A presente tese de Doutorado tem por objetivo estabelecer, analisar e demonstrar as possíveis relações de intertextualidade implícita e os aspectos interdiscursivos ou dialógicos de natureza convergente e de cunho interdisciplinar existentes em duas obras da literatura argentina, uma oriunda das ciências, mais exatamente da paleontologia, do século XIX “A antiguidade de homem no Prata” do professor e paleontólogo Florentino Ameghino, de 1880, e o conto curto O sul de Jorge Luis Borges do seu livro “Artifícios” de 1944. O estudo realizado se fundamenta nos princípios e postulados da Literatura Comparada, a partir das teorias sobre o discurso, levantadas e defendidas pelo linguista e filósofo russo Mikhail Bakhtin durante o período estalinista da antiga União Soviética e os estudos de cunho inter e multidisciplinar propostos pelo professor e pensador judeu alemão Henry H. H. Remak quem defende a procedência de estudos comparatistas entre a literatura e outras esferas de expressão. Esta análise e investigação se complementam, e conta também, com a contribuição de outros teóricos provenientes da Antropologia, Filosofia, Historia, Literatura, Paleontologia, Paleoantropologia e Sociologia, dentre os quais destacam Arno Kern, Daniel Vidart, Richard Fariña, Gustavo Politis, Mario Vargas Llosa, Oscar Hann, Mircea Eliade, Jean Yves Tadie, Gaston Bachelar, Greoges Pérec, Raymond Gaignard, Enrique Martínez Estrada entre outros, conjuntamente com as considerações e conjecturas de Alicia Jurado, Beatriz Sarlo, Ricardo Piglia e José Benítez no que se refere ao estudo do universo literário e perfil biográfico de Jorge Luis Borges. / La presente tesis de Doctorado tiene por objetivo establecer, analizar y demostrar las posibles relaciones de intertextualidad implícita y los aspectos interdiscursivos o dialógicos de naturaleza convergente existentes y de cuño interdisciplinario en dos obras de la literatura argentina, una oriunda del as ciencias, más exactamente de la paleontología, del siglo XIX “La antigüedad del hombre en el Plata” del profesor y paleontólogo Florentino Ameghino, de 1880, y el cuento corto El Sur de Jorge Luis Borges de su libro “Artificios” de 1944. El estudio realizado se fundamenta en los principios y postulados de la Literatura Comparada a partir de las teorías sobre el discurso, levantadas y defendidas por el lingüista y filósofo ruso Mikhail Bakhtin durante el período estalinista de la antigua União Soviética y los estudios de naturaleza inter e multidisciplinarios propuestos por el profesor y pensador judío alemán Henry H. H. Remak quien defiende la procedencia de estudios comparatistas entre la literatura y otras esferas de expresión. Este análisis e investigación se complementa con la contribución de otros teóricos provenientes de la Antropología, Filosofía, Historia, Literatura, Paleontología, Paleoantropología y Sociología, de entre los cuales se destacan Arno Kern, Daniel Vidart, Richard Fariña, Gustavo Politis, Mario Vargas Llosa, Oscar Hann, Mircea Eliade, Jean Yves Tadie, Gaston Bachelar, Greoges Pérec, Raymond Gaignard, Enrique Martínez Estrada entre otros. Conjuntamente, se presentan las consideraciones y conjeturas de Alicia Jurado, Beatriz Sarlo, Ricardo Piglia y José Benítez en lo que se refiere al estudio del universo literario y perfil biográfico de Jorge Luis Borges.

O presente estudo analisou as traduções existentes no mercado editorial brasileiro de alguns contos orilleros - radicados no arrabalde buenairense - do escritor argentino Jorge Luis Borges, propondo uma nova alternativa de tradução para esses textos. Entre as justificativas do estudo está o surgimento de uma inquietação frente aos esforços que grande parte da crítica faz por postular a obra de Jorge Luis Borges como sinônimo de uma literatura completamente desvinculada da realidade e alheia à história. Conseqüentemente, para que esse discurso seja coerente, faz-se necessário ignorar ou, ainda, desvalorizar os textos borgeanos exemplares de seu comprometimento com a tradição e a realidade de seu país, classificando o escritor em fases distintas e irreconciliáveis: um primeiro Borges, nacionalista, de preocupações localistas, que viria a ser posteriormente negado e suplantado por um segundo Borges, cosmopolita e universal. Perante tal constatação, procurou-se, primeiramente, questionar essa classificação artificiosa, a qual tem como resultado um número quase ínfimo de trabalhos críticos que se dedicam à suposta primeira fase. Essa indiferença da crítica para com parte significativa da produção literária do escritor argentino é corroborada, também, pela constatação de que as traduções de seus contos de temática regional, para o sistema literário brasileiro, acabam homogeneizando o falar característico das personagens à variante padrão da língua portuguesa. Destarte, propusemos uma nova tradução para o conto "Hombre de la Esquina Rosada" a partir de uma aproximação do universo lingüístico e temático do escritor sul-rio-grandense Simões Lopes Neto - tradução que não se pretende definitiva, eis que nenhuma o pode ser, mas que, levando em consideração tanto os elementos do texto e da cultura-fonte quanto da língua e da cultura-receptora, permita ao leitor brasileiro vislumbrar um pouco da riqueza desse universo orillero. / This study examined the existing translated texts of some 'orillero' stories, penned by the Argentinean writer Jorge Luis Borges in the Brazilian editorial market and proposed a new alternative translation for these texts. Among the reasons for this study, there is the emergence of some concern as a response to efforts made by a significant number of critics to claim the work of Jorge Luis Borges as a synonym for some kind of literature, which is completely disconnected from reality and outside history. Consequently, for this speech to be consistent, it is necessary to ignore, or even undervalue those Borges's texts, which are examples of his commitment to the tradition and the reality of his country, describing the writer in different and irreconcilable stages. Firstly, there was a nationalist Borges with local worries. That writer would be denied by then and replaced by a second Borges, who was cosmopolitan and universal. In view of such finding, we tried, in the first place, to question this artificial classification, which has lead to an almost negligible number of critical work devoted to the so-called first stage. This indifference from the critics towards a significant part of the Argentinean writer's literary production is also supported by the fact that his translated short stories, dealing with regional issues, for the Brazilian literary system, homogenize the peculiar speech of his characters to the Portuguese language and speech pattern. Therefore, we proposed a new translation for the story "Hombre de la Esquina Rosada" by approximating the linguistic and thematic universe of the Argentinean writer to that of the Riograndense writer, Simões Lopes Neto. Notwithstanding, this translation does not intend to be final here, since none could be, but it allows the Brazilian reader to glimpse a bit of the richness of the 'orillero' universe, by taking into account the elements of the text and cultural source, as well as those of the target language and culture.

A presente dissertação analisa a construção de um espaço urbano e regional nas obras poéticas Fervor de Buenos Aires (1923), Luna de enfrente (1925) e Cuaderno San Martín (1929), de Jorge Luis Borges. No espaço social de Buenos Aires, encontramos a cidade eternizada pelo poeta, com suas formas labirínticas e sinuosas que compreendem, em sua estrutura, os bairros, ambientes que se compõem de ruas e vielas interligadas por casas e jardins, espaços afáveis e acolhedores que o eu poético perpetua nos poemas. / The present work analyses the construction of the urban and regional space in the poetic work of Fervor de Buenos Aires (1923), Luna de enfrente (1925) e Cuaderno San Martín (1929), Jorge Luis Borges. In the social space of Buenos Aires, it was is found the town, with its ways winding labyrinth ways that comprises, in its structure, neighborhoods, environments that consist of house and gardens interconnecting streets and alleys, welcoming spaces that the poetic self perpetuate the poems.

Orientador: Miriam Viviana Garate / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T21:55:35Z (GMT). No. of bitstreams: 1 Grotto_Livia_D.pdf: 6689770 bytes, checksum: 731fffd3a8d39693d505e29d308aa587 (MD5) Previous issue date: 2013 / Resumo: Este trabalho de doutorado sobre os livros História universal da infâmia de Jorge Luis Borges e Doña Juana la Loca, Superhistoria de Ramon Gomez de la Serna divide-se em duas partes. A primeira, "Borges e Ramon nas revistas literarias espanholas e argentinas, 1919- 1949", contextualiza a relacao desses dois escritores, sobretudo atraves dos periodicos com os quais colaboraram de 1919 a 1949. A segunda parte compreende tres capitulos, destinados a comparar os livros História universal e Doña Juana. O primeiro deles, "Os percursos da voz, um escritor inexperiente e um super-escritor", parte dos prologos desses livros para abordar a construcao da voz dos narradores, observando as suas implicacoes na imagem dos autores implicitos. "Palavras e disparates, sobre as criaturas infames e super-historicas", segundo capitulo, considera os autores implicitos na sua relacao com os personagens de ficcao. O terceiro capitulo, "A epistemologia de Historia universal e a Superhistoria, ciencia literaria", busca aprofundar os sentidos de "Historia universal" e de "Super-historia" que aparecem nos titulos dos livros, a partir de um corte sincronico que esboca as discussoes criticas e epistemologicas que envolveram o campo da Historia no inicio do seculo XX. O ultimo texto deste trabalho intitula-se "Emblemas do cristal em Borges e Ramon". A maneira de um epilogo, retraca o projeto inicial deste estudo, baseado na conferencia-ensaio de Italo Calvino, "Exatidao" (Seis propostas para o próximo milênio) / Abstract: This doctoral thesis on Jorge Luis Borges' A Universal History of Infamy and Ramon Gomez de la Serna's Doña Juana la Loca, Superhistoria is divided into two parts. The first one entitled "Borges and Ramon in the literary Spanish and Argentine magazines, 1919-1949" discusses in its proper context the relationship between these two authors, especially through the periodical magazines where both collaborated from 1919 to 1949. The second part includes three chapters that compare the books A Universal History and Doña Juana. The first one, "The distances of the voice, an inexpert writer and a superwriter ", departs from the prologues of both books in order to approach the construction of the narrator's voice, observing their implications in the image of implicit authors. "Words and follies, on the infamous and super historical creatures" considers both implicit writers in their relation with fictional characters. The third chapter entitled "The epistemology of Universal History and the Superhistory, literary science" aims to deepen the sense of "Universal History" and "Superhistory" present in the titles of the books, from a synchronous cut that outlines critical and epistemological discussions that involved the field of History in the beginning of the 20th century. Finally, the epilogue of this work, "Emblems of the crystal in Borges and Ramon", returns to the initial goal of this thesis, based on Italo Calvino's conference called "Exactitude" (Six Memos for the Next Millennium) / Doutorado / Literatura Geral e Comparada / Doutora em Teoria e História Literária

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-09T18:16:40Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Patrícia - Dissertação.pdf: 573916 bytes, checksum: 1bbf70a99daae005b7da50bde5e6adc2 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-26T19:59:47Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Patrícia - Dissertação.pdf: 573916 bytes, checksum: 1bbf70a99daae005b7da50bde5e6adc2 (MD5) / Made available in DSpace on 2017-05-26T19:59:47Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Patrícia - Dissertação.pdf: 573916 bytes, checksum: 1bbf70a99daae005b7da50bde5e6adc2 (MD5) / Fundação Oswaldo Cruz, Centro de Pesquisas René Rachou, Laboratório de Doença de Chagas, Belo Horizonte, MG / Este trabalho propõe uma reflexão sobre a fronteira entre o ficcional e o histórico na literatura de João Paulo Borges Coelho, buscando investigar suas estratégias narrativas na elaboração de estruturas romanescas capazes de expandir e subverterem a imagem revelada do passado através da literatura. Objetiva-se analisar a construção do personagem João Albasini como recurso narrativo para recuperação e inserção da história na trama romanesca de O olho de Hertzog. Pretende-se, ainda, mostrar as formas de legitimação do romance através da recuperação de fatos e da figura histórica de João Albasini sob a perspectiva da relação entre ficção e realidade, para tal, tomarse-á como base para este estudo a obra literária O olho de Hertzog, de João Paulo Borges Coelho, e o estudo biográfico João Albasini e as luzes de Nwandzengele, de César Braga-Pinto e Fátima Mendonça / This work proposes a reflection on the frontier between the fictional and the historical in the literature of João Paulo Borges Coelho, seeking to investigate his narrative strategies in the elaboration of romanesque structures capable of expanding and subverting the revealed image of the past through literature. The objective is to analyze the construction of the character João Albasini as a narrative resource for the recovery and insertion of the history in the romanesque plot of O olho de Hertzog. It is also intended to show the forms of legitimation of the novel through the recovery of facts and the historical figure of João Albasini from the perspective of the relation between fiction and reality, for that, the work will be taken as the basis for this study literary O olho de Hertzog, by João Paulo Borges Coelho, and the biographical study João Albasini e as luzes de Nwandzengele, by César Braga-Pinto and Fátima Mendonça

Any text which criticizes, undermines and/or transforms the encyclopaedic ideal of ordering and textualizing the world in a closed, linear fashion can be defined as a post-encyclopaedic text. This thesis explores both theoretical and artistic texts which inhabit the realm of post-encyclopaedism. In the past, critical speculation on encyclopaedism in literature has been concerned with the ways in which artistic texts attempt to live up to the encyclopaedic ideal. In some cases, this effort to establish an identity between the artistic text and the encyclopaedia has led to an ignorance of the disruptive or even deconstructive effects of so-called fictional encyclopaedias. Once we recognize the existence of such effects, we must begin to examine the techniques and possibilities of post-encyclopaedism. Hence we can see post-encyclopaedic qualities in the condensed meta-encyclopaedism of Jorge Luis Borges' "Tlön, Uqbar, Orbis Tertius", the disrupted quests for encyclopaedic revelation in Herman Melville's Moby Dick and Thomas Pynchon's Gravity's Rainbow, and the principle of textualized world as fugue in Louis Zukofsky's "A"-12. In addition, we can create a theoretical space for the post-encyclopaedic text by weaving together Mikhail Bakhtin'sideas on the novel as opposed to the epic, Michel Foucault's notion of restructuring the closed circle of the text through mirrored writing, Jurij Lotman's theory of internal and external recoding in texts, and Umberto Eco's concept of the open text. By combining an investigation of theoretical and artistic texts which lend themselves to post-encyclopaedism, we can create a generic distinction between texts which attempt to be encyclopaedic in themselves: and texts which disrupt and/or transform the encyclopaedic ideal / Arts, Faculty of / English, Department of / Graduate

This study analyses the presence of more-than-human beings, particularly animal figurations, in two works of diverse literary genres, namely: the poem “The albatross”(1861) by Charles Baudelaire and the short story “The house of Asterion”(1947) by Jorge Luis Borges through the lens of theories on the animal turn. Previous studies on both the poem and the short story analyzed the animal (albatross and minotaur) in allegorical or metaphorical terms emphasizing a human-centered perspective.However, this study maps an encounter between voice (human and hybrid) and the more-than-human being beyond rhetorical figures, that is, seeking material and affective sites of contact that speak of a continuum between entities deemed ontologically different. Analyzing the mentioned literary works through Guarramuño`s concept of worlds in common, in both the poem and the short story, we identify that certain aspects of the voice act as a shared space in which the materiality of the more-than-human being encounters the human and in which both beings exhibit a common affective pattern. Subsequently, through Derrida`s idea of distance-closenesswe analyze aspects of the voices that cross the animal-human border, where the language is revealed as a false superiority with respect to other forms of communication beyond the human word. In this respect, the analysis reveals an affective zone where uncertainty marks the encounter between human and animal, bringing closer animal an human domains. Our study revealsthat, both in the poem and the short story, however precarious and limited, the encounter between human voices and animal can be said to go beyond rhetorical figures. Indeed, this encounter reveales in this study as an affective continuum in the relationship between voices and more-than-human beings, which questions the opposition human-animal and therefore the superiority of the human regarding other sentient beings

This study examines three works by Argentine authors of the late 20th and early 21st centuries: Jorge Luis Borges's "La memoria de Shakespeare," Ricardo Piglia's La ciudad ausente, and Rodrigo Fresán's Mantra. These works explore the theme of memory directly, and provide insight into the role of memory in relation to literature, technology, and media. To understand memory and its functions and failures, I employ concepts from recent scientific inquiry into the nature of memory, particularly neuroscience and clinical psychology. Within this framework, I show how memory and narrative fiction share a number of similarities, and explore the idea of memoria ajena, or memories that come not from personal experience, but from outside, whether it be from another person's mind or from the fiction one consumes.

La presente tesis analiza los cuentos “La escritura del Dios”, “El Aleph” y “El Congreso” de Jorge Luis Borges. Los tres cuentos son paradigmáticos en la narración de experiencias místicas. La crítica que se ha ocupado de estos relatos ha acentuado sus afinidades con los escritos místicos de las diferentes tradiciones religiosas y filosóficas de Occidente y de Oriente. Sin embargo, no hay investigaciones dedicadas a profundizar en la singularidad propia de la mística borgeana a partir del análisis de su literatura. Se comprende la importancia de cubrir este vacío si consideramos que J. L. Borges era un escritor agnóstico, y que su contexto cultural no es el mismo del de personalidades como san Juan de la Cruz o el místico sufí Farid ud-Din Attar. En tal sentido, este trabajo argumenta que las experiencias místicas que narran los cuentos borgeanos se distinguen por su secularidad, tal como este concepto es elaborado en la sociología contemporánea. Se sostiene, así, como tesis principal, que el análisis conjunto de los tres cuentos revela un proceso de secularización, desarrollado en tres etapas correspondientes a cada relato, de la mística tradicional. Respectivamente, estas tres etapas son la desconfesionalización, la desobjetivación y la recuperación de la experiencia mística. Nuestra metodología consiste, principalmente, en el análisis textual de los cuentos mencionados, atendiendo a la interrelación de las categorías narrativas; la discusión de la bibliografía existente sobre el tema investigado, y el manejo de las teorizaciones contemporáneas sobre mística y secularización.

Der Artikel stellt eine der allerersten Beiträge von Alfonso de Toro zu Postmoderne und zum Postkolonialismus in den romanischen Studien sowie den ersten Beitrag zum Postkolonialismus und zu Postmoderne in Beziehung zum Werk von Jorge Luis Borges dar. Hier wird eine grundlegende und wegweisende Auseinandersetzung mit der postmodernen und postkolonialen Theorie und Praxis, die die Sprache, Terminologie, die zeitlich-historische Entwicklung, die Eingrenzung der Theorien sowie die Verschränkung beider Gebiete erfasst und in die Einführung der Konzepte ‚Postmodernität‘ und ‚Postkolonialität‘ einmündet. Als Basis für ein neues Verständnis von ‚Postkolonialität‘ dient das Essay von Borges, „Der argentinische Schriftsteller und die Tradition“ (1955) und für die neue Auffassung von ‚Postmodernität‘ greift de Toro v.a. auf die französische postmoderne bzw. poststrukturale Philosophen wie Foucault, Derrida, Deleuze/Guattari, Lyotard, Baudrillard, aber auch auf Vattimo und auf Borges Erzählungen, u.a. wie „El Aleph“, „Tlön, Uqbar, Tertius Orbis', Pierre Menard Autor von Don Quichotte'. / This article represents one of the very first contributions by Alfonso de Toro to Postmodernism and Postcolonialism in Romance studies, as well as the first contribution to postcolonialism and postmodernism in relation to the work of Jorge Luis Borges. Here is a fundamental and pioneering examination of postmodern and postcolonial theory and practice, covering language, terminology, temporal-historical development, the delimitation of theories, and the intertwining of the two fields, culminating in the introduction of the concepts of ‘Postmodernity’ and ‘Postcoloniality’. Borges’ essay “The Argentinian Writer and the Tradition” (1955) serves as the basis for a new understanding of ‘Postcoloniality’. For a new conception of ‘Postmodernity’, de Toro draws primarily on French post-modern or post-structural philosophers such as Foucault, Derrida, Deleuze/Guattari, Lyotard, Baudrillard, but also on Vattimo and on Borges’ narrations, such as “El Aleph”, “Tlön, Uqbar, Tertius Orbis”, “Pierre Menard author of Don Quixote”. / Este artículo representa una de las primeras aportaciones de Alfonso de Toro al postmodernismo y al poscolonialismo en los Estudios Romances, así como la primera contribución al poscolonialismo y al posmodernismo en relación con la obra de Jorge Luis Borges. Aquí, un examen fundamental y pionero de la teoría y la práctica posmodernas y poscoloniales que recoge el lenguaje, la terminología, el desarrollo temporal-histórico, la delimitación de las teorías, así como el entrelazamiento de ambos campos, culmina con la introducción de los conceptos de ‘posmodernidad’ y ‘poscolonialidad’. El ensayo de Borges “El escritor argentino y la tradición” (1955) sirve de base para una nueva comprensión de la “poscolonialidad”. Para una nueva concepción de la ‘posmodernidad’, de Toro se basa principalmente en filósofos franceses posmodernos o posestructurales como Foucault, Derrida, Deleuze/Guattari, Lyotard, Baudrillard, pero también en Vattimo y en los cuentos de Borges, como “El Aleph”, “Tlön, Uqbar, Tertius Orbis”, “Pierre Menard autor del Quijote”.