DOCSLIB.ORG

THAT's FIERCE: NONHUMAN PASSAGES in LATINX-AMERICAN POETRY and PERFORMANCE. a Dissertation Presented to the Faculty of The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THAT's FIERCE: NONHUMAN PASSAGES in LATINX-AMERICAN POETRY and PERFORMANCE. a Dissertation Presented to the Faculty of The THAT’S FIERCE: NONHUMAN PASSAGES IN LATINX-AMERICAN POETRY AND PERFORMANCE. A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Lacie Rae Buckwalter Cunningham May 2017 © 2017 Lacie Rae Buckwalter Cunningham THAT’S FIERCE: NONHUMAN PASSAGES IN LATINX AMERICAN POETRY AND PERFORMANCE. Lacie Rae Buckwalter Cunningham, Ph. D. Cornell University 2017 This dissertation engages with U.S. Latinx and Latin American texts through critical theories of the nonhuman as a way of reconsidering the boundaries of Man and of how this might reframe our literary pursuits. In my approach, I focus on the connections and disconnections between emergent poetic, Latinx, Latin@American voices, and Hispanic literary production. Specifically, I look at how often marginalized voices represent and rearticulate both the limits of the human form and their relationship to ideas of canon through nonhuman interlocutors. I suggest that nonhuman figures which transcend the porous perimeters of the human function as figures of passage between ontologies of selves and literary icons. Nonhuman interlocutors and intensities help us to approach reading between the Americas and amongst figures of man in elliptical motions. In my first chapter, “Natalie Diaz, Duende, and Dreamtigers,” I center references to canonical interventions from Federico García Lorca and Jorge Luis Borges as read through nonhuman figures in Diaz’ When My Brother Was an Aztec. “Collaging Kingdoms,” my second chapter, focuses on Aracelis Girmay’s passages between ideas of blackness, hispaneity, and human-nonhuman collages of self-portraiture. Works from latinx Appalachian poets Maurice Kilwein Guevara and Ada Limón comprises the third chapter, which troubles how nonhuman landscapes can destabilize readings of iii periphery and performances of the nonhuman. Chapter Four, “How to Read in a River Without Water Damage” engages Basia Irland’s frozen performances which deforms the idea of texts through the environments of water, which shape and redirect their readings with poetic interventions from Milk and Filth by Carmen Giménez Smith. This final chapter troubles the limits of an approach to reading through nonhuman forms that are neither purely inside language, nor outside of it. iv BIOGRAPHICAL SKETCH L. Rae Buckwalter Cunningham (Yinzer, 1988) obtained her Bachelors of Arts in Hispanic Studies, magna cum laude, University of Pittsburgh in 2011 and a Masters of Arts from Cornell University in 2014. Her research interests include Critical Theories of the Nonhuman, Poetry, and Performance, particularly in the area of Contemporary Latinx Studies. She currently splits her time between Durham, North Carolina and the Internet. v For all the sensitive poets Beware of paper cuts vi ACKNOWLEDGMENTS This thesis would not have been possible without the thoughtful and rich discussions sustained over the last five years with my mentor and adviser Debra A. Castillo. Without her guidance and generosity this project would have surely been either incomplete, utterly incomprehensible, or excruciating. I thank her for suffering with me on the reader’s behalf instead through many meetings, emails, and lengthy discussions. I also would like to thank Edmundo Paz Soldán, whose energy and enthusiasm for engaging with emergent, young writers influenced this work’s formation substantially. I would like to recognize my committee who worked marvelously together as thoughtful panel and in our individual conversations to orient this project: Debra A. Castillo, Edmundo Paz Soldán and Mary Pat Brady. Each of them have inspired my work in different ways, and I am grateful for our exchanges and for their support throughout my time at Cornell. I indebted to my friends and colleagues from my graduate program. First and foremost, to my cohort; Christina Soto and Geraldine Monterroso. Shortly after arriving at Cornell, some unscrupulous bystander asked me how or why we could be a cohort of “just women” o puras mujeres. Although I’m sure the elaborate eye-roll I gave in response at the time sufficed; I will reiterate my thoughts about “us women” here. These women, as a cohort, as a group could not have been more unique. Some say three is company, three is a crowd—for us it has been one or the other, neither, and both. Regardless, this rule will always apply; it is the rule of threes. Otherwise known as the power of three, which as a principle sustains that things that come in vii threes are funnier, more satisfying, brilliant, wilder, crazier, and more poignantly lived than other numbers of things. Consider: red, yellow, and green traffic lights, clover leaves, wise men, the laws of motion, rock, paper, scissors, the truth, the whole truth, and nothing but the truth, the stars in Orion’s belt, the unholy trinity, Tolkien’s trilogy, and, lastly, the beginning, middle, and end of all things---for which I owe I debt of gratitude to Geraldine and Christina, just us few women. I would like to thank Rebecca Davidson for her counsel, patience, and spirited ways. And my dog, Lula, and her quirks. Claudia Taylor for her presence and long-distance but long-suffering friendship and whose conversations transplant me daily to my beloved Mexico City. To my home city, Pittsburgh, and family, always. To my father who memorized poetry while he climbed smokestacks and welded our world together in wartimes and at home. To my mother, the smartest person in our family whose love for storytelling and kindness to others never ceases. To my brother, the uber-sibling. I am very proud and only slightly jealous of you, most of the time. Not to any of my extended relatives who asked annoying questions about this work and that ruined otherwise perfectly acceptable holiday chit chat. To my sisters-in-law: Julie and Carolyn; thank you for opting-in to sisterhood and for your continued friendship and support. Jim. To my son, Graham, the brightest light in my small universe. To my daughter, whom I have yet to know and to the mysteries of life that lie ahead. viii TABLE OF CONTENTS Biographical Sketch...................................................................................................... iii Acknowledgements.........................................................................................................v List of Figures……….………………………………………………………………...ix INTRODUCTION: MYTHS OF MAN: NONHUMAN FORMS & FIELDS...........................................................................................................................1 ONE: NATALIE DIAZ, DUENDE, & DREAM TIGERS…………………………..28 TWO: COLLAGING KINGDOMS..............................................................................60 THREE: APPALACHIAN AMERICAS....................................................................101 FOUR: HYDROLIBROS OR HOW TO READ IN A RIVER WITHOUT WATER DAMAGE...................................................................................................................138 Concluding Remarks...................................................................................................177 Works Cited................................................................................................................194 ix LIST OF FIGURES Figure 2.1………………………………………………………………………….….67 Figure 2.2, 2.3…………………………………………………………………...……68 Figure 3.1……………………………………………………………………………110 Figure 4.1……………………………………………………………………………138 Figure 4.2……………………………………………………………………………141 Figure 4.3…………………………………………………………………………....145 Figure 4.4……………………………………………………………………………156 Figure 4.5…………………………………………………………………………....169 INTRODUCTION Myths of Man: Nonhuman Forms & Fields La negra is a beastgirl. From forehead to heel callused. Risen on an island made of shit bricks, an empire. The doctor pulled La Negra from her mother’s throat: a swallowed sword, a string of rosary beads. La Negra’s father is a dulled sugarcane machete. Crowned in her sundried umbilical cord. La Negra claws and wails, craves only mamajuana (Acevedo 12). -- Elizabeth Acevedo, “The True-Story of La Negra a Bio-Myth” This “bio-myth” is taken from Acevedo’s collection Beastgirl & Other Origin Myths, a chapbook which addresses many of the concerns of this dissertation through its demonstration of overlapping myths, diasporas, and how Latinx poets, like Acevedo, position nonhumans as agents in the crafting of origin stories which span across Latin@American spaces. I open with Acevedo’s resounding lyrics to give shape to this project; it occurs to me as appropriate to cite Beastgirl & Other Origin Myths as an introduction also functions almost like an origin story. And so mine will depart with the breath of the Caribbean beast-girl, clawing though the page. Not only the beast-girl, but also her myth-making, too, resonates here. One of the premises that this dissertation departs from are the myths of Man, a theory taken from Sylvia Wynter’s ruminations on the rigidity of an idealized, limited idea of Man. This “myth” is one that sustains a singular and exclusionary limit of the form of Man. Wynter argues this point in her essay “Unsettling the Coloniality of Being/Power/Truth/Freedom Towards the Human. After Man. Its Overrepresentation: An Argument.” She sustains that “The struggle of our new millennium will be one between the ongoing imperative of 1 securing the well-being of our present ethnoclass (i.e., Western bourgeois) conception of the human. Man, which overrepresents itself as if it were the human itself, and
Load more

Recommended publications
  • 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
    [Show full text]
  • Abismo Logico.Pdf
    Otros títulos de esta Colección EL ABISMO LÓGICO MANUEL BOTERO CAMACHO Este libro explora un fenómeno que se mencionar filósofos y escribir cuentos (BORGES Y LOS FFFEILOSOFEOS F DE LAS IDEAS) Doctor en Filología de la Universidad Complu- repite en algunos textos del escritor argen- acerca de una realidad imposible tense de Madrid con Diploma de Estudios Avan- tino Jorge Luis Borges (1899-1986). Está siguiendo sus filosofías, de mostrar algo MANUEL BOTERO CAMACHO GÉNESIS Y TRANSFORMACIONES MANUEL BOTERO CAMACHO zados en Filología Inglesa y en Filología Hispa- DEL ESTADO NACIÓN EN COLOMBIA compuesto por nueve capítulos, que acerca de sus creencias, sería precisa- noamericana. Licenciado en Literatura, opción UNA MIRADA TOPOLÓGICA A LOS ESTUDIOS SOCIALES DESDE LA FILOSOFÍA POLÍTICA corresponden al análisis de la reescritura mente su escepticismo respecto de en filosofía, de la Universidad de Los Andes, de nueve distintas propuestas filosóficas. dichas doctrinas. Los relatos no suponen Bogotá. Es profesor en la Escuela de Ciencias ADOLFO CHAPARRO AMAYA Las propuestas están cobijadas bajo la su visión de la realidad sino una lectura Humanas y en la Facultad de Jurisprudencia CAROLINA GALINDO HERNÁNDEZ misma doctrina: el idealismo. Es un libro de las teorías acerca de la realidad. (Educación Continuada) del Colegio Mayor de que se escribe para validar la propuesta Nuestra Señora del Rosario. Es profesor de de un método de lectura que cuenta a la El texto propone análisis novedosos de Semiología y Coordinador de los Conversato- COLECCIÓN TEXTOS DE CIENCIAS HUMANAS vez con una dosis de ingenio y con los cuentos de Borges y reevalúa y rios de la Casa Lleras en la Universidad Jorge planteamientos rigurosos, permitiendo critica algunos análisis existentes elabo- Tadeo Lozano.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • La Traducción Como Interpretación
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revistes Catalanes amb Accés Obert “Transfer” IV: 2 (noviembre 2009), pp. 40-52. ISSN: 1886-5542 TRANSFERRING U.S. LATINO POETS INTO THE SPANISH- SPEAKING WORLD1 Lisa Rose Bradford, Universidad Nacional de Mar del Plata Translation is slippery art that compounds the problems of the inherent instability of language with the unruly process of duplicating it in another system. The sliding that occurs in the translation of multicultural poetry is even more pronounced since the distance from “the norm” becomes greater and greater. This is true firstly because poetry is a genre that strives for verbal concision and innovation in a playful defiance of norms that pique the reader’s imagination; and secondly because the multilingual poet often involves a second language —either in its original form or as a translation into the language of composition—to enhance sound and cultural imagery. Latino poetry generally glides along on the linguistic and cultural tension inherent in both its poeticity and its English/Spanish and Latino/Anglo dualities that challenge normative discourse. Therefore, the translation of this verse must also produce for the reader a similarly slippery tension, a task that Fabián Iriarte and I constantly grappled with in the editing of a recent bilingual anthology, Usos de la imaginación: poesía de l@s latin@s en EE.UU. This book began as an experiment in heterolingual translation in general, and after selecting eleven Latino poets for an anthology —Rafael Campo, Judith Ortiz Cofer, Silvia Curbelo, Martín Espada, Diana García, Richard García, Maurice Kilwein Guevara, Juan Felipe Herrera, Pat Mora, Gary Soto and Gloria Vando—we spent two years researching and rehearsing versions in readings and seminars offered in the universities of Mar del Plata and Córdoba in order to test the success of our translation strategies.2 There were many aspects to be considered before deciding on the best approach to translating this verse.
    [Show full text]
  • Select Bibliography
    Select Bibliography by the late F. Seymour-Smith Reference books and other standard sources of literary information; with a selection of national historical and critical surveys, excluding monographs on individual authors (other than series) and anthologies. Imprint: the place of publication other than London is stated, followed by the date of the last edition traced up to 1984. OUP- Oxford University Press, and includes depart­ mental Oxford imprints such as Clarendon Press and the London OUP. But Oxford books originating outside Britain, e.g. Australia, New York, are so indicated. CUP - Cambridge University Press. General and European (An enlarged and updated edition of Lexicon tkr WeltliU!-atur im 20 ]ahrhuntkrt. Infra.), rev. 1981. Baker, Ernest A: A Guilk to the B6st Fiction. Ford, Ford Madox: The March of LiU!-ature. Routledge, 1932, rev. 1940. Allen and Unwin, 1939. Beer, Johannes: Dn Romanfohrn. 14 vols. Frauwallner, E. and others (eds): Die Welt Stuttgart, Anton Hiersemann, 1950-69. LiU!-alur. 3 vols. Vienna, 1951-4. Supplement Benet, William Rose: The R6athr's Encyc/opludia. (A· F), 1968. Harrap, 1955. Freedman, Ralph: The Lyrical Novel: studies in Bompiani, Valentino: Di.cionario letU!-ario Hnmann Hesse, Andrl Gilk and Virginia Woolf Bompiani dille opn-e 6 tUi personaggi di tutti i Princeton; OUP, 1963. tnnpi 6 di tutu le let16ratur6. 9 vols (including Grigson, Geoffrey (ed.): The Concise Encyclopadia index vol.). Milan, Bompiani, 1947-50. Ap­ of Motkm World LiU!-ature. Hutchinson, 1970. pendic6. 2 vols. 1964-6. Hargreaves-Mawdsley, W .N .: Everyman's Dic­ Chambn's Biographical Dictionary. Chambers, tionary of European WriU!-s.
    [Show full text]
  • Cambridge University Press 978-1-108-47044-5 — Jorge Luis Borges in Context Edited by Robin Fiddian Index More Information
    Cambridge University Press 978-1-108-47044-5 — Jorge Luis Borges in Context Edited by Robin Fiddian Index More Information Index ‘A Rafael Cansinos Assens’ (poem), 175 Asociación Amigos del Arte, 93, 95, 97 Abramowicz, Maurice, 33, 94 Aspectos de la poesía gauchesca (essays), 79 Acevedo de Borges, Leonor (Borges’s mother), Atlas (poetry and stories), 51, 54–55, 112 26–27 28 31 32–33 254 ʿ ā ī ī , , , , At˙˙t r, Far d al-D n Adrogué (stories), 43 overview of, 222–226, 260 Aira, César, 130–131, 133–135 Conference of the Birds, The and, 219, Aleph, The (stories), 234 222–223, 225 ‘Aleph, The’ (story), 29, 30, 61, 205, 232 Auster, Paul, 7, 246 Alfonsín, Raúl, 47, 51–52 author Alighieri, Dante. See Dante collective identity of, 115, 144, 150, 168, Amorím, Enrique, 21–22 221–222, 248–249 Anglo-Saxon, 7, 32, 102, 166, 244, 246 figure of, 5, 30, 72, 232, 248 anti-Semitism, 63, 120, 143, 199. See also Nazism unique identity of, 31, 141–142, 153–154 Antología poética argentina (anthology), 118 ‘Autobiographical Essay, An’ (essay), 201, 246 ‘Approach to Al-Mu’tasim, The’ (story), 225 avant-garde Argentina Argentine, heyday of, 28, 68, 89, 92–97, centenary of, 83, 85, 95, 181 107, 183 cultural context of, 6, 96, 100, 103, 109–110, 134 Argentine, decline of, 46, 54, 117, 184, 234 desaparecidos of, 16, 46, 52, 60, 65, 111 international, 22, 94, 95, 133, 253, 261 dictatorship of, 15–16, 111–112, 117, 238, 241 Spanish, 6, 28, 92–93, 166, 173–178 language of, 13, 145, 196 tango and, 110 literary tradition of, 77–78, 99–104, 130–135 ‘Avatars of the Tortoise’ (essay), 159 national identity and, 12–13, 72–73 ‘Avelino Arredondo’ (story), 23–24 politics of, 6, 43–48, 51–56, 111–112 ‘Averroës’ Search’ (story), 215 religion and, 195–197 See also Buenos Aires; Malvinas, Islas Babel (biblical city), 12–13, 85, 206–208 ‘Argentine Writer and Tradition, The’ (essay) Banda Oriental, the, 18–24 Argentina and, 132–133, 135, 245 barbarism.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Jorge Luis Borges' Métier Joseph Tyler University of Michigan-Flint Hipertexto N All Modesty, As Researchers, Writers, Litera
    Hipertexto 20 Verano 2014 pp. 132-139 Jorge Luis Borges’ Métier Joseph Tyler University of Michigan-Flint Hipertexto … vi a Borges en una nueva fase de su éxito creciente: era ya director de la Biblioteca Nacional, profesor de la Universidad, miembro de la Academia… Pero lo que más me sorprendió fue verlo transformado en conferencista. Enrique Anderson-Imbert. “El Éxito de Borges” 7 n all modesty, as researchers, writers, literary critics, we, whether we like it or not, I belong to a select group. I don’t want to say brotherhood, because that would have serious implications. As members, we gather, at times, to share our thoughts, personal interests, and concerns, and it is for this reason I am here today to address the professorial inclinations of a well-known writer whose calling card exhibits similar descriptions as ours, but raised to a much higher degree of quality and interpretation, as the quote, by Anderson-Imbert, above implies. Furthermore, in the introduction to Seven Nights, Alastair Reid (in 1984) reminds us that: “Among his many literary selves, Borges has had a separate existence as a lecturer for almost the past forty years, and, like every separate dimension of Borges, the lectures shed a different kind of light on the whole, and make clear more of Borges’s webbed connections.”1 The last time I saw Borges in Pennsylvania, in spite of his frailty, he was still going strong delivering lectures, and instructing us, on diverse literary themes. My early contacts with Jorge Luis Borges were those in which I, as novice graduate student, sat in awe of this man when he delivered his profound lectures at the University of California, San Diego and, later at Michigan State University.
    [Show full text]
  • Pluma Fronteriza: Newsletter of Latino/Chicano(A) Writers from the El Paso and Cd
    University of Texas at El Paso DigitalCommons@UTEP Chicano Studies Campus Newsletters 1-1-2004 Pluma Fronteriza: Newsletter of Latino/ Chicano(a) Writers from the El Paso and Cd. Juárez Border Region UTEP Chicano Studies Follow this and additional works at: http://digitalcommons.utep.edu/chic_news Part of the Mass Communication Commons, and the Race and Ethnicity Commons Recommended Citation UTEP Chicano Studies, "Pluma Fronteriza: Newsletter of Latino/Chicano(a) Writers from the El Paso and Cd. Juárez Border Region" (2004). Chicano Studies. Paper 1. http://digitalcommons.utep.edu/chic_news/1 This Article is brought to you for free and open access by the Campus Newsletters at DigitalCommons@UTEP. It has been accepted for inclusion in Chicano Studies by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. Winter/Spring 2004 Volume 4, No. 1 PlumaNewsletter of Latino/Chicano(a) WritersFronteriza from the El Paso and Cd. Juárez Border Region NEWS Did You Know? La Llorona visits Gaspar de Alba Solórzano takes the reins Rosalía Solórzano, who teaches at Pima Community College and in Chicano Last fall, Alicia Gaspar de Alba released Studies at UTEP during summers, has been appointed by MALCS to chair the La Llorona on the Longfellow Bridge: Poetry August 2004 Chicana/Latina Summer Institute in Seattle, Wash. y Otras Movidas (Arté Público Press, ISBN Solórzano established a successful track record with MALCS and NACCS in the 1558853995). In this collection of poetry fields of literature, sociology, and gender studies. and essays, Gaspar de Alba incorporates the Mexican archetypal wailing woman Arciniega honored who wanders in search of her lost children.
    [Show full text]