“Deutsches Requiem”: Borges y una visión del nazismo
Keywords:
Memoria, lectura, Shoá, antisemitismo, recursos narrativos, dialoguismo, música.Abstract
Uno de los fenómenos centrales de nuestra sociedad occidental es la creciente preocupación por la memoria como acontecimiento cultural, histórico y político. La Shoa funciona como tropos del acontecimiento traumático desde el cual, a manera de prisma, percibimos otros genocidios. Podemos buscar explicaciones sobre el Mal, su banalidad según Arendt, las teorizaciones de Todorov, de E. Roudinesco desde al campo psicoanalítico, desde La Capra e ideológicas de Voloshinov.
Son las producciones discursivas las que dan cuenta de las distintas experiencias históricas relacionadas con la memoria, con un acercamiento que se caracteriza por su capacidad trnsformadora de lo real. Los recursos simbólicos que nos permiten abordar el tema del Mal tienen una poderosa fuerza de exorcismo del mismo.
Borges practica una lectura del nazismo y de antisemitismo en diferentes ensayos que se publican desde 1934 y que van señalando la interpretación que hace el autor. También hay una línea de continuidad en varios cuentos. En “Deutches Réquiem”, publicado en Sur (1946) y luego incluido en Ficciones (1949), urde una historia relatada en primera persona por un nazi, Otto Dietrich zur Linde, Si bien son reconocibles rasgos borgianos relacionado con la totalidad de su producción, el cuento exige una contextualización. Subdirector de un campo de concentración, aun en la derrota, el protagonista cree que el nazismo ha resultado victorioso. Encarna al vencedor “repugnante” que a pesar de su aparente condición de vencido, resulta vencedor: la violencia triunfa en el mundo.
Existe un diálogo entre el “Réquiem” de Borges y el Ein Deutches Requien de Brahms; quien a su vez realiza otros diálogos con composiciones anteriores. Las distintas voces de la música están representadas en las estrategias narrativas que se concretan más allá del aparente monólogo y de la “oralidad” del cuento”, en la voz del editor y del autor en el Epílogo. Polifonía narrativa y musical sobre la que se construye el cuento
Resulta insoslayable relacionar el genocidio nazi con el terrorismo de estado llevado a cabo en la Argentina. Dos episodios alejados en el espacio y en el tiempo pero unidos en una ideología común.
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