By Lisa Block De Behar
Expanded variation with new chapters and updates to the interpretation and bibliography.
Borges cites innumerable authors within the pages making up his life’s paintings, and innumerable authors have mentioned and proceed to quote him. greater than a determine, then, the citation is an essential component of the material of his writing, a cloth made anew by means of every one analyzing and every re-citation it undergoes, within the unending throes of a work-in-progress. Block de Behar makes of this examining a plea for the very artwork of conversation; a tradition that takes neighborhood now not within the totalized and totalizable soil of pre-established definitions or essences, yet at the ineluctable repetitions that represent language as such, and that warrantly the expansiveness—through etymological coincidences of which means, via old contagions, via translinguistic sharings of specific experiences—of a definite index of universality. This version features a new creation via the writer and 3 solely new chapters, in addition to up-to-date photos and corrections to the unique translation.
Lisa Block de Behar is Professor of Communications on the Universidad de los angeles República in Montevideo, Uruguay and is a well known Jorge Luis Borges scholar.
William Egginton is Andrew W. Mellon Professor within the Humanities and Chair of the dept of German and Romance Languages and Literatures at Johns Hopkins collage. he's the writer of numerous books, together with In Defense of spiritual Moderation.
Christopher RayAlexander is a graduate pupil and language teacher within the division of German and Romance Languages and Literatures at Johns Hopkins collage.
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Extra info for Borges: The Passion of an Endless Quotation (2nd Edition) (SUNY series in Latin American and Iberian Thought and Culture)
Because writing has neither an essence nor a value of its own, whether positive or negative. ”13 It is not truth because it imitates it; it is not knowledge but appearance; it is not memory but its fixation; nor the word because it silences it. Derrida deconstructs that logocentric obsession that tries to ignore the relevance 18 BORGES of writing: its reserve. Nevertheless, it is that discretion and accumulation, disposition and prudence, that makes of its virtuality a virtue. Against time, writing fixes itself; it spatializes discourse, initiating controversy, giving way to an infinite textual openness: in this abyssal, space-time does not count.
Who can tell the dancer from the dance? —W. B. 41 In Borges’s story, a reader, the reader of the Gospel—and his lectaries42—transgress that silent condition of reading, and, by reading out loud, suspend the difference, thereby provoking logocentric fascination: the word, the logos, the divine word, are identified in presence. Borges’s theological exercises weave another atrocious version of literary passion: high fidelity puts reading at risk. Because of faith, because of identification, the fidelity manifested by his characters is at least doubled; the risk as well.
His friend Sapek and he reign, in effect, over a kind of activity until then almost unheard of: mystification. 19 A semiotics of narrative texts delves into the existence of possible and impossible worlds originated by the actions of a reader who can only suppose his hypothesis in silence, limited by more or less vicious hermeneutic 34 BORGES circles. But “the observer always interferes with the phenomenon under observation,”20 such that each of his or her possible worlds brings together the comprehension of his readings into a compression that suspends momentarily the other worlds.
Borges: The Passion of an Endless Quotation (2nd Edition) (SUNY series in Latin American and Iberian Thought and Culture) by Lisa Block De Behar