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Emma Zunz

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Literatuuranalyse Spaans

Trabajo I

Literatura narrativa

15-5-2012
Introductie
In deze eerste opdracht voor het vak Literatuuranalyse Spaans zal een narratief werk door mij geanalizeerd worden aan de hand van de richtlijnen in de opdracht. De keuze bestond uit een werk van Pío Baroja of van Jorge Luis Borges. Ik heb gekozen voor het twintigste eeuwse werk ‘Emma Zunz’ van de hand van de Argentijnse auteur Jorge Luis Borges omdat die in zijn geheel in de reader staat en omdat het een bekend werk is.
Samenvatting
Emma Zunz gaat over het meisje Emma Zunz dat op haar negentiende een brief thuis (Almagro, Argentinië) krijgt waarin staat dat haar vader zichzelf een overdosis veronal heeft toegediend in Brazilië. Dan herinnert ze zich dat haar vader zwoer dat de man die vroeger fraude pleegde in de fabriek en haar vader ervoor liet opdraaien Aaron Loewenthal heette, nu de baas van diezelfde fabriek. Niemand anders wist dit en zij besloot haar vader te wraken door Loewenthal om te brengen; hiervoor had zij een list bedacht: komen praten over de aanstaande staking, pretenderen dat ze door hem was aangerand en hem vermoorden uit “zelfverdediging”. Ter voorbereiding had ze seks met een Scandinaviër en was ze klaar om de daad te volbrengen: ze ging naar de fabriek, waar Loewenthal woonde, pakte zijn revolver uit de lade toen hij even water aan het halen was, schoot hem neer, pakte de telefoon en zei dat ze hem vermoord had omdat hij haar misbruikte.
Analyse
In dit werk is de verteller te plaatsen als een externe heterodiëgetische verteller die over Emma Zunz verhaalt in de derde persoon. Aangezien dit het kenmerk is van de alwetende verteller denomineer ik de verteller als zijnde een alwetende verteller. Tevens is het feit dat de schrijver haar gevoelens en emotionele acties beschrijft een aanleiding om te zeggen dat er een omnisciente verteller is. Voorbeelden hiervan zijn: “Su primera impresión fue de malestar en el vientre y en las rodillas; luego de ciega culpa, de irrealidad, de frío, de temor; luego, quiso ya estar en el día siguiente”, “Acaso en el infame Paseo de Julio se vio multiplicada en espejos, publicada por luces y desnudada por los ojos hambrientos, pero más razonable es conjeturar que al principio erró, inadvertida, por la indiferente recova…” De keuze voor een omnisciente verteller zal zijn gemaakt omdat de lezer zich beter kan inleven in een personage omdat hij de setting ook leert kennen in tegenstelling tot alleen hetgene wat het personage weet.
De verteller maakt ook gebruik van zijn alwetendheid door de lezer er bij te betrekken of zaken te reflecteren. Dit komt tot uiting in passages als “nos consta que esa tarde fue al puerto” en “Yo tengo para mi…” waarin de verteller spreekt in de eerste persoon meervoud dan wel enkelvoud. Waar de verteller in het eerste geval zich richt naar de lezers om hen te engageren, is de tweede quote een hypothetische zin die afvraagt waarom Emma doet wat ze doet en kan worden opgevat als een geval van “omnisciencia editorial/personal”.
Er zijn echter ook zaken die misschien tekort doen aan het alwetende vertelperspectief; Wanneer het gaat over diepe gevoelens zoals wanneer ze hoer speelt is de beschrijving heel kort en algemeen, er wordt niet ingegaan op wat ze echt denkt/voelt: “El temor se perdió en la tristeza de su cuerpo, en el asco”. Een ander punt is dat doordat de stem van de personages in de vrije indirecte rede staat het werk toch onpersoonlijker is dan je zou verwachten in een alwetende vertelsituatie.
Dan nu de focalisatie; in het werk ligt de focalisatie duidelijk bij een personage, namelijk Emma Zunz en daarmee is zij de focalisator: “Focalizador unido a un Personaje”. Het verhaal volgt haar en gaat over haar gedachten, belevenissen, acties etc. Doordat de hoofdpersoon ook de focalisator is, is het voor de lezer makkelijk om zich in te leven in het verhaal en wordt er spanning opgewekt. Vraag daarbij is echter wel of dit een objectieve kijk op de ‘werkelijkheid’ geeft aangezien alles vanuit één standpunt wordt bekeken, terwijl reflectie van meerdere personen tot andere observaties kan leiden.
Dit leidt meteen tot een paar zaken die me zijn opgevallen. Op de eerste pagina wordt Emma Zunz gepresenteerd als een niet-gewelddadig meisje “contra toda violencia” maar vervolgens, nog geen dag later, vermoordt ze haar baas. Ook de keuze van de naam Emma/Emanuel vind ik erg goed gezien de betekenis: Emanuel betekent ook wel Messias in het Spaans en wordt geassocieerd met gerechtigheid (Emma is het vrouwelijke verkleinwoord). Gerechtigheid komt op meerdere plekken terug in het verhaal: “El hombre… fue una herramienta para Emma como ésta lo fue para él, pero ella sirvió para el goce y él para la justicia” en “…forzando al miserable a confesar la miserable culpa y exponiendo la intrépida estratagema que permitiría a la Justicia de Dios triunfar de la justicia humana”. Dan nog een stukje schrijfstijl dat me is opgevallen: “El hombre la condujo a una puerta y después a un pasillo y después a un turbio zaguán y después…”. Deze zin lijkt voor mij op kleutertaal omdat er vijf keer achter elkaar hetzelfde voegwoord wordt gebruikt, dit kan mijns inziens wel wat gevarieërder.
Conclusie
Nadat ik het werk Emma Zunz van Jorge Luis Borges heb geanalizeerd ben ik tot de volgende conclusies gekomen: Borges bedient zich van een omnisciente verteller en een “Focalizador unido a un Personaje” en hij heeft de naam van de hoofdpersoon zorgvuldig gekozen want Emma staat voor het thema van dit verhaal. Het analyseren van deze tekst heeft mij een set extra skills gegeven die ik in de toekomst bij andere opdrachten en literatuurvakken weer kan toepassen, dus ik ben tevreden dat ik besloten heb deze opdracht te maken.

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