The Boreal Borges
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The Crimson Hexagon. Books Borges Never Wrote
Allen Ruch The Crimson Hexagon Books Borges Never Wrote “The composition of vast books is a laborious and impoverish- ing extravagance. To go on for five hundred pages developing an idea whose perfect oral exposition is possible in a few min- utes! A better course of procedure is to pretend that these books already exist, and then to offer a resume, a commen- tary… More reasonable, more inept, more indolent, I have preferred to write notes upon imaginary books.” (Jorge Luis Borges). he fiction of Borges is filled with references to encyclopedias that do not exist, reviews of imaginary books by fictional au- T thors, and citations from monographs that have as much real existence as does the Necronomicon or the Books of Bokonon. As an intellectual exercise of pure whimsical uselessness, I have cata- logued here all these “imaginary” books that I could find in the stories of the “real” Argentine. I am sure that Borges himself would fail to see much of a difference… Note: In order to flesh out some of the details, I have elaborated a bit - although much of the detail on these books is really from Borges. I have added some dates, some information on contents, and a few general descriptions of the book’s binding and cover; I would be more than happy to accept other submissions and ideas on how to flesh this out. Do you have an idea I could use? The books are arranged alphabetically by author. Variaciones Borges 1/1996 122 Allen Ruch A First Encyclopaedia of Tlön (1824-1914) The 40 volumes of this work are rare to the point of being semi- mythical. -
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 -
ABSTRACT Savannah Dehart. BRACTEATES AS INDICATORS OF
ABSTRACT Savannah DeHart. BRACTEATES AS INDICATORS OF NORTHERN PAGAN RELIGIOSITY IN THE EARLY MIDDLE AGES. (Under the direction of Michael J. Enright) Department of History, May 2012. This thesis investigates the religiosity of some Germanic peoples of the Migration period (approximately AD 300-800) and seeks to overcome some difficulties in the related source material. The written sources which describe pagan elements of this period - such as Tacitus’ Germania, Bede’s Ecclesiastical History of the English People, and Paul the Deacon’s History of the Lombards - are problematic because they were composed by Roman or Christian authors whose primary goals were not to preserve the traditions of pagans. Literary sources of the High Middle Ages (approximately AD 1000-1400) - such as The Poetic Edda, Snorri Sturluson’s Prose Edda , and Icelandic Family Sagas - can only offer a clearer picture of Old Norse religiosity alone. The problem is that the beliefs described by these late sources cannot accurately reflect religious conditions of the Early Middle Ages. Too much time has elapsed and too many changes have occurred. If literary sources are unavailing, however, archaeology can offer a way out of the dilemma. Rightly interpreted, archaeological evidence can be used in conjunction with literary sources to demonstrate considerable continuity in precisely this area of religiosity. Some of the most relevant material objects (often overlooked by scholars) are bracteates. These coin-like amulets are stamped with designs that appear to reflect motifs from Old Norse myths, yet their find contexts, including the inhumation graves of women and hoards, demonstrate that they were used during the Migration period of half a millennium earlier. -
"Ok Er Þetta Upphaf´"--First-Stanza Quotation in Old Norse Prosimetrum
Judy Quinn “Ok er þetta upphaf”— First-Stanza Quotation in Old Norse Prosimetrum* hen prosimetrum involves the quotation of poetry — as medieval Scandinavian prosimetrum almost invariably does1 — the narrator’s voice is at once in competition with another voice, which through its Wpoetic form is graced with significance and authority. Verse quotations in sagas are conventionally very short, most typically of only one stanza, but occa- sionally of two, three, or more stanzas. As the evidence of other records demon- strates, however, a verse presented by a saga-narrator as a lausavísa, or single- stanza composition, may well be an excerpt from a longer poem.2 Sometimes acknowledgement is made of the loosening of the stanza from the whole poem through the narrator’s mention of the poem’s name, particularly in kings’ sagas where praise and memorial poems are frequently cited to verify aspects of an account,3 but even in this genre — avowedly indebted to the existence of whole * I am grateful to the Modern Language Association of America and the organizers of the Discussion Group on Old Norse Literature at the 1995 convention for inviting me to present an earlier version of this article there. 1. One important exception to this is Snorri Sturluson’s pedagogic prosimetrum composition, Hátta- tal, in which Snorri follows the learned Latin practice of crafting prosimetrum from his own verse and prose. Otherwise Old Norse prosimetrum seems to have conventionally been composed of prose and quoted poetry — either as evidence of events narrated or as the declamations of the participants in the narrative (see Einarsson 1974 and Friis-Jensen 1987 for a survey of these types). -
Official U.S. Bulletin
: — : : : : k PVBLISHEn BJilLY under order of THE PRESIDENT of THE UNITED STATES by COMMITTEE on PUBLIC INFORMATION GEORGE CREEL, Chairman -k * ic COMPLETE Record of U. S, GOVERNMENT Activities VoL. 3 WASHINGTON, TUESDAY, FEBRUAEY 11, 1919. No. 535 TRADE WITH FINLAND MAY BE ORDERS TO COMPLETE PAY Army Post Exchanges RESUMED UNDER REGULATION OF SOLDIERS IN ARREARS Are Forbidden to Sell Unauthorized Insignia SAYS THE WAR TRADE BOARD ARRIVING AT CAMPS WITH The War Department authorizes OUTLINE OF PROCEDURE IS GIVEN A “CONVALESCENT CENTER” publication of the following Under direction of the Secretary List of Commodities Which Do Not of War an order has been issued as INSTRUCTIONS ALSO follows Require Import Certificates From 1. “ It has been brought to the Inter-Allied Trade Committee SENT ARMY HOSPITALS attention of the War Department if that post exchanges and similar Applications Are in Order. Detachment Commanders places are selling unauthorized in- signia such as service ribbons and The War Trade Board announces, in a and Disbursing Officers gold and silver stars to be worn on new ruling (W. T. B. R. 590), supple- the uniform.” Required to See That En- menting AV. T. B. R. 577, issued February 2. “ Responsible officers will take 5, 1919, that arrangements have now been immediate steps to have such listed Men Are Promptly made whereby both export shipments to practice discontinued by post ex- and import shipments from Finland may Paid Reports to changes and stores under their im- — Be Made be resumed. mediate jurisdiction. At the same All shipments for export to tlie above- by Wire Direct to Director time every effort will be made to mentioned country must be covered by an influence stores located near posts, of Finance, War Depart- import certificate issued by the interallied camps, or cantonments, discon- to trade committee, at Helsingfors, except tinue the practice.” ment, Washington. -
The Unimagined: Catalogues and the Book of Sand in the Library of Babel
THE UNIMAGINED: CATALOGUES AND THE BOOK OF SAND IN THE LIBRARY OF BABEL w W. L. G. Bloch INTRODUCTION. We adore chaos because we love to produce order. M. C. Escher t’s an ironic joke that Borges would have appreciated: I am a mathematician who, lacking Spanish, perforce reads The Library I of Babel in translation. Furthermore, although I bring several thousand years of theory to bear on the story, none of it is literary theory! Having issued these caveats, it is my purpose to apply mathe- matical analysis to two ideas in the short story. My goal in this task is not to reduce the story in any capacity; rather it is to enrich and edify by glossing the intellectual margins and substructures. I sub- mit that because of his well-known affection for mathematics, ex- ploring the story through the eyes of a mathematician is a dynamic, useful, and necessary addition to the body of Borgesian thought. Variaciones Borges 19 (2005) 24 W. L. G. BLOCH In the first section, Information Theory: Cataloging the Collection, I consider the possible forms a Catalogue for the Library might take. Then, in Real Analysis: The Book of Sand, I apply elegant ideas from the 17th century and counter-intuitive ideas of the 20th century to the “Book of Sand” described in the final footnote of the story. Three variations of the Book, springing from three different interpretations of the phrase “infinitely thin,” are outlined. I request an indulgence from the reader. This introduction is writ- ten in the friendly and confiding first-person singular voice. -
What Is a Kenning? Kennings Are Like Riddles
Year 4 English Lessons – 1st – 5th February st Monday 1 February 2021 – Live Lesson Today you will be learning about what kennings are and how they are created. Read the information below (pages 1-3) about kennings. Then use page 4 to plan your own kenning about yourself and use page 5 to write your kenning. What is a Kenning? Kennings are like riddles. They describe something without ever saying what it is. They are made up of a noun (object) + noun or a noun + verb (action word). Kennings are often found in Anglo-Saxon and Norse poems. Read the poems below out loud. What could they describe? lip-licking sauce-swirling chin-dripping flake-holding tongue-freezing cone-filling This kenning is about ice cream. Was your guess correct? What about this one: tail-wagger ball-catcher cat-chaser sofa-hugger face-licker This kenning is about a dog. Was your guess correct? 1 What do you notice about the 2 kennings poems? Here the phrases are made up of Here the phrases are made up of a noun (object) + a verb (doing a noun (object) + a verb (doing word) by adding -er to the verb. word) by adding -ing to the verb. Each line of the poem is made of a two-word phrase. The words are joined by a hyphen. It does not tell the reader what it is about. It gives the readers clues about the subject matter 2 3 Activity:- Monday 1st February 2021 Use this planning sheet to write down ideas for a kenning poem about yourself. -
How Uniform Was the Old Norse Religion?
II. Old Norse Myth and Society HOW UNIFORM WAS THE OLD NORSE RELIGION? Stefan Brink ne often gets the impression from handbooks on Old Norse culture and religion that the pagan religion that was supposed to have been in Oexistence all over pre-Christian Scandinavia and Iceland was rather homogeneous. Due to the lack of written sources, it becomes difficult to say whether the ‘religion’ — or rather mythology, eschatology, and cult practice, which medieval sources refer to as forn siðr (‘ancient custom’) — changed over time. For obvious reasons, it is very difficult to identify a ‘pure’ Old Norse religion, uncorroded by Christianity since Scandinavia did not exist in a cultural vacuum.1 What we read in the handbooks is based almost entirely on Snorri Sturluson’s representation and interpretation in his Edda of the pre-Christian religion of Iceland, together with the ambiguous mythical and eschatological world we find represented in the Poetic Edda and in the filtered form Saxo Grammaticus presents in his Gesta Danorum. This stance is more or less presented without reflection in early scholarship, but the bias of the foundation is more readily acknowledged in more recent works.2 In the textual sources we find a considerable pantheon of gods and goddesses — Þórr, Óðinn, Freyr, Baldr, Loki, Njo3rðr, Týr, Heimdallr, Ullr, Bragi, Freyja, Frigg, Gefjon, Iðunn, et cetera — and euhemerized stories of how the gods acted and were characterized as individuals and as a collective. Since the sources are Old Icelandic (Saxo’s work appears to have been built on the same sources) one might assume that this religious world was purely Old 1 See the discussion in Gro Steinsland, Norrøn religion: Myter, riter, samfunn (Oslo: Pax, 2005). -
Clairvoyance
No 2 | Spring 2015 | The Bartlett School of Architecture Clairvoyance Contents Reception The Seminar Room The Crit Room The Library 8 Editor’s Letter Micro Readings of Macro Conditions: 84 Jus’ Like That? 116 The Clear Sight of Words by Regner Ramos Words by Alan Penn an Architectural Historian 53 Crowds and Power Words by Stylianos Giamarelos 10 Visions With Purpose Reprinted Text by Elias Canetti 87 PoohTown Profile by Regner Ramos A Project by Nick Elias 120 The Naked Architect 55 Civic Depth Words by Gregorio Astengo 17 Pushing Forward Reprinted Text by Peter Carl 90 Fragile Thresholds Profile by HLM Architects A Project by Eliza de Silva 122 Back to the Future of Formalism! Visions of the City and the People Therein: Words by Emmanuel Petit 93 Resourceful Fallibility The Exhibition Space 57 This is Water A Project by Wangshu Zhou and Jieru Ding 123 Historico-Futurism Words by Sam Jacob in a Clockwork Jerusalem 20 Approaches to Tomorrow 96 The Sublime Words by Sam Jacob Words by Patch Dobson-Pérez 58 The Unhappy Pursuit Wilderness Institute Words by Adam Nathaniel Furman A Project by Xuhong Zheng 126 Branding Remaking 23 Future’s Tense on the Urban Scale Words by Kyle Branchesi and 59 The City Scale Narrative Words by Neli Vasileva Shane Reiner-Roth Words by Giovanni Bellotti and Alexander The Staircase Sverdlov 128 Queering Architectural History 24 One of a Libeskind 100 Reversing to the Future Words by Stylianos Giamarelos Words by Regner Ramos 60 Depth Charge Words by Ilkka Törmä Words by Patrick Lynch 130 Far From Predictions 31 -
Between Borges and Barthes a Text and Book Conundrum
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 6, Issue 7, Jul 2018, 133-138 © Impact Journals BETWEEN BORGES AND BARTHES: A TEXT AND BOOK CONUNDRUM Muzaffar Karim Department of English, University of Kashmir, Jammu and Kashmir, Punjab, India Received: 05 Jul 2018 Accepted: 11 Jul 2018 Published: 16 Jul 2018 ABSTRACT In his story The Book of Sand, Borges defines the book as ‘infinite’ with no beginning and no end. In almost the same way when Barthes discusses his notion of text, in contrast to work, he defines text as ‘infinite deferment of the signified.’ Critically speaking Jorge Luis Borges’ short story The Book Of Sand and the kind of novel offered in the story The Garden of Forking Paths draw a clear resemblance and constantly comment on the Barthesian distinction between a ‘Work’ and a ‘Text’. This paper concerns itself with discussing Borges’ notion of ‘Book’ and proceeds to develop a contrast with the Roland Barthes conception of Work and Text. KEYWORDS: Work, Text, Borges, Barthes, Derrida, Blanchot, Author, Signified A book no longer belongs to a genre; every book pertains to literature alone. Maurice Blanchot 1 Literature is not exhaustible, for the sufficient and simple reason that a single book is not. A book is not an isolated entity: it is a narration, an axis of innumerable narrations. One literature differs from another, either before or after it, not so much because of the text as for the manner in which it is read. -
Gram (Mythology)
Gram (mythology) Gram (mythology)'s wiki: In Norse mythology, Gram ( Old Norse Gramr , meaning Wrath) is the sword that Sigurd used to kill the dragon Fafnir. [2] It is primarily used by the Volsungs in the Volsunga Saga . However, it is also seen in other legends Description. Nowhere in the Volsunga Saga is a clear description of Gram given, but there is enough scattered throughout the story to draw a picture of the sword. Sigurd's weapons, Gram included, are described as being âœall decked with gold and gleaming bright." Gram (disambiguation) â” Gram is a unit of measurement of mass. Otherwise, gram may refer to: gram, the Greek based suffix meaning drawing or representation. Contents 1 Places 2 People ⦠Wikipedia. Norse mythology in popular culture â” The Norse mythology, preserved in such ancient Icelandic texts as the Poetic Edda, the Prose Edda, and other lays and sagas, was little known outside Scandinavia until the 19th century. With the widespread publication of Norse myths and legends⦠⦠Wikipedia. Gram (mythology). Quite the same Wikipedia. Just better. In Norse mythology, Gram, (Old Norse Gramr, meaning Wrath)[1] is the sword that Sigurd used to kill the dragon Fafnir.[2]. Description. Gram was forged by Volund; Sigmund received it in the hall of the Völsung after pulling it out of the tree Barnstokkr where Odin placed it. The sword was destroyed in battle when Sigmund struck the spear of an enemy dressed in a black hooded cloak. In Norse mythology, Gram [1] is the sword that Sigurd used to kill the dragon Fafnir.[2] It is primarily used by the Volsungs in the Volsunga Saga. -
Old Norse Mythology and the Ring of the Nibelung
Declaration in lieu of oath: I, Erik Schjeide born on: July 27, 1954 in: Santa Monica, California declare, that I produced this Master Thesis by myself and did not use any sources and resources other than the ones stated and that I did not have any other illegal help, that this Master Thesis has not been presented for examination at any other national or international institution in any shape or form, and that, if this Master Thesis has anything to do with my current employer, I have informed them and asked their permission. Arcata, California, June 15, 2008, Old Norse Mythology and The Ring of the Nibelung Master Thesis zur Erlangung des akademischen Grades “Master of Fine Arts (MFA) New Media” Universitätslehrgang “Master of Fine Arts in New Media” eingereicht am Department für Interaktive Medien und Bildungstechnologien Donau-Universität Krems von Erik Schjeide Krems, July 2008 Betreuer/Betreuerin: Carolyn Guertin Table of Contents I. Abstract 1 II. Introduction 3 III. Wagner’s sources 7 IV. Wagner’s background and The Ring 17 V. Das Rheingold: Mythological beginnings 25 VI. Die Walküre: Odin’s intervention in worldly affairs 34 VII. Siegfried: The hero’s journey 43 VIII. Götterdämmerung: Twilight of the gods 53 IX. Conclusion 65 X. Sources 67 Appendix I: The Psychic Life Cycle as described by Edward Edinger 68 Appendix II: Noteworthy Old Norse mythical deities 69 Appendix III: Noteworthy names in The Volsung Saga 70 Appendix IV: Summary of The Thidrek Saga 72 Old Norse Mythology and The Ring of the Nibelung I. Abstract As an MFA student in New Media, I am creating stop-motion animated short films.