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Borges once stated that he had never created a character: 'It's always me, subtly disguised'. This book focuses on the ways in which Borges uses events and experiences from his own life, in order to demonstrate how they become the principal structuring motifs of his work. It aims to show how these experiences, despite being 'heavily disguised', are crucial components of some of Borges's most canonical short stories, particularly from the famous collections Ficciones and El Aleph. Exploring the rich tapestry of symmetries, doubles and allusions and the roles played by translation and the figure of the creator, the book provides new readings of these stories, revealing their hidden personal, emotional and spiritual dimensions. These insights shed fresh light on Borges's supreme literary craftsmanship and the intimate puzzles of his fictions.
The 'enigmas' dealt with in Part 1 (Chapters 1-4) are illusory, arising largely from the apparent inability of many of his critics to understand much of Borges' work. However, the discussion of his widely appreciated wit in Chapter 1 shows that this is sometimes the fault of Borges himself. He once proclaimed his intention to conceal the true nature of some of his fictions so that only 'a very few' of his readers should understand them. Fortunately, his attempts at concealment were not always successful; but some of his critics seem to have been misled by them. Chapters 2-4 deal with characteristics that appear to be less widely appreciated. Chapter 2 discusses the importance of Borges' obsession with death; chapter 3 deals with what he called 'the most precious gift, doubt'; and chapter 4 illustrates Borges' humility and his aversion to arrogance; but all three chapters demonstrate that Borges' critics have often failed to acknowledge these characteristics. Chapters 2 and 3 show that many of his poems make clear the importance of some of these factors. Borges regarded himself primarily as a poet, and published many more books of poetry than prose; however, comparatively little attention has been paid to this aspect of his work. Part 2 of the thesis (chapters 5 and 6) deals with the enigma which Borges himself presents. This is no illusion. It stems mainly from some of his seminars, lectures and non-fictional pieces, which are shown to be rife with inaccuracies, contradictions, and poor preparation. They raise many questions about the depth of Borges' learning, and about his academic rigour. Part 1 suggests answers, while Part 2 despairs of answers. A number of the quoted texts were published originally in English; I have no Spanish, and the remaining texts are quoted in translation.
“Brilliant...Timely and necessary.” —Financial Times “Especially timely as we struggle to make sense of how it is that individuals and communities persist in holding beliefs that have been thoroughly discredited.” —Darren Frey, Science If reason is what makes us human, why do we behave so irrationally? And if it is so useful, why didn’t it evolve in other animals? This groundbreaking account of the evolution of reason by two renowned cognitive scientists seeks to solve this double enigma. Reason, they argue, helps us justify our beliefs, convince others, and evaluate arguments. It makes it easier to cooperate and communicate and to live together in groups. Provocative, entertaining, and undeniably relevant, The Enigma of Reason will make many reasonable people rethink their beliefs. “Reasonable-seeming people are often totally irrational. Rarely has this insight seemed more relevant...Still, an essential puzzle remains: How did we come to be this way?...Cognitive scientists Hugo Mercier and Dan Sperber [argue that] reason developed not to enable us to solve abstract, logical problems...[but] to resolve the problems posed by living in collaborative groups.” —Elizabeth Kolbert, New Yorker “Turns reason’s weaknesses into strengths, arguing that its supposed flaws are actually design features that work remarkably well.” —Financial Times “The best thing I have read about human reasoning. It is extremely well written, interesting, and very enjoyable to read.” —Gilbert Harman, Princeton University
(Applause Books). "With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his." - From SHAW ON SHAKESPEARE Celebrated playwright, critic and essayist George Bernard Shaw was more like the Elizabethan master that he would ever admit. Both men were intristic dramatists who shared a rich and abiding respect for the stage. Shakespeare was the produce of a tempestuous and enlightening era under the reign of his patron, Queen Elizabeth I; while G.B.S. reflected the racy and risque spirt of the late 19th century as the champion of modern drama by playwrights like Ibsen, and, later, himself. Culled from Shaw's reviews, prefaces, letters to actors and critics, and other writings, SHAW ON SHAKESPEARE offers a fascinating and unforgettable portrait of the 16th century playwright by his most outspoken critic. This is a witty and provocative classic that combines Shaw's prodigious critical acumen with a superlative prose style second to none (except, perhaps, Shakespeare!).
Author : Lisa Block de Behar Publisher : State University of New York Press Page : 270 pages File Size : 47,78 MB Release : 2014-03-11 Category : Philosophy ISBN : 143845032X
Borges cites innumerable authors in the pages making up his life's work, and innumerable authors have cited and continue to cite him. More than a figure, then, the quotation is an integral part of the fabric of his writing, a fabric made anew by each reading and each re-citation it undergoes, in the never-ending throes of a work-in-progress. Block de Behar makes of this reading a plea for the very art of communication; a practice that takes community not in the totalized and totalizable soil of pre-established definitions or essences, but on the ineluctable repetitions that constitute language as such, and that guarantee the expansiveness—through etymological coincidences of meaning, through historical contagions, through translinguistic sharings of particular experiences—of a certain index of universality. This edition includes a new introduction by the author and three entirely new chapters, as well as updated images and corrections to the original translation.
Publisher description -- Borges's sustained practice of the uncanny gives rise in his texts to endless tensions between illusion and meaning, and to the competing desires for fragmentation, dispersal, and stability. Molloy traces the movement of Borges's own writing by repeatedly spanning the boundaries of genre and cutting across the conventional separations of narrative, lyric and essay, fact and fiction. Rather than seeking to resolve the tensions and conflicts, she preserves and develops them, thereby maintaining the potential of these texts to disturb. At the site of these tensions, Molloy locates the play between meaning and meaningless that occurs in Borges's texts. From this vantage point his strategies of deception, recourse to simulacra, inquisitorial urge to unsettle binarism, and distrust of the permanent--all that makes Borges Borges--are examined with unmatched skill and acuity.
For the first time in English, all the fiction by the writer who has been called “the greatest Spanish-language writer of our century” collected in a single volume “An event, and cause for celebration.”—The New York Times A Penguin Classics Deluxe Edition with flaps and deckle-edged paper For some fifty years, in intriguing and ingenious fictions that reimagined the very form of the short story—from his 1935 debut with A Universal History of Iniquity through his immensely influential collections Ficciones and The Aleph, the enigmatic prose poems of The Maker, up to his final work in the 1980s, Shakespeare’s Memory—Jorge Luis Borges returned again and again to his celebrated themes: dreams, duels, labyrinths, mirrors, infinite libraries, the manipulations of chance, gauchos, knife fighters, tigers, and the elusive nature of identity itself. Playfully experimenting with ostensibly subliterary genres, he took the detective story and turned it into metaphysics; he took fantasy writing and made it, with its questioning and reinventing of everyday reality, central to the craft of fiction; he took the literary essay and put it to use reviewing wholly imaginary books. Bringing together for the first time in English all of Borges’s magical stories, and all of them newly rendered into English in brilliant translations by Andrew Hurley, Collected Fictions is the perfect one-volume compendium for all who have long loved Borges, and a superb introduction to the master’s work for all who have yet to discover this singular genius. For more than seventy-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 2,000 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Author : Kate Jenckes Publisher : State University of New York Press Page : 188 pages File Size : 15,32 MB Release : 2012-02-01 Category : Philosophy ISBN : 0791480569
This book explores the relationship between time, life, and history in the work of Jorge Luis Borges and examines his work in relation to his contemporary, Walter Benjamin. By focusing on texts from the margins of the Borges canon—including the early poems on Buenos Aires, his biography of Argentina's minstrel poet Evaristo Carriego, the stories and translations from A Universal History of Infamy, as well as some of his renowned stories and essays—Kate Jenckes argues that Borges's writing performs an allegorical representation of history. Interspersed among the readings of Borges are careful and original readings of some of Benjamin's finest essays on the relationship between life, language, and history. Reading Borges in relationship to Benjamin draws out ethical and political implications from Borges's works that have been largely overlooked by his critics.