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Hispanoamerická literární tradice v díle Jorgeho Luise Borgese / Hispanoamerican Literary Tradition as Reflected in the Jorge Luis Borges' WorksKrátká, Tereza January 2016 (has links)
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.
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[fr] LA VILLE COMME PERSONNAGE: UNE ÉTUDE DU PASSÉ ET DE L AVANT - GARDE DANS LE BUENOS AIRES DE L ÉCRIVAIN JORGE LUIS BORGES / [pt] A CIDADE COMO PERSONAGEM: UM ESTUDO SOBRE PASSADO E VANGUARDA NA BUENOS AIRES DO ESCRITOR JORGE LUIS BORGESALESSANDRO VENTURA DA SILVA 10 April 2008 (has links)
[pt] Tema desta dissertação, o escritor Jorge Luís Borges nasceu
em Buenos
Aires, centro político-financeiro e capital da Argentina no
ano de 1899.
Remontando à aurora de seus escritos, o momento de largada
de sua produção
literária coincide com um intenso processo modernizador em
sua cidade natal.
Com efeito, frente a uma Argentina que cresce em escala
alarmante, Borges em
1921 e aos 21 anos regressa a Buenos Aires após uma
temporada de sete anos em
solo europeu. Ao chegar se depara com uma cidade
profundamente distinta de
quando partiu: aumento populacional, imigração maciça e uma
inegável
transformação no tecido físico da cidade e dos meios de
transportes. Estas novas
características faziam parte do impulso modernizante que
soprara na capital
portenha. Por seu turno, Borges engaja-se nas correntes
vanguardistas do período
e do seu interior fazia ecoar tanto um tom de franco
otimismo acerca das recentes
possibilidades de intervenção no panorama literário local,
quanto numa clave
melancólica, um Fervoroso lamento poético sobre a abrupta
transformação de sua
cidade Buenos Aires.Esta dissertação tem como objetivo
analisar o movimento
literário do escritor frente às alterações que permitiram
um alcance mais amplo
para sua prática vanguardista, assim como refletir sobre o
sentimento de
perplexidade que se deu em seu retorno, ao perceber uma
cidade alterada em seus
traços primordiais. Desta forma, o entusiasmo de vanguarda
será discutido à luz
dos manifestos assinados pelo autor e seus textos
programáticos de renovação
literária. Quanto a outra postura, será analisada pelo
Réquiem produzido por
Borges em seu primeiro livro de poemas Fervor de Buenos
Aires em que o
escritor dá ensejo ao movimento de irrealização de uma
realidade percebida como
estranha com o fito de realizar seu imaginário. / [fr] Thème de cette dissertation, l écrivain Jorge Luis Borges,
né en 1899 à
Buenos Aires, centre politico-financier et capitale de
l Argentine. En reprenant le
début de sa production littéraire, on remarque que celui-ci
coïncide avec le
moment d un intense processus modernisateur dans sa ville
natale. En effet, face à
une Argentine qui grandit dans des proportions alarmantes,
Borges, en 1921,
revient à Buenos Aires après un séjour de sept ans sur le
sol européen. En
arrivant, il sera confronté à une ville profondément
distincte de celle qu il a
quittée: augmentation de la population, immigration en
masse et une inégale
transformation dans le tissu physique de la ville et des
moyens de transport. Ces
nouvelles caractéristiques faisaient partie de l impulsion
modernisatrice qui
soufflait dans la capitale porteña. À son retour, Borges
s engage dans les courants
avant-gardistes du moment et y fait aussi bien éclore un
ton de franc optimisme
quant aux récentes possibilités d intervention dans le
panorama littéraire local
qu une note mélancolique, une fervente plainte poétique sur
l abrupte
transformation de sa ville, Buenos Aires.Cette dissertation
a pour objectif
d`analyser le mouvement littéraire de l écrivain face aux
altérations qui ont
permis une portée plus ample à sa pratique avant-gardiste,
ainsi que réfléchir sur
le sentiment de perplexité vécu à son retour, en voyant une
ville altérée dans ses
traits primordiaux. De cette façon, l enthousiasme de
l avant-garde sera discuté à
l aide des manifestes signés par l auteur, ainsi que ses
textes programmatiques
de rénovation littéraire. Quant à l autre posture, elle
sera analysée à partir du
Requiém produit par Borges dans son premier recueil de
poèmes Fervor de
Buenos Aires où l écrivain laisse la possibilité au
mouvement
d irréalisation d une réalité perçue comme étrange avec
l intention de réaliser
son imaginaire.
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Um Aleph: Borges, segundo o Livro das Mil e Uma Noites: estudo comparativo da poética árabe como elemento de construção da poética narrativa de Jorge Luis Borges / An Aleph: Borges, according to the The Arabian Nights: comparative study of the Arabian poetics as an element for the construction of the narrative poetics of Jorge Luis BorgesSilva, Sandra Aparecida 07 August 2008 (has links)
Este estudo compara a mímese poética do mundo árabe-islâmico, especialmente no livro de contos As mil e uma noites, com a mímese poética do mundo hispano-americano na obra literária de Jorge Luis Borges. A obra anônima das Noites tornou-se a principal referência para especular tanto as formas e as estratégias de construção narrativa quanto os conteúdos temáticos na criação poética do escritor argentino. Devido à magnitude da produção literária borgeana, este estudo considerou o livro El Aleph (1946) e três contos de El libro de arena (1975)- El espejo y la máscara, Undr e El disco. O trabalho se propõe afirmar que a poética árabe-islâmica, enquanto acervo da cultura universal constituiu-se num dos elementos vitais para a construção da poética narrativa de Jorge Luis Borges / This study compares the poetic mimesis of the Arabic-Islamic world, specially the book of tales The Arabian Nights, with the poetic mimesis of the American- Hispanic world in Jorge Luis Borges literary production. The anonymous literary composition The Arabian Nights became the main reference to speculate both the form and the narrative construction strategies as well as the thematic contents as a poetic creation of the Argentinian author. Due to the magnitude of the borgesian literary production, this study has only considered the book El Aleph (1946) and three narratives of El libro de arena (1975) El espejo y la máscara, Undr and El disco. As a result, the study proposes to state that the Arabic- Islamic Poetics, albeit a universal cultural patrimony, constituted itself in one of the vital elements to the construction of Jorge Luis Borges Narrative Poetics
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Jorge Luis Borges y la ciencia ficciónAbraham, Carlos Enrique January 2004 (has links)
No description available.
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Um Aleph: Borges, segundo o Livro das Mil e Uma Noites: estudo comparativo da poética árabe como elemento de construção da poética narrativa de Jorge Luis Borges / An Aleph: Borges, according to the The Arabian Nights: comparative study of the Arabian poetics as an element for the construction of the narrative poetics of Jorge Luis BorgesSandra Aparecida Silva 07 August 2008 (has links)
Este estudo compara a mímese poética do mundo árabe-islâmico, especialmente no livro de contos As mil e uma noites, com a mímese poética do mundo hispano-americano na obra literária de Jorge Luis Borges. A obra anônima das Noites tornou-se a principal referência para especular tanto as formas e as estratégias de construção narrativa quanto os conteúdos temáticos na criação poética do escritor argentino. Devido à magnitude da produção literária borgeana, este estudo considerou o livro El Aleph (1946) e três contos de El libro de arena (1975)- El espejo y la máscara, Undr e El disco. O trabalho se propõe afirmar que a poética árabe-islâmica, enquanto acervo da cultura universal constituiu-se num dos elementos vitais para a construção da poética narrativa de Jorge Luis Borges / This study compares the poetic mimesis of the Arabic-Islamic world, specially the book of tales The Arabian Nights, with the poetic mimesis of the American- Hispanic world in Jorge Luis Borges literary production. The anonymous literary composition The Arabian Nights became the main reference to speculate both the form and the narrative construction strategies as well as the thematic contents as a poetic creation of the Argentinian author. Due to the magnitude of the borgesian literary production, this study has only considered the book El Aleph (1946) and three narratives of El libro de arena (1975) El espejo y la máscara, Undr and El disco. As a result, the study proposes to state that the Arabic- Islamic Poetics, albeit a universal cultural patrimony, constituted itself in one of the vital elements to the construction of Jorge Luis Borges Narrative Poetics
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Representations of Remembrance: Literature and Memory in Borges, Pigila, and FresánMcNeil, Paul Michael 22 July 2010 (has links) (PDF)
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.
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L'écriture comme intensité : la vision métaphorique à travers l'oeuvre de Reinaldo ArenasLabarias, Eva 04 1900 (has links)
En observant le foisonnement de métaphores de la lumière et de la vision dans l’œuvre de Reinaldo Arenas – l’accentuation de la couleur, l’éblouissement, la brûlure et le dédoublement – cette thèse s’interroge sur la vision de l’écriture formulée dans et à partir de ces images, et sur les implications de cette vision.
Constatant à travers cette réflexion l’inscription à même le langage des images de la lumière et de la vision – de la réflexion à la clarté, en passant par l’image et la lucidité – cette thèse délibère, à travers l’œuvre de Reinaldo Arenas et celle de Jorge Luis Borges, sur une définition de l’écriture comme intensité, notion et image empruntées au registre du sensible par le détour de la physique.
Le premier chapitre s’intéresse à la couleur comme phénomène de la vision, du sensible, de l’affect et de la nuance, ainsi qu’à la métaphore de la cécité abordée par Borges et par Paul de Man comme phénomène de la lecture, points d’entrée à une réflexion sur l’écriture.
Le second chapitre aborde la notion d’éblouissement en tant qu’intensité de la lumière et temporalité de la prise de conscience lucide, définissant ainsi une vision du temps et les affinités entre la temporalité de l’écriture et celle de l’image poétique.
Le troisième chapitre, réitérant la question de la relation au temps – historique et narratif –, réaffirme les inflexions du langage en fonction de la lumière, c’est-à-dire la relation entre l’aspect « lumineux » du langage, l’intensité de la lumière et l’intensité de l’écriture (entendue comme écriture littéraire), en explorant le seuil (la destruction par le feu) mis en lumière par l’image du phénix, figure mythique et littéraire de la transformation des images, selon la définition de l’imagination proposée par Gaston Bachelard.
Enfin, la double conclusion (une conclusion en deux parties, ou deux conclusions réfléchies l’une dans l’autre), relie les images poétiques de la lumière évoquées et leurs implications en examinant la portée d’une vision de l’écriture comme intensité. Cette idée est élaborée à travers l’image finale du double, figure littéraire constitutive et omniprésente à la fois chez Arenas et chez Borges, image non seulement de la relation entre le personnage et son double (qui relève de l’hallucination ou de l’imagination, images, encore une fois, de la vision), mais aussi de la relation entre l’auteur et le texte, le lecteur et le texte, l’écriture et le temps. La double conclusion vise le dédoublement et redoublement comme figures de l’intensité dans l’écriture.
Le lien entre la vision métaphorique et l’écriture comme intensité est donc articulé par la métaphore, telle qu’entendue par Borges, élargie à l’image poétique dans la perspective de Gaston Bachelard ; elle s’appuie sur la vision de la littérature pensée et écrite par Arenas. La réflexion est double : dans le texte et sur le texte, au plan poétique et au plan d’une réflexion sur l’écriture d’Arenas ; sur l’écriture et, implicitement, sur la littérature. / Plunging into the work of Cuban writer Reinaldo Arenas, this thesis examines the connection between Arenas’ exuberant choice of metaphors related to light and vision – such as color, dazzle, fire, the double – and the potential meanings and implications of a narrative strategy based on such images.
By underlining the persistence, within language itself, of images related to light and vision – such as reflection, clarity, lucidity and illumination –, as well as by examining the work of Reinaldo Arenas as well as of Jorge Luis Borges, this thesis offers a definition of writing as an experience characterized by intensity.
The first chapter analyzes how color as a visual phenomenon relates to the emotional realm and to the senses, as well as to their nuances ; following which, it exposes the metaphor of blindness within the experience of reading, as evoked by Borges and Paul de Man, leading to a reflection on writing.
The second chapter deals with the notion of dazzle as being, at once, a visual experience, and the very moment of awareness, thus reflecting on the concept of time, and on the understanding of writing, although perceived as linear, as grounded in a temporality similar to that of the poetic image.
The third chapter expands on the notion of a relationship between historical time, fictional time, narration, and light, emphasis being placed on the parallel between light intensity and narrative intensity, based on the “igniting” origins of language. Drawing on Gaston Bachelard’s definition of imagination, it discusses the notion of threshold (where ignition leads to destruction) symbolized by the Phoenix, a mythical and literary figure of the transformation of images.
Finally, the two-fold conclusion (a double conclusion or two reflecting conclusions) brings together the metaphors related to light that have been discussed in the previous chapters within the perspective of writing as an experience characterized by intensity. Through the metaphor of the double that pervades and informs Arenas’ as well as Borges’ works, the relational and double nature of narration comes to life at the intersection between the character and his doubles (also an effect of vision as a creation of imagination or hallucination), between the author’s expression and the reader’s interpretation, between literature and time. The metaphors related to doubling recurring in Arenas’ work offer a sense of intensification which summons up a vision of writing characterized by intensity.
Thus, the connection between poetic thinking and narration is established through a metaphor, as defined by Borges and expanded through Gaston Bachelard’s notion of poetic imagery, and it is grounded in Reinaldo Arenas’ constant play between formal expression and narrative content. Implicit is a double reflection, on literature and time.
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The practice of memory in hypertext wor(l)dsKlei, Alice van der January 2003 (has links)
Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.
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Literatura, ideologia e política: uma proposta de abordagem psicossocial sobre a literatura de Jorge Luis Borges durante o primeiro governo de Juan Domingo Perón (1946-1955)Mello, Felipe Carvalho Correa de 23 February 2010 (has links)
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Previous issue date: 2010-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The presente research has as primay objective an interpretation about the
literature of Jorge Luis Borges grounded in a teorical and metododological
aproach concerned to Social Psychology. In this way, we propose the use of
the concept of ideology developed by J. B Thomposn, and the concepts of
literary field by Bourdieu and discursive poliphony by Mikhail Bakhtin.
We propose an analisys and an interpretation of the Borges literature that
iluminates its political dimension and not only aesthetic. We propose to describe
the production, circulation and reception of his literature along the peronistas
years (1946-1955), and in wich ways the literature had articuleted with the
conflicts between the peronista State and the argentinian literary field during
this years / A seguinte dissertação tem por objetivo geral realizar uma interpretação sobre
a literatura de Jorge Luis Borges fundamentada em aportes teóricos e
metodológicos concernentes à Psicologia Social. Neste caminho, propomos a
utilização da conceituação de ideologia de J. B, concebida como o sentido a
serviço do poder, e dos conceitos de campo literário de Pierre Bourdieu e de
polifonia discursiva de Mikhail Bakhtin.
Propomos nesta dissertação uma análise e interpretação da literatura de Jorge
Luis Borges que ilumine sua faceta política e não somente estética. Propomos
descrever as dimensões de produção, circulação e recepção de sua literatura
durante os anos peronistas (1946-1955) e em que medida ela se articulou com
as relações de poder entre o Estado peronista e o campo literário argentino
durante esses anos
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L'écriture comme intensité : la vision métaphorique à travers l'oeuvre de Reinaldo ArenasLabarias, Eva 04 1900 (has links)
En observant le foisonnement de métaphores de la lumière et de la vision dans l’œuvre de Reinaldo Arenas – l’accentuation de la couleur, l’éblouissement, la brûlure et le dédoublement – cette thèse s’interroge sur la vision de l’écriture formulée dans et à partir de ces images, et sur les implications de cette vision.
Constatant à travers cette réflexion l’inscription à même le langage des images de la lumière et de la vision – de la réflexion à la clarté, en passant par l’image et la lucidité – cette thèse délibère, à travers l’œuvre de Reinaldo Arenas et celle de Jorge Luis Borges, sur une définition de l’écriture comme intensité, notion et image empruntées au registre du sensible par le détour de la physique.
Le premier chapitre s’intéresse à la couleur comme phénomène de la vision, du sensible, de l’affect et de la nuance, ainsi qu’à la métaphore de la cécité abordée par Borges et par Paul de Man comme phénomène de la lecture, points d’entrée à une réflexion sur l’écriture.
Le second chapitre aborde la notion d’éblouissement en tant qu’intensité de la lumière et temporalité de la prise de conscience lucide, définissant ainsi une vision du temps et les affinités entre la temporalité de l’écriture et celle de l’image poétique.
Le troisième chapitre, réitérant la question de la relation au temps – historique et narratif –, réaffirme les inflexions du langage en fonction de la lumière, c’est-à-dire la relation entre l’aspect « lumineux » du langage, l’intensité de la lumière et l’intensité de l’écriture (entendue comme écriture littéraire), en explorant le seuil (la destruction par le feu) mis en lumière par l’image du phénix, figure mythique et littéraire de la transformation des images, selon la définition de l’imagination proposée par Gaston Bachelard.
Enfin, la double conclusion (une conclusion en deux parties, ou deux conclusions réfléchies l’une dans l’autre), relie les images poétiques de la lumière évoquées et leurs implications en examinant la portée d’une vision de l’écriture comme intensité. Cette idée est élaborée à travers l’image finale du double, figure littéraire constitutive et omniprésente à la fois chez Arenas et chez Borges, image non seulement de la relation entre le personnage et son double (qui relève de l’hallucination ou de l’imagination, images, encore une fois, de la vision), mais aussi de la relation entre l’auteur et le texte, le lecteur et le texte, l’écriture et le temps. La double conclusion vise le dédoublement et redoublement comme figures de l’intensité dans l’écriture.
Le lien entre la vision métaphorique et l’écriture comme intensité est donc articulé par la métaphore, telle qu’entendue par Borges, élargie à l’image poétique dans la perspective de Gaston Bachelard ; elle s’appuie sur la vision de la littérature pensée et écrite par Arenas. La réflexion est double : dans le texte et sur le texte, au plan poétique et au plan d’une réflexion sur l’écriture d’Arenas ; sur l’écriture et, implicitement, sur la littérature. / Plunging into the work of Cuban writer Reinaldo Arenas, this thesis examines the connection between Arenas’ exuberant choice of metaphors related to light and vision – such as color, dazzle, fire, the double – and the potential meanings and implications of a narrative strategy based on such images.
By underlining the persistence, within language itself, of images related to light and vision – such as reflection, clarity, lucidity and illumination –, as well as by examining the work of Reinaldo Arenas as well as of Jorge Luis Borges, this thesis offers a definition of writing as an experience characterized by intensity.
The first chapter analyzes how color as a visual phenomenon relates to the emotional realm and to the senses, as well as to their nuances ; following which, it exposes the metaphor of blindness within the experience of reading, as evoked by Borges and Paul de Man, leading to a reflection on writing.
The second chapter deals with the notion of dazzle as being, at once, a visual experience, and the very moment of awareness, thus reflecting on the concept of time, and on the understanding of writing, although perceived as linear, as grounded in a temporality similar to that of the poetic image.
The third chapter expands on the notion of a relationship between historical time, fictional time, narration, and light, emphasis being placed on the parallel between light intensity and narrative intensity, based on the “igniting” origins of language. Drawing on Gaston Bachelard’s definition of imagination, it discusses the notion of threshold (where ignition leads to destruction) symbolized by the Phoenix, a mythical and literary figure of the transformation of images.
Finally, the two-fold conclusion (a double conclusion or two reflecting conclusions) brings together the metaphors related to light that have been discussed in the previous chapters within the perspective of writing as an experience characterized by intensity. Through the metaphor of the double that pervades and informs Arenas’ as well as Borges’ works, the relational and double nature of narration comes to life at the intersection between the character and his doubles (also an effect of vision as a creation of imagination or hallucination), between the author’s expression and the reader’s interpretation, between literature and time. The metaphors related to doubling recurring in Arenas’ work offer a sense of intensification which summons up a vision of writing characterized by intensity.
Thus, the connection between poetic thinking and narration is established through a metaphor, as defined by Borges and expanded through Gaston Bachelard’s notion of poetic imagery, and it is grounded in Reinaldo Arenas’ constant play between formal expression and narrative content. Implicit is a double reflection, on literature and time.
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