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Las ninfas de los ríos: Echo(s) zwischen Miguel de Cervantes, Paul Valéry und Jorge Luis Borges als Grundlegung einer Theorie literarischer Resonanz
Arcadia Pub Date : 2021-06-01 , DOI: 10.1515/arcadia-2021-9015
Anita Traninger 1
Affiliation  

The article takes as its starting point a reading of Jorge Luis Borges’ short story Pierre Menard, autor del Quijote , focusing on the first passage from Cervantes’ Quijote that is quoted verbatim in the text. An invocation of the river nymphs and the nymph Echo („las ninfas de los ríos, la húmida y dolorosa Eco“), it is singled out by the narrator as bearing the voice of Pierre Menard despite having never been attempted by him in his project of writing Don Quijote again. I argue that the invocation of Echo does not point to a duplication of the text. Rather, Echo’s early modern acceptation, that of a dialogue partner that not only answers, but answers back and says different things with the same words, encapsulates Menard’s project as such and, beyond that, a theory of literary resonance. Paul Valery’s poems and essays, to which Borges’ story variously alludes, underpin this reading of Echo as the patron saint of a theory of resonance that accounts for the necessary openness of literary texts to deviant interpretations, in particular those that could not have been foreseen or desired by their authors.

中文翻译:

Las ninfas de los ríos: Echo(s) zwischen Miguel de Cervantes, Paul Valéry 和 Jorge Luis Borges als Grundlegung einer Theorie literarischer Resonanz

这篇文章以阅读博尔赫斯的短篇小说皮埃尔·梅纳尔 (Pierre Menard) 为出发点,作者德尔吉诃德,重点介绍了塞万提斯的《吉诃德》中的第一段,该段落在文本中被逐字引用。对河流若虫和若虫回声(“las ninfas de los ríos, la húmida y dolorosa Eco”)的调用,叙述者指出它带有皮埃尔·梅纳尔的声音,尽管他从未在他的项目中尝试过再次写唐吉诃德。我认为 Echo 的调用并不指向文本的重复。相反,Echo 的早期现代接受,即对话伙伴的接受,不仅回答,而且回答并用相同的话回答不同的事情,概括了梅纳德的项目本身以及除此之外的文学共鸣理论。保罗瓦莱里的诗歌和散文,
更新日期:2021-06-15
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