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Spanish and Portuguese Language and Literature Commons™
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Articles 1 - 7 of 7
Full-Text Articles in Spanish and Portuguese Language and Literature
Arthur Rose. Literary Cynics: Borges, Beckett, Coetzee. Bloomsbury, 2017., Peter Faziani
Arthur Rose. Literary Cynics: Borges, Beckett, Coetzee. Bloomsbury, 2017., Peter Faziani
Studies in 20th & 21st Century Literature
Review of Arthur Rose. Literary Cynics: Borges, Beckett, Coetzee. Bloomsbury, 2017. 190 pp.
Daniel Balderston. How Borges Wrote. U Of Virginia P, 2018., Jeremy Glazier
Daniel Balderston. How Borges Wrote. U Of Virginia P, 2018., Jeremy Glazier
Studies in 20th & 21st Century Literature
Review of Daniel Balderston. How Borges Wrote. U of Virginia P, 2018.
Against Representation: A Note On Jorge Luis Borges’ Aleph, Ilan Stavans
Against Representation: A Note On Jorge Luis Borges’ Aleph, Ilan Stavans
Studies in 20th & 21st Century Literature
Faced with the need to represent Jorge Luis Borges’s classic tale “The Aleph,” which also gives name to his 1949 collection of stories, for decades publishers have resorted to a variety of dependable images, including works by Borges’s friend Xul Solar. Yet the argument of the tale is that no human language, either verbal or visual, is capable of summing up the fullness of the object Borges’s narrator discovers in a dark Buenos Aires basement. That object—the universe itself—is unrepresentable.
A Tale Of Two Authors: Valenzuela And Borges , Sharon Magnarelli
A Tale Of Two Authors: Valenzuela And Borges , Sharon Magnarelli
Studies in 20th & 21st Century Literature
Although Luisa Valenzuela and Borges were friends for many years, it is only recently that we find traces of that friendship in her narrative. "La calesita" and "El otro libro," published in 1998 and 1999 respectively, evoke many of the elements we find in Borges's narrative. The latter story, which is the main focus of this study, employs nearly all the narrative elements we have come to associate with the Argentine master. Nonetheless, a single sign is changed as Borges's male characters are replaced by females in Valenzuela's work. The end result is a tribute to Borges but one that …
Geography, (M)Other Tongues And The Role Of Translation In Giannina Braschi's El Imperio De Los Sueños, María M. Carrión
Geography, (M)Other Tongues And The Role Of Translation In Giannina Braschi's El Imperio De Los Sueños, María M. Carrión
Studies in 20th & 21st Century Literature
The Big Apple seems to be the central axis for the readerly and writerly "I" in El imperio de los sueños (Empire of Dreams), by Giannina Braschi. Readers can easily realize that the text is not just about New York, but that it actually journeys through praise and blame, drinking and dancing, talking and perversing many other cities and landscapes. El imperio is a space of bohemia with streaks from the Latin American Quarter in Paris, the barrio chino barcelonés, the zaguanes of Borges's Buenos Aires, from colonial houses in Old San Juan; it evokes dandy places, …
The Oldest Trick In The Book: Borges And The "Rhetoric Of Immediacy'', James Winchell
The Oldest Trick In The Book: Borges And The "Rhetoric Of Immediacy'', James Winchell
Studies in 20th & 21st Century Literature
In his most "philosophical'' texts, Jorge Luis Borges paradoxically posits the act of reading as the scene of affectively "immediate" experience: his reader reads a reader reading (ad infinitum). This sort of hyper-meditated, specular imitation actually comes to mirror the substantive preoccupation of the "philosophical" text itself. Borges thereby breaks down what Theodor Adorno calls "concept fetishism'' by making mimesis his textual concept. Given Italo Calvino's claim for the novelty of "The Approach to Al-Mu'tasim" in relation to modern genres, I propose a two-fold thesis: first, that this typically Borgesian narrative juxtaposes concept and mimesis (a traditional …
Unreading Borges's Labyrinths, Lawrence R. Schehr
Unreading Borges's Labyrinths, Lawrence R. Schehr
Studies in 20th & 21st Century Literature
Borges's stories often valorize the figures of text and labyrinth, and, in "The Garden of Forking Paths," an identity is posited between them. This identity is the means to deconstructing the story and, at the same time, for refusing both structuralist and metaphysical readings of the work. The text of the story gradually subsumes the world it seeks to represent under and within an all-encompassing textuality without origin and without any clearly delimited meaning except absence, the destruction of meaning, death. The solution of the labyrinth is its dissolution, that is, the deconstruction of the text. This easily thematizable deconstruction …