Collected Fictions of Jorge Luis Borges
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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 -
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 -
Art and Hyperreality Alfredo Martin-Perez University of Texas at El Paso, [email protected]
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2014-01-01 Art and Hyperreality Alfredo Martin-Perez University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Philosophy Commons, and the Theory and Criticism Commons Recommended Citation Martin-Perez, Alfredo, "Art and Hyperreality" (2014). Open Access Theses & Dissertations. 1290. https://digitalcommons.utep.edu/open_etd/1290 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. HYPERREALITY & ART A RECONSIDERATION OF THE NOTION OF ART ALFREDO MARTIN-PEREZ Department of Philosophy APPROVED: Jules Simon, Ph.D. Mark A. Moffett, Ph.D. Jose De Pierola, Ph.D. ___________________________________________ Charles Ambler, Ph.D. Dean of the Graduate School Copyright © By Alfredo Martin-Perez 2014 HYPERREALITY & ART A RECONSIDERATION OF THE NOTION OF ART by ALFREDO MARTIN-PEREZ Thesis Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department of Philosophy THE UNIVERSITY OF TEXAS AT EL PASO December 2014 ACKNOWLEDGMENTS I would like to thank my daughters, Ruby, Perla, and Esmeralda, for their loving emo- tional support during the stressing times while doing this thesis, and throughout my academic work. This humble work is dedicated to my grandchildren. Kimberly, Angel, Danny, Freddy, Desiray, Alyssa, Noe, and Isabel, and to the soon to be born, great-grand daughter Evelyn. -
Waiting for Redemption in the House of Asterion: a Stylistic Analysis
Open Journal of Modern Linguistics 2012. Vol.2, No.2, 51-56 Published Online June 2012 in SciRes (http://www.SciRP.org/journal/ojml) http://dx.doi.org/10.4236/ojml.2012.22007 Waiting for Redemption in The House of Asterion: A Stylistic Analysis Martin Tilney Macquarie University, Sydney, Australia Email: [email protected] Received February 20th, 2012; revised March 7th, 2012; accepted March 15th, 2012 The House of Asterion is a short story by Jorge Luis Borges that retells the classical myth of the Cretan Minotaur from an alternate perspective. The House of Asterion features the Minotaur, aka Asterion, who waits for “redemption” in his labyrinth. Many literary critics have suggested that the Borgesian labyrinth is a metaphor for human existence and the universe itself. Others have correctly interpreted Asterion’s ironic death at the hands of Theseus as his eagerly awaited redemption. Borges’ subversion of the reader’s expectations becomes the departure point for a systemic functional stylistic analysis of the story in one of its English translations, revealing how deeper-level meanings in the text are construed through its lexico- grammatical structure. A systemic functional stylistic reading suggests that on a higher level of reality, Asterion’s redemption is not only the freedom that death affords, but also a transformation that transcends his fictional universe. Asterion’s twofold redemption is brought about not only by the archetypal hero Theseus but also by the reader, who through the process of reading enables Asterion’s emancipation from the labyrinth. Keywords: The House of Asterion; Borges; Minotaur; Labyrinth; Systemic Functional; Stylistic Introduction the latter half of the twentieth century (for a detailed discussion of the difference between the terms “postmodernity” and Argentinean writer Jorge Luis Borges (1899-1986) is best “postmodernism” see Hassan, 2001). -
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. -
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. -
The Alchemist
Contents International Acclaim for Paulo Coelho’s Foreword Prologue Part One Part Two Epilogue A Preview of Paulo Coelho’s: Warrior of the Light Warrior of the Light: Prologue About the Author Also by Paulo Coelho Back Ads Copyright About the Publisher International Acclaim for Paulo Coelho’s THE ALCHEMIST “The story has the comic charm, dramatic tension, and psychological intensity of a fairy tale, but it’s full of specific wisdom as well. A sweetly exotic tale for young and old alike.” —Publishers Weekly “Beneath this novel’s compelling story and the shimmering elegance with which it’s told lies a bedrock of wisdom about following one’s heart.” —Booklist “As memorable and meaningful as Saint-Exupéry’s The Little Prince.” —Austin American-Statesman “A touching, inspiring fable.” —Indianapolis Star “A little poke in the ribs from on high.” —Detroit Free Press “The Alchemist is a fabulous success.” —Der Spiegel (Germany) “A remarkable tale about the most magical of all journeys: the quest to fulfill one’s destiny. I recommend The Alchemist to anyone who is passionately committed to claiming the life of their dreams—today.” —Anthony Robbins, author of Awaken the Giant Within “An entrepreneurial tale of universal wisdom we can apply to the business of our own lives.” —Spencer Johnson, M.D., author of Who Moved My Cheese “An adventure story full of magic and wisdom.” —Rudolfo Anaya, author of Bless Me, Ultima “The Alchemist is a beautiful book about magic, dreams, and the treasures we seek elsewhere and then find at our doorstep.” —Madonna in Sonntag Aktuell (Germany) “The Alchemist is an unabashed delight and inspirational wonder. -
Norse Mythology and Saga: Bibliography Norse Mythology
Norse Mythology and Saga: Bibliography Norse Mythology Acker, Paul, and Carolyne Larrington, eds. The Poetic Edda: Essays on Old Norse Mythology. New York: Routledge, 2002. Print. Routledge Medieval Casebooks. Anderson, Sarah M, and Karen Swenson, eds. Cold Counsel: Women in Old Norse Literature and Mythology: A Collection of Essays. New York ; London: Routledge, 2002. Print. Auden, W. H, and Paul Beekman Taylor, trans. Norse Poems. London: Athlone Press, 1981. Print. Chance, Jane, ed. Tolkien and the Invention of Myth: A Reader. Lexington: University Press of Kentucky, 2004. Print. Davidson, Hilda Roderick Ellis. Scandinavian Mythology. London ; New York: Hamlyn, 1969. Print. Jochens, Jenny. Old Norse Images of Women. Philadelphia: University of Pennsylvania Press, 1996. Print. Middle Ages Series. Larrington, Carolyne, tran. The Poetic Edda. Oxford ; New York: Oxford University Press, 2008. Print. Oxford World’s Classics. Lindow, John. Handbook of Norse Mythology. Santa Barbara, Calif: ABC-CLIO, 2001. Print. Handbooks of World Mythology. Tolkien, J. R. R. The Legend of Sigurd and G . Ed. Christopher Tolkien. Boston: Houghton Mifflin Harcourt, 2009. Print. Sagas Andersson, Theodore Murdock. The Growth of the Medieval Icelandic Sagas (1180-1280). Ithaca, N.Y: Cornell University Press, 2006. Print. ---. The Icelandic Family Saga; an Analytic Reading. Cambridge: Harvard University Press, 1967. Print. Harvard Studies in Comparative Literature 28. Johnston, George, tran. The Saga of Gisli. London: Dent, 1973. Print. Magnusson, agnus, and Hermann P lsson, trans. Baltimore: Penguin Books, 1960. Print. Byock, Jesse L. Feud in the Icelandic Saga. Berkeley ; London: University of California Press, 1982. Print. Byock, Jesse L, and Russell Gilbert Poole, trans. G etti . -
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. -
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. -
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. -
Problems of Bakhtin's Aesthetics: the Name of the Rose As a Critical
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Tartu University Library University of Tartu Faculty of Arts and Humanities Department of Semiotics Yimeng Cui Problems of Bakhtin’s Aesthetics: The Name of the Rose as a critical examination of carnival M.A. Thesis Supervisors: Lauri Linask Silver Rattasepp Mihhail Lotman Tartu January 2016 1 2017 I have written the Master Thesis myself, independently. All of the other authors’ texts, main viewpoints and all data from other resources have been referred to. Author: Yimeng Cui ................................................................... (signature) ................................................................... (21.05.2017) 2 Table of Contents Introduction 4 Defining the Research Object: the novelistic and the carnivalesque 17 1.1 Bakhtin’s aesthetics, genres and concepts 17 1.2 The novel and the novelistic 20 1.3 Carnival and the carnivalesque 21 1.4 Problems of the carnivalesque 23 1.5 Conclusion: Bakhtin as an explicit voice in his works 25 2. The Name of the Rose in a Bakhtinian context 27 2.1 Aims, materials and methodology of the analysis 27 2.2 Historical background and semiotic context 30 2.3 Polyphony in the novel 33 3. Bakhtin and Eco’s definitions of carnival 40 3.1 Examples of the carnivalesque in The Name of the Rose 40 3.2 Eco’s definition of carnival 46 4. Deconstructions and carnival in the novel 52 5. Carnival and the problem of reference 63 5.1 The novelistic and unlimited semiosis 63 5.2 Signification and reference in the novelistic 66 5.3 Final thoughts: reconciling the epic and the novelistic 70 Conclusion 72 References 76 Kokkuvõte 79 3 Introduction Topic: A structural contradiction in Bakhtin’s concept of the carnivalesque, as exemplified in Eco’s novel The Name of the Rose.