Este trabalho dissertativo tem por principal objetivo identificar e rastrear as percepções que o escritor argentino, Jorge Luís Borges, possuía sobre a história (mesmo não sendo historiador de formação) e como essas se manifestam através de seus contos literários. Para tanto, são analisados uma série de contos de sua autoria que priorizem essa investigação, produzidos em diversos e distintos momentos de sua vida. O texto dividese em duas partes (atos): no primeiro nosso enfoque será como Borges percebe o ato de se fazer/escrever história, ou seja, como se dá a produção, publicação, manifestação e aceitação de um texto histórico, e para isso cotejaremos três contos, La loteria en Babilonia, Tema del traidor y del heroe e Guayaquil. No segundo capítulo (ato) traremos uma vertente da escrita de Borges mais ligada a temáticas argentinas, suas narrativas criollas, e como que através dessas o autor constantemente reflete sobre a história da Argentina e de alguns de seus mais tradicionais personagens, os gauchos e compadritos, representando os valores, costumes e tradições dessas emblemáticas figuras. Nesse segundo momento analisaremos os contos Hombre de la esquina rosada, Historia de Rosendo Juárez, El muerto, El fin e El sur. Em ambos os capítulos analisaremos como as percepções e representações de Borges sobre a história, seja em seu caráter mais “filosófico”, seja em seu caráter mais criollista (temáticas ligadas à Argentina) mudam com o passar da vida do autor. Se em um dado momento a história lhe parece “salvadora”, capaz de “gerar mudanças”, em outro lhe parecerá banal e tratada com ironia; já no segundo ato perceberemos como sua percepção sobre coragem como valor representativo de uma argentinidade também irá cambiar, assim como, quando pretende representar a Argentina ou Buenos Aires, seus pensamentos comumente estão ligados muito mais ao passado do que ao presente, gerando um sentimento de nostalgia por parte do autor. O principal objetivo é verificar, como a história, em último caso, será aqui vista como uma das temáticas ou “símbolos” que mais povoou a carreira literária de Jorge Luís Borges. / This research work is primarily focused on identifying and tracking the perceptions that the Argentine writer, Jorge Luis Borges, had on the History (even though he had no historian formation) and how these perceptions are manifested through his literary short stories. Therefore, we selected and analyzed a number of short stories of his own that conduct this research. Those were produced in various and different moments of his life. The dissertation is divided in two parts (acts): on the first one our focus will be on how Borges realizes the act of making / writing history, in other words, we will explore how the production, publication, demonstration and acceptance of a historical text happens, and, for that, we will analyze three short stories, La loteria en Babilonia, Tema del traitor y del héroe and Guayaquil. On the second chapter (act) we will bring Borges’ writings more linked to Argentine themes, their criollas narratives, and how through these narratives the author constantly reflects about the history of Argentina and some of its traditional characters, both the gauchos and compadritos representing their values, customs and traditions of these emblematic figures. On this second moment we will analyze the Hombre de la esquina Rosada, Historia de Rosendo Juárez, El muerto, El fin and El sur. In both chapters we will analyze the perceptions and representations of Borges on the matters of history - on his most "philosophical" texts, or in his most criollista texts (those related to Argentina) – and its changes over the author's life. If at a certain moment the history seems to him as a "savior", something able to "create changes", in another moments it will seem banal and treated with irony; on the second act we realize how his perception of courage as a representative value of an Argentinity will also change, as well as when he wants to represent Argentina or Buenos Aires, his thoughts are usually linked more to the past than to the present, creating a sense of nostalgia felling in the author. Thus, our main objective is to verify how History, ultimately, is seen as a thematic or "symbols" that most appears in the literary work of Jorge Luis Borges.

This studyfocuses on the theory of intertextuality and on the most important approachesof Julia Kristeva, Gerard Genette and Ronald Barthestothis theory. It also examines the intertextual relationships in twoworksof Jorge Luis Borges:Pierre Menard, author of the Quixoteand The library of Babel. This studyconcludes that intertextual relations and issues are very often used in the works of Jorge Luis Borges. Analysis of histwoworks has shown the most obvious indicators of intertextuality such as allusions, quotations and references.

Esta tesis estudia la manera en la que Jorge Luis Borges interviene en el canon occidental mediante seis ensayos seleccionados de Discusión: “El escritor argentino y la tradición”, de Otras inquisiciones: “Kafka y sus precursores”, “Quevedo”, “Sobre Chesterton” y “El ruiseñor de Keats” y de Nueve ensayos dantescos: “La última sonrisa de Beatriz”. En ellos, Borges propone relecturas sobre historia literaria, reinterpreta textos y plantea nuevas valoraciones y perspectivas sobre autores, canónicos y periféricos, desde una mirada creativa y desprejuiciada que cuestiona las interpretaciones convencionales de la crítica para remplazarlas por otras, que resultan innovadoras y muy persuasivas. Como crítico literario, Borges busca iluminar la lectura de las obras y autores que analiza y resuelve debates sobre literatura que han suscitado largas discusiones en el estudio del canon, siempre a partir de un estilo particular, que se basa en la síntesis, en un tono personal y en la expresión de ideas contundentes, que modifican radicalmente la percepción de sus lectores. En “El escritor argentino y la tradición”, Borges abre una nueva mirada sobre las tradiciones periféricas con respecto del canon occidental. En “Kafka y sus precursores”, reinterpreta un concepto crítico. En “Quevedo” y en “Sobre Chesterton” plantea una relectura potente sobre dos autores que habían sido malinterpretados por la crítica y finalmente en “La última sonrisa de Beatriz” y “El ruiseñor de Keats” reformula la lectura de dos obras clásicas a partir de un fragmento de las mismas. Es así que Borges transforma y enriquece el canon occidental.

La presente investigación busca demostrar que Jorge Luis Borges reconfigura sus juveniles afirmaciones sobre el lenguaje poético, pertenecientes a la Vanguardia ultraísta, a una metodología de corrección y edición de sus propios textos poéticos, en este caso, dentro de Fervor de Buenos Aires. Los principios de creación ultraísta se transforman, entonces, en principios de lectura y modificación poética. Esto supone el estudio de la teoría lírica subyacente dentro de la producción borgiana a través del análisis de los paratextos que rodean la aparición del Ultraísmo, de Fervor de Buenos Aires y su reedición. Asimismo, Esto supone la exégesis de los poemas pertenecientes a esta obra. Los dos poemas analizados en esta tesis aparecen dentro de la obra como artes poéticas, las cuales adquieren nuevos matices de sentido a través de las constantes revisiones a los textos. El análisis de este corpus textual ocurre a través del examen sincrónico y diacrónico de los texto, tanto en su dimensión material (formas rítmico métricas), así como en su dimensión inmaterial (metáforas y sentidos poéticos convencionales dentro de la tradición literaria).

Jorge Luis Borges's story "El Zahir" describes a moment where the protagonist finds rest from his monomania by reworking one of the central texts in Old Germanic myth, the story of Sigurd and Brynhild. The approach taken here by the protagonist is the paradigm used in this thesis for understanding Borges's own strong readings of Old Germanic literature, specifically Old Scandinavian texts. In chapter one, a brief outline of the myth of Sigurd and Brynhild, with a particular emphasis on Gram, the sword that lied between them, is provided and juxtaposed with Borges's own family history, focusing on the family's storied military past. This image of the sword as the symbol for the north and its relation to Borges's family and political interests is sustained throughout the thesis. Chapter two is a survey of the various facets of Borges's literary output that were influenced by Nordic myth and literary styles: first, literary criticism, second, poetry and prose, and third, translation. The survey shows that Borges's engagement with the north began early and was maintained throughout his life. Likewise, after working through seven works from disparate periods it becomes clear that Borges is not merely introducing the Spanish speaking world to Old Scandinavian texts, but, in the same fashion as the protagonist in "El Zahir," subsuming them in a way that is uniquely Borgesian. The third chapter follows the same approach as the survey but focuses on Borges's short stories, specifically two short stories from his collection entitled Libro de Arena: "Ulrica" and "Undr." Many of the conclusions that emerged in the survey are further validated in the analysis of these two stories, but with greater emphasis on how they relate to Borges's later years, and the themes that begin to surround his preparation for death. The concluding chapter summarizes the findings of the previous three chapters by way of a close reading of Borges's tombstone. Each aspect of the stone is connected to Old Germanic myth and how that symbolized the eventual consummation of his joy: the sword that kept him separated from love was eventually lifted, as it was for Ulrica and Javier in "Ulrica."

No description available.

El teatro de Eduardo Pavlovsky, en el transcurso de toda su obra, ha sido simplemente un teatro que se ha ido y se va a las orillas, a la periferia, un teatro dentro de lo que podemos llamar –parafraseando a Deleuze/Guattari– "teatro menor" (vid. Deleuze/Guattari 1975), para poder allí, libre de condicionamientos externos, producir un teatro que llamaría orgánico, esto es, un teatro en el que la representación sea al final el logro natural de una búsqueda, de una transformación, de una acto de creación que actores mismos como en los espectadores o en los lectores de esta obra. De esta forma la obra de Pavlovsky se establece como una de las manifestaciones más exitosas de la producción teatral en el concierto internacional del teatro. Pavlovsky se encuentra en Argentina en muy buena compañía y tradición: no olvidemos que Borges fue un autor de las orillas por mucho tiempo y desde allí se impuso en el centro como lo estamos experimentando cada vez más claramente. Pero profundicemos un momento esta categoría de "lo menor" y esta relación discursiva, estética y de pensamiento entre Pavlovsky y Borges. Tanto Borges como Pavlovsky trabajaban en las "orillas" para descentrar los cánones establecidos en el pensamiento, en la cultura, en la literatura y el teatro en Buenos Aires y fundar así su propia concepción literaria o teatral, lo cual es algo prácticamente típico de ambos autores en Buenos Aires.:La producción periférical y el "teatro menor". - Resumen

Para comenzar quisiera dar una breve idea de cómo entiendo a Borges –al respecto me he manifestado en un buen número de publicaciones desde 1989, pero no sobre los motivos o puntos de arranque – y describir así cómo llegué a mi interpretación sobre Borges y a considerarlo como uno de los fundadores de la teoría de "muchos mundos" ("Many Worlds Theory"), de mundos virtuales y de medios virtuales/digitales y de los "New Media". Su escritura representa un acto de percepción, comprensión, implosión y expansión, ésta es una "encicopledia navegante", Borges es así el primer navegador o "user in the web".:Borgesvirtual o cuatro etapas de un viaje de descubrimiento. - "Teoría de Mundos Diversos": Borges y Everett III. - Borges y los "New Media" (mundos virtuales-digitales)

L’objectif de cette Thèse consiste à accroître nos connaissances sur la société argentine par une approche particulière. Nous sommes persuadés que la littérature policière est une métaphore de la société contemporaine et qu’à travers son analyse nous parviendrons à mieux comprendre son fonctionnement. Notre travail ne cherche pas à donner une vision globale du genre mais à confronter la production dans deux étapes critiques de l’histoire argentine : la Décennie Infâme (1930-1943) et la crise postménémiste (de 1999 à nos jours). Suivant le modèle créé par Karl Marx (« Le 18 brumaire de Louis Bonaparte ») nous les avons appelées Tragédie et Farce. En effet, nos recherches nous ont permis de découvrir les résonances qui existent entre les deux périodes. Cette Thèse s’inscrit dans le cadre de la sociocritique. La lecture socio-historique des textes nous fera passer en revue tout le vingtième siècle, des préceptes modernistes du Siècle des Lumières à l’hypermodernisme de Gilles Lipovetsky ou à la modernité liquide de Zygmunt Bauman. Nous avons organisé notre travail selon trois éléments principaux et indissociables : la ville, la figure du détective et la société ; à travers ces pages nous avons suivi leur évolution. / The objective of this Thesis is to increase our knowledge of Argentinian society by a specific approach. We are convinced that detective literature is a metaphor of the contemporary society and that through its analysis we will arrive at a better understanding of it. Our work does not seek to give a comprehensive view of this literature but to confront literary production with two critical periods of Argentinian history: the Infamous Decade (1930-1943) and the post-Menemist crisis. Following the model created by Karl Marx (“The Eighteenth Brumaire of Louis Napoléon”) we have called them Tragedy and Farce. Our research shows the resonances between these two periods. Our research consists of a sociological approach. A sociohistorical reading of the literary texts brings us to review the whole of the twentieth century, from the modernistic precepts of the Age of Enlightenment to the hypermodernism of Gilles Lipovetsky or the liquid modernity of Zygmunt Bauman. We have organized our work according to three principal and indissociable elements: the city, the figure of the detective and the society; throughout these pages we have followed their evolution.

The aim of the work is to present Argentinian literary tradition as reflected in the Jorge Luis Borges' essays and collections of poems from his early creative period (twentieth and thirtieth of 20th century). The corpus of the analyzed works is created by three collections of poems - Passion for Buenos Aires, Moon across the Way, San Martin Copybook and three books of essays - Evaristo Carriego, The Size of My Hope and The language of the Argentines. At the beginning, the text is focused on Argentinian (respectively on Hispanoamerican) cultural context at the turn of the 19th and 20th centuries. Then, the text continues by analysis of six Borges' books mentioned above reflecting five most important Argentinian motives - pampa, gaucho, compadrito, Buenos Aires and its suburbs and dictator. The author notices different attitudes to Argentinian topic and concludes that Argentina symbolizes very important theme, which is influenced also by Borges' predecessors (e. g. Sarmiento, Hernández or Lugones). Key words: Jorge Luis Borges, Argentinian literary tradition, cultural identity, textual analyse, Buenos Aires, suburb, pampa, compadrito, dictator.