scholarly journals Cooperative Collection Building: A Response to Gerald Beasley

2007 ◽  
Vol 8 (1) ◽  
pp. 29-34 ◽  
Author(s):  
Bruce Whiteman
Keyword(s):  
Buenos Aires ◽  
Jorge Luis Borges ◽  
British Museum ◽  
National Library

I would like to begin by disputing emphatically Gerald Beasley’s contention that librarians never become rich and famous. Sir Anthony Panizzi (1797–1879), Principal Librarian of the British Museum, was both, and so was Jorge Luis Borges (1899–1986), Director of the National Library in Buenos Aires. Well, perhaps Panizzi was not exactly a celebrity, and perhaps the source of Borges’s fame and riches was not his role as the National Librarian of Argentina. But what about the Abbé Rive, librarian to the Duc de la Vallière? He was infamous, if not famous, for being one of the most irascible . . .

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.

Los barrios de Buenos Aires en Adrián Gorelik y Jorge Luis Borges 1900-1936

revistapuce ◽  
2016 ◽  
Author(s):  
Inés Del Pino Martínez
Keyword(s):  
Buenos Aires ◽  
Jorge Luis Borges ◽  
Siglo Xx

El ensayo trata sobre dos textos que trabajan la historia urbana de Bue­nos Aires: La grilla y el parque escrito por Adrián Gorelik y El Buenos Aires de Borges de Carlos Alberto Zito. El primero analiza la ciudad desde la historia urbana y la cultura y el segundo reflexiona desde su propia experiencia el Buenos Aires que reinventó Borges, la ciudad en la cual na­ció y vivió y a la que siempre se refirió con afecto. El examen de los textos sugiere que el investigador académico, sensible al mensaje del lenguaje literario, puede traducirlo en la clave de la disciplina que trata sobre la historia y el espacio urbano y elaborar un concepto apropiado para la identidad de barrio en el Buenos Aires del primer tercio del siglo XX.

scholarly journals Jorge Luis Borges em dois juízos finais

2017 ◽  
pp. 216
Author(s):  
Gustavo Ponciano Cunha de Oliveira
Keyword(s):  
Buenos Aires ◽  
Jorge Luis Borges ◽  
Beatriz Sarlo

Em 1988, Beatriz Sarlo propõe uma passagem entre duas poéticas em Jorge Luis Borges: de Evaristo Carriego (1930) em direção a Historia universal de la infamia (1935). Os dois textos são “insidiosos”, defende a pesquisadora, porque falsificam as biografias de seus personagens. Porém, a coletânea de 1935 opera em âmbito universal. Este movimento, afirma Sarlo, é portador de um acumulo de prerrogativas, associado à dupla inscrição de Borges: o cidadão do mundo e, simultaneamente, o de um país pensado a partir de Buenos Aires. Neste ensaio, sugerimos uma passagem anterior, evidenciada em “Sentirse en muerte” (1928): do criollismo – o poeta dos arrabaldes, dotado da capacidade de transporte sensível e instalado nos limites de sua cidade imaginada, que busca a representação poética digna de seu conceito de argentinidade – em direção à prosa que alcança o caráter argumentativo-reflexivo dos ensaios sobre o tempo e a eternidade característicos de Borges, início de sua legitimação como “percibidor abstracto del mundo”. Este movimento é também portador de um acúmulo de prerrogativas, dupla inscrição de Borges: como poeta, literato e ensaísta programático do criollismo; como meditador dedicado aos assombros contidos em nossos conceitos de vida, tempo e universo, operador de textos da Filosofia e da Teologia.

scholarly journals Pensar la traducción como obra de arte

2017 ◽  
Vol 1 (1) ◽  
pp. 123
Author(s):  
Aline Celia Tonon Parra
Keyword(s):  
Buenos Aires ◽  
Jorge Luis Borges ◽  
César Aira ◽  
Cesar Aira

El siguiente trabajo ha sido presentado para evaluación final del curso realizado en intercambio en la Universidad de Buenos Aires en mayo de 2016. El curso –que se llamó “Filosofía de la Traducción” y cuyo profesor responsable era Horácio Gonzales– incentivaba la discusión de la posibilidad de pensarse un género artístico a partir de los lenguajes de otros géneros y entender cómo se da el proceso de una nueva época o una forma original de sensibilidad antes desconocida a partir de un descubrimiento artístico. Traducción era pensada allí como una práctica de diversas interpretaciones posibles para el hacer y entender artístico y filosófico. ¿Sería posible pensar el propio acto de traducir como una creación artística? A partir de la lectura de diversos autores que permean el tema de manera más teórica –como Benjamin y Haroldo de Campos– y también de autores que lo abordan desde una concepción más poética del tema –como es el caso de Cesar Aira y Jorge Luis Borges–, este ensayo busca abrir nuevas posibilidades para el entendimiento de la traducción como categoría estética.

Ultraísmo

2018 ◽  
Author(s):  
Dagmar Vanderbosch
Keyword(s):  
Buenos Aires ◽  
Cultural Distance ◽  
Jorge Luis Borges ◽  
Spanish America ◽  
Spanish American ◽  
American Modernism ◽  
Avant Garde ◽  
Vicente Huidobro ◽  
Short Period ◽  
Guillermo De Torre

Ultraísmo is an early twentieth-century art movement which developed in Spain around 1920 and was introduced to Argentina by Jorge Luis Borges in 1921. It was strongly influenced by European avant-garde movements, particularly Cubism and Dadaism, and by the Chilean poet Vicente Huidobro’s Creationism. The poets of Ultraísmo rejected the fin de siècle aesthetics of Spanish and Spanish-American modernism and experimented with the graphic and acoustic dimensions of poetry, emphasising rhythm over rhyme. The origins of Ultraísmo go back to late 1918, when Vicente Huidobro visited Madrid for a short period, and Rafael Cansinos Assens, host of a literary circle in the Café Colonial, wrote the first Ultraist Manifesto, published in the magazine Grecia in January 1919 (Videla 1963: p. 27). Other founding texts of the movement are El movimiento ultraísta español and Manifiesto Vertical, both written by Guillermo de Torre in 1920. The movement of Ultraísmo was oriented both toward Europe and Spanish America. Ultraísmo adopted ideas from different European avant-garde movements in an effort to reduce the cultural distance between Spain and the rest of Europe, rather than develop an original programme. Their poetry gives importance to images and metaphors, experiments with typography and calligrams, rejects punctuation and often rhyme, and focuses on poetic rhythm. Ultraísmo developed in Spanish America when Jorge Luis Borges, who had spent several years in Spain and had published poems in Ultraist magazines, introduced the movement in the literary circles of Buenos Aires upon his return to Argentina in 1921.

scholarly journals Un poema olvidado de "Fervor de Buenos Aires": 'Tarde lacia'

2004 ◽  
Vol 52 (2) ◽  
pp. 509
Author(s):  
Antonio Cajero Vázquez
Keyword(s):  
Buenos Aires ◽  
Jorge Luis Borges

Jorge Luis Borges publicó, por lo menos, once poemas antes de incluirlos en Fervor de Buenos Aires (1923); entre ellos “Tarde lacia” (Tableros, febrero de 1922, núm. 4), tercera estrofa de “Sábados”, que desapareció de Fervoren 1943. Ninguno de los editores ha destacado esta relación, por ello, en esta nota se señalan las variantes entre la versión de la revista y la del libro, y se propone una edición crítica con ambos testimonios. También se muestran algunos de los procesos de la reescritura borgeana: aglutinar varios poemas en uno, reescribir poemas con versos ya publicados y convertir fragmentos prosísticos en verso.

scholarly journals Vlady Kociancich y la imaginación fantástica

2008 ◽  
Vol 16 (1) ◽  
pp. 23-30
Author(s):  
Aída Nadi ◽  
Gambetta Chuk
Keyword(s):  
Buenos Aires ◽  
Jorge Luis Borges ◽  
Adolfo Bioy Casares ◽  
Sobre Todo

La obra literaria de Vlady Kociancich (Buenos Aires, 1941) entronca con la literatura fantástica argentina y, muy especialmente, con la dirección rectora de la literatura fantástica de Adolfo Bioy Casares y, de algún modo, también con la de Jorge Luis Borges, con un aire personalísimo, es decir, como un conjunto de aventuras fantásticas basadas en construcciones lógicas y en una prodigiosa imaginación fantástica que deambula, sobre todo, en metaficciones que engarzan la propia e inmediata realidad representada con las representaciones literarias de textos fantásticos de otros autores – los autores preferidos de Kociancich: Dostowiesky, Chéjov, Poe, Conrad, James, Borges, Svevo, Sciascia– sin solución de continuidad, bajo el lema de la doble identidad de vida y literatura, tanto en el caso de las representaciones propias como las ajenas, también convertidas en propias, en una suerte de espejo identitario del que pueden, consecuentemente, apropiarse los lectores. De la totalidad de las narraciones fantásticas de Kociancich1  este artículo reflexio- nará, principalmente, sobre La octava maravilla, Amores sicilianos y La ronda de los jinetes muertos.

scholarly journals Falando para as paredes. A questão nacional argentina em um discurso radiofônico de Jorge Luis Borges

2012 ◽  
pp. 09-32
Author(s):  
Gustavo Naves Franco
Keyword(s):  
Buenos Aires ◽  
Jorge Luis Borges

O artigo oferece uma análise das reflexões e posicionamentos políticos do escritor argentino Jorge Luis Borges nos anos 1930, com destaque para a leitura de um discurso radiofônico redigido pelo autor por ocasião do quarto centenário de Buenos Aires. São avaliadas as transformações pelas quais sua conduta intelectual vinha passando naquele momento de rearticulação de forças na sociedade portenha, quando as perspectivas de evolução sócio-histórica da Argentina eram incertas, ao mesmo tempo em que a situação geopolítica mundial vivia um momento de indefinição. Assim, é proposto um entendimento de sua retórica e de seus enunciados como resultados da adoção de um nacionalismo moderado e pragmático, tendo em vista sua defesa de valores e ações por ele associados ao século XIX e à tradição britânica, os quais teriam sido corrompidos pelos próprios agentes responsáveis por sua preservação no século XX.

scholarly journals Walking the city and the neighbourhoods of Buenos Aires. Argentine Literature in the 1920s and 1930s

2021 ◽  
Vol 14 (4) ◽  
pp. 127-153
Author(s):  
Pablo Baisotti
Keyword(s):  
Short Stories ◽  
Buenos Aires ◽  
Jorge Luis Borges ◽  
Roberto Arlt ◽  
Argentine Literature ◽  
Social Question ◽  
The People ◽  
The Social ◽  
The One ◽  
The City

This article presents an overview of Buenos Aires, city and neighbourhoods, from the viewpoints of several authors who participated in the literary life of the 1920s and 1930s, portraying the evolution of modernity and the social question –inequalities. Novels, short stories, poems and magazines from the period in question were used to frame these issues and unravel the objectives set. It concludes by exposing the variety and diversity of the city and the neighbourhoods of Buenos Aires, as well as the people who inhabited them and the Buenos Aires literary currents of the period, headed by Jorge Luis Borges, on the one hand (Florida group), and Roberto Arlt (Boedo group), on the other.

Johnson and Borges

2019 ◽  
pp. 189-212
Author(s):  
Greg Clingham
Keyword(s):  
English Language ◽  
Jorge Luis Borges ◽  
Cultural Criticism ◽  
Cultural Value ◽  
National Library ◽  
Value Changes

Greg Clingham’s “Johnson and Borges—Some Reflections” considers whether (and how) Johnson’s cultural value changes when he is placed in relation to Jorge Luis Borges, the great modern fantasist, conversationalist, essayist, poet, and director of the National Library of Argentina. It explores Borges’ life-long love of and imaginative engagement with Johnson found not only in his literary and cultural criticism, but also in fifty-five years of recorded conversations with his Argentine colleague and friend Adolfo Bioy Cesares and others, such as Willis Barnstone, and in the fact that Borges and Bioy translated the Lives of the Poets into Spanish (a work, lamentably, that was never published). Clingham argues that Borges saw in Johnson not the embodiment of enlightenment hegemony, and thus a figure to be spurned or patronized, but (along with Shakespeare) the quintessential writer of the English language, and a radiant image of the blind modern writer’s own magical poetic and expansive self.

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