va entrelazando a lo largo del relato. Hemos enfocado la transposición mítica que opera este relato poniendo de relieve el concepto de la hybris, es decir, lo que para los griegos equivalía a la arrogancia desmesurada, al impulso irracional e instintivo que rompe los límites de la armonía.
Following a methodology inspired by mythocritical theories by Brunel and Siganos, this essay focuses on the rewriting of the myth of the Minotaur and the labyrinth performed by J.M.G. Le Clézio in his narrative Ariane. Here the labyrinth adopts the form of an impoverished neighborhood in a contemporary city —a perfect backdrop to the tragic story of young Christine, who is chased by a gang of bikers acting by night “like a hoard of wild beasts.” This rewriting works implicitly, through allusion and analogy, by means of a series of images and associations interwoven in the narrator’s discourse. Particular emphasis has been placed in this essay on the concept of hybris, which the Greek related to disproportionate arrogance, to irrational impulse that breaks the limits of harmony.
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Sur le modèle du labyrinthe, lorsque la littérature privilégie le jeu - On the Pattern of the Labyrinth, when Literature Chooses Game. 443 KB
D’HUMIÈRES CATHERINE D’HUMIÈRES, Catherine
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Palabras Clave: Littérature; Labyrinthes; Jeu; Échecs; Écriture; Arenas; Borges; Brion; Calvino
Literature; Labyrinths; Game; Chess; Writing; Arenas; Borges; Brion; Calvino
Resumen: Lorsque l’on cherche à étudier la façon dont le mythe du labyrinthe est utilisé dans la littérature actuelle, on est frappé par l’extrême diversité de formes qu’il a inspirée. La figure du dédale, toujours mouvante et indécise, semble, en effet, pousser à la créativité. Privé dès le départ de contours définis, le labyrinthe est source d’inspiration de toutes les fantaisies, et s’avère propice au mélange des formes. Il semble, d’ailleurs que le cours du temps a permis de créer et de consolider les liens étroits qui unissent labyrinthe et imagination, et il est fascinant d’envisager les formes qui ont pu contribuer au développement de cette fantaisie créatrice. A travers quelques oeuvres littéraires contemporaines, cet article étudie le lien que certains auteurs ont cherché à établir entre le labyrinthe, le jeu et l’écriture elle-même, prouvant, s’il en est besoin, l’extrême vitalité d’un mythe capable de se plier à la fantaisie, aux desseins ou aux propos de chacun, et de refléter en même temps la profondeur des interrogations métaphysiques toujours présentes dans la pensée humaine.
When we try to study how the myth of the labyrinth is being used in today’s litterature, we are striken by the extreme variety of the ways it has inspired. Indeed the pattern of the maze, always changeable and undefined, seems to trigger creativity. Deprived from the start of precise outlines, the labyrinth is a source of inspiration for all kind of fantasies, and proves to be favorable to a mixture of ways. Besides, it seems that time has enabled to create and strighten narrow links between labyrinth and fancy, and it is always fascinating to contemple the ways that may have played a part in the development of this creative fantasy. Through a few contemporary books, this article studies the link that some writers have tried to set up between labyrinth, game and writing itself, proving, it need be, the extreme vitality of a myth able to suit everyone’s fantasy, purposes or words, and to reflect, at the same time, the depth of the metaphysical interrogations present in the human mind.
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Los reyes: el laberinto entre mito e historia - Los reyes: The Labyrinth Between Myth and History. 398 KB
LAURENTIIS, Antonella De
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Palabras Clave: Laberinto;Discurso mítico; Poder; Reclusión
Labyrinth; Myth; Power; Imprisonment
Resumen: En una entrevista televisiva de 1977, hablando de su texto Los reyes, Cortázar afirma que la idea del libro le apareció como por ensalmo, casi como el aflorar de un recuerdo arquetípico, elaborando un ejemplo de genética del recuerdo. Esta especie de rayo de luz en la vía de Damasco le revela una manera nueva de entender la que él mismo considera la “versión oficial” del mito del laberinto y del Minotauro, en la que, a la mistificación histórica del monstruo encerrado en el laberinto y matado por el héroe cede el paso la figura del poeta excluido y recluido por el poder. El presente trabajo tiene como objetivo una interpretación de significados de esta obra en clave histórico-política, insertándola en la dinámica contemporánea de los eventos. Una operación, ésta, que nos aleja bastante de la declaración a-histórica y anti-histórica evocada por Cortázar mismo en su entrevista.
In 1977, during a TV interview, Cortázar stated that his book Los reyes appeared in his mind all of a sudden, as if an archetypal memory was surfacing to consciousness. Like a lightning bolt, what he considered to be the real interpretation of the myth of the Minotaur and his labyrinth appeared to him: the story of the monster being killed by the hero was substituted by a picture of the poet being excluded from and imprisoned by power. Moving away from Cortázar’s explanation of his own work, the current paper provides an interpretation of Los reyes that takes into account its historical and political context.
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Laberintos de tiempo y arena. Francisco Ayala, Jorge Luis Borges y Julio Cortázar - Labyrinths of Time and Sand. Francisco Ayala, Jorge Luis Borges and Julio Cortázar. 548 KB
LÓPEZ CALAHORRO, Inmaculada
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Palabras Clave: Laberinto; Casa; Minotauro; Intertextualidad
Labyrinth; House; Minotaur; Intertextuality
Resumen: En este artículo se analiza la relación entre los textos de Francisco Ayala, Julio Cortázar y Jorge Luis Borges, bajo el eje común del laberinto. Pretendemos establecer una relación entre sus elementos comunes y su relación temporal. Partimos de la unión que los tres autores mantuvieron desde la década de los cuarenta en Argentina, amistad que tendrá incidencia en otros textos posteriores a los que tomamos como punto de trabajo: El hechizado de Ayala, “Casa tomada” de Cortázar y “La casa de Asterión” de Borges. Al margen de la relación personal, destacamos la labor que los tres autores realizaron como traductores durante aquellos años y su relación con Kafka esencialmente. A continuación nos detenemos en la configuración de sus laberintos que llevan al escenario de la casa y en la figura de sus minotauros, desde dos aspectos esenciales que son la contemplación y el hechizo. Para finalizar relacionamos la obra de Ayala y la de Borges en un proceso intertextual entre sus obras.
In this article we analise the relationship among different texts written by Francisco Ayala, Julio Cortázar and Jorge Luis Borges, under the perspective of the Laberynth, that is to say –El hechizado, “Casa tomada” and “La casa de Asterión”, respectively. We pretend to establish a relationship between their common elements and its time. We start from the friendship among the three authors in the 1940’s in Argentina, which influenced many other texts later on. We also pay attention to their work as translators in those years and their relationship to Kafka mainly. We analyse the structure of their laberynths and their shape into a house and the figure of the minotaur, under a double perspective, the contemplation and the spell. We finally establish an intertextual relationship between the literary works of Ayala and Borges.
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Le paysan de Paris de Louis Aragon: Écriture du labyrinthe et labyrinthe de l'écriture - Le Paysan de Paris by Louis Aragon: Writing the Labyrinth and the Labyrinth of Writing. 536 KB
MESANA, Corinne
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Palabras Clave: Abîme; Ariane; Dédale; Errance; Féminité; Forêt; Grotte; Imaginaire; Inconscient; Initiation; Labyrinthe; Labyrinthique; Miroir; Mise en abyme; Monde nocturne; Monstre; Mort initiatique; Passage; Quête; Souterrain; Spirale; Surréel
Abyss; Ariadne; Cave; Daedalus; Feminity; Forest; Imaginary; Initiation; Initiatic death; Labyrinth; Labyrinthine; Mirror; Mise en abyme; Monster; Nocturnal world; Passage; Quest; Unconscious; Underground; Spiral; Surreal
Resumen: Dans les années vingt, Louis Aragon, à l’exemple de ses contemporains pris dans l’aventure surréaliste, recherche une réalité occultée au cours de ses promenades dans les profondeurs de la ville. Son roman surréaliste, Le paysan de Paris, témoigne de cette recherche et l’image du labyrinthe apparaît dynamisée dans sa fonction archétypale car elle s’inscrit non seulement au niveau du narré mais aussi de la narration. A travers la description de lieux urbains tels que le passage de l’Opéra et les Buttes Chaumont, le labyrinthe euphémisé représente le lieu des rencontres, des passions interdites et des correspondances les plus inattendues entre les différents élements du réel. Il devient ainsi l’espace de la quête initiatique brillant par l’absence du Minotaure et la présence de la femme initiatrice. L’enjeu est double pour le narrateur/auteur : vivre l’initiation à la vie érotique et recréer la magie du surréel. Au niveau de la narration, le récit surréaliste devient lui-même labyrinthique, et son auteur apparaît en Dédale prenant le risque de perdre son lecteur au fil de nombreux récits secondaires et divers documents visuels qui viennent interrompre le cours du récit initial. Une nouvelle écriture, l’écriture labyrinthique, est en marche.
In 1920s, Louis Aragon, following his soul mates in the surrealist adventure, searched for the hidden reality during his wanderings in the depths of the city. Le paysan de Paris is a living document of this quest and one can find in that novel a revitalised image of the labyrinth, an archetype brought to life in both the story that is told and the way in which it is narrated. The description of urban places like the Passage of the Opera or the Buttes-Chaumont reveals a euphemised labyrinth, a place of encounters and forbidden passions and full of the most unexpected correspondences between diverse elements of the real. It becomes the space of the initiatic quest where the woman is the initiator and the traditional Minotaur is absent. This challenges the narrator/author to pursue the initiation to erotic life and to recreate the magic of the surreal. As the story is recounted, the surrealist account becomes labyrinthine. Its writer appears to be Daedalus building a complex narrative and risking to lose his reader along the way with numerous secondary accounts and various visual documents interrupting the main account. A new mode of writing, the labyrinthine writing, is on the move.
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Impossible de s'en sortir seul. Fictions labyrinthiques et solitude chez Franz Kafka, Jorge Luis Borges, Mark Z. Danielewski et Stanley Kubrick - No Escape Alone. Maze-like Fictions and Solitude in Franz Kafka, Jorge Luis Borges, Mark Z. Danielewski and Stanley Kubrick. 493 KB
MESSAGE, Vincent
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Palabras Clave: Mythe littéraire; Labyrinthe; Minotaure; Solitude; Dialogisme; Identité subjective; Kafka; Borges; Danielewski; Kubrick; The Shining
Literary myth; Maze; Labyrinth; Minotaur; Solitude; Loneliness; Dialogism; The self; Kafka; Borges; Danielewski; Kubrick; The Shining
Resumen: Cet article se propose d’analyser les rapports entre le motif du labyrinthe et le thème de la solitude à partir de quatre oeuvres : La Demeure d’Astérion de Borges, Le Terrier de Kafka, La Maison des feuilles de Danielewski et le film Shining de Kubrick. Le même scénario s’y répète : isolé dans un labyrinthe, un personnage sombre dans la folie, puis meurt. Pourquoi les fictions labyrinthiques fontelles si souvent appel à ce schéma narratif ? La démonstration passe d’abord par un retour au mythe : la solitude y est la condition du Minotaure, personnage que la modernité a réhabilité. Dans la littérature du XXe, les labyrinthes sont essentiellement d’ordre mental : ils représentent moins un monde extérieur hostile que la complexité intérieure du sujet. En dressant un portrait des personnages qui succombent, on verra que les fictions labyrinthiques s’emploient à démontrer ex negativo la nature dialogique de l’identité subjective. Les victimes du labyrinthe sont des individus qui poussent le refus de l’autre jusqu’au solipsisme et voudraient maîtriser un environnement dont la complexité les déborde. Derrière ces personnages qui représentent autant d’exemples à ne pas suivre, on peut entrevoir un portrait en creux du lecteur idéal des fictions labyrinthiques.
This article aims to analyze the relationship between the pattern of the labyrinth and the theme of solitude in four works: The House of Asterion by Borges, The Burrow by Kafka, House of Leaves by Danielewski and Kubrick’s film The Shining. They all share the same scenario: alone in a maze, a character loses his mind and dies. Why is this narrative pattern so common in maze-like fictions? This can be accounted for in the original myth: the Minotaur, a character brought back by modernity, is defined by his solitude. In twentieth-century literature, labyrinths are essentially mental: they represent the inner complexity of the subject rather than a hostile environment. While depicting the idiosyncrasies of the characters who fail to survive in their labyrinth, I will demonstrate how maze-like fictions help us to understand the dialogic nature of the self. Those who perish in labyrinths are individuals who bring their refusal of interacting with others to a level of solipsism, and who believe they can master the world but do not acknowledge its complexity. Behind those characters whose examples are not to be followed, we can make out the portrait of the ideal reader of maze-like fictions.
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Deconstrucciones laberínticas: Lispector y Valenzuela - Deconstructing Labyrinths: Lispector and Valenzuela. 421 KB
NOGUEIRA, Fátima R.
203
Palabras Clave: Animal; Antropocentrismo; Laberinto; Mirada; Mito; Mujer; Lispector; Valenzuela
Animal; Anthropocentrism; Gaze; Labyrinth; Myth; Woman; Lispector; Valenzuela
Resumen: Este estudio se formula desde la representación del laberinto como un espacio originado en la obsesión de confinar lo monstruoso, como si la zona psíquica humana estuviese completamente separada de la naturaleza así como de cualquier indicio considerado institucionalmente de anormal. En el orden simbólico, la creación del laberinto es comprensible, así, por una necesidad de proteger el consciente a la vez que de enterrar en el subconsciente el Minotauro de todo ser humano. Basándome en estas premisas, analizo los cuentos El búfalo (1960) de Clarice Lispector y Simetrías (1993) de Luisa Valenzuela, textos en los cuales la relación entre Pasifae y el toro se transmuta en una ligación entre la mujer y la bestia sostenida por medio de la mirada. Mi análisis se detiene en los tres elementos –mujer, bestia y mirada– enfocando la asociación entre la mujer y la naturaleza, las consecuencias de las construcciones del discurso antropocéntrico en torno del animal y, finalmente, el papel que la mirada desempeña tanto en lo que concierne al mito como al psicoanálisis. Estos enfoques son esenciales en la comprensión del retorno hacia el mito como una forma de contrarrestar el antropocentrismo y de indagar sobre la naturaleza humana.
The basis of this essay is the representation of the labyrinth as a space originated in the obsession to confine the monstrosity (grotesque) as if the human psyche were totally immune to nature as well as to any indication socially considered abnormal. In a symbolic order, the creation of the labyrinth is, thus, understandable as a need to protect the conscious, and bury at the same time in the unconscious the Minotaur present in the human being. Based on these premises I analyze the short stories El búfalo (1960) by Clarice Lispector, and Simetrías (1993) by Luisa Valenzuela. In these texts Pasiphae’s sexual relation with the bull transmutes in a liaison made possible by the gaze. My analysis approaches these three elements—the woman, the beast, and the gaze—focusing on the association between the woman and nature, the consequences of the animal’s representation in the anthropocentric discourse, and, finally, the role of the gaze in both mythical and psychoanalytical fields. These approaches are essential in understanding the need to return to the myth as a way to counteract the anthropocentric discourse as well as a way to inquire about the human nature.
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Perdre le fil: labyrinthes de la littérature française moderne - Losing the Thread: Labyrinths of Modern French Literature. 444 KB
POIRIER, Jacques
215
Palabras Clave: Labyrinthe; Dédale; Centre; Sexe; Géométrie
Labyrinth; Maze; Center; Sex; Geometry
Resumen: Du jour où Thésée tue le Minotaure, le Labyrinthe, devenu une forme en quête de sens, se retrouve sans emploi. Du coup, nous nous trouvons sommés d’attribuer à cette structure vide des significations nouvelles. Confrontés à une telle vacance, les écrivains modernes en auront exploré tous les possibles : tandis que certains, comme Michel Butor, donnent congé à la dimension sacrée, d’autres, comme Serge Doubrovsky, voient en lui l’image du moi (le corps, la psyché…), et d’autres encore, comme Raymond Roussel, Alain Robbe-Grillet ou Georges Perec, font de cette pure structure géométrique qu’est le labyrinthe un modèle esthétique, et donc un miroir de l’oeuvre. Il restera cependant à se demander si le labyrinthe vaut comme métaphore de l’écriture ou si, plus encore, il ne peut pas fonder une théorie de la lecture.
From the day when Theseus killed the Minotaur, the Maze turned into a form in search of meaning, and became useless. As a result, one was enjoined to ascribe nw meanings to the empty strcuture. Modern writers, when confronted with such a void, will have explored all its possibilities: while some of them, like Michel Butor, dismiss the sacred dimensions, others, like Serge Doubrovsky, see in it the image of the self (the body, the psyche...), and others still, like Raymond Roussel, Alain Robbe-Grillet or Georges Pererc, make of the pure geometrical structure of the labyrinth an aesthetic model, and thus a mirror of the work of art. However, one still have to ask whether the labrinth is a valid metaphor for the writing or whether, more accurately, it cannot be the base of a theory of reading.
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"Minotaurus wollte unbewußt ein mensch werden.." - Friedrich Dürrenmatts kritische adaption des minotaurusmythos - „Minotaurus wollte unbewußt ein Mensch werden...“ – Friedrich Dürrenmatts critical adaptation of the myth of Minotaur. 578 KB
SCHU, Sabine
227
Palabras Clave: Friedrich Dürrenmatt; Minotaurus; Mythos; Entwicklungsroman; Ballade; Theseus; Ariadne; Labyrinth; Kritische Adaption
Friedrich Dürrenmatt; Minotaur; Myth; Entwicklungsroman; Development novel; Lay; Theseus; Ariadne; Labyrinth; Critical adaptation
Resumen: Friedrich Dürrenmatts Minotaurus. Eine Ballade dokumentiert im Schema des Entwicklungsromans das Scheitern des Minotaurus am Wunsch der Menschwerdung. In seinen Begegnungen mit dem Menschen (dem Weiblichen, der Gewalt in Form eines Jünglings und mit seinem mythischen Antagonisten Theseus) werden die Hoffnungen des Minotaurus auf Erlösung aus seiner existenziellen Einsamkeit und Einzigartigkeit enttäuscht. Dürrenmatt wendet sich von der gängigen Interpretation des Minotaurus als eines Monsters ab und präsentiert stattdessen eine theseus- bzw. gesellschaftskritische Lesart, die die Raubtiernatur des Menschen entlarvt.
Friedrich Dürrenmatts Minotaur. A ballad documents the failure of the Minotaurs desire to become human according to the scheme of the development novel. In its encounters with the human being (the female, the force represented by a boy and with its mythical antagonist Theseus) the hopes of the Minotaur at deliverance from its existential loneliness and uniqueness are disappointed. Dürrenmatt turns away from the current interpretation of the Minotaur as a monster and introduces instead a theseus- as well as socio-critical version, that the predatory animal nature of the human being exposes.
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Du labyrinthe des rues au labyrinthe de l'etre - From Streets Labyrinth to the Labyrinth of Being. 287 KB
BRUNEL, Pierre
243
Palabras Clave: Labyrinthe; Mythe; Nouveaux poètes maudits
Labyrinth; Myth; Nouveaux poètes maudits
Resumen: Il est d’autres labyrinthes que le labyrinthe de Crète. Les rues d’une grande ville, Paris pour Gérard de Nerval, Londres pour T.S. Eliot par exemple. Plus complexe encore est le labyrinthe de l’être où ont erré et où sont perdus ceux que Pierre Seghers a appelés dans son anthologie de 1972 (rééditée et complétée en 1978 et en 1985), « les nouveaux poètes maudits ». Trois d’entre eux seront évoqués, Jacques Prével (1915-1951), Jean-Pierre Duprey (1930-1959) et surtout Roger-Arnould Rivière (1930- 1959 lui aussi), cet admirable poète inconnu qui a cru reconnaître en Dylan Thomas son « intricate image » dès ses premiers poèmes et a écrit à bout de souffle mais non de poésie un étonnant testament au bord du « vertigineux à-pic de la nuit ».
There are other labyrinths apart from Crete’s: the streets of a big city like Paris for Gérard de Nerval, or London for T.S. Eliot. Even more complex is the labyrinth of the human being where those who Pierre Seghers called in his 1972 anthology (reviewed and completed in 1978 and 1985) « les nouveaux poètes maudits » (« the new accursed poets ») wondered or got lost. Three of them will be studied in this article: Jacques Prével (1915-1951), Jean-Pierre Duprey (1930-1959) and specially Roger-Arnould Rivière (1930-1959), an admirable unknown poet who believed having recognized Dylan Thomas’ « intricate image » in his first poems and who wrote restlessly and beautifully his « vertigineux à-pic de la nuit ».
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Le labyrinthe dans les arts du XXe siècle. Les arts du XXe siècle dans le labyrinthe - The labyrinth and twentieth century arts. Twentieth century arts in a maze. 424 KB
ESCORNE, Marie
253
Palabras Clave: Artiste; Cité; Dédale; Dérive; Désorientation; Fable; Fiction; Jeu; Labyrinthe; Mythe; Participant; Plasticiens; Pratique; Pratiquer; Psychogéographie; Réalité; Situations; Situationnisme; Spectateur; Traque; Ville
Artist; City; Maze; Drift; Disorientation; Fable; Fiction; Game; Labyrinth; Myth; Actor; Visual artists; Practice; Practising; Psychogeography; Reality; Situation; Situationism; Viewer; Stalking; Town
Resumen: La forme mythique du labyrinthe trouve de nombreuses résonnances dans les pratiques artistiques du XXe siècle. Elle est tout d’abord convoquée par les artistes qui cherchent à introduire une dimension participative dans la réception des oeuvres. Les créateurs de Dylaby, réalisation collective sous-titrée Un Labyrinthe dynamique (1962), métamorphosent par exemple un musée entier en dédale, bouleversant du même coup les habitudes perceptuelles et cognitives des visiteurs. Après avoir eux aussi créé des parcours labyrinthiques (Labyrinthe 1963, Labyrinthe II 1964) les membres du Groupe de Recherche d’Art Visuel poursuivent la remise en question du rapport traditionnel entre l’oeuvre et le spectateur en sortant du musée, invitant les citadins à considérer Paris comme un dédale hors échelle (Une Journée dans la rue, 1966). Le mythe du labyrinthe se rejoue ainsi à travers les oeuvres, ludiques ou inquiétantes, des plasticiens qui travaillent à même la ville. Endossant les rôles de Thésée à la recherche de son chemin (Stanley Brouwn), Minotaure aux aguets (Vito Acconci), Ariane tissant un fil à l’attention des citadins en proie à la monotonie et au somnambulisme (Francis Alÿs), ces artistes montrent que la fiction et la fable ne sont jamais loin derrière les sages apparences du réel.
The mythical figure of the labyrinth is often echoed in twentieth century artistic practices. First, it is called upon by artits who wish to introduce a participative dimension in the way the work of art will be apprehended. The creators of Dylaby – a group creation subtitled « A Dynamic Labyrinth » - turn a full museum into a maze, whereby they upset the visitors’ habits of perception and cognition. After they, too, had created labyrinthic routes (Labyrinth, 1963 ; Labyrinth II, 1964), the members of the Groupe de Recherche d’Art Visuel (Research Group on Visual Art) carry on with the questioning of the traditional viewer-work-of-art relationship by going outside museums, inviting citizens to envision Paris as a beyond scale labyrinth (One Day in the Street, 1966). The myth of the labyrinth is thus reconsidered through works – whether playful or disturbing – of visual artists whose material is the very city. Posing as a Theseus groping for the way out (Stanley Brouwn) or a Minotaur on the alert (Vito Acconci) or again as an Ariadne weaving a thread destined to benumbed, sleep-walking and habit-ridden passers-by (Francis Alÿs), these artists show that fiction and fables can always be reachable behind the tame appearance of reality.
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267. El laberinto de la memoria. 455 KB
SOTO, Ramón De
269. Laberinto y Minotauro. 99 KB (Reseña)
GONZÁLEZ DELGADO, Ramiro
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