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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. -
Postmodern Or Post-Auschwitz Borges and the Limits of Representation
Edna Aizenberg Postmodern or Post-Auschwitz Borges and the Limits of Representation he list of “firsts” is well known by now: Borges, father of the New Novel, the nouveau roman, the Boom; Borges, forerunner T of the hypertext, early magical realist, proto-deconstructionist, postmodernist pioneer. The list is well known, but it may omit the most significant encomium: Borges, founder of literature after Auschwitz, a literature that challenges our orders of knowledge through the frac- tured mirror of one of the century’s defining events. Fashions and prejudices ingrained in several critical communities have obscured Borges’s role as a passionate precursor of many later intellec- tuals -from Weisel to Blanchot, from Amery to Lyotard. This omission has hindered Borges research, preventing it from contributing to major theoretical currents and areas of inquiry. My aim is to confront this lack. I want to rub Borges and the Holocaust together in order to unset- tle critical verities, meditate on the limits of representation, foster dia- logue between disciplines -and perhaps make a few sparks fly. A shaper of the contemporary imagination, Borges serves as a touch- stone for concepts of literary reality and unreality, for problems of knowledge and representation, for critical and philosophical debates on totalizing systems and postmodern esthetics, for discussions on cen- ters and peripheries, colonialism and postcolonialism. Investigating the Holocaust in Borges can advance our broadest thinking on these ques- tions, and at the same time strengthen specific disciplines, most par- ticularly Borges scholarship, Holocaust studies, and Latin American literary criticism. It is to these disciplines that I now turn. -
Politics of the Name: on Borges's “El Aleph”
POLITICS OF THE NAME: ON BORGES’S “EL ALEPH” w Silvia Rosman Todo lenguaje es un alfabeto de símbolos cuyo ejercicio presupone un pasado que los interlocutores comparten J. L. Borges, “El aleph” n reaction to the vitriolic attacks on the inhuman and foreign nature of his writing, from the 1920s on Borges explores the I question of a common language and its implications for the concept of literature. Is there an authentic Argentinean language that would give rise to an equally authentic national literature? In “El idioma de los argentinos” (1927), Borges responds to this ques- tion by referring to a double particularity: “Dos influencias antagó- nicas entre sí militan contra un habla argentina. Una es la de quienes imaginan que esa habla ya está prefigurada en el arrabalero de los sainetes; otra es la de los casticistas o españolados que creen en lo cabal del idioma y en la impiedad o inutilidad de su refacción” (Idioma 136). Neither the localized slang of the Buenos Aires margins and its implied unity of place, nor the linguistic cohesion of a dic- tionary Spanish that no one speaks succeed in capturing the “voice” of the Spanish spoken in Argentina, crystallized as those two “lan- guages” are by their proper and definite meaning. Variaciones Borges 14 (2002) 8 SILVIA ROSMAN If a certain cultural nationalism imposed the normalizing parame- ters that a pedagogical notion of an Argentinean essence embodied (the continuity with Hispanic tradition, the notion of authenticity and uniqueness that would mark the nation’s autonomy), Borges finds in the performative use of language a certain linguistic com- monality: the “no escrito idioma argentino (…) diciéndonos,” where the intonation or inflexion of certain words can be heard. -
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. -
The Other/Argentina
The Other/Argentina Item Type Book Authors Kaminsky, Amy K. DOI 10.1353/book.83162 Publisher SUNY Press Rights Attribution-NonCommercial-NoDerivatives 4.0 International Download date 29/09/2021 01:11:31 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://www.sunypress.edu/p-7058-the-otherargentina.aspx THE OTHER/ARGENTINA SUNY series in Latin American and Iberian Thought and Culture —————— Rosemary G. Feal, editor Jorge J. E. Gracia, founding editor THE OTHER/ARGENTINA Jews, Gender, and Sexuality in the Making of a Modern Nation AMY K. KAMINSKY Cover image: Archeology of a Journey, 2018. © Mirta Kupferminc. Used with permission. Published by State University of New York Press, Albany © 2021 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, contact State University of New York Press, Albany, NY www.sunypress.edu Library of Congress Cataloging-in-Publication Data Names: Kaminsky, Amy K., author. Title: The other/Argentina : Jews, gender, and sexuality in the making of a modern nation / Amy K. Kaminsky. Other titles: Jews, gender, and sexuality in the making of a modern nation Description: Albany : State University of New York Press, [2021] | Series: SUNY series in Latin American and Iberian thought and culture | Includes bibliographical references and index. -
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. -
Borges' “The Library of Babel” and Moulthrop's Cybertext
Borges’ “The Library of Babel” and Moulthrop’s Cybertext “Reagan Library” Revisited Perla Sassón-Henry United States Naval Academy he works of Jorge Luis Borges are intimately related to technology and sci- Tence. In his short stories “The Garden of Forking Paths” and “The Library of Babel,” Borges anticipates hypertext and the Internet well before the advent of these technologies. Bifurcation and chaos theory have also been associated with both works. Thomas Weissert claims that “Borges discovered the essence of Bifurcation Theory thirty years before chaos scientists mathematically formalized it” (223). Weissert’s research provides the foundation for a new direction in the study of Borges’ works: the tripartite connection among “The Library of Babel,” the cybertext “Reagan Library” by Stuart Moulthrop, and chaos theory. Each element of this triad contributes to the understanding of each literary work from the perspective of digital technology, and a new perspective in the literary analysis of Borges’ works emerges. Borges’ innovative ideas about reading, writing, the role of the author, the role of the reader, and the text are reflected in the genre known as hyperfiction. This new type of literature, created on the computer to be read on the computer, allows the reader to traverse a series of lexias—electronic spaces—via links that generate an intricate narrative. In the last two decades, hyperfiction has evolved from a black- and-white electronic digital text into a rich environment where the text consists of images and sounds integral to the narrative. According to Susana Pajares Tosca, “hypertext fiction generally plays with disorientation as an aesthetic effect” and “each hyperfiction has its own reading rules embedded in its structure, and they apply often only to that text” (271). -
{Download PDF} Ficciones
FICCIONES PDF, EPUB, EBOOK Jorge Luis Borges | 143 pages | 01 Oct 1997 | Random House USA Inc | 9780679422990 | English | New York, United States FICCIONES | JORGE LUIS BORGES | Comprar libro Every book is mirrored by one with all the opposite conclusions. Tlon, Uqbar, Orbis Tertius is a story that gives us imaginary countries and worlds that get into encyclopedias and take on a life of their own. This week for example in Feb. In The Garden of Forking Paths, a Chinese spy for the Germans against the British can only pass on his secret information by killing someone. Meanwhile we hear speculation on the garden: is it a true labyrinth or a book about the labyrinth? In The Secret Miracle a man is condemned to the firing squad basically for being an erudite Jew. He tries to stop his execution by attempting to foresee all the details of the endless possibilities of the execution -- number of soldiers firing, how far away they stand, where it will take place, etc. He prays for a year to finish the book he is working on. He is granted that wish to finish the book in his head in the suspension of time between bullets leaving the guns and their impact on his body. But maybe the betrayal was necessary for God to prove his divinity. Perhaps because the stories are starting to show their age. Maybe we need a new translation — the edition I read was translated in Illustration of the Library of Babel from americandigest. From oddviser. View all 14 comments. Borges looked inside the swirling mind of man and made a maze of it. -
No Success Like Failure Michael Wood Princeton University
No Success Like Failure Michael Wood Princeton University But the desire of the essay is not to seek and filter the eternal out of the transitory; it wants, rather, to make the transitory eternal. t. w. adorno urrent conversations about the essay—and there are many—emphasize the provisional, speculative nature of the genre, the suggestion of a test, a tryout.1 They return to Montaigne and his use of the word essai—and also to his practice of the genre. CThey don’t really contemplate failure. But perhaps the thing is too provisional to succeedor fail. This is what Claire de Obaldia suggests in a carefully worded sentence: “if (the essay) is associated with the authority and authenticity of someone who speaks in his or her name, it also disclaims all responsibility with regard to what is after all only ‘tried out’ and which is therefore closer, in a sense, to the ‘as if’ of fiction.”2 We can try and fail, of course. But trying often brackets off the idea of failure in a way that “attempt” does not. Since “attempt” is the meaning of the wordensayar in Spanish—closer to “sketch” than to “experiment,” and the word also means “rehearsal”—the ensayo acquires a mildly melancholy note that is not present in the French and English names of the genre. I should say too that ensayar is not the ordinary Spanish word for “try” as essayer is the ordinary word in French. That word would betratar or intentar. 1 See Carl H. Klaus and Ned Stuckey-French, eds., Essayists on the Essay (Iowa City: University of Iowa Press, 2012); Christy Wampole, “The Essayification of Everything,” New York Times, May 26, 2012. -
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.