Dissertations / Theses on the topic 'Interviewsborges, jorge luis , 1899-1986'
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Louisor-White, Dominique. "Jorge Luis Borges traducteur." Paris 4, 1992. http://www.theses.fr/1992PA040088.
Full textThe works of Jorges Luis Borges include a certain number of translations into Spanish of texts from French,British and American literatures,done by Borges between the yeayrs of 1925 and 1969. .
Gleiser, Celina Gail. "The tectonics of Jorge Luis Borges' texts." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/23980.
Full textDaveti, Jean-François. "Borges ou le scriptographe de l'impossible : l'effet-personnage dans l'oeuvre narrative de Jorge Luis Borges." Paris 8, 2002. http://www.theses.fr/2002PA082070.
Full textLouis, Anne-Marie. "Jorge Luis Borges : la construction d'une oeuvre : autour du recueil "Historia Universal de la infamia"." Paris, EHESS, 1995. http://www.theses.fr/1995EHES0332.
Full textMost of jorge luis borges' writing were published in reviews or newspapers before being included in a volume; the corresponding bibliographic data for the period 1919 and 1960 are presented in the annex of this study. When editing the first version of his complete works, between 1953 and 1960, borges proceeded to a "selection" excluding a very important part of his production. Apparently he conceived the volume as the result of a conscious act of constru ction, which aims at the transmission of literary concepts. The translation of these concepts into formal aspects has been studied in particular for the historia universal de la infamia; the notion of "translation" as proposed by borges d uring this period describes this process. The stories in the book had first been published in the literary supplement of the "popular" buenos aires newspaper, critica, directed by borges and ulyses petit de murat between 1933 and 1934. Th e conditions of production and the original publishing context are intimately related to borges' discovery of the narrative. At the same time, he started using some techniques of the detective story, one of the most popular genres in critica. "hombre de la esquina rosada" was published in this supplement too; the story introduced a radical change of borges' treatment of the suburbs ("las orillas") in the poetry and essays written before 1933 and a reject of the traditional argentine aesthetics interested in the subject. Borges tried to supply his own vision of argentine literature and literary history, revisiting some myths which seem connected to national identity
Larrue, Christophe. "La mémoire dans l'oeuvre poétique de Jorge Luis Borges : de El hacedor à Los conjurados approches intertextuelles." Grenoble 3, 2001. http://www.theses.fr/2001GRE39021.
Full textChampris, Arnaud de. "Système de la littérature : contribution à l'étude du cosmopolitisme littéraire de Jorge Luis Borges : introduction au méta-texte de Jorge Luis Borges." Paris 4, 1987. http://www.theses.fr/1987PA040271.
Full textThe present thesis looks for, into a corpus of fifty seven narrations of Jorge Luis Borges, modes and phases of the text production: a semiologic and phenomenological method, in a comparatist perspective, intents to show the writing essentially meta-textual of Borges and his double structure abysmal and potential, through a code whose signs are all "literary references"
Sotomayor, Varela María Luisa. "La sexualidad en la narrativa de Jorge Luis Borges." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/108624.
Full textRuiz, Mautino Arturo Florentino. ""Con previo fervor y con una misteriosa lealtad" : teorización sobre el acto de leer en otras inquisiciones de Jorge Luis Borgues." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/9227.
Full textTesis
Mobillion, Raphaël. "Edition et compilation à partir de l'oeuvre de J. L. Borges." Paris 4, 2005. http://www.theses.fr/2005PA040003.
Full textThe author and the reader are intimately linked in the borgean literature. One can also feel in this literature the importance of particular readers who commit themselves in the spreading of writings, like for instance the publishers. Identifying those two functions (reader and publisher) as being essential in the realisation of a literary work leads to historical interrogation about the author is very much linked to the support he uses. It often depends upon a social network. Studying notions of creation and compilation leads to consider the author as an essential agent in the realisation of a literary work, but not as its unique source. Taking in account the public and its right to culture can result in denying the author certain prerogatives concerning his work. Borges thinks the author as complemented by the reader and the publisher and calls him hacedor (maker)
Laguzzi, Elsa. "L'oeuvre de Borges ou la passion des idées." Paris 7, 1989. http://www.theses.fr/1989PA070066.
Full textThis work constitutes a semiotic analysis of the work of the argentinean writer, j. L. Borges, and focusses on his narrative. The first part is an analysis of several short stories by wich the narratives attributes are extracted. These are then used in the interpretation of the totaly of borges work. The major problems examined concern the realtions between memory and narrative, between reality and narrative, and the narrative as archeological object. Memory and narrative appear in a game of masterslave in wich the narrative subjects memory to a second death, the first having been brouht about forgetting. The analysis of "the mythology of argentinean daily life", the point of departure of this work, shows how it is transformed by the narrative, raising it to a more abstract and universal level of reflection. The narrative thus appears as an archeological object that reveals a buried cultural and personal universe. Starting from this work of analysis and reflection certain elements are extracted wich make of the borges narrative an effective narrative; a narrative that is able to resound within the reader in places unknown to him. These elements are: a precise and light form, 20th century themes, a narrative organized as a dream narrative in wich the ensemble fonctions as a novel of the passion of ideas
Le, Marc'hadour Rémi. "Identité et individuation dans l'oeuvre de Jorge Luis Borges." Rennes 2, 1996. http://www.theses.fr/1996REN20005.
Full textThe analysis of Jorge Luis Borges's imaginary framework permits to value some essential structures or the subject's thinking and writing. But these structures go beyond the individual ; they reveal symbolical or archetypical substratum that supports an original conception of man an world. Borges's literary adventure is first an individual identity quest, an attempt at self definition. The split personality appears in a dual writing process and in the specular play of the ego and the other. A deep aspiration to the coincidence of opposites, to the establishment of an authentic individuation springs forth from this tension. This quest also transcribes a general matter of identity through the characters of the narrative prose. Some Borges's protagonists suffer an obvious deficiency of individuation, others maintain conflictual but basic relations with the name, a symbol of identity
Trigoso, Aching Marco Antonio. "La refundición del ultraísmo : análisis de las variantes de dos artes poéticas de Jorge Luis Borges." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2014. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5526.
Full textTesis
Ferrero, Corinne. "L'œuvre en collaboration d'Adolfo Bioy Casares et de Jorge Luis Borges : la littérature plurielle en question." Grenoble 3, 2004. http://www.theses.fr/2004GRE39028.
Full textFux, Jacques. "La mathématique chez Georges Perec et chez Jorge Luis Borges : une étude comparative." Lille 3, 2010. http://www.theses.fr/2010LIL30045.
Full textEsta tese propõe o estudo das relacões entre matemática e literatura nas obras de Georges Perec e Jorge Luis Borges. O objetivo deste trabalho é, inicialmente, defender a ideia de que Borges é um plagiário por antecipação do Oulipo e que, segundo as teorias oulipianas, ele é um escritor potencial. Num segundo momento, procura-se demonstrar que quanto mais amplo é o conhecimento da matemática, maior é a possibilidade de criar e ler textos que utilizam contraintes e conceitos matemáticas, característica comum a Borges e Perec. Por fim, mostrando as diferenças e semelhanças entre os dois escritores, defendemos a tese se que estes dois autores, de origem, criação e literatura diferentes, podem ser ligados pela via da matemática, das classificações e da teoria literária de precursores. Pode-se afirmar que as relações de Perec e Borges com a matemática são superficiais, uma vez que, apesar de sua frequente utilização, ambos conheciam da mesma apenas algumas estruturas e conceitos básicos. Além disso, é possível encontrar também uma relação, similar à que existe entre a utilização da matemática nos dois escritores, entre os contos cabalísticos de Borges e a utilização da Cabala por Perec. Perec utilizou uma "estrutura cabalística", enquanto Borges empregou os conceitos cabalísticos para criar sua ficção. As possibilidades de leitura, interpretação e combinação se encontram nas obras dos dois escritores. Portanto, acreditamos que conhecendo a matemática, é possível compreender e interpretar melhor certos escritos de Jorge Luis Borges e Georges Perec
Santander, Leal Juan. ""El Aleph" : la escritura total en la obra de Jorge Luis Borges (1923-1949)." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/108647.
Full textSabsay, Fabiana. "Hybridation, intertexualités, rénovation dans l'oeuvre commune de Jorge Luis Borges et Adolfo Bioy Casares." Paris 8, 2003. http://www.theses.fr/2003PA082251.
Full textMuñoz, Pilichi Germán. "Sobre el deslinde modernidad-posmodernidad en la poesía de Jorge Luis Borges : (una discusión a partir de las ediciones, las variantes y las figuras textuales del espacio y el sujeto en Fervor de Buenos Aires y El hacedor)." Tesis, Universidad de Chile, 2010. http://www.repositorio.uchile.cl/handle/2250/108696.
Full textSouza, Fábio Alcides de. "O sonho na escrita de Cecília Meireles e de Jorge Luis Borges." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/23728.
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O sonho, fenômeno presente na vida de todas as pessoas, é algo cuja explicação não é plenamente compreendida. O tema do sonho é frequente na Literatura e, historicamente, tem sido motivo de diversas interpretações filosóficas, científicas e culturais, especialmente no âmbito das religiões. Na América do Sul, durante o século XX, a temática do sonho foi utilizada pelos escritores Cecília Meireles e Jorge Luis Borges em vários de seus textos, de maneira recorrente. A partir da perspectiva dos estudos literários comparados, este trabalho aborda a temática do sonho no universo literário, mas também em outras áreas do conhecimento, utilizando as várias percepções sobre o tema como subsídio para a análise das obras de ambos os escritores sul-americanos, especialmente, no que se refere à oposição sonho e realidade.
The dream is something whose explanation is not fully understood. The theme of the dream is recurrent in literature and, historically, has been the subject for various philosophical, scientific and cultural interpretations, especially in the scope of the religions. In South America during the twentieth century, the theme of the dream was used by writers Cecília Meireles and Jorge Luis Borges in several of their texts. From the perspective of comparative literary studies, this work approaches the theme of the dream in the literary universe, but also in other areas of knowledge, using the various perceptions about the theme as subsidy for the analysis of the works of both South American writers, especially, as regards opposition dreams and reality.
VECINA, FILLOL TERESA. "L'idee de livre chez mallarme et borges." Paris 4, 1986. http://www.theses.fr/1986PA040201.
Full textWe have studied the idea of book in mallarme and borges. Mallarme is the french symbolist writer of the xix century and borges is the famous blind and argentinian writer of the xx century. Both of them believe in an infinite book. We have also studied the influence of the mallarme's poetics of suggestion on borges writings, and the mallarme's presence in the works of borges, because borges quotes mallarme very often. Mallarme has influenced borges by his personage of a writer who is dedicated exclusivily to the literature and the writing of a book which was the result of the world. The mallarme's thought of a literature made of the twenty four signs of the alphabet is also present in borges. They share the idea of a circular and cyclical book. Ours tactics have been to see the themes, motifs and myths that are common to the two writers. According to this, we have analysed theirs ideas of an eternal literature, of an anonymous author, and their conception of the literary creation as a labyrinthical and babelic building, and as a mask. We have also studied the approach of their idea of book to the old metaphor of the nature as a book and the book of god, after having studied the tendencies of
Brunet, Denis. "La " fiction borgesienne " et ses traductions : le genre fantastique : quelques exemples de transposition." Grenoble 3, 2005. http://www.theses.fr/2005GRE39007.
Full textMendoza, Chacón Jeampierre Martín. "El proceso de secularización de la mística en tres cuentos de Jorge Luis Borges." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/15037.
Full textTesis
Milreu, Isis [UNESP]. "De autor a personagem: Jorge Luis Borges na mira de romancistas latino-americanos." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/123393.
Full textJorge Luis Borges é considerado por muitos críticos e escritores um dos autores mais importantes do século XX. Afinal, sua poética revolucionou a prática literária, bem como os estudos de literatura, tornando-se paradigmática. Atualmente, observamos que o escritor argentino não é apenas alvo de inúmeros ensaios, teses e biografias, mas também foi convertido em personagem de vários romances, contos, crônicas, peças teatrais, filmes e até histórias em quadrinhos. Nesse sentido, Pablo Brescia (2008) assinala que há uma tendência a literaturizar Borges, isto é, transformá-lo em objeto literário. O estudioso acrescenta que nos estudos borgeanos ainda há um espaço ignorado sobre o modo como os escritores (re) leram o autor argentino, particularmente, no âmbito ficcional. Considerando a existência da referida lacuna, entendemos ser justificável a realização de um estudo que examine esta questão. Assim, o objetivo de nosso trabalho é contribuir para a compreensão do processo de conversão de Borges em personagem de outros autores, especificamente, no âmbito das literaturas argentina e brasileira, ou melhor, latino-americana. Destarte, selecionamos como corpus desta pesquisa os seguintes romances: El simulador (1990), de Jorge Manzur; Las libres del Sur. Una novela sobre Victoria Ocampo (2004), de María Rosa Lojo, Matar a Borges (2012), de Francisco Cappellotti, Borges e os orangotangos eternos (2000), de Luis Fernando Veríssimo; O romance de Borges (2000), de Hamilton Alves e Memorial de Buenos Aires (2006), de Antonio Fernando Borges. Observamos que essas narrativas giram em torno de biografemas de Borges e de sua literatura, dialogam com a poética borgeana e a história da literatura, além de utilizarem a intertextualidade e a metaficção como principais recursos estilísticos
Jorge Luis Borges is regarded as one of the most important XX century writers from many critics’ and writers’ standpoint. Therefore, his poetry, which became a paradigmatic one, has revolutionized the literary practice as well as the literary studies. Currently, we observe that the Argentinian writer is not only analyzed in several essays, theses and biographies, but also the writer himself has been converted into a recurring character in various novels, short stories, chronicles, plays, films and comics. In this sense, Pablo Brescia (2008) points out that there is a tendency in fictionalizing Borges, that is, to make him into a literary object. Brescia adds that instudies on Borges there is still an ignored aspect concerning the way some writers have (re)read the Argentinian author, especially within the fictional sphere. Considering the existence of that gap we may justify the accomplishment of a study about this topic. Thus, this research work aims at contributing to the understanding of the process of Borges’ conversion into a character in the production by other writers, specifically within the scope of Latin American literature, such as, the Argentinian and Brazilian ones. Thereby, the corpus of this research consists of the following novels: Jorge Manzur’s El simulador (1990); María Rosa Lojo’s Las libres del Sur. Una novela sobre Victoria Ocampo (2004); Francisco Cappellotti’s Matar a Borges (2012); Luis FernadoVeríssimo’s Borges e os orangotangos eternos (2000); Hamilton Alves’s O romance de Borges (2000); and Antonio Fernando Borges’s Memorial de Buenos Aires (2006). We observe that those narratives are structured around Borges’ biografemas and his literature which dialogs with both Borges’ poetry and the history of literature, besides utilizing intertextuality and metafiction as main stylistic features
Rippa, Ester Liliana. "Jorge Luis Borges : la division subjective : les incidences du bilinguisme dans son imaginaire." Paris 10, 2007. http://www.theses.fr/2007PA100053.
Full textThe present doctoral thesis carries out an analysis of the effect of Borges bilingualism and double filiation ( hispano–argentinian and anglo-saxon) on his writings. Supported on Lacan’s theory of the unconscious, the structural analysis reveals the forms through which the author’s subjective division impregnates his imaginary. These forms have a common denominator, they express a binary articulation or a division principle and, at the same time, a search of unicity, ideally achieved by the metaphysics way. A major place is given in this work to Anglo-Saxon authors whose influence marked Borges writings. It concerns Stevenson, Chesterton and Henry James mainly, but other authors are also evoked
Pinto, Tainá Hilana Oliveira. "A condensação entre poesia e trauma : um percurso com Augusto de Campos e Jorge Luis Borges." reponame:Repositório Institucional da UnB, 2012. http://repositorio.unb.br/handle/10482/11319.
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Esta pesquisa é uma investigação do conceito freudiano de condensação. Exploramos suas várias facetas e funções no sonho, na poesia, na lembrança encobridora, na vivacidade perceptiva e no trauma. Na realização dessa busca nos apoiamos em duas obras que se destacam por sua polifonia: Colidouescapo, um livro-poema de Augusto de Campos e O Aleph, um conto de Jorge Luis Borges. A partir destas obras trabalhamos a centralidade da condensação na linguagem e na poesia e o quanto ela se apresenta como responsável pela propriedade multívoca do significante. No campo dos sonhos exploramos a condensação e sua relação com o umbigo do sonho que comparece como limite do que pode ser dito, e daí partimos para sua ligação com o trauma. Então concluímos o trabalho numa aposta de que por via da condensação a poesia pode vir a ser uma produção que dá notícias do trauma. ______________________________________________________________________________ ABSTRACT
This research is an investigation of the condensation, a Freudian concept. We explore its various facets and functions in dreaming, poetry, screen memory, the perceptual vividness and trauma. During the conception of this research we have settled basis on two titles, that stand out for their polyphony: Colidouescapo, a book-poem by Augusto de Campos and The Aleph, by Jorge Luis Borges. Based on these titles we have worked the centrality of condensation in language and poetry and how condensation presents itself as responsible for the property of multiple meanings of the significant. In dream’s field we have explored condensation and its relations with the dream’s navel, that appears as the limit of what can be said, and then we explored its connection with the trauma. Then we concluded the work in a bet that through condensation the poetry might be a production that gives signs of the trauma.
Muñoz, Pilichi Germán. "Del rigor de la ciencia: sobre la lírica de madurez en Obra Poética de Jorge Luis Borges." Tesis, Universidad de Chile, 2004. http://repositorio.uchile.cl/handle/2250/145376.
Full textRiveros, Álvarez Guillermo. "El demiurgo ciego: la huella gnóstica en la narrativa de Jorge Luis Borges." Tesis, Universidad de Chile, 2011. http://repositorio.uchile.cl/handle/2250/110935.
Full textFacultad de Filosofía y Humanidades
Nuestra investigación se propone averiguar cuál es la forma en que el gnosticismo influyó en la narrativa de Borges, “como una posibilidad para la imaginación”, desde el temprano ensayo «Una vindicación del falso Basílides», publicado en 1932, hasta sus últimos relatos. Si bien es cierto la influencia del gnosticismo ha sido mencionada en más de alguna opor-tunidad por los estudiosos de la obra borgeana (Abraham, Barrenechea, Fernández Ferrer), nunca se ha investigado sistemáticamente acerca del tema, pese a que el mismo Harold Bloom ha señalado la conexión entre ambos imaginarios en más de una ocasión. A diferen-cia de Bloom, sin embargo, no nos hemos fijado como meta sostener que Borges sea un gnóstico propiamente tal, sino analizar de un modo algo más detallado y sistemático la forma en que la ideología o principio gnóstico (Jonas), entendido como un conjunto de doc-trinas específicas, motivos, imágenes, metáforas, e incluso como un tipo de tono existencial concreto, toma forma en su narrativa. Para llevar a cabo esta tarea, hemos fijado especial-mente nuestra atención en algunos de sus cuentos, tales como «El tintorero enmascarado Hákim de Merv», «Tlön Uqbar Orbis Tertius», «Tres versiones de Judas» o «Los teólo-gos», yendo desde la mera alusión hasta un conjunto de rasgos ideológicos dominantes, a partir de lo cual hemos podido sostener que de considerarse a Borges como un gnóstico este no puede ser sino una especie de gnóstico negativo, en tanto la peculiar gnosis borgeana coincide con la muerte, como también que el personaje gnóstico no es sino una de las va-riaciones del idiotipo estructural del «heterodoxo» que tanto fascina a Borges, concepto que hemos ideado especialmente para desarrollar nuestro trabajo.
Abboud, Marcella 1989. "Mistério e alteridade : reflexões sobre o Sagrado na obra de Borges." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270170.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Jorge Luis Borges fez de inúmeras áreas do conhecimento arma para o mesmo intuito: construir uma realidade ficcional. Com algumas tópicas do sagrado, não foi diferente; o autor argentino apropriou-se delas para construir grande parte de suas narrativas. Seu objetivo, no entanto, não era um mero trabalho estético. Borges intencionava a compreensão de algo maior: a compreensão do mistério. As referências foram muitas, especialmente as judaico-cristãs. Havia uma predileção notável por místicas e pela literatura marginal, o que evidencia um aspecto bastante relevante da sua obra, a saber, uma predisposição e um respeito notável pela alteridade. Nesse sentido, temos como escopo, no presente trabalho, perscrutar os movimentos estabelecidos por Borges e de que modo eles dão conta do seu intuito principal: estetizar o sagrado de modo a garantir a força ficcional do seu texto, buscando compreender o mistério e considerando, antes de tudo, a alteridade. Para alcançarmos tal desiderato, tomaremos como objeto de análise os contos La Biblioteca de Babel, La Escritura del Dios, Tlön, Uqbar, OrbiusOrbius Tertius, El Aleph e Los Teólogos
Abstract: Jorge Luis Borges made the same purpose with numerous areas of knowledge: to build a fictional reality. With some topical from sacred, it was not different; the Argentine author appropriated them to build much of their narratives. His intention, however, was not just an aesthetic work. Borges purposed understanding of something bigger: the understanding of the mystery. There were a lot of references, especially the Judeo-Christian. There was a remarkable predilection for mystical and marginal literature, which reflects a very relevant aspect of his work, namely a predisposition and a remarkable respect for otherness. Then, we scoped in this study to scrutinize the movements established by Borges and how he realizes his primary purpose: the sacred aestheticize to ensure the strength of his fictional text, trying to understand the mystery and considering before everything otherness. To accomplished it, we will take as the object of analysis the tales of La Biblioteca Babel, La Escritura del Dios, Tlön, Uqbar, Orbius Tertius, El Aleph and Los Teólogos
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
Cámpora, Magdalena. "La causalité fictive dans les œuvres d’Arthur Rimbaud et de Jorge Luis Borges." Paris 4, 2007. http://www.theses.fr/2007PA040118.
Full textThe works of Arthur Rimbaud and Jorge Luis Borges alter elements that define causal relation (temporal precedence of the cause, efficacy of agents and systems of causation, generalisation, proportion between the effect and the cause, linguistic markers). Using an expression coined by Roman Jakobson, we would like to speak of a fictitious causality elaborated through mechanisms such as: magical causality; confusion between temporal succession and cause; outrageous disproportion between a cause and its effect; reformulation of the etiological myth; presence of simultaneous, secret and unstable causal lines. These mechanisms, which are traceable in other texts, could be useful in a description of causality in fiction
Mendonça, Verônica Pereira de. "Narrativas fantásticas e objetos simbólicos : o fantástico nos contos “el zahir”, ”el aleph” e “la escritura del dios”, de jorge luis Borges." reponame:Repositório Institucional da UnB, 2015. http://repositorio.unb.br/handle/10482/19531.
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O trabalho proposto tem como principal objetivo analisar os enredos dos contos El Zahir, El Aleph e La escritura del dios, presentes no livro El Aleph, do escritor argentino Jorge Luis Borges. Os contos foram selecionados para um estudo mais elaborado, por serem contos de bastante expressividade e singularidade referentes aos símbolos e pelos argumentos contidos no livro El Aleph. A pesquisa objetiva encontrar pontos convergentes entre as três narrativas, demonstrado características do realismo fantástico presentes na escrita de Borges, sua importância para a formação dos símbolos borgianos e o papel desses símbolos como unidades de significação dentro do texto. Espera-se, a partir das análises, tentar chegar a uma visão das relações entre o texto, a significação dos símbolos presentes e o contexto geral das narrativas, pela demonstração de como as tramas das três narrativas em questão se interligam, se antecipam e se completam. ______________________________________________________________________________________________ ABSTRACT
This study is meant to examine the plots of the tales El Zahir, El Aleph and La escritura del dios, from the book El Aleph, written by the Argentine writer Jorge Luis Borges. The stories were selected for a more elaborate study, due to their expressiveness and uniqueness concerning symbols and arguments in the book El Aleph. The research aims to find convergence between the three narratives, demonstrating characteristics of the magical realism present in Borges’s writing, its importance for the formation of Borgesian symbols and the role of these symbols as meaning units within the text. It is expected, based on the analysis, to reach a view of relations between the text, the meaning of the symbols and the general context of the narrative. Showing thus how the plots of the three narratives in question interconnect, anticipate and complete themselves.
Henrique, Carolina Ramos. "Memória e imagem em Atlas de Jorge Luis Borges e em As cidades invisíveis de Italo Calvino." reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/33859.
Full textEsta dissertação analisa dois livros sobre viagens: Atlas , do autor argentino Jorge Luis Borges, e As cidades invisíveis , do autor italiano Italo Calvino. O objetivo do presente estudo é estabelecer as possíveis relações entre memória e imagem na literatura, através do estudo comparativo dessas obras. Para cumprir tal objetivo, o referencial teórico deste trabalho é composto principalmente por teorias e críticas literárias, como as de Roland Barthes, Maurice Blanchot, Ricardo Piglia, Michael Riffaterre e Tiphaine Samoyault. Fora isso, há estudos sobre a memória, incluindo autoras como Aleida Assmann e Frances Yates, e a teoria da fotografia, com destaque sobretudo para os estudos de Philippe Dubois. Depois de uma leitura aproximada aos textos literários e da apreciação do referencial teórico, constata-se que as relações entre memória e imagem funcionam em três estádios interdependentes: imaginação, representação e recordação. A imaginação está vinculada à formação de imagens mentais pelo escritor, antes que este escreva. Já a representação, é o momento em que a imagem é registrada no papel, através das palavras escolhidas para evocá-las. Finalmente, há a recordação, que ocorre quando o registro da imagem pensada pelo autor pode servir como uma forma de resistir à passagem do tempo ou, pelo menos, garantir sua presença nele.
This paper analyzes two books about travels: Atlas , by the Argentine author Jorge Luis Borges, and Invisible Cities , by the Italian author Italo Calvino. The goal of this study is to establish the possible relations between memory and images in literature through the comparison of these works. To achieve this goal, the theoretical framework of this research is mainly composed of literary theory and criticism, by thinkers such as Roland Barthes, Maurice Blanchot, Ricardo Piglia, Michael Riffaterre and Tiphaine Samoyault. Other than that, there are studies on memory, by Aleida Assmann and Frances Yates, and photography theory, by Philippe Dubois. After a close reading of the literary texts and the appreciation of the theoretical references, it is noticeable that the relations between memory and image work in three stages: imagination, representation and recollection. Imagination has a link with the mental imagery that the writer creates before he writes. Then, representation happens when that image gets registered on paper, through the words chosen to evoke it. Finally, there is recollection, which occurs when the represented image, once thought by the author, serves as a way to resist the passage of time or at least ensure its presence in it.
Vegh, Beatriz. "Le jeu baroque des variations dans les récits de Jorge Luis Borges et de Robert Pinget : le contrepoint de l'artifex." Paris 3, 1993. http://www.theses.fr/1994PA030037.
Full textThis thesis analyzes some narrative writings of jorge luis borges and robert pinget in the frame of the baroque redefined by three latin-american writers (sarduy, paz, lezama lima) as a "furious, challenging and new baroque", that leads to a de-centering of the work. Thus, instead of inscribing a revelation and a unity, the work inscribes the unfinished and the gaping. Contemporary criticism that view: barthes, kristeva, bessiere, derrida, deleuze. The writings of borges and pinget are also analyzed in the frame of the baroque music represented by j. S. Bach. In both writers, many references to the ornamental writing, the counterpoint or the passacaglia justifie this approach
Villarta-Neder, Marco Antonio [UNESP]. "Os movimentos do silêncio: espelhos de Jorge Luís Borges." Universidade Estadual Paulista (UNESP), 2002. http://hdl.handle.net/11449/154639.
Full textEsta tese empreende uma reflexão sobre o silêncio em relação à produção dos sentidos, tendo como corpus textos literários de Jorge Luís Borges, voltados para a temática do espelho, metáfora utilizada neste trabalho para representar a trajetória silenciosa do movimento dos sentidos. O silêncio é aqui assumido em duas categorias: (1) ausência, que representa o não dizer, e (2) excesso, que compreende a sobreposição que a palavra instaura sobre o silêncio ou sobre outras palavras. Essas relações dialéticas e complementares fazem do silêncio, mais que um apagamento das vozes do discurso, um procedimento de instauração da heterogeneidade. Sustentada na Análise do Discurso de linha francesa, discutiu-se o processo de constituição dos sentidos como movimento, do qual participa(m), o(s) silêncio(s), a palavra e a relação dialética entre eles, tendo como objetivos: (a) Identificar e discutir a existência de indícios (internos e/ou externos ao texto) que remetam o leitor para o silêncio; (b) discutir relações entre operações metaenunciativas, relações intertextuais e o texto escrito; c) no universo de textos selecionados da produção borgeana, apontar algumas especificidades do texto literário escrito enquanto configuração específica de silêncio(s) como procedimentos de instauração de heterogeneidade mostrada. Discutiram-se ainda as relações entre silêncio, autoria e funções do autor e do leitor, aspectos diretamente ligados às concepções e ao fazer estético da obra borgeana. Quanto a esta última, buscou-se caracterizá-la como um jogo dialético entre diversidades de silêncios, heterogêneos, e a relação destes com a palavra.
This thesis undertakes a reflection on the silence in relation to the production of the senses, using as corpus literary texts of Jorge Luís Borges, related to the thematic of the mirror, metaphor used in this work to represent the silent path of the movement of the meanings. The silence is assumed here in two categories: (1) absence, that represents the non-saying, and (2) excess, which represents the superposition that the word establishes on the silence or on other words. Those dialectic and complimentary relationships with the silence, more than a deletion of the voices of the discourse, is a procedure of establishment of the heterogeneity. Sustained in the Discourse Analysis of French line, the process of constitution of the meanings was discussed as movement, of which participate, silence(s), the word and the dialectic relationship among them. The work's objectives are the following: (a) to identify and to discuss the existence of indications (internal and/or external to the text) that send the reader for the silence; (b) to discuss relationships among metaenunciative operations, intertextual relationships and the written text; c) in the universe of selected texts of the borgean production, to point out some specificities of the literary writing text while specific configuration of silence(s) as procedures of establishment of shown heterogeneity. They were still discussed the relationships among silence, authorship and the author's and the reader's functions, aspects directly linked to the conceptions and to the aesthetic of the borgean work. Related to this last one, they were characterised as a dialectic game between diversities of silences, heterogeneous, and the relationship of these with the word.
Hare, Cecilia. "Syntaxe et style : description syntaxique de l'espagnol littéraire selon la syntaxe fonctionnelle, étude comparative de la syntaxe utilisée par Borges dans El informe de Brodie et Carpentier dans Los pasos perdidos comme un moyen d'aborder l'étude du style." Paris 5, 1993. http://www.theses.fr/1993PA05H088.
Full textTwenty-one syntactic classes organized in ten groups are defined according to their compatibilities. Functions are described syntactically. Frequencies for classes and functions are calculated. Sentences are analyzed using a diagram with predetermined slots on a horizontal moin beam for all possible functions. Determinations of the units on the main beam are attached underneath. The main purpose being to compare the shapes of the different networks thus created. Based on them style parameters are proposed. It is suggested that specific values based on frequency be assigned to each parameter. The plotting of these values should allow to draw up style profiles through factor analysis
Granados, Alvaro. "Borges, philosophie et théologie : source d'inspiration fantastique." Paris 8, 2003. http://www.theses.fr/2003PA082207.
Full textWhile staying within the framework of a literature conceived as the purely fantastic- in marked contrast to the realist novel - we have unveiled the sources of philosophical and theological inspiration which, by their idealistic and transcendental character as well as the mythic force that still underlies their subjects of reflection, create a propitious distanciation for the invention of fictions. The paradoxes that cancel all possibility of representing the world once the only interpretation allowed by our axiomatic postulates is a logical one; the contradictions born of irreconcilable dogmas but which in the absolute are two sides of the same coin; the intuition and the magical power underlying pre-Socratic thought and the mysteries of theogonic exegesis ; the idea of being able to read in the theories of Schopenhauer a map of the universe; and the combination of arguments that forms a metaphysical explanation of the world-all this, for Borges, is a branch of fantastical literature
Hardin, Allyson Leigh. "Leopoldo Lugones, Horacio Quiroga, and Jorge Luis Borges the development of the short story of effect /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3037019.
Full textFaé, Geneviève. "A mulher em Simões Lopes Neto e em Jorge Luis Borges : uma ausência presente?" reponame:Repositório Institucional da UCS, 2011. https://repositorio.ucs.br/handle/11338/166.
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Este estudio analiza las marcas de regionalidade y sus consecuencias en las relaciones de género tanto en la literatura regional de Simões Lopes Neto cuanto en la de Jorge Luis Borges, enfocando inicialmente la presencia de la "ausencia" femenina en la sociedad representada por ambos los autores. De ese modo, se defiende la hipótesis de que la mujer, en la vida del "gaúcho" simoniano y en la del compadrito borgeano, simboliza el desorden y la perdición, desembocando en el aniquilamiento masculino, acompañado del femenino en algunos de los cuentos, en los cuales la mujer hace parte del trágico desfecho. En ese sentido, por estimular una división radical de géneros, las sociedades representadas en los cuentos favorecen la identidad regional masculina, restando al femenino moverse en función de su sexualidad, lo que corrobora la relevancia de los elementos regionales no sólo en la producción simoniana, sino también en la borgeana, por veces leída como "universal", a despecho de sus implicaciones culturales.
Oliveira, Gustavo Palma de. "Novos meios de expressão filosófica : o debate com o pensamento monadológico na obra de Jorge Luis Borges." Universidade Federal de Uberlândia, 2013. https://repositorio.ufu.br/handle/123456789/15577.
Full textA presente dissertação tem por objeto o conteúdo da produção ficcional e ensaística do escritor Jorge Luis Borges, mais especificamente aquela composta durante as décadas de 1930 e 1940 e que tocam ou tematizam temas metafísicos. O objetivo é investigar se existe ali, subjacente, um projeto filosófico, e quais são as linhas gerais desse projeto. A introdução inclui breves considerações a respeito da importância da obra de Borges para o pensamento ocidental da segunda metade do século XX. O primeiro capítulo discute as limitações que se impõem a um projeto filosófico inscrito numa obra ficcional, e o horizonte de sua eficácia crítica. No capítulo seguinte, investigam-se os ensaios metafísicos que o escritor redigiu ao longo do período analisado, em busca de suas raízes filosóficas. Esse esforço concentra-se nas interpretações feitas por Borges dos sistemas edificados por Georges Berkeley, David Hume e Francis Herbert Bradley, e conduz à discussão da refutação, promovida pelo escritor por meio da aplicação do princípio dos indiscerníveis, da concepção de tempo que permeia a corrente idealista britânica. A refutação borgiana do tempo traz consigo, no entanto, o solapamento da noção de identidade pessoal, noção que, no entanto, é autoevidente. Tal paradoxo, demonstra-se no terceiro e último capítulo, Borges tentará resolvê-lo por meio de um mergulho crítico no sistema de Gottfried Leibniz, não mais pela via do discurso ensaístico, mas por meio da prosa ficcional. Nesse sentido, o capítulo final inclui um esboço do método pelo qual Borges, valendo-se dos recursos modais do discurso ficcional, coloca em discussão discursos de valor veritativo pretensamente superior, como é o caso da filosofia; bem como a resenha de contos escritos por Borges que ecoam categorias integrantes do sistema de Leibniz, com o objetivo de evidenciar a aplicação desse método e, por conseguinte, o sentido daquelas narrativas, que é, segundo nossa hipótese, de exibir, cada qual sob um ponto de vista diferente, a contradição fundamental do organismo conceitual leibniziano. Essa contradição consiste em que, malgrado todos os esforços do filósofo em resguardar a liberdade humana diante de uma cosmologia matemática perfeita e infinita, e não obstante a afirmação da independência individual da mônada, a condição humana que decorre dessa ordem é humilhante e nulificadora para o homem, pois o reduz a uma simples peça de um rígido sistema cósmico.
Mestre em Filosofia
Baldi, Armando Dogomar González. "José Hernández y Jorge Luis Borges : "Martín Fierro" y "El Fin", un caso de intertextualidad explícita y dialógica divergente." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36037.
Full textLa presente disertación de Maestría tiene por objetivo establecer, analizar y demostrar las relaciones de intertextualidad explícita y los aspectos interdiscursivos o dialógicos de cuño divergente existentes en dos obras oriundas de la literatura argentina de los pasados siglos XIX y XX: Martín Fierro de José Hernández escrita en 1875 y el cuento corto El fin de Jorge Luis Borges extraído de su obra Ficções de 1944. El estudio se fundamenta en los principios y postulados de la Literatura Comparada a partir de los presupuestos teóricos sobre el discurso levantados y defendidos por el lingüista y filósofo ruso Mijaíl Bajtin en la mitad del siglo pasado, durante el período estalinista de la ex Unión Soviética. El trabajo se complementa y cuenta, también, con la contribución de teóricos y pensadores oriundos de la Antropologia, Filosofia, Historia, Lingüística, Literatura, Paleontologia, Sociologia y Teologia da Libertación, de entre los cuales se destacan, Carlos Faracco, José Luis Fiorin, Javier Torres Vindas, Roque de Barros Laraia, Edgard Morin, Max Horkheimer, Louis Althusser, Herbert Marcuse, Frederic Jameson, Leonardo Boff, Gean Genette, Dominique Maingueneu, Jean Yves Tadie, Emanuele Padoa y Daniel Vidart entre otros, conjuntamente con los análisis de Beatriz Sarlo y Ricardo Piglia en lo que se refiere al universo literario borgiano.
Pérez, Villalobos Carlos. "Borges: la lectura como experiencia primordial." Tesis, Universidad de Chile, 2004. http://repositorio.uchile.cl/handle/2250/108797.
Full textLa lectura, postulamos, es el tema de la escritura de Borges y la presente investigación ensaya esclarecer, a través del análisis de su texto y de las condiciones de su enunciación, el tema de la lectura elevado por esa obra a experiencia fundamental. El "enunciado borgeano" define su singularidad en el hecho de especularizar narrativamente (como intriga y peripecia) la experiencia -extremedamente sofisticada- de lectura sobre sus propias condiciones literarias de enunciación.
Rivera, Barraza Carolina. "Borges y Baudelaire. Dos visiones de la ciudad moderna." Tesis, Universidad de Chile, 2004. http://repositorio.uchile.cl/handle/2250/110165.
Full textEn el presente trabajo, utilizaré la figura del flâneur que Walter Benjamin da a luz basándose en la figura de Charles Baudelaire. A partir de esta definición, tomaré los puntos más importantes de dicho concepto para posteriormente poder confrontar el artículo del profesor Cristián Cisternas y su teoría del “otro flâneur” presente en Borges, reflexión aparecida recientemente, a propósito de un proyecto Fondecyt y publicada posteriormente por la Revista Chilena de Literatura. Tal confrontación, no pretende refutar los postulados del profesor Cisternas a propósito de un “otro flâneur”, sino re-pensar las implicancias del concepto de flâneur, incluso más allá de las connotaciones teóricas que adquirió la palabra francesa desde la aplicación que Walter Benjamin sugirió para Baudelaire. En este sentido, el informe que sigue, hace una revisión tanto de las poéticas como de los espacios en las que se insertaron, de Jorge Luis Borges y Charles Baudelaire, en Fervor de Buenos Aires y Las flores del mal, respectivamente. Se trata de recorrer los espacio-tiempos de la modernidad sintomatizados en las obras de estos dos creadores y las similitudes, tanto como las diferencias, que se pueden rastrear en ambos.
Requena, de la Torre Maritza. "Lo fantástico en el Sur de Borges." Tesis, Universidad de Chile, 2006. http://repositorio.uchile.cl/handle/2250/110341.
Full textOtero, Sugden Leticia. "Paul Valéry et Jorge Luis Borges, deux écrivains à la recherche de leur identité : une lecture borgesienne de "Monsieur Teste"?" Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040152/document.
Full textTo consider a study about Paul Valéry and Jorge L. Borges is to understand that both writers have expressed particular concern about their identity, trying to always stay safe from an uncertain public role. The two authors have attempted to define - through a permanent and distressing search that we can read in their works – an ambiguous, paradoxical, sometimes monstrous human nature, as illustrated by Edmond Teste in the case of Valéry. During this constant and solitary quest, will be called the symbolic universes of dream, dramatic art, myths such as Proteus, the Minotaur and the Sphinx. Through these devices, man finds its confinement within two extremely complex worlds: the inner self and the infinite universe that surrounds him, each one with immeasurable dimensions. Then comes a new concept of «reader-writer-reader», embracing all their literary work who has become hereafter universal and infinite
Le, Goff Marcel. "Pour une lecture des récits de Borges : l'hypothèse auto-graphique." Rennes2, 2003. http://www.theses.fr/2003REN20018.
Full textThe aim of this study is to analyse the Borgesian narration from the notion of auto-graphy used in the sense of reproducing a piece of writing inside the text in which this piece of writing has been produced, in a way that can only be revealed once the text has been read in full. As far as the production is concerned, the scriptor is aware of his auto-graph gesture which can produce, either a " myth " defined as an object which only exists in and by signifiers (we will then talk about an auto-graph existence of the " myth "), or, behind the obvious diegesis, a secret story that we are only able to understand at its very end (evoking an auto-graphic intent from the outset). As far as the reception is concerned, the reader can grasp the auto-graphic intention built into the narration thanks to a re-reading (done, at least, mentally). Although meaningful, the auto-graph " myths " (such as the Aleph, Tlön or the Book of Sand) never prevent the scriptor from practicing auto-parody. Despite the confusion often observed in Borges's works, not only from a generic point of view (between poetry, essay and narration) but also with regard to the narrative writing (between story and discourse), we would like, in this study, to restore the latter split which is present in both titles of our major parts: "the auto-graphic condition of the narrative world" and "the auto-graph trend of the narrative discourse". The first part considers the question of the referent which may be seen between two borders: realism (its excess) and metaphysics (its defect); this section ends with short stories that evoke the world limits through the sacred, the secret and also the national. In the second part, organised around the search for the narrative voice expressed in the text, we tend to examine the links between auto-graphy and auto-(bio)-graphy; then we wonder about the author's political commitment. This problem, as well as that of the world and the nation, without being eluded to in Borges's work, receives, as we call on Schopenhauer, sui generis answers that may have led to recurrent disagreements with many critical writings
Grall, Catherine. "Enjeux de la brièveté dans quelques récits contemporains : nouvelles de Thomas Bernhard, de Jorge Luis Borges et de Raymond Carver." Paris 3, 2000. http://www.theses.fr/2000PA030005.
Full textBaldi, Armando Dogomar González. "A pampa como cenário discursivo : "A antiguidade do homem no prata" e O sul, diálogos paleontológicos e literários entre Florentino Ameghino e Jorge Luis Borges, uma abordagem interdisciplinar." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131783.
Full textLa 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.
Durante, Erica. "Questions de poétique : la voix de Dante dans l'écriture de Valéry et de Borges." Paris 3, 2004. http://www.theses.fr/2004PA030157.
Full textThis thesis offers a comparative study of Paul Valéry (1871-1945) and Jorge Luis Borges (1899-1986), in the light of Dante Alighieri's poetry (1265-1321). It delineates the reading of Dante's Comedy by Valéry and Borges, by analysing the notes of both writers and interpreting the references to Dante's work, which appear in their poetical and critical works. The analysis of the intertexts shows the extent to which both authors appropriate Dante, and reveals that the Italian poet triggered the return of Valéry and Borges to poetry. Alighieri also influenced the genesis of some of their texts, - Valéry's Cimetière marin and Borges's Poème conjectural. Dante became the symbol of the intellectual and spiritual journey through literature, which Valéry and Borges realized, each in his own way
Alegría, Sabogal Diego Cristóbal. "Pierre Menard : kamikaze antihistórico." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2008. http://tesis.pucp.edu.pe/repositorio/handle/123456789/461.
Full textTesis
Caturla, Viladot Alberto. "A orillas del texto. Por una teoría del espacio paratextual narrativo." Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/1742.
Full textLa investigación aborda desde diferentes enfoques de la Crítica y de la Teoría Literaria el fenómeno de la partextualidad. Se hace especial hincapié en las formulaciones de la Pragmática, la Teoría de la Recepción y la Deconstrucción al redituarlas dentro de una teoría que interprete aquellos textos que orillan la narración (prólogos, notas al pie, dedicatorias, etc.). El punto de vista adoptado oscila según la dialéctica existente entre cada paratexto individual y el denominado espacio paratextual. Asimismo, también se toman textos de ficción (Cervantes, Borges, Macedonio Fernández) que constituyen por sí mismos la crítica del concepto. Una teoría sobre las Orillas del texto permite distinguir y problematizar entre otras las diferencias entre texto, obra y libro.
The research presents paratextuality from several frameworks of the theory of literature and literary criticism. Special attention is given to the formulations of Pragmatics, Reception Theory and Deconstructivism, by placing them within a theory that interpretates those texts at the margins of the narration (prologues, footnotes, dedications,...) The adopted point of view adapts to the dialectic existing between each paratext and the so called paratextual space. Furthermore, fiction texts (Cervantes, Borges, Macedonio Fernandez) are used as examples that constitute by themselves the critique of the concept. A theory about the margins of text enables the distinction and problematization of the differences between text, work and book.
Aleksić, Branko. "Héraclite l'obscur et la poésie moderne (de T. S. Eliot, J. L. Borges, M. Ristic, M. Dedinac, R. Char, B. Miljkovic à O. Paz)." Paris 8, 1993. http://www.theses.fr/1993PA080794.
Full textT. S. Eliot (1888-1966), j. L. Borges (1899-1986), milan dedinac (1902 -1966), marko ristic (1902-1984), rene char (1907-1988), octavic paz (born 1914) and branko miljkovic (1934-1961): seven contemporaries, each with a distinct poetic sensibility, all nourished on the philosophy of heraclitus. Their relationship with the philosopher from ephes "who wrote like a poet" (suidas, byzantine literary encyclopedia) is examined for the first time in this study. These poets' writings were based on a vision of the world as a unity of contrasts - much of what they tried to express took this vision as a point of departure. It is in this concept of uninterrupted movement and transformation that the essence of poetic activity resides: this research is oriented towards the discovery of the points where poetry and philosophy meet. One of the titles ascribed to heraclitus' work was "the muses" (diogenes laertius, 3rd century a. D. ), a title that would be justified by the book's influence on later poets- latin, english and spaniards in the baroque, german in the xviii century and poets of xxth century. Heraclitus's enigmatic fragments would be reinvented by these later
Mollaret, Damien. "Le détour par l'autre : plurilinguisme et pseudonymie dans les oeuvres de Fernando Pessoa, Vladimir Nabokov, Jorge Luis Borges et Romain Gary." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30026.
Full text“I cannot stand my real name, I feel immediately stuck” says the narrator of Pseudo, a Romain Gary novel authored under his pseudonym, Émile Ajar. He adds that he “has attempted everything to run away from [himself]”. He tried specially to learn different languages and even to invent his own. Like Gary other writers have considered their mother tongue or their surname as restraints limiting their possibilities. In order to “feel everything in every way” (Pessoa’s expression) they would change their language or use pseudonyms. To jointly study multilingualism and the use of pseudonyms, we focused on four 20th century authors: the Portuguese poet Fernando Pessoa (1888-1935), the Russian-American novelist Vladimir Nabokov (1899-1977), the Argentinian writer Jorge Luis Borges (1899-1986) and the French novelist Romain Gary (1914-1980). The writings of all four authors are at the intersection of several languages and cultures. In addition to their mother tongue, they each mastered French and English. They used English as a second language for their writing, were translators and/or self-translators. Additionally, all four took pseudonyms and invented fictitious alter egos. Pessoa’s concept of heteronym (closely connected to his multilingualism) allowed us to shed light on the work of the three other authors. To do this, we compared Pessoa’s main heteronyms with those of Bustos Domecq (pseudonym of Borges and Bioy Casares), Emile Ajar (pseudonym of Gary, embodied as the straw man Paul Pavlowitch) and Sirine (Nabokov’s Russian alter ego). Like translation, heteronymous writing requires some depersonalization. And like self-translation, it forces the author to confront an alter ego. To write in another language or to invent a new style in one’s own language, one must renounce a part of one’s self. This thesis aims to show that for these authors using pseudonyms and writing in different languages represents less of a rejection of their identities than an indirect way to come back to themselves. Freed from themselves by their heteronyms, they can better appreciate who they are, be self-critical and thus they can open their hearts to their readers. Writing in a second language also creates a certain distance that enables them to confess and experiment