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The main objectives of this thesis are, on the one hand, the examination of the thought of the Spanish writer Miguel de Unamuno regarding Argentinian history, language, and literature. On the other hand, it deals with the possible influence Unamuno might have exercised on the early works of the Argentinian writer, Jorge Luis Borges. Doing so, I cover areas which have not been researched thoroughly. A secondary objective is also covered: the literary output of Borges from 1920 to the early 1930s, often neglected by literary criticism. The thesis is divided into three parts. The first part contextualizes the time and place in which the two writers lived. A brief examination of the sociopolitical situation in Argentina and Spain is carried out as well as a brief look at the cultural state of the two countries. Unamuno's attitude towards his own country is set in relation to his ideas about Argentina. I show how Unamuno related the decadence of Spain to the development of Argentina, and how the latter was, for him, the Spain that could have been but was not, the Spain of the future. The second part details the areas in which Unamuno perceived this identification between the two countries. The historical development of Argentina and Spain is examined according to Unamuno's views. Argentinian Spanish is compared to Castilian Spanish. Finally, I deal with Unamuno's views about Argentinian literature, emphasizing his opinions about gauchesque works, avant-garde movements, and key literary figures like Sarmiento and Hernández. The third part deals with Borges' ideas about Argentinian history, language, and literature. On the one hand, Borges' ideas are examined on their own; on the other, they are set in relation to Unamuno's opinions. In some cases, the influence of the Spaniard in the Argentinian is noticeable. In other cases, however, the disagreement is obvious.

Diss. Phil-hist. Bern, 2004. / Titre du CD-ROM.

Jorge Luis Borges, a literary figure intimately linked to Argentina's sense of cultural identity, has evoked both veneration and vilification among the country's intellectuals and the general public. Despite the vast amount of work written about his life and work in Argentina and abroad, no comprehensive examination of the construction of the author as an Argentine cultural icon has been produced so far. This thesis focuses on Borges as cultural signifier and it examines the often conflicting facets of the construction of Borges as icon. It argues that the ideas, hopes, fears and demands that Argentine people have placed upon the author - thus constructing the icon - are also those that allow them to define their cultural identity. Thus, the study sheds light on the mechanisms of the ongoing construction of Argentine identity and exposes the complexity of the process by drawing from critical, political and media discourses.The main images and conceptions of Borges examined and contested in the present work include his perceived social, political and intellectual elitism; his perceived positioning as a writer detached from Argentina's socio-political reality; the interpretation of his admiration for English literature as a way of disregarding Argentine culture; and finally the image of the author as a perpetual old blind sage with no links to popular culture. The study of these images and conceptions is elaborated through the analysis of biographies, photographs, comic strips and the promotion of so-called 'Borgesian' spaces in the city of Buenos Aires. These are studied in relation to the socio-political, historical and cultural contexts in which they were produced.This study is based on the view that the intertwined processes of the construction of the icon and of identity formation are fluid and in constant development. In this way, the thesis does not seek to reveal an essence of Borges; it aims to uncover the complexity of the operations that constitute the definition of Argentine cultural identity through Borges, focusing on the process rather than on an end result.

Este trabalho examina a cena do duelo num conjunto de contos de Jorge Luis Borges e Guimarães Rosa, cujos conflitos narrativos situam-se em zonas rurais e suburbanas de Argentina e Brasil. Os espaços do pampa e do sertão tornam-se cenários complexos em que se dão disputas de valores culturais através de lutas de facas e armas. Levando em conta a noção de duelo popular de Sandra Gayol (2008), esta dissertação tem como objetivo refletir sobre que tipos de valores estariam em conflito nos duelos representados nestes relatos, quais significações teriam segundo as posições, atitudes e projeções dos personagens com relação ao (r)estabelecimento da honra, a afirmação do homem pela valentia e a prática da justiça. Trazendo as noções de corpo, gesto e convenção da Fenomenologia da percepção, de Merleau-Ponty (2014), este estudo busca pensar o embate entre as determinações dos códigos sociais e as forças afetivas dos corpos nos espaços periféricos encenados nessas cenas de duelos. Configurados para dar centralidade à expectativa em torno desse momento decisivo na vida do personagem, os contos sinalizam, na circunstância do duelo, os modos peculiares com que esses escritores dialogam com uma tradição literária ligada ao paradigma civilização e barbárie, que permeou o pensamento sobre América Latina do século XIX e início do XX. Com respeito à fortuna crítica desses escritores, esta pesquisa se embasa, dentre outros textos, em Ricardo Piglia (1979, 2001), Beatriz Sarlo (1993, 2004), Davi Arrigucci Jr (1987, 1995, 2010), Elsa Repetto (1992), Wisnik (2008) e Ana P. Sá Pacheco (2008), trabalhos que, cada um à sua maneira, colaboram para colocar em pauta essas questões na abordagem dessa pesquisa. / This work exams the scene of the duel in a set of tales by Jorge Luis Borges and Guimarães Rosa, whose narratives conflicts are located into rural and suburban areas of Argentina and Brazil. Spaces such as pampa and sertão become complex scenarios of cultural values disputes through guns and knives fights. Considering the Sandra Gayol\' concept of popular duel (2008), this dissertation aims to reflect about the kinds of values that would be in conflict on the duel represented on those tales, which meanings they would have according to the positions, attitudes and character\'s projections, regarding to their honors restoration, man\'s affirmation by courage and the practice of justice. Bringing of the Phenomenology of perception, from Merleau-Ponty (2014), body, gesture and conventions\' notions, this research seek to think about the clash between the social codes determinations and the affective forces from the bodies on peripheral spaces configured in these duel scenes. Composed in a way to give centrality to the expectation around this decisive moment on the characters\' life, the tales show, at those duels circumstances, the peculiar ways in which these writers dialogue with a literary tradition attached to the paradigm of the \"civilization and barbarism\". This paradigm permeated the thought about Latin America from XIX century and beginning of XX century. Regarding the critical literary of these renowned authors, this study, among other texts, is based by Ricardo Piglia (1979, 2001), Beatriz Sarlo (1993, 2004), Davi Arrigucci Jr (1987, 1995, 2010), Elsa Repetto (1992), Wisnik (2008) e Ana P. Sá Pacheco (2008). These researches, each one at its own way, bring arguments that help it to put in evidence those questions in this research approach.

Texte remanié de: Dissertation--Fakultät IV--Regensburg--Universität, 2004. / Bibliogr. p. 403-428. Index.

Texte remanié de: Dissertation--Kiel--Christian-Albrechts-Universität, 2006. / Bibliogr. p. 323-344.

The aesthetic placement and period designation of Jorge Luis Borges (1899-1986) and José Lezama Lima (1910-1976) are complicated issues among critics. Borges is obviously considered a predecessor of the Latin American literary “boom,” but despite that taxonomy his work transcends that definition and provides a foundation for new trends and styles, such as the “neobarroco” cultivated by Severo Sarduy. Lezama is considered part of the second wave of the “boom,” but his work feeds, stylistically, from the Spanish baroque. At the same time, Lezama’s daring treatment of homoeroticism and his revolutionary system of images place him after the “boom” in a narrative style that is postmodern. This study undertakes a thorough revision of external and internal issues, revealing the key linguistic and fictive elements that characterize both writers. Through discourse analysis and close reading, a poetic system is formulated, which incorporate features of the “neobarroco,” “boom” and postmodern narrative styles. This dissertation uses a polar structure to analyze both poetic visions and concludes that they are compatible and symmetrical. From this perspective, Borges and Lezama belong to the “core” of literature that centers its emphasis in the creation of a system versus other modes of writing in which mimetic function prevails. By doing this and by recycling world culture, they create postmodern myth: the new building material for Hispanic American literature. There are only a few studies that explore the works of Borges and Lezama within the context of Baroque aesthetics. For the first time, this dissertation offers a comprehensive analysis that considers their poetic visions at large. Besides the difference in perspective, defined as macro-spatial in Borges and micro-spatial in Lezama, there are many similarities in content and form. Both writers question the cause and effect relationship and the modern use of metaphor. They also share a redefinition of genre as well as a hedonistic approach to literature and culture. This kinship in poetic vision is revealed through the polar method used for this study, which proposes a new form of aesthetic placement and period designation.

Essa tese nasceu da pesquisa que iniciamos em uma dissertação de mestrado. Naquele momento tínhamos questionamentos sobre como a teologia podia dialogar com a arte, mais especificamente com a literatura. Como resposta encontramos dois pontos de convergência entre teologia e literatura: teologia com teoria literária e fé com estética literária. Porém, também descobrimos que tanto na linguagem como no gênero literário, teologia e literatura se encontram em relações desequilibradas. Partimos então para uma tese de doutoramento em Ciência da Religião, na PUC de São Paulo, pondo o método teológico em nova perspectiva e sob a suspeita de que o mito podia ser um ponto de convergência ou de partida mais equilibrado para o diálogo entre teologia e literatura. Assim, encontramos a mythodologia de Gilbert Durand como uma mitohermenêutica razoável para dar conta do mito como ponto de partida tanto da teologia como da literatura. Porém, na atual tese, nosso questionamento foi: quais as implicações desse método teológico-literário baseado em uma mitohermenêutica para uma educação teológica devedora das tradições culturais de identidade latino-americana mestiça e híbrida encontradas na literatura? Realizamos então a aplicação da mythodologia nos contos de um dos melhores representantes da literatura latino-americana e modelo de escritor sob a égide do conto fantástico, especificamente do realismo maravilhoso: Jorge Luis Borges. Escolhemos os contos das obras Ficções e O Aleph. Nesses contos descobrimos que o mito condutor é hermesiano, de imaginação sintética, o que se adequa bem à identidade híbrida e mestiça da arte e da literatura latino-americanas. Também observamos que os mitemas dos contos estão intimamente relacionados com as metáforas-mitos que Borges elegeu como imagens arquetípicas que perpassam todos os seus contos. / This thesis was born from the research we started in a master\'s thesis. At that moment we had questions about how theology could dialogue with art, more specifically with literature. In response we find two points of convergence between theology and literature: theology with literary theory and faith with literary aesthetics. But we also find that both in language and literary genre, theology and literature find themselves in unbalanced relationships. We then set out for a doctoral thesis in the Science of Religion at PUC in São Paulo, putting the theological method in a new perspective and under the suspicion that the myth could be a more \"balanced\" starting point for the dialogue between Theology and literature. Thus we find Gilbert Durand\'s \"mythodology\" as a reasonable \"myth-hermeneutic\" to account for myth as a starting point for both theology and literature. However, in our current thesis, our question was: what are the implications of this theological-literary method based on a \"myth-hermeneutic\" for a theological education that owes the cultural traditions of Latin American mestizo and hybrid identity found in literature? We then apply the mythodology in the short stories of one of the best representatives of Latin American literature and model of writer under the aegis of the fantastic story, specifically the magical realism: Jorge Luis Borges. We chose the short stories from the works Fictions and O Aleph. In these tales we discover that the guiding myth is \"Hermesian\", of synthetic imagination, which is well suited to the hybrid and mestizo identity of Latin American art and literature. We also note that the \"mitema\" of short stories are closely related to the \"metaphors-myths\" that Borges chose as archetypal images that permeate all his tales.

[pt] O trabalho é apresentado como uma contribuição à bibliografia crítica sobre a obra de Jorge Luis Borges, enfocando aspectos políticos da trajetória intelectual do autor, e conferindo-lhes uma relevância específica em sua produção literária. A princípio, são analisados poemas e ensaios publicados por Borges na década de 1920, em sua vinculação a um projeto romântico de renascimento da raça criolla, que teve seu auge no momento da reeleição de Hipólito Yrigoyen à presidência da Argentina, em 1928. Já em 1930, no entanto, o fracasso desta experiência e o processo de degradação do ambiente político mundial trariam uma decisiva inflexão na postura de Borges. A partir daí, seria configurada uma mais duradoura identificação do escritor com um conjunto de práticas e valores associados ao século XIX e à tradição britânica, por ele recebidos através da leitura de diversos autores, sobretudo G. K. Chesterton. Simultaneamente, foi constatado que, com o agravamento da crise européia, seus comentários em revistas e jornais portenhos se voltam para a crítica e a sátira de projetos utópicos de organização social, de matriz francesa ou germânica, ambos atrelados a paradigmas estéticos (o primeiro ao articular os princípios da l’art pour l’art com o argumento pacifista, e o segundo apropriando-se de hábitos expressionistas, em um programa de renascimento da raça ariana). A delimitação destas três vertentes justifica uma leitura dos contos escritos por Borges na primeira metade da década de 1940, com ênfase para seu viés paródico, mas neles notando também o reconhecimento da derrocada dos padrões morais, estéticos e políticos do legado inglês. Enfim, foi examinado o diálogo de Borges com a literatura norte-americana, na medida em que ele teria encontrado aí a representação de uma nova imagem do mundo, à qual estariam associados contos como La biblioteca de Babel e El Aleph. / [en] The work is presented as a contribution to the critical bibliography on Jorge Luis Borges, focusing political aspects of the author´s intellectual formation, and attributing to them a specific relevance on his literary production. At first, it consists on an exam of Borges’ poems and essays published on the 1920’s, in their associations to a romantic project for the rebirth of a local and authentic race, which had its climax with the re-election of Hipólito Yrigoyen to the presidency of Argentina in 1928. However, the failure of this experience and the process of degradation of the international politic conjuncture, during the next decade, bring a decisive inflexion in Borges’ attitude. From then on, he would profess identification to a conjugation of practices and values corresponding to the ninetieth century and to the British legacy, received by him trough the reading of various authors, G. K. Chesterton in special. Simultaneously, with the aggravation of the European crisis, his works tend to the critic and satire of utopian projects of social organization, in their French and Germanic origins, both dependent on aesthetic paradigms (the first articulating principles of the art pour l’art and the pacifist cause, the second converting expressionist habits in a program for the rebirth of Arian race). The delimitation of these three frames justifies an interpretation of the short stories written in the first half of the 1940’s, with emphasis to their parodistic strains, but also their recognition of the decline of moral, aesthetic ad political English patterns. At last, the dialog between Borges and the North-American writers is stressed, so long as he found in them the representation of a new image of the world, consolidated from 1945 on, and where he discovered the possibility of a contemporary poetics, exemplified in the mystical experience described in El Aleph.