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Time, Infinity, Recursion, and Liminality in the Writings of Jorge Luis Borges
Kevin Wilson Of Stones and Tigers; Time, Infinity, Recursion, and Liminality in the writings of Jorge Luis Borges (1899-1986) and Pu Songling (1640-1715) (draft) The need to meet stones with tigers speaks to a subtlety, and to an experience, unique to literary and conceptual analysis. Perhaps the meeting appears as much natural, even familiar, as it does curious or unexpected, and the same might be said of meeting Pu Songling (1640-1715) with Jorge Luis Borges (1899-1986), a dialogue that reveals itself as much in these authors’ shared artistic and ideational concerns as in historical incident, most notably Borges’ interest in and attested admiration for Pu’s work. To speak of stones and tigers in these authors’ works is to trace interwoven contrapuntal (i.e., fugal) themes central to their composition, in particular the mutually constitutive themes of time, infinity, dreaming, recursion, literature, and liminality. To engage with these themes, let alone analyze them, presupposes, incredibly, a certain arcane facility in navigating the conceptual folds of infinity, in conceiving a space that appears, impossibly, at once both inconceivable and also quintessentially conceptual. Given, then, the difficulties at hand, let the following notes, this solitary episode in tracing the endlessly perplexing contrapuntal forms that life and life-like substances embody, double as a practical exercise in developing and strengthening dynamic “methodologies of the infinite.” The combination, broadly conceived, of stones and tigers figures prominently in -
Ge Fei's Creative Use of Jorge Luis Borges's Narrative Labyrinth
Fudan J. Hum. Soc. Sci. DOI 10.1007/s40647-015-0083-x ORIGINAL PAPER Imitation and Transgression: Ge Fei’s Creative Use of Jorge Luis Borges’s Narrative Labyrinth Qingxin Lin1 Received: 13 November 2014 / Accepted: 11 May 2015 © Fudan University 2015 Abstract This paper attempts to trace the influence of Jorge Luis Borges on Ge Fei. It shows that Ge Fei’s stories share Borges’s narrative form though they do not have the same philosophical premises as Borges’s to support them. What underlies Borges’s narrative complexity is his notion of the inaccessibility of reality or di- vinity and his understanding of the human intellectual history as epistemological metaphors. While Borges’s creation of narrative gap coincides with his intention of demonstrating the impossibility of the pursuit of knowledge and order, Ge Fei borrows this narrative technique from Borges to facilitate the inclusion of multiple motives and subject matters in one single story, which denotes various possible directions in which history, as well as story, may go. Borges prefers the Jungian concept of archetypal human actions and deeds, whereas Ge Fei tends to use the Freudian psychoanalysis to explore the laws governing human behaviors. But there is a perceivable connection between Ge Fei’s rejection of linear history and tradi- tional storyline with Borges’ explication of epistemological uncertainty, hence the former’s tremendous debt to the latter. Both writers have found the conventional narrative mode, which emphasizes the telling of a coherent story having a begin- ning, a middle, and an end, inadequate to convey their respective ideational intents. -
1 Jorge Luis Borges the GOSPEL ACCORDING to MARK
1 Jorge Luis Borges THE GOSPEL ACCORDING TO MARK (1970) Translated by Norrnan Thomas di Giovanni in collaboration with the author Jorge Luis Borges (1899-1986), an outstanding modern writer of Latin America, was born in Buenos Aires into a family prominent in Argentine history. Borges grew up bilingual, learning English from his English grandmother and receiving his early education from an English tutor. Caught in Europe by the outbreak of World War II, Borges lived in Switzerland and later Spain, where he joined the Ultraists, a group of experimental poets who renounced realism. On returning to Argentina, he edited a poetry magazine printed in the form of a poster and affixed to city walls. For his opposition to the regime of Colonel Juan Peron, Borges was forced to resign his post as a librarian and was mockingly offered a job as a chicken inspector. In 1955, after Peron was deposed, Borges became director of the national library and Professor of English Literature at the University of Buenos Aires. Since childhood a sufferer from poor eyesight, Borges eventually went blind. His eye problems may have encouraged him to work mainly in short, highly crafed forms: stories, essays, fables, and lyric poems full of elaborate music. His short stories, in Ficciones (1944), El hacedor (1960); translated as Dreamtigers, (1964), and Labyrinths (1962), have been admired worldwide. These events took place at La Colorada ranch, in the southern part of the township of Junin, during the last days of March 1928. The protagonist was a medical student named Baltasar Espinosa. We may describe him, for now, as one of the common run of young men from Buenos Aires, with nothing more noteworthy about him than an almost unlimited kindness and a capacity for public speaking that had earned him several prizes at the English school0 in Ramos Mejia. -
The-Circular-Ruins-Borges-Jorge
THE CIRCULAR RUINS miseroprospero.com/the-circular-ruins 31 March 2017 FRIDAY FICTION [3] A short story from Ficciones by Jorge Luis Borges NO ONE saw him disembark in the unanimous night, no one saw the bamboo canoe sinking into the sacred mud, but within a few days no one was unaware that the silent man came from the South and that his home was one of the infinite villages upstream, on the violent mountainside, where the Zend tongue is not contaminated with Greek and where leprosy is infrequent. The truth is that the obscure man kissed the mud, came up the bank without pushing aside (probably without feeling) the brambles which dilacerated his flesh, and dragged himself, nauseous and bloodstained, to the circular enclosure crowned by a stone tiger or horse, which once was the colour of fire and now was that of ashes. The circle was a temple, long ago devoured by fire, which the malarial jungle had profaned and whose god no longer received the homage of men. The stranger stretched out beneath the pedestal. He was awakened by the sun high above. He evidenced without astonishment that his wounds had closed; he shut his pale eyes and slept, not out of bodily weakness but of determination of will. He knew that this temple was the place required by his invincible purpose; he knew that, downstream, the incessant trees had not managed to choke the ruins of another propitious temple, whose gods were also burned and dead; he knew that his immediate obligation was to sleep. Towards midnight he was awakened by the disconsolate cry of a bird. -
Blue Gum 2 Complete
Blue Gum, No. 2, 2015, ISSN 2014-21-53, Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona A Glimpse at Paul Auster and Jorge L. Borges through the Tinted Glass of Quantum Theory Myriam M. Mercader Varela Copyright©2015 Myriam M. Mercader Varela. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged. Abstract . The works of Jorge Luis Borges and Paul Auster seem to follow the rules of Quantum Theory. The present article studies a number of perspectives and coincidences in their oeuvre, especially a quality we have named “inherent ubiquity” which highlights the importance and of authorship and identity and the appearance of blue stones to mark the doors leading to new dimensions on the works of both authors. Keywords: Jorge L. Borges, Paul Auster, Authorship and Identity, Quantum Theory, Inherent Ubiquity, Blue Stones. Quantum Theory has ruled the scientific milieu for decades now, but it is not only for science that Quantum Theory makes sense. Literary critics have surrendered to its logic as a unique way to interpret literature because the world we live and write in is one and the same; it forms part of a whole. Although this article does not aim to analyze Quantum Theory, we would like to make a short summary of its basis in order to shape the arena we are stepping into. In 1982 a famous experiment undertaken by Alain Aspect proved that a very large percentage of the polarization angles of photons emitted by a laser beam was identical, which meant that particles necessarily communicate their position so that each photon’s orientation can parallel that of the one that serves as its pair. -
Ficciones Free
FREE FICCIONES PDF Jorge Luis Borges | 143 pages | 01 Oct 1997 | Random House USA Inc | 9780679422990 | English | New York, United States Ficciones - Wikipedia, la enciclopedia libre He returned to Buenos Aires inwhere he Ficciones to found several avant-garde literary periodicals. Inafter Ficciones fall of Juan Peron, whom he vigorously opposed, he was appointed director of the Argentine National Ficciones. Borges regularly taught and lectured throughout the United States and Europe. His ideas have been a Ficciones influence on writers throughout the Western world and on the most recent developments in literary and critical theory. A prolific writer of essays, short stories, and plays, Borges's concerns are perhaps clearest in his stories. He regarded people's endeavors to understand an incomprehensible world as fiction; hence, Ficciones fiction is metaphysical and based on what he called an esthetics of the intellect. Some critics have called him a mystic of the intellect. Dreamtigers is considered a masterpiece. A Ficciones image in Borges's work is the labyrinth, a mental and poetic construct, that he considered a universe in miniature, which human beings build and therefore believe they control but which nevertheless traps them. In spite of Ficciones belief that people cannot understand Ficciones chaotic world, he continually attempted to do so in his writing. Much of his work deals with people's efforts to find the center of the labyrinth, symbolic of achieving understanding of their place in a mysterious Ficciones. In such later works as The Gold of the Tigers, Borges wrote of his lifelong descent into blindness and Ficciones it affected his perceptions of the world and himself Ficciones a writer. -
The Numinous Gate: a Philosophico-Phenomenological Study
Maine State Library Maine State Documents Academic Research and Dissertations Special Collections 2015 The uminouN s Gate: A Philosophico- Phenomenological Study of Wonder and Image Consciousness in the Fabulist Art of Varo and Borges Robert Kalivac Carroll IDSVA Follow this and additional works at: http://digitalmaine.com/academic Recommended Citation Carroll, Robert Kalivac, "The uminousN Gate: A Philosophico-Phenomenological Study of Wonder and Image Consciousness in the Fabulist Art of Varo and Borges" (2015). Academic Research and Dissertations. Book 13. http://digitalmaine.com/academic/13 This Text is brought to you for free and open access by the Special Collections at Maine State Documents. It has been accepted for inclusion in Academic Research and Dissertations by an authorized administrator of Maine State Documents. For more information, please contact [email protected]. THE NUMINOUS GATE: A PHILOSOPHICO-PHENOMENOLOGICAL STUDY OF WONDER AND IMAGE CONSCIOUSNESS IN THE FABULIST ART OF VARO AND BORGES Bob Kalivac Carroll Submitted to the faculty of The Institute for Doctoral Studies in the Visual Arts for the degree Doctor of Philosophy September 2015 Accepted by the faculty of the Institute of the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. ___________________________ Dissertation Director Sigrid Hackenberg, Ph.D. Doctoral Committee ___________________________ George Smith, Ph.D. ___________________________ Simonetta Moro, Ph.D. Date of official submission: September 17, 2015 ii © 2015 Bob Kalivac Carroll ALL RIGHTS RESERVED iii Seré todos o nadie. Seré el otro Que sin saberlo soy, el que ha mirado Ese otro sueño, mi vigilia. La juzga, Resignado y sonriente. -
The Enigmas of Borges, and the Enigma of Borges
THE ENIGMAS OF BORGES, AND THE ENIGMA OF BORGES Peter Gyngell, B.A. Thesis submitted to Cardiff University in partial fulfilment of the requirements for the degree of Doctor of Philosophy March 2012 ii ACKNOWLEDGEMENTS My thanks go to my grandson, Brad, currently a student of engineering, who made me write this thesis; to my wife, Jean, whose patience during the last four years has been inexhaustible; and to my supervisor, Dr Richard Gwyn, whose gentle guidance and encouragement have been of incalculable value. Peter Gyngell March 26, 2012 iii CONTENTS PREFACE 1 INTRODUCTION 2 PART 1: THE ENIGMAS OF BORGES CHAPTER 1: BORGES AND HUMOUR 23 CHAPTER 2: BORGES AND HIS OBSESSION WITH DEATH 85 CHAPTER 3: BORGES AND HIS PRECIOUS GIFT OF DOUBT 130 CHAPTER 4: BORGES AND HUMILITY 179 PART 2: THE ENIGMA OF BORGES CHAPTER 5: SOME LECTURES AND FICTIONS 209 CHAPTER 6: SOME ESSAYS AND REVIEWS 246 SUMMARY 282 POSTSCRIPT 291 BIBLIOGRAPHY 292 1 PREFACE A number of the quoted texts were published originally in English; I have no Spanish, and the remaining texts are quoted in translation. Where possible, translations of Borges’ fictions will be taken from The Aleph and Other Stories 1933-1969 [Borges, 1971]; they are limited in number but, because of the involvement of Borges and Norman Thomas di Giovanni, they are taken to have the greater authority; in the opinion of Emir Rodriguez Monegal, a close friend of Borges, these translations are ‘the best one can ask for’ [461]; furthermore, this book contains Borges’ ‘Autobiographical Essay’, together with his Commentaries on each story. -
A Labyrinth of Mirrors: the Reader As the Writer and the Writer As the Reader in Jorge Luis Borges’ Short Fictions
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 A Labyrinth of Mirrors: The Reader as the Writer and the Writer as the Reader in Jorge Luis Borges’ Short Fictions Andy Byung-Ho Rim Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Reading and Language Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Rim, Andy Byung-Ho, "A Labyrinth of Mirrors: The Reader as the Writer and the Writer as the Reader in Jorge Luis Borges’ Short Fictions" (2016). Senior Projects Spring 2016. 350. https://digitalcommons.bard.edu/senproj_s2016/350 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. A Labyrinth of Mirrors: The Reader as the Writer and the Writer as the Reader in Jorge Luis Borges’ Short Fictions Senior Project Submitted to The Division of Languages and Literature of Bard College by Andy Rim Annandale-on-Hudson, New York May 2016 Acknowledgements Thank you Stephen Graham, for all of the incredible help and support for this seemingly impossible task. -
What I Lost When I Translated Jorge Luis Borges
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Directory of Open Access Journals What I Lost When I Translated... 289 WHAT I LOST WHEN I TRANSLATED JORGE LUIS BORGES Andrew Hurley University of Puerto Rico Some fifteen years ago, after I had been translating for three or four years and thought—a little prematurely it turned out—that I knew what I was doing, I wrote an article in which I made a claim for translation as a certain kind of literary criticism: literary criticism in its text-analysis modality. Basically, I said that in the process of textual analysis that goes into the translation, the first thing and the last thing the translator-cum-literary critic needed to do was look closely at the text, the words on the page, and when that written text had been absorbed, its stylistic peculiarities and tics analyzed and understood, the translator’s job was virtually done, because everything else followed from that. My approach to translation then, and in fact my approach to translation now, is that I attempt to reproduce in the translation the markers of style that I identify in the source text. In my ignorance and naiveté, it never occurred to me that this approach to literary translation was in any way daring or anti- establishment, certainly not that it ran counter to standard practice. I had come to the work of translation from the literary studies of twenty-five or thirty years ago, and so I knew—heavens, we all knew—that Hemingway’s style was not Faulkner’s or Joyce’s or Virginia Woolf’s or Henry James’s, that de Quincey did not write like Jay McInery or Paul Auster. -
Conclusion: Renunciation Stories and Wandering Kings
CONCLUSION: RENUNCIATION STORIES AND WANDERING KINGS In that way one can live. (Life and Times of Michael K)1 Ahora, la busca está condenada al fracaso. (El oro de los tigres)2 This book arose from a decision to follow an idea in movement. There was something intriguing about the Renunciation story that kept return- ing in various guises, in Borges’s essays, poems, and stories. The story was simple enough—a king leaving his palace after an encounter with an ascetic—yet as Borges speculated that its various transformations revealed a foundational narrative principle, it seemed to lead down so many forking paths. It was identifed with Buddhism, one of Borges’s many intellectual interests: yet he appeared especially interested in the ways in which the story traveled beyond Buddhism, to the point where no one religion or culture could claim ownership to it. It circulated ubiquitously, and transformed itself almost beyond recognition. Politically, it set up a basic confrontation between power and powerlessness, but then fipped 1Coetzee 184. 2Today, the quest is doomed to failure. Translation mine. “Los cuatro ciclos”, OC 2: 506. © The Editor(s) (if applicable) and The Author(s), 99 under exclusive license to Springer Nature Switzerland AG 2019 D. Jullien, Borges, Buddhism and World Literature, Literatures of the Americas, https://doi.org/10.1007/978-3-030-04717-7 100 CONCLUSION: RENUnciatiON STORIES AND WANDERING KINGS the outcome because the powerless fgure had the last word. Again this basic confrontation led down a multiplicity of possible political paths: reform, abdication or withdrawal being the main branches. -
Jorge Luis Borges at the Center of Christopher Nolan's Inception
Cuaderna Vía ISSN 2472-7237 Volume 2 • Issue 1 • 2016 doi:10.32855/cuadernavia.2016.005 The Penrose Stairway: Jorge Luis Borges at the Center of Christopher Nolan’s Inception Brian Durán Fuentes The night after the news of my father’s passing had crossed the border and reached me, Rocio Ramos, my unrequited love since the earlier years of my expiring youth, resurfaces into my life and practically kidnaps me to the closest movie theater. As she drives she asks me, “How do you feel?” But I can sense she doesn’t expect me to answer. I have no clue. I can’t even allow myself to think too much about the days on which this encounter would have been stirred me with bliss, like some perfect materialization of my wishful thinking. “I saw this the other day and knew I had to show it to you”, she adds, as I stare at the fading lights outside the window. “I think you’ll like it.” If I can smile about a single thing in this world is in knowing that there is someone who knows me, who can predict me. Christopher Nolan’s film succeeds in capturing my attention for two and a half hours and beyond. We don’t do much after the movie; we don’t even say much. She has already succeeded in appealing to the cold rationalist in me. She presents me with the puzzle that is Inception, embraces me, and walks back into a world that lies beyond mine. The first thing I do as I arrive home is re-read the next story for my World Literature class, “The Garden of Forking Paths” by Jorge Luis Borges.