음유시인 보르헤스: 보르헤스 픽션에 새겨진 서사시의 꿈
Borges and Epic: Vestiges of Epic in the Fiction of Borges
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In this article we have analyzed the “epic” in Borges’ short stories as the essential symbol of the labyrinth. The Argentine author has used the labyrinthine plot that is the proper narrative strategy of the detective short story. Jorge Luis Borges also defines his works,“El Jardín de los Senderos que se Bifurcan” or “La Muerte y la Búrbuja” as detective stories, and like most of his fantastic works,these are based on the narrative techniques of intelligence and investigation. However, the other part of his narrative essentiality derives from the epic. At the narrative level, the epic can be contrasted with the detective genre, even though both have the irrealism that was situated before and after the Modern Realism in the history of narratology. Some desire of Borges to author the epic can be read in his interest in Argentina’s national epic, Martín Fierro. Furthermore, in his work, “La Historia Universal de la Infamia,”we can see the process-structure of the transformation of the epic as the mode of re-writing. Especially, the last short story of this book, “El Hombre de la Esquina Rosada”, we can name it as a small epic or an epic short story. Citing Amado Alonso’s comments and the theoretical discussions of Bakhtin and Auerbach, we reach the conclusion that in the early short stories of Borges, especially,in “El Hombre de la Esquina Rosada”, three narrative factors of the epic are in operation: the local orality, the absolute time and the delay as the digression.
Abstract
In this article we have analyzed the “epic” in Borges’ short stories as the essential symbol of the labyrinth. The Argentine author has used the labyrinthine plot that is the proper narrative strategy of the detective short story. Jorge Luis Borges also defines his works,“El Jardín de los Senderos que se Bifurcan” or “La Muerte y la Búrbuja” as detective stories, and like most of his fantastic works,these are based on the narrative techniques of intelligence and investigation. However, the other part of his narrative essentiality derives from the epic. At the narrative level, the epic can be contrasted with the detective genre, even though both have the irrealism that was situated before and after the Modern Realism in the history of narratology. Some desire of Borges to author the epic can be read in his interest in Argentina’s national epic, Martín Fierro. Furthermore, in his work, “La Historia Universal de la Infamia,”we can see the process-structure of the transformation of the epic as the mode of re-writing. Especially, the last short story of this book, “El Hombre de la Esquina Rosada”, we can name it as a small epic or an epic short story. Citing Amado Alonso’s comments and the theoretical discussions of Bakhtin and Auerbach, we reach the conclusion that in the early short stories of Borges, especially,in “El Hombre de la Esquina Rosada”, three narrative factors of the epic are in operation: the local orality, the absolute time and the delay as the digression.
참고문헌 (25)
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