1 Jorge Luis Borges the GOSPEL ACCORDING to MARK
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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 -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Some things remain / Permalink https://escholarship.org/uc/item/58z208b0 Author Guerra Cota, Aldo Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Some Things Remain A Thesis submitted in partial satisfaction of the requirements for the degree Master of Fine Arts in Visual Arts by Aldo Guerra Cota Committee in charge: Professor Louis Hock, Chair Professor Luis Alvarez Professor Anya Gallacio Professor Michael Trigilio 2014 The Thesis of Aldo Guerra Cota is approved and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2014 iii The space within us reaches out, translates each thing. For the essence of a tree to be real for you, cast inner space around it, out of the space that exists in you. Encircle it with restraint. It has no borders. Only in the realm of your renouncing can it, as a tree, be known. R.M. Rilke, Uncollected Poems,1924 iv TABLE OF CONTENTS Signature Page………..……………………………………………………..……iii Epigraph……………………………………………………………………………iv Table of Contents………………………………………………………………….v List of Figures…...…………….……………………………….………………....vi Abstract of the Thesis………………....………………………………………..vii Project Description….…………………..…………………………………….…..1 Bibliography………………………………………………………………………22 v LIST OF FIGURES Figure 1: Gallery View A ..…………..……………………………………...…..…2 Figure 2: Still image -
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. -
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. -
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. -
Duchamp's Labyrinth: First Papers of Surrealism, 1942*
Duchamp’s Labyrinth: First Papers of Surrealism, 1942* T. J. DEMOS Entwined Spaces In October of 1942, two shows opened in New York within one week of each other, both dedicated to the exhibition of Surrealism in exile, and both represent- ing key examples of the avant-garde’s forays into installation art. First Papers of Surrealism, organized by André Breton, opened first. The show was held in the lavish ballroom of the Whitelaw Reid mansion on Madison Avenue at Fiftieth Street. Nearly fifty artists participated, drawn from France, Switzerland, Germany, Spain, and the United States, representing the latest work of an internationally organized, but geopolitically displaced, Surrealism. The “First Papers” of the exhibition’s title announced its dislocated status by referring to the application papers for U.S. citi- zenship, which emigrating artists (including Breton, Ernst, Masson, Matta, Duchamp, and others) encountered when they came to New York between 1940 and 1942. But the most forceful sign of the uprooted context of Surrealism was the labyrinthine string installation that dominated the gallery, conceived by Marcel Duchamp, who had arrived in New York from Marseilles in June of that year. The disorganized web of twine stretched tautly across the walls, display parti- tions, and the chandelier of the gallery, producing a surprising barrier that intervened in the display of paintings.1 The second exhibition was the inaugural show of Peggy Guggenheim’s Art of This Century Gallery on Fifty-seventh Street, which displayed her collection of Surrealist and abstract art. Guggenheim gave Frederick Kiesler free rein to design *I am grateful for the support and criticism of Benjamin H. -
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. -
The Other/Argentina
The Other/Argentina Item Type Book Authors Kaminsky, Amy K. DOI 10.1353/book.83162 Publisher SUNY Press Rights Attribution-NonCommercial-NoDerivatives 4.0 International Download date 29/09/2021 01:11:31 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://www.sunypress.edu/p-7058-the-otherargentina.aspx THE OTHER/ARGENTINA SUNY series in Latin American and Iberian Thought and Culture —————— Rosemary G. Feal, editor Jorge J. E. Gracia, founding editor THE OTHER/ARGENTINA Jews, Gender, and Sexuality in the Making of a Modern Nation AMY K. KAMINSKY Cover image: Archeology of a Journey, 2018. © Mirta Kupferminc. Used with permission. Published by State University of New York Press, Albany © 2021 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, contact State University of New York Press, Albany, NY www.sunypress.edu Library of Congress Cataloging-in-Publication Data Names: Kaminsky, Amy K., author. Title: The other/Argentina : Jews, gender, and sexuality in the making of a modern nation / Amy K. Kaminsky. Other titles: Jews, gender, and sexuality in the making of a modern nation Description: Albany : State University of New York Press, [2021] | Series: SUNY series in Latin American and Iberian thought and culture | Includes bibliographical references and index. -
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. -
Borges' “The Library of Babel” and Moulthrop's Cybertext
Borges’ “The Library of Babel” and Moulthrop’s Cybertext “Reagan Library” Revisited Perla Sassón-Henry United States Naval Academy he works of Jorge Luis Borges are intimately related to technology and sci- Tence. In his short stories “The Garden of Forking Paths” and “The Library of Babel,” Borges anticipates hypertext and the Internet well before the advent of these technologies. Bifurcation and chaos theory have also been associated with both works. Thomas Weissert claims that “Borges discovered the essence of Bifurcation Theory thirty years before chaos scientists mathematically formalized it” (223). Weissert’s research provides the foundation for a new direction in the study of Borges’ works: the tripartite connection among “The Library of Babel,” the cybertext “Reagan Library” by Stuart Moulthrop, and chaos theory. Each element of this triad contributes to the understanding of each literary work from the perspective of digital technology, and a new perspective in the literary analysis of Borges’ works emerges. Borges’ innovative ideas about reading, writing, the role of the author, the role of the reader, and the text are reflected in the genre known as hyperfiction. This new type of literature, created on the computer to be read on the computer, allows the reader to traverse a series of lexias—electronic spaces—via links that generate an intricate narrative. In the last two decades, hyperfiction has evolved from a black- and-white electronic digital text into a rich environment where the text consists of images and sounds integral to the narrative. According to Susana Pajares Tosca, “hypertext fiction generally plays with disorientation as an aesthetic effect” and “each hyperfiction has its own reading rules embedded in its structure, and they apply often only to that text” (271). -
No Success Like Failure Michael Wood Princeton University
No Success Like Failure Michael Wood Princeton University But the desire of the essay is not to seek and filter the eternal out of the transitory; it wants, rather, to make the transitory eternal. t. w. adorno urrent conversations about the essay—and there are many—emphasize the provisional, speculative nature of the genre, the suggestion of a test, a tryout.1 They return to Montaigne and his use of the word essai—and also to his practice of the genre. CThey don’t really contemplate failure. But perhaps the thing is too provisional to succeedor fail. This is what Claire de Obaldia suggests in a carefully worded sentence: “if (the essay) is associated with the authority and authenticity of someone who speaks in his or her name, it also disclaims all responsibility with regard to what is after all only ‘tried out’ and which is therefore closer, in a sense, to the ‘as if’ of fiction.”2 We can try and fail, of course. But trying often brackets off the idea of failure in a way that “attempt” does not. Since “attempt” is the meaning of the wordensayar in Spanish—closer to “sketch” than to “experiment,” and the word also means “rehearsal”—the ensayo acquires a mildly melancholy note that is not present in the French and English names of the genre. I should say too that ensayar is not the ordinary Spanish word for “try” as essayer is the ordinary word in French. That word would betratar or intentar. 1 See Carl H. Klaus and Ned Stuckey-French, eds., Essayists on the Essay (Iowa City: University of Iowa Press, 2012); Christy Wampole, “The Essayification of Everything,” New York Times, May 26, 2012.