The Classical Tradition of Cosmopolitan “Spiritual Exercises” in Jorge Luis Borges and Latin American Postnational Literature

2017 ◽  
pp. 149-170
Author(s):  
BERNAT CASTANY PRADO
Keyword(s):  
Classical Tradition ◽  
Latin American ◽  
Jorge Luis Borges ◽  
Spiritual Exercises

The Classical Tradition of Cosmopolitan “Spiritual Exercises” in Jorge Luis Borges and Latin American Postnational Literature

2017 ◽  
Author(s):  
Bernat Castany Prado
Keyword(s):  
American Literature ◽  
Classical Tradition ◽  
Latin American ◽  
Jorge Luis Borges ◽  
Latin American Literature ◽  
Direct Result ◽  
Spiritual Exercises ◽  
Western Literature ◽  
Hispanic Literature ◽  
Decisive Influence

Castany Prado’s chapter offers a fuller understanding of Borges’s cosmopolitanism, which has been influential in contemporary Western literature in general, and, more specifically, in postnational Latin American literature. The author traces the roots of cosmopolitanism back to the teachings of the Cynics, the Epicureans, the Stoics, and the Neo-Platonists, before identifying their literary projections in contemporary Hispanic literature. He then argues that the postnational paradigm is neither the direct result of recent globalization processes, nor can it be understood in solely internationalist terms; rather, it is heir to a millennia-long tradition of philosophical cosmopolitanism. This is especially important in the area of postnational Latin American literature, for which, according to Castany Prado, Borges constitutes a decisive influence.

Borges, libros y lecturas: investigación y método

2021 ◽  
Vol 13 (1) ◽  
pp. 3-27
Author(s):  
Marcelo NEDER CERQUEIRA
Keyword(s):  
Latin American ◽  
Clinical Observation ◽  
Buenos Aires ◽  
Jorge Luis Borges ◽  
National Library ◽  
The Aesthetic ◽  
American Authors ◽  
Personal Collection ◽  
Complete Process

Upon leaving his post as director of the Mariano Moreno National Library in Buenos Aires, Jorge Luis Borges appointed a clerk to package and identify the ownership of the works in his personal collection, with a number of them remaining in the institution and classified as an official donation made by the writer. This text examines the works belonging to the personal collection and listed in the Borges, libros y lecturas [Borges, books, and readings] catalogue. The complete process for identifying all of the books took place almost 40 years later, by means of the research behind the publication of Borges, libros y lecturas in 2010. The following text focuses on the care Borges took in framing his work and with his author’s legacy, even including countless jokes and enigmas meticulously woven into his biographical fiction. We depart from the idea that it would not be absurd to suppose that the collection donated by the author to the library does not so much constitute an act that was purely casual, contingent, and spontaneous, but rather a conscious move strangely planned by the author and in which he was invested. The inclusion of Latin American authors in Modernism and Romanticism and their appropriations of culturalist epistemological innovations by means of their Catholicism are examined by means of the aesthetic-expressive method, in which we outline paths to clinical observation with the observer’s participation.

scholarly journals Mirrors, Contradictions and Paradoxes in Los espejos comunicantes, by Óscar Hahn

2020 ◽  
Vol 13 (4) ◽  
pp. 88-106
Author(s):  
Manuel Castañeda
Keyword(s):  
20Th Century ◽  
Latin American ◽  
Jorge Luis Borges ◽  
American Poetry ◽  
The Other ◽  
Octavio Paz ◽  
True Nature ◽  
Latin American Poetry

As in all cultures, the mirror is a recurring symbol in both Latin-American poetry and narratives. It has various meanings when seen in different literary contexts. The most notable poets of the 20th century, such as Jorge Luis Borges, Octavio Paz, and Carlos Pellicer associate it with mystery, horror, silence, emptiness, catastrophe, and everything which is contradictory, paradoxical, and strange. According to some, the mirror itself reveals the source of poetry and literature, a kind of abyss from which something arises out of nothing. It also allows one to see himself through the eyes of the other. In the book of poetry entitled Los espejos comunicantes, Óscar Hahn, the mirror is a constant entity. Like the aforementioned poets, he reiterates the same obsessions, images, and symbols associated with it. However, here the mirror takes on a new dimension which has not been explored by the others. His poems suggest that what is reflected in the mirror, our wishes, dreams, feelings, and fears, are our true reality. The reality displayed in the mirror is beyond our control. It cannot be understood, organized or classified for our own benefit in the name of science and progress. On the contrary, what should be limited by the confines of the mirror escapes and consumes our reality. For Óscar Hahn our true nature is catastrophe, chaos, passion for destruction, and a love of death. This essence emerges from the mirror and devours everything.

scholarly journals A propósito de la recepción americana de la tradición europea: Ezequiel Martínez Estrada y Jorge Luis Borges

2020 ◽  
Vol 27 ◽  
pp. 193-207
Author(s):  
Amán Rosales Rodríguez
Keyword(s):  
20Th Century ◽  
Latin American ◽  
Cultural Context ◽  
Jorge Luis Borges ◽  
Specific Role ◽  
Cultural Tradition ◽  
Intellectual Life ◽  
European Tradition

On the American reception of the European tradition: Ezequiel Martínez Estrada and Jorge Luis BorgesThe aim of this paper is to confront the opinions of Ezequiel Martínez Estrada and Jorge Luis Borges, the two most significant Argentinian essayists of the 20th century, concerning American reception of the European cultural tradition. Both the convergences and the divergences between them are underlined. Although Martínez Estrada and Borges converge in criticism of their writings, fictional and non-fictional, a narrow nationalistic view of culture and literature — defending a more cosmopolitan stance — at the same time they diverge strongly about the more specific role that literature should play in modern Argentina and Latin-American societies. The comparison between these two writers also teaches us about some of the ways in which intellectual life has been conducted in the Latin-American cultural context over the years.

scholarly journals Bangla Translations of Latin American Poetry: A Critical Study

2021 ◽  
pp. 47-108
Author(s):  
Ranita Chakraborty Dasgupta ◽  
Keyword(s):  
Latin American ◽  
Jorge Luis Borges ◽  
American Poetry ◽  
Octavio Paz ◽  
Critical Study ◽  
Pablo Neruda ◽  
Latin American Poetry ◽  
Little Magazines ◽  
American Poets ◽  
Latin American Literatures

The aim of this study is to map the reception of Latin American Poetry within the corpus of the Bangla world of letters for three decades, from 1980 to 2010. In the 1970s and the 1980s, the influence and reception of Latin American Literatures in Bangla was reflected primarily in the introductions to translations, preludes, and conclusions of translations. During the late 1960s and the early 1970s Latin American poets like Pablo Neruda, Victoria Ocampo, Octavio Paz, and Jorge Luis Borges had caught the attention of eminent Bangla poets like Bishnu Dey, Shakti Chattopadhyay, and Shankha Ghosh who started taking interest in their works. This interest soon got reflected in the form of translations being produced in Bangla from the English versions available. The next two decades saw the corpus of Latin American Literatures make a widespread entry into the world of academic essays, journals, and articles published in little magazines along with translations of novels, short stories and poetry collections by leading Bangla publication houses like Dey’s Publishing, Radical Impressions, etc. This period was marked by a proliferation of scholarship in Bangla on Latin American Literatures. By the 21st century, critical thinking in Latin American Literatures had established itself in the Bangla world of letters. This chapter in particular studies the translations of Latin American poetry by Bengali poets like Shakti Chattopadhyay, Subhas Mukhopadhyay, Bishnu Dey, Buddhadeb Bhattacharya, Shankha Ghosh, Biplab Majhi among many others. The analysis relates to issues they focus on including themes like self, modernity, extension of time and space, political and poetic resonances, and untranslatability. Through a step by step research of the various stages of translation activities in Bengal and Bangla, it traces how translations of Latin American Literatures begin to take place on literary grounds that had already become sites of engagement with these issues. The chapter further explores the ways in which all these poet-translators situate their translations in relation to the issues of concern. In addition, it also addresses the question of what they hence contribute to Bangla literature at large. I first chose to explore the ways in which these issues are framed in the reflections and debates on translation in India and Bengal in the 20th century. Thereon I have tried to show how these translations of Latin American poetry developed their own thrust in relation to these issues and concerns.

scholarly journals REPENSANDO AS FRONTEIRAS: A TRADUÇÃO DE IDENTIDADES NA OBRA DE JORGE LUIS BORGES

Organon ◽  
2004 ◽  
Vol 18 (37) ◽  
Author(s):  
Denise Vallerius De Oliveira
Keyword(s):  
Latin American ◽  
Jorge Luis Borges ◽  
The Other ◽  
Human Being ◽  
New Frontier ◽  
Proper Definition ◽  
Set Up ◽  
The One ◽  
The City ◽  
As If

The rearrangement of concepts about frontiers has made possible the emergence of a different approachto Jorge Luis Borges’ regionalist production – this production has often been misunderstood and supposedlyconsidered inappropriate in relation to his other universal and remarkable masterpieces. However, the themefrontiers is set up within the limits of his pampa i revealing the need to search for identities that insist on denyingtheir own proper definition. It demands different representations: first, the frontier between the country and the city,in the shade of Sarmiento and Hernández – the former, desiring a civilized and urbane Argentinean identity, totallyagainst the country barbarian; the latter, speaking of the pampa and the gaúchoii as if in a free existence, opposite tothe urbanized world. After these descriptions of city and country, Borges proposes to talk about the “arrabal”region, which translates a certain meaning of frontier, delineated by “fights and guitars” between the pampa andBuenos Aires. Once this new frontier is established, he tries to write about the ambiguous human being who lives inthat region: the compadrito – a mix of the urban man and the gaucho. This compadrito belongs to a place whichcannot be completely delimitated; he is intended to be not only a representation of Argentina’s culturecharacteristics, once his identity is often migrating between the I and the Other, thus making possible the listening tothe voices of differences, therefore translating this frontier identity – the one that truly represents the very Latin-American self.

scholarly journals Just How Marginal Was Machado de Assis? The Early Translations and the Borges Connection

2014 ◽  
Vol 5 (1-2) ◽  
pp. 80
Author(s):  
Rhett McNeil
Keyword(s):  
Latin America ◽  
American Literature ◽  
Latin American ◽  
Jorge Luis Borges ◽  
Machado De Assis ◽  
Brazilian Literature ◽  
Fiction Writers ◽  
Literary Cultures ◽  
History Of ◽  
A Minor

Brazilian literature is traditionally understood to have developed in relative isolation from the literatures of Hispanophone Latin America, inhabiting a peripheral cultural space within the already peripheral sphere of Latin American literature. Perhaps the most striking example of this traditional conception is the commonly held assumption of the complete literary-historical separation of two of Latin America’s most renowned fiction writers: the Brazilian Joaquim Maria Machado de Assis and the Argentine Jorge Luis Borges. Machado de Assis, in particular, is often regarded as inhabiting a double cultural periphery, as both a Latin American and a Brazilian, who, furthermore, wrote in a “minor” language, never traveled outside of his own country, and rarely ever left his native Rio de Janeiro. Another enduring belief, tangential to the tale of Brazil’s cultural isolation, is that Machado de Assis’s work went untranslated, by and large, until about half a century after his death. Yet the early translation history of Machado’s work offers a fascinating insight into the literary ties that connect his work to the dominant literary cultures of the Americas and Europe and provides an intriguing literary-historical link between Machado de Assis and Jorge Luis Borges. Curiously, the connection between Machado and Borges, whose countries share a border, follows a route of translational cultural exchange through France and Spain, and involves a prolific translator who was both the first Spanish translator of Machado’s short fiction and the mentor of a young Borges: Rafael Cansinos Assens. Thus, the early history of Machado’s fiction in translation demonstrates that Machado is a much less peripheral figure than previously imagined, and that, through Machado, Brazilian literature is more intimately intertwined with the literatures of Hispanophone Latin America and the cultural capitals of Europe than critics and scholars have recognized.

Male or Female Time? Milorad Pavić’sDictionary of the Khazarsand Gabriel García Márquez’sOne Hundred Years of Solitude

2015 ◽  
Vol 23 (3) ◽  
pp. 396-405
Author(s):  
Ksenija Vulović
Keyword(s):  
Latin American ◽  
Jorge Luis Borges ◽  
Gabriel Garcia Marquez ◽  
Nobel Laureate ◽  
Male And Female ◽  
Literary Traditions ◽  
Cultural Dialogue ◽  
Equal Right ◽  
Relationship Of ◽  
The Relationship

The erudite and encyclopaedic prose of Milorad Pavić has been rightfully compared to the works of the famous Argentine writer Jorge Luis Borges. The question for the modern interpreter is the extent to which this critical view prevents us from observing less remarkable similarities between Pavić’s novel and Latin American literary traditions. Interlaced motifs of time and text in the prose of Milorad Pavić can, with equal right, be linked to a masterpiece of the Colombian Nobel laureate Gabriel García Márquez. The distinction between male and female time or between male and female versions of the book in Pavić’sDictionary of the Khazarsis well-known. Less known is that inOne Hundred Years of Solitudeby García Márquez the relationship of time to text also depends on the sex of the characters. ComparingDictionary of the KhazarsandOne Hundred Years of Solitudeoffers a new possibility for approaching the issue of cultural dialogue.

scholarly journals Saúl Yurkievich en la “nueva crítica” latinoamericana

2016 ◽  
Vol 13 (1) ◽  
pp. 168
Author(s):  
Libertad Garzón Hurtado
Keyword(s):  
Latin American ◽  
Jorge Luis Borges ◽  
Literary Work ◽  
Octavio Paz ◽  
Julio Cortazar ◽  
Severo Sarduy ◽  
Jose Lezama Lima ◽  
America Latina ◽  
Siglo Xx ◽  
Julio Cortázar

Resumen: Saúl Yurkievich pertenece a una larga tradición de escritores y poetas que se dedican también a la lectura experta de las obras literarias. En América Latina, Octavio Paz, Jorge Luis Borges, Julio Cortázar, José Lezama Lima y Severo Sarduy continúan en la segunda mitad del siglo XX la tradición iniciada por los poetas modernistas. Saúl Yurkievich es heredero directo de esta generación de escritores-críticos y quizás uno de los más radicales exponentes de lo que, apropiándonos de la expresión de Paz, podríamos denominar la poesía vista desde la poesía. Este artículo presenta una primera aproximación a la obra crítica de Yurkiévich en el marco de lo que Guillermo Sucre denominó la tradición de la “nueva crítica” latinoamericana.Palabras Clave: Saúl Yurkiévich, ensayo crítico literario, Guillermo Sucre, la nueva crítica.************************************************************************Saúl Yurkievich in Latin American “new critique”Abstract:  Saul Yurkiévich makes part of a long tradition of writers and poets devoted also to the expert reading of pieces of literary  work. Octavio Paz, Jorge Luis Borges, Julio Cortázar, José Lezama Lima, and Severo Sarduy in Latin America continue in the second half of the XXth Century the tradition pioneered by the modernist poets. Saul Yurkievich is a direct heir of this generation of writers and critics, and is perhaps one of the most radical examples of what, taking the expression of Paz, we could called poetry seen from poetry. This article presents a first approach to the critical work of Yurkiévich within the frame of what Guillermo Sucre called Latin American “new critique.”Key words: Saúl Yurkievich, literary critical essay, Guillermo Sucre, new critique.************************************************************************Saul Yurkievich na nova critica Latino-AmericanaResumoPertence Saul Yurkievich a uma longa tradição de escritores e poetas que se dedicam também à leitura atenta das obras literárias. Na América Latina Octavio Paz, Jorge Luis Borges, Julio Cortázar, José Lezama Lima e Severo Sarduy continuam a busca na segunda metade do século XX da tradição começada pelos poetas modernistas. Saul Yurkievich é herdeiro direto de esta geração de escritores-críticos e tal vez um dos mais radicais expoentes do que, nos apropriando da expressão de Paz poderíamos denominar a poesia vista desde a poesia.  Este artigo apresenta uma primeira aproximação à obra crítica de Yurkiévich no marco do que Guillermo Sucre denominou a tradição da nova crítica latino-americana.Palavras chave: Saul Yurkiévich, ensaio crítico latino-americano, Guillermo Sucre, a nova crítica.

scholarly journals Analysis of Latin American literature through a mathematical lens

2021 ◽  
Vol 4 (1) ◽  
pp. 141-147
Author(s):  
Hugo Romeo Cedeño Cedeño ◽  
Telly Yarita Macías Zambrano
Keyword(s):  
American Literature ◽  
Latin American ◽  
Jorge Luis Borges ◽  
Latin American Literature ◽  
Literature Analysis ◽  
Engineering Student ◽  
The Arts ◽  
Nicanor Parra ◽  
Math Concepts ◽  
American Authors

Several of the most influential Latin American writers were interested in the sciences. Moreover, a handful showed an affinity to mathematics since childhood, eventually following careers as physicists, engineers, and mathematicians before turning their attention to the arts. In the end, they became novelists, essayists, and poets, who made significant contributions to their field. There is a large amount of existent traditional literature analysis research on Latin American authors. In the last sixteen years, research has shifted to include a focus on the connection between math and literature. However, this research focuses on interpreting the ideas of the universally acclaimed writer Jorge Luis Borges, studying his scientific thinking through his works, and demonstrating the writings included both basic and advanced math concepts even though he lacked a formal mathematical and scientific formation. Currently, there is a gap in the research that ignores the influential Latin American authors who were also prolific in mathematics. As a math and engineering student, I am interested in studying the work of Latin American writers with academic backgrounds in STEM fields--specifically mathematics. I intend to examine the writings of Ernesto Sabato, Guillermo Martinez, and Nicanor Parra for explicit math terminology and concepts.

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