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Hráč, spáč, stvořitel, vypravěč. Borgesovo dílo pohledem (romantické) ironie

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Kazmar V.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
80-85
EN
The article tries to offer a reading of Borges’ fiction through the theory of romantic irony. First, it briefly outlines the “history of irony”, beginning with the approach of Plato’s Socrates, continuing with the late antiquity and its mostly rhetorical interpretation of irony as a means of expressing a thought through its opposite. The real focus of the article is the romantic irony, in particular the views of Friedrich Schlegel, who was one of the chief theoreticians of German romanticism. The reading of Borges’ short stories is attempted, the point of departure being two Shekel’s fragments that offer contrasting and complementary possibilities of interpretation. The first explains romantic irony in the context of the notion of chaos and possibility, the second draws on the concept of parabasis, known from the theory of Ancient Greek drama. The first interpretation tries to show Borges’ poetics as a poetics of possibility; the short story Library of Babel serves as an example. The second interpretation shows how the motives of waking up, creation and game can all be connected through the concept of parabasis and shows a group of Borges’ text, including some poems, that can be considered ironic in this special sense.
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Romantická ironie jako protihráčka entuziasmu u Borgese a Cortázara

100%
Kazmar V.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
|
2022
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vol. 32
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issue 65
59-69
EN
The study offers an interpretation of Borges and Cortázar in the light of romantic irony, in particular Friedriech Schlegel’s concept from the Athenaeum fragment 37 where irony is defined as an art of controlled enthusiasm. This is something that can be found in Borges, at the level of language, in the figure of litotes, in his penchant for brevity and a relative disdain for novels. In Cortázar, the taming of enthusiasm manifests itself more openly, as a contrast of two alternating modes of speech. Thus, Borges and Cortázar embody two answers to the question of enthusiasm.
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