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Jorge Luis Borges Viajes Y Tiempos De Un Escritor a Través De Culturas Y Sistemas

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Jorge Luis Borges Viajes Y Tiempos De Un Escritor a Través De Culturas Y Sistemas OLMS Margherita Cannavacciuolo, Alice Favaro, Susanna Regazzoni (edras.) Jorge Luis Borges Viajes y tiempos de un escritor a través de culturas y sistemas Pág. dos interior info colección (esta pág la hace la editorial, pero uds. deben considerar y dejar la página blanca) TKKK Editores Sello Olms Redacción del vol. nombre Margherita Cannavacciuolo, Alice Favaro, Susanna Regazzoni (edras.) Jorge Luis Borges Viajes y tiempos de un escritor a través de culturas y sistemas sello Olms El volumen Jorges Luis Borges. Viajes y tiempos de un escritor a través de culturas y sistemas se realiza en cooperación con el Dipartimento di Studi Linguistici e Culturali Comparati de la Università Ca’ Foscari de Venecia, y con el Séminaire Amérique Latine (SAL) y el Centre de Recherches Interdisciplinaires sur les Mondes Ibériques Contemporains (CRIMIC) dell’Université Paris-Sorbonne. Olms Impresum ISBN ÍNDICE Eduardo Ramos-Izquierdo Nota Liminar ......................................................................................................... 7 Alfonso de Toro Borges y la “delusión” del tiempo y los multiversos ............................................ 11 Rafael Olea Franco El otro, el mismo: Borges y la (auto)biografía ..................................................... 43 Margherita Cannavacciuolo “Páginas olvidadas”: prólogos y epílogos a las ediciones italianas de Ficciones y El Aleph ........................................................................................... 59 Trinidad Barrera Borges, lector de Bioy ......................................................................................... 77 Fabiola Cecere El insomnio: Virgilio Piñera y Jorge Luis Borges en comparación ...................... 85 Alice Favaro Borges dentro y fuera: una historieta ................................................................... 97 Susanna Regazzoni Carriego es Carriego. Una verdad periférica ...................................................... 107 Pia Masiero Jorge Luis Borges and (North-American) Post-Modernism: the Deadly Risk to Forget Beauty and Love ................................................................................ 115 Gerardo Centenera El origen de los laberintos de Borges: febrero de 1936 ....................................... 127 Maria Amalia Barchiesi El perenne ejercicio del arte de la jardinería inglesa en “El jardín de senderos que se bifurcan” de J. L. Borges ........................................................................ 153 Autores del volumen .......................................................................................... 169 NOTA LIMINAR En el marco de la complicidad y la colaboración académica del Dipartimento di Studi Linguistici e Culturali de la Università Ca’ Foscari Venezia y del Séminaire Amérique Latine (CRIMIC) de la Sorbonne, que comenzó hace ya más de seis años sobre el tema de reflexión Escrituras plurales: viajes temporales, Susanna Regazzoni y el que escribe estas líneas pensamos en recopilar un volumen colectivo en homena- je a Jorge Luis Borges treinta años después de su fallecimiento que tuvo lugar en 1986. Durante estos últimos años, Borges se ha convertido sin lugar a dudas en un escritor esencial en el ámbito de la literatura mundial y su obra se ha difundido de manera creciente atravesando múltiples fronteras geo-culturales. Pensamos en que las contribuciones a este volumen colectivo privilegiaran los siguientes aspectos: 1. El análisis de las obras de Borges publicadas en los últimos treinta años: obras de juventud no reeditadas o poco conocidas, nuevas compilaciones y ediciones, epistolarios y libros de entrevistas. 2. La presentación de nuevos enfoques a partir de herramientas críticas y aportes bibliográficos más recientes. 3. La relectura de los temas del viaje y/o del tiempo, temas particularmente importan- tes en la obra borgiana. Me parece que estos aspectos y otros aparecen en el actual volumen que cuenta con la colaboración de experimentados especialistas de primer orden de la obra de Borges y de jóvenes investigadores ya borgianos que proceden de Chile, México, España e Italia y que pertenecen a reconocidos centros universitarios: Ca’ Foscari Venezia, Leipzig, Macerata, México, París y Sevilla. El volumen de cuidada organización en su estructura y en su contenido comienza con un extenso y agudo texto de Alfonso de Toro en el que se estudia el tema fundamental del “problema del tiempo” en la obra de Borges, inspirado en esta ocasión de las obras de Hawking (A Brief History of Time 1988), de Kaku (Hyperspace 1994) y de Tegmark (Our Mathematical Universe 2014), distinguidos científicos y divulgadores actuales que reflexionan sobre los matices del tiempo y los universos paralelos. Rafael Olea Franco presenta, apoyándose en Lejeune, una lúcida reflexión sobre los géneros de la autobiografía y la biografía en la obra de Borges que va desde la nota autobiográfica de 1927, pasando por la modalidad literaria del Evaristo Carriego, suerte de “biografía oblicua”, algunas reseñas de autobiografías de “El Hogar” en la década de los 30 (Kipling, Wells y Chesterton) para concluir con un pertinente examen del Autobiographical Essay de 1970. Margherita Cannavacciuolo estudia, a su vez, la recepción italiana de Ficciones y El Aleph a través de un minucioso análisis metacrítico, principalmente desde la 8 Eduardo Ramos-Izquierdo perspectiva de Genette (Seuils), de los paratextos que se han escrito para esos volú- menes en las diferentes ediciones de Einaudi: (Citati y Lucentini para Ficciones y Tentori Montalto para El Aleph) y de Adelphi (los estudios de Melis para Ficciones y Scarano para El Aleph). El volumen presenta a continuación pertinentes estudios de naturaleza compara- tiva e intermodal. Un primer caso es el artículo de Trinidad Barrera que analiza ese “entramado de correspondencias especulares” de Borges y Bioy: fuentes literarias y particularidades tanto genéricas como estilísticas de la escritura fantástica. De su lectura borgiana de La invención de Morel, nos propone la tesis de que dicha novela corresponde a la novela discutida en el íncipit de “Tlön, Uqbar, Orbis Tertius”. Un segundo ejemplo es el texto de Fabiola Cecere que presenta una lectura de la prosa de Virgilio Piñera a través del prisma de la obra de Borges al examinar las particularidades del tema del insomnio en los casos concretos de “En el insomnio” y “El infierno” (1946) del cubano y de “Insomnio” (1936) y de “Dos formas del insomnio” (La cifra 1981) del argentino. Alice Favaro, a su vez, estudia las trasposiciones de la literatura al cómic como medio de expresión artística evocando el caso de Pratt, (“Tema del traidor y del héroe”) y de Sasturain y Breccia (“El fin”), para concentrarse en la transposición de Flores y Buscaglia de “Historia del guerrero y de la cautiva” y proponer “otra mirada de la literatura, a través de un médium diferente”. El ineludible tema actual de la globalidad se encuentra en un par de artículos complementarios. En el primero, Susanna Regazzoni deslinda con sagacidad en el volumen Evaristo Carriego tres aspectos distintivos: la rica hibridez genérica del libro, la importancia que tuvo para Borges el poeta Carriego y ese barrio popular del Palermo de su infancia y el carácter precursor en temas y motivos que se consolidarán en la ulterior ficción borgiana. A ese ámbito bonaerense se contrapone la lectura de Pia Masiero quien –a partir de la polémica respuesta de Edwin Williamson a la reseña de su Borges: A Life de David Foster Wallace sobre cómo leer al autor– examina con lucidez diversas lectu- ras norteamericanas de la obra de Borges: desde el clásico ensayo de Barth (The Literature of Exhaustion) hasta su confrontación con la obra de escritores postmodernos norte-americanos. En la parte final del volumen se pueden distinguir dos ensayos sobre el espacio borgiano. En el primero, Gerardo Centenera propone un estudio exhaustivo del breve texto “Laberintos” (1936) al que considera el texto fundacional del concepto de laberinto y para ello repasa su historia ecdótica, su estructura, el contenido de sus partes y las fuentes utilizadas con el objeto de sentar las bases teóricas de la poética ulterior de Borges y de su visión de la literatura. Un segundo espacio esencial en la prosa borgiana aparece en el novedoso artí- culo de María Amalia Barchiesi quien, inspirada en Assunto, estudia los orígenes semiótico-textuales de “El jardín de senderos que se bifurcan” a partir de la estética Nota Liminar 9 de los jardines paisajísticos ingleses (el Biddulph Grange Garden, por ejemplo), vinculados también con el espacio de los laberintos vegetales. La presente publicación renueva la fructífera y múltiple colaboración de la Università Venezia Ca’ Foscari con la Sorbonne y consolida nuestra red de investi- gadores de países de América y de Europa. Quisiera, para concluir, agradecer a Alfonso de Toro su mediación en la publica- ción de este volumen y a Susanna Regazzoni, Margherita Cannavacciuolo y Alice Favaro, las editoras, la cuidadosa factura de su unidad que estudia, desde sus variadas escrituras críticas, la rica pluralidad de la obra de Jorge Luis Borges. Eduardo Ramos-Izquierdo Sorbonne Université Alfonso de Toro Ibero-Amerikanisches Forschungsseminar Universität Leipzig BORGES Y LA “DELUSIÓN” DEL TIEMPO Y LOS MULTIVERSOS Negados el espíritu y la materia, que son continuidades, negado también el espacio, no sé qué derecho tenemos a esa continuidad que es el tiempo. (Jorge Luis Borges, “Nueva refutación del tiempo” (1946), OC 1989, I: 761) )1 El tiempo, si podemos
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