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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. -
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. -
Digest Vol 89 No2 1211.Indd
Each issue of the Rosicrucian Digest provides members and all interested readers with a compendium of materials regarding the ongoing flow of the Rosicrucian Timeline. The articles, historical excerpts, art, and literature included in this Digest span the ages, and are not only interesting in themselves, but also seek to provide a lasting reference shelf to stimulate continuing study of all of those factors which make up Rosicrucian history and thought. Therefore, we present classical background, historical development, and modern reflections on each of our subjects, using the many forms of primary sources, reflective commentaries, the arts, creative fiction, and poetry. This magazine is dedicated to all the women and men throughout the ages who have contributed to and perpetuated the wisdom of the Rosicrucian, Western esoteric, Tradition. May we ever be worthy of the light with which we have been entrusted. In this issue, we go within to experience the inner knowledge of the Gnostics and Gnosticism, an important tradition contributing to what, centuries later, would become Rosicrucianism. No. 2 - 2011 Vol. 89 - No. 2 Peter Kingsley, Ph.D. “Paths of the Ancient Sages: A Pythagorean History” Giulia Minicuci and Mary Jones, S.R.C. “Pythagoras the Teacher: From Samos to Metapontum” Ruth Phelps, S.R.C. “The School of Pythagoras”Gnosis, Gnostics, and Gnosticism: 2 An Introduction Anonymous “The Golden Verses of Pythagoras” Official Magazine of the Ancient Doctrines Rediscovered 4 Worldwide Christopher McIntosh, D. Phil. Rosicrucian Order Who were the Gnostics? 11 Richard Smoley AntoineEstablished Fabre in d’Olivet, 1915 by the Supreme“Excerpt fromEarly Examination Christianity of& thethe GoldenGospel of Verses” Mary 18 HughGrand McCague, Lodge of thePh.D., English F.R.C. -
Literary Miscellany
Literary Miscellany A Selection from Recent Acquisitions and Stock Including Prose and Poetry from the 17th - 20th Centuries Association Copies and Letters Fine Printing, Illustrated Books, Film Material, And Varia of Other Sorts Catalogue 306 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. -
Jorge Luis Borges in the Work of Leonardo Sciascia
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Rewriting the Limits between History and Fiction: Jorge Luis Borges in the Work of Leonardo Sciascia Clara Martínez Nistal PhD Comparative Literature 2017 Declaration This is to certify that that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. Signed: Clara Martínez Nistal 2 Contents Abstract................................................................................................................................. 5 Note on primary texts, translations and abbreviations ........................................................... 6 Acknowledgements ............................................................................................................ -
Jorge Luis Borges's
University of Groningen Dialogue in the Library Roig Lanzillotta, Fernando Published in: Gnosis: Journal of Gnostic Studies DOI: 10.1163/2451859X-12340058 IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2018 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Roig Lanzillotta, F. (2018). Dialogue in the Library: Jorge Luis Borges’s “The Circular Ruins” and His Re- reading of Gnostic Myths . Gnosis: Journal of Gnostic Studies, 3(2), 201-224. https://doi.org/10.1163/2451859X-12340058 Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. -
Riegl's Kunstwollen, Fanfiction Reimaginings, and the Aesthetic
Playing with the Betrayer: Riegl’s Kunstwollen, Fanfiction Reimaginings, and the Aesthetic Dimensions of Recent Depictions of Judas Monica Quirk Introduction1 Judas Iscariot is both central to sacred Christian narrative and comes with a deeply malignant reputation. Since the late nineteenth century, however, there have been increasing attempts to ‘play’ with his canonised role in order to seriously problematise his role in revelation. This article examines the creative and aesthetic dimensions that slowly let creative thinkers move this figure move away from his defined role of infamy and betrayal towards something far more complex and humanistic. Against the ‘original’ texts of The Gospel of Matthew and The Gospel of Judas, three case studies will be considered here. Each maps a part of the re-imagined arc of this figure: Jorge Luis Borges’ ‘Three Versions of Judas’ (1944), Nikos Kazantzakis’ novel (1961) and Martin Scorsese’s cinematic version (1988) of The Last Temptation, and Norman Jewison’s Jesus Christ Superstar (1973), based on the Tim Rice/Andrew Lloyd Webber musical of 1970. These interpretations and transformations of Judas will be considered using Alois Riegl’s theory of Kunstwollen, which helps chart the social and intellectual conditions of how art progresses. I argue here that Riegl’s methodology is insufficient on its own. Instead, it will be augmented through a fanfiction methodology, which I have developed in relation to the work of Karen Hellekson, Kristina Busse, and Francesca Musiani. The theory of Kunstwollen will structure the following investigation into why re- interpretations of the Judas character did not emerge until the late nineteenth century and only truly flourished in the twentieth. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
View metadata, citation and similar papers at core.ac.ukbrought to you by CORE provided by Sydney eScholarship COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Borges and Mathematics Los juegos con el tiempo y con lo infinito S. Prashant Kumar S I O D T E ·M A RE E ·MUT N M S· E EAD A thesis submitted in fulfilment of the requirements for the degree of Master of Arts (Research) Faculty of Arts University of Sydney 22 May, 2015 Abstract My thesis concerns Jorge Luis Borges’ recurrent fascinations with mathematics. -
“Funes the Memorious” and Camus' the Stranger
REMEMBERING AND NARRATING IN BORGES’ “FUNES THE MEMORIOUS” AND CAMUS’ THE STRANGER Carl Eugene Stroud Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2013 APPROVED: Michel Sirvent, Major Professor Marijn Kaplan, Committee Member Teresa Marrero, Committee Member Carol Anne Costabile-Heming, Chair of the Department of World Languages, Literatures, & Cultures Mark Wardell, Dean of the Toulouse Graduate School Stroud, Carl Eugene. Remembering and Narrating in Borges’ “Funes the Memorious” and Camus’ The Stranger. Master of Arts (French), August 2013, 59 pp., bibliography, 21 titles. In The Stranger, a novel by Albert Camus, and in “Funes the Memorious,” a short story by Jorge Luis Borges, the homodiegetic narrators have a significant effect on the referential aspect of their personal experiences. Chronologically these remembered experiences are positioned before the moment when they are narrated. The act of remembering is thus a form of subsequent narration. In both texts, memory is a project rather than an object because it is recounted and not found. In the sense that it is told, memory is necessarily a creative act and thus not faultless because the story of an experience is not the experience itself. The memories in The Stranger and in “Funes the Memorious” are not reconstituted but narrated. The peculiarity of the two texts lies in the fact that the narrators take an external position when describing their own past, emphasizing the imperfect aspect of the narrators’ memory. With a narratological approach to the texts and a Sartrean interpretation of memory, I study the effects of focalization on the act of remembering. -
Three Figures of Judas (After Borges)
Three Figures of Judas (after Borges) Paper presented at the Society of Biblical Literature Annual Meeting, Boston, November 2008 Marvin Meyer Jorge Luis Borges, the Argentine author whose short story “Three Versions of Judas” has been cited as anticipating the discussion concerning the Gospel of Judas from Codex Tchacos, opens his narrative with a reference to a scholar of Judas and early Christianity, Nils Runeberg: “In Asia Minor or in Alexandria, in the second century of our faith (when Basilides was assuming that the cosmos was a rash and malevolent improvisation engineered by defective angels), Nils Runeberg might have directed, with singular intellectual passion, one of the Gnostic monasteries.” If Borges were alive today, writing in the light of the discovery and publication of the Gospel of Judas, he might substitute one or more of our names in place of that of Nils Runeberg. Perhaps, considering the critical remarks directed at the National Geographic Society and the National Geographic translators, from serious scholarly questions to colorful warnings of damnation from a few of the faithful, Borges might name Rodolphe Kasser, Gregor Wurst, or yours truly in this regard, especially since he goes on to write, “Dante would have destined him (the scholar), perhaps, for a fiery sepulcher.” The first figure of Judas Iscariot to emerge from the examination of the Gospel of Judas may be termed Judas the human hero. Kasser’s early description, on behalf of those 1 of us working on the text, is apt. He writes about Judas, “We smile at the educational dialogue of the ‘Master’ (Rabbi) with his disciples of limited spiritual intelligence, and even with the most gifted among them, the human hero of this ‘Gospel,’ Judas the misunderstood—whatever his weaknesses.” Others, such as Bart Ehrman, and thereafter Karen King and Elaine Pagels, and more, concurred in this basically positive assessment of Judas in the Gospel of Judas, of course with particular qualifications and interpretations.