1,482 research outputs found
The labyrinth of representation in the literature of Jorge Luis Borges
No full textilustraciones, diagramasEl laberinto de la representación en la literatura de Jorge Luis Borges Éste trabajo explora, a partir de cinco relatos del escritor argentino Jorge Luis Borges, la manera como la representación se desempeña en la creación de imágenes literarias. Éstas imágenes implican la ejecución de la metáfora como herramienta narrativa, con la que resulta posible la descripción de objetos y fenómenos de otra manera imposibles. Es el caso de la imagen del azar/infinito, que toma forma con las múltiples imágenes de laberintos que propone el autor. Se verá que ésta exploración contempla las relaciones con las tradiciones judía, cristiana y griega, por ello se trazan lazos mitológicos. Finalmente, se propone un esfuerzo por describir geométrica y espacialmente algunos esos laberintos al interior de los cuentos. (Texto tomado de la fuente)The Labyrinth of Representation in the Literature of Jorge Luis Borges This work explores, based on five stories by the argentine writer Jorge Luis Borges, the way in which representation plays a role in the creation of literary images. These images imply the execution of the metaphor as a narrative tool, with which it is possible to describe otherwise impossible objects and phenomena. This is the case of the image of random, which takes shape with the multiple images of labyrinths proposed by the author. It will be seen that this exploration contemplates the relations with the Jewish, Christian and Greek traditions, for this reason mythological ties are drawn. Finally, an effort is proposed to describe geometrically and spatially some of these labyrinths within the stories.MaestríaMagíster en EstéticaÁrea Curricular de Ciencias Humanas y Sociale
The labyrinth of representation in the literature of Jorge Luis Borges
No full textilustraciones, diagramasEl laberinto de la representación en la literatura de Jorge Luis Borges Éste trabajo explora, a partir de cinco relatos del escritor argentino Jorge Luis Borges, la manera como la representación se desempeña en la creación de imágenes literarias. Éstas imágenes implican la ejecución de la metáfora como herramienta narrativa, con la que resulta posible la descripción de objetos y fenómenos de otra manera imposibles. Es el caso de la imagen del azar/infinito, que toma forma con las múltiples imágenes de laberintos que propone el autor. Se verá que ésta exploración contempla las relaciones con las tradiciones judía, cristiana y griega, por ello se trazan lazos mitológicos. Finalmente, se propone un esfuerzo por describir geométrica y espacialmente algunos esos laberintos al interior de los cuentos. (Texto tomado de la fuente)The Labyrinth of Representation in the Literature of Jorge Luis Borges This work explores, based on five stories by the argentine writer Jorge Luis Borges, the way in which representation plays a role in the creation of literary images. These images imply the execution of the metaphor as a narrative tool, with which it is possible to describe otherwise impossible objects and phenomena. This is the case of the image of random, which takes shape with the multiple images of labyrinths proposed by the author. It will be seen that this exploration contemplates the relations with the Jewish, Christian and Greek traditions, for this reason mythological ties are drawn. Finally, an effort is proposed to describe geometrically and spatially some of these labyrinths within the stories.MaestríaMagíster en EstéticaÁrea Curricular de Ciencias Humanas y Sociale
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The Labyrinth of Meanings: Borges and His Self-Deconstructing Poetry
No full textThis thesis explores the ways in which the Argentinian writer Jorge Luis Borges used devices, principles, and strategies that today we would call deconstructionist, to write poetry that could transcend the communicative limits of language, which according to the author himself, it is not an effective tool to truly represent what is real. To accomplish this task, we first frame our work in the context of Derrida’s Deconstructionism, specifically in the area of literary criticism, defining what it means to take a deconstructive approach to critical theory. We then introduce Borges and his ideas, situating him within the sphere of deconstructionist theory as a sort of precursor (a word that we want to use carefully here, as we will be arguing for something different from a precursor). Next, we present the hard data obtained from an experiment involving thirty-two participants, analyzing the interpretations our volunteers gave to verses and poems by Borges, and we use the significant variety of meanings that emerged from the experiment to support some of our points, offering a different and new perspective. Finally, we engage in a critical analysis of Borges’ poetry, elaborating on concepts such as symbolic system, the use of opposites, referentiality, paradoxes, circularity, reversion of author-reader role, among others. This analysis supports our theory, which posits that the processes we now classify as deconstructive play a fundamental role in Borges’ construction of poetry. In fact, it is through these processes that the Argentinian transcends the limits of language, creating labyrinths of meanings – as we call them, using some borgean terminology – where the author relinquishes control to favor readers’ own agency and, in turn, the readers can get closer to some of the author’s intentions
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De lo m?s lindo y de lo m?s pobre: Transnational Borges and Sandra Cisneros
No full textThis dissertation examines the influence of Argentine writer Jorge Luis Borges on the writings of twenty-first century Mexican American author Sandra Cisneros, as well as how reading her work helps us better understand overlooked elements of his writings, including marginality, gender roles, sexuality and the rights to self-definition, agency and self-expression of women and women writers. Though Cisneros is one of the most popular women writers in the United States, the first Chicana writer to be published by a major New York publishing house and an important influence for a new generation of writers, she has been dismissed by many critics as not a serious writer, or primarily a testimonial writer. By linking her writing with Borges, I present her as a United States descendent of the Latin American literary tradition that gained worldwide acclaim during the so-called Latin American literary boom of the 1960s. This dissertation departs from representations of Cisneros as solely a Chicana writer linking her instead to a north-south transnational, transborder literary tradition. As we shall see in this dissertation, for decades Borges has been a literary companion at Cisneros’s side. From Cisneros’s interviews, we know that she had first read Borges beginning in high school in the late 1960s; her most recent publication, a collection of essays entitled A House of My Own (2015) features references to Borges as a major influence on her work. In a 2015 interview, Cisneros said that Borges “me dio permiso para combinar mitos y sue?os y cuentos de hadas en mis cuentos.” T.S. Eliot, speaking on literary relationships across time in “Tradition and the Individual Talent,” asserts, “the past should be altered by the present as much as the present is directed by the past” (Sacred Wood 50). This dissertation will also examine how reading Cisneros—both her fictions and essays in which she directly references her readings of Borges’s work—in turn alters the way we read Borges. Additionally, it considers how themes raised in this early twentieth-century Argentine male writer’s work develop and change in Cisneros’s late twentieth and early twenty-first century Mexican American female imagination. These themes include gender role reversal during the advent of feminism and the emergence of women in the workplace in the twentieth century; popular and marginalized cultures; personal and collective identities; cultural hybridity and bilingualism. This dissertation is comprised of four thematic comparative chapters that contribute to new understandings of both Borges and Cisneros. CHAPTER ONE begins the dissertation with the influence of the poetry and prose in Borges’s Dreamtigers (1964) on Cisneros’s highly acclaimed The House on Mango Street (1984). CHAPTER TWO has an urban studies focus through the literary representations of two Latin American capitals, Buenos Aires in Borges’s “Fundaci?n m?tica de Buenos Aires” (1923) and Mexico City in Cisneros’s Caramelo (2002). CHAPTER THREE is a reconsideration of Borges’s female-centered writings, including his translations of Virginia Woolf’s Orlando (1928) and A Room of One’s Own (1929), through Sandra Cisneros’s writings and feminism. CHAPTER FOUR assesses elements of Buddhist spirituality in Cisneros’s twenty-first century writings gained in part through Borges’s writings on Buddhism near the end of his life. The dissertation will demonstrate that Borges remains Cisneros’s most important literary maestro with his influence felt in her poetry, fiction, and essays from adolescence in the 1960s through her recent A House of My Own (2015)
Borges: The Labyrinth and Its Bifurcations (Analysis of the concept of the labyrinth as an operating principle in the book Ficciones by Jorge Luis Borges)
No full textA lo largo de este ejercicio de investigación se desarrolla un análisis alrededor de las implicaciones del uso del concepto de laberinto como principio operatorio en el libro de cuentos titulado Ficciones del escritor argentino Jorge Luis Borges. El análisis parte del reconocimiento de las relaciones que algunos de los cuentos manifiestan frente a las principales teorías
desarrolladas por el autor argentino. Estas teorías, expuestas en ensayos y entrevistas diversas, son sumamente particulares y, al ser desarrolladas en los cuentos a través del concepto de laberinto llegan a establecer relaciones sumamente particulares entre literatura, filosofía y ciencia.Resumen………….……….……………………………………………………………………….4
Abstract.………………….………………………………………………………………………..5
Introducción……………..………………………………………………………………………...6
Capítulo 1. Marco Teórico…………………………………….…………………………………12
1.1 Antecedentes……..…………………………………………………………………19
1.2 Marco contextual…………..……………………...…………………………………24
1.3 Marco conceptual….………………...………………...……………………………27
1.3.1 Laberinto………………………………………………………………27
1.3.2 Bifurcación……………………………………………………………27
1.3.3 Operatorio…………………………………………………………….28
Capítulo 2. El laberinto y sus bifurcaciones…….………..…..……………………………..….30
2.1. El laberinto y su invención……...……………..………………………………...………...31
2.1.1 El autor demiurgo..……………….………………………………………………31
2.2. El laberinto y su tiempo……………….…………………………………………………..43
2.2.1. El libro infinito………………………..…………………………………………43
2.3. El laberinto y las teratologías…………….………………….……………………………..51
2.3.1 Literatura y Filosofía………………………..……….…………………………….51
Conclusiones…………………………………………….……………………………………….61
Referencias………………………………………………..……………………………………...65MaestríaThroughout this research exercise, an analysis is developed around the implications of the use of the concept of labyrinth as an operating principle in the book of stories titled Ficciones by the Argentine writer Jorge Luis Borges. The analysis is based on the recognition of the relationships that some of the stories manifest with respect to the main theories developed by the Argentine author. These theories, presented in essays and various interviews, are extremely particular and, when developed in the stories through the concept of a labyrinth, they establish extremely particular relationships between literature, philosophy and science.Modalidad Virtua
The Intertextuality of the Small Prose by J. L. Borges
No full textМала проза Х. Л. Борхеса аналізується в аспекті її інтертекстуальності. Особлива увага звертається на дослідження місця та ролі інтертексту, нелінійного письма як ключових засад творчості латиноамериканського письменника. Зазначається, що інтертекстуальність у прозі митця виражена найрізноманітнішими формами (цитати, алюзії, ремінісценції тощо). Водночас простежено, як у борхесівських оповіданнях та мініатюрах відбито міфосинкретичні структури мислення, що поєднують різні часи та простори. Розвинуто думку про те, що інтертекстуальність творів Борхеса співвідноситься з концепцією „лабіринту”. Суттєвим концептуальним підґрунтям статті слугують теоретичні праці Р. Барта, Ю. Крістєвої, М. Бахтіна, О. Астаф’єва, Л. Біловус та ін.The article deals with the investigation of the intertextual field of the small prose by Latin American writer J. L. Borges. On the basis of works of foreign and Ukrainian scholars (R. Barthes, J. Kristeva, M. Bakhtin, O.Astafiev, L. Bilovuss and others) the author considers theoretical and aesthetic aspects of the intertextuality. The main attention is paid to the determination of the role and place of the intertext as the fundamental feature of the creative process of writer. The basic forms of the intertextuality (citations, allusions, reminiscences) are analysed on different functional levels of the Borges’ text. The attention is paid to the analysis of the artistic features of the representation of the author’s world-view and the ways of the author’s selfexpression. The author concedes that intertext in the prosaic miniatures by J. L. Borges correlates with the concept of labyrinth
The Intertextuality of the Small Prose by J. L. Borges
No full textМала проза Х. Л. Борхеса аналізується в аспекті її інтертекстуальності. Особлива увага звертається на дослідження місця та ролі інтертексту, нелінійного письма як ключових засад творчості латиноамериканського письменника. Зазначається, що інтертекстуальність у прозі митця виражена найрізноманітнішими формами (цитати, алюзії, ремінісценції тощо). Водночас простежено, як у борхесівських оповіданнях та мініатюрах відбито міфосинкретичні структури мислення, що поєднують різні часи та простори. Розвинуто думку про те, що інтертекстуальність творів Борхеса співвідноситься з концепцією „лабіринту”. Суттєвим концептуальним підґрунтям статті слугують теоретичні праці Р. Барта, Ю. Крістєвої, М. Бахтіна, О. Астаф’єва, Л. Біловус та ін.The article deals with the investigation of the intertextual field of the small prose by Latin American writer J. L. Borges. On the basis of works of foreign and Ukrainian scholars (R. Barthes, J. Kristeva, M. Bakhtin, O.Astafiev, L. Bilovuss and others) the author considers theoretical and aesthetic aspects of the intertextuality. The main attention is paid to the determination of the role and place of the intertext as the fundamental feature of the creative process of writer. The basic forms of the intertextuality (citations, allusions, reminiscences) are analysed on different functional levels of the Borges’ text. The attention is paid to the analysis of the artistic features of the representation of the author’s world-view and the ways of the author’s selfexpression. The author concedes that intertext in the prosaic miniatures by J. L. Borges correlates with the concept of labyrinth
Rhetoric and Philosophy of Communication in Jorge Luis Borges\u27 Metaphysical Obsession with Time
No full textThis project begins with the assumption that through storytelling we humans make sense of the world around us. Language and communication are powerful in defining who we are and allowing individuals to “become a self” (Taylor The Language 318). Drawing from Schrag, I argue that rhetoric is inextricably linked to discourse but is also situated beyond its classical persuasive function. Rhetoric evokes a response from the other, based on reflection and deliberation. Since that other might be a reader of texts of fiction, there is a rhetorical connection to interpretation that situates literature as an exemplar of communicative engagement.
This dissertation contends that Jorge Luis Borges’ work is hermeneutically provocative for philosophy of communication. Borges is able to transform intriguing philosophical enigmas into compelling stories that offer different interpretations, and that amplify the participation of the reader in the experience of storytelling. I also argue that Borges was engaged in fostering a communicative relationship with his readers, offering them alternative understandings to his fictional work, permitting them to become co-authors with the writer, and defying traditional approaches to the text.
This project seeks to understand how Jorge Luis Borges contributes to the conversation on philosophy of communication through some fundamental metaphysical inquiries found both in his fictional world and in his philosophical essays and lectures. I contend that Borges made a significant contribution to rhetorical hermeneutics since his writings promote a non-traditional approach to the relation among the author, the text and the reader. This dissertation examines some of the main topics that form the Borgesian universe: Labyrinths; mirrors; memory; dreams; myths; encyclopedias; and libraries. I argue that Jorge Luis Borges addressed the metaphysical problem of time through the former metaphors. Borges developed his own philosophy of communication rooted in his use of language for the search of meaning, on one hand, and in his drive to reach communicative engagement with his readers
Borges y las letras españolas: encuentros y desencuentros
No full textLa primera parte del trabajo aborda la recepción de Borges como autor canónico, meta que el argentino se propuso ya en los años 30 al cuestionar clasificaciones genéricas y el concepto de literatura nacional, a partir de una poética de la reescritura. El corpus central del estudio Borges y la literatura española, que nunca fue su predilecta arroja un canon variable y hedonista, elaborado en función de sus teorías estéticas, articuladas en torno a dos centros: el ejercicio de la literatura y las diversas metafísicas subyacentes. En resumen, rescata unos pocos nombres: Unamuno, Cansinos, Quevedo y el Barroco, Cervantes y especialmente el Quijote. This article deals with Borge’s reception as a canonic author, a goal which he aimed at since the Thirties by questioning generic classifications and national literature, and from the view of a rewriting’s poetic. The central corpus of the work, Borges and the Spanish literature he disliked, renders an unfixed and hedonist canon, based on his own aesthetics, and resting on tow points: the exercise of literature, and the various metaphysics within it. Borge’s corpus rescues a remarkably scanty number of names: Unamuno, Cansinos, Quevedo and the Baroque, Cervantes and specially the Quijote
Time and Consciousness in Three Works by Jorge Luis Borges
No full textThis paper analyzes the concepts of time and consciousness in three works by Jorge Luis Borges. In «The Garden of Forking Paths», the phenomenon of a rhizomorphic labyrinth produces a limitless net of times, forking, converging and parallel to each other. It supposes a huge series of events, developing and coming out simultaneously as a multiplicity of scenarios. Since such kind of a labyrinth has no primary vector, its every point can generally connect to any other point. That is why the inner novel, a world of pure fiction inserted by the author into the main story can interfere with the life of its main characters. «A New Refutation of Time» is at first glance supposed to prove in all possible ways the inexistence of time at the level of metaphysics. However, as a human being, Borges declares himself unable to oppose and resist its implacable course. The third work considered here, «The Rose of Paracelsus», is distant from «The garden of forking paths» as regards the time of publication; nonetheless, it helps to establish unexpected intertextual relations, while the representation of facts as a myth is among its highlights. The reality of creation and destruction constantly present in the work of Borges is described and interpreted as a series of events that occur in the course of time; hence the tale «The South» is also discussed from this point of view. Generally, the works examined emphasize the complexity of time as a multifaceted phenomenon and make the reader think about how unique every moment is
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