Permitido copiar textos; favor de citar. Premio literario: In Xochitl in Cuitcatl, 1er. Premio Social: Nacional de Liderazgo de la Asoc. Liderazgo Hoy,
|Country:||Moldova, Republic of|
|Published (Last):||8 January 2007|
|PDF File Size:||16.68 Mb|
|ePub File Size:||2.4 Mb|
|Price:||Free* [*Free Regsitration Required]|
But a more intriguing comparison between his essays and his stories can be posed in this question: what is the difference for him between one genre and the other? Hence, in these essays, he can use historical deeds to investigate the aesthetic phenomenon, to remark that the "inventions of philosophy are no less fantastic than those of art," to find in his own work a tendency to "evaluate religious or philosophical ideas on the basis of their aesthetic worth," and to add epilogues and afterthoughts that are the beginnings of those Chinese-box structures where literature devours and extends itself without limit.
But does Borges believe in such incredible cosmologies? Clearly not: the alternative of infinite chaos is also always about to emerge. The word "believe" here takes on the same uncertainty as "fiction" and "reality.
Such flexibility of mind he finds lacking in his former idol Quevedo, who is immune to the charm of fantastic doctrines that are "probably false," and relishes in the atheist Omar Khayyam, who could interpret the Koran with strict orthodoxy and invoke in his studies of algebra the favor of "the God Who perhaps exists," because "every cultivated man is a theologian, and faith is not a requisite.
Self-refutation has, besides the virtues of probity, its advantages, its "apparent desperations and secret assuagements.
The nature and purpose of that projection are implied in three passages from scattered essays of Borges. In he called metaphysics "the only justification and finality of any theme.
All ideas are arbitrary, fantastic, and useful. They should be remembered if forgotten or obscure, subverted if sacred another form of oblivion , made absurd if banal--all for the sake of intelligence, of perceptibility.
Taut and effortless, transparent and mannered, deeply true to the genius of the Spanish language yet heterodox, his rhetoric is also a silent parody and extension of itself. The activation of thought, shared by author and reader, miraculously effected over fatal distance and time by words whose sense alters and yet lives on, is the real secret promise of the infinite dominion of mind, not its images or finalities, which are expendable.
Hence the essay on Whitman, hence the final epigraph from the seventeenth-century German mystic Angelus Silesius: Freund, es ist auch genug. Im Fall du mehr willst lesen, So geh and werde selbst die Schrift and selbst das Wesen. Friend, this is enough. If you want to read more, Go and be yourself the letter and the spirit. James E. Irby Princeton On September 20, , Johann Wolfgang von Goethe who had accompanied the Duke of Weimar on a military expedition to Paris saw the finest army of Europe inexplicably repulsed at Valmy by some French militiamen, and said to his disconcerted friends: "In this place and on this day, a new epoch in the history of the world is beginning, and we shall be able to say that we have been present at its origin.
Such days, which reveal the influence of Cecil B. De Mille, are related less to history than to journalism. I have suspected that history, real history, is more modest and that its essential dates may be, for a long time, secret. A Chinese prose writer has observed that the unicorn, because of its own anomaly, will pass unnoticed. Our eyes see what they are accustomed to seeing. Tacitus did not perceive the Crucifixion, although his book recorded it. Those thoughts came to me after a phrase happened to catch my eye as I leafed through a history of Greek literature.
The phrase aroused my interest because of its enigmatic quality: "He brought in a second actor. Originally, a single actor, the hypokrites, elevated by the cothurnus, dressed in black or purple and with his face enlarged by a mask, shared the scene with the twelve individuals of the chorus. The drama was one of the ceremonies of the worship and, like all ritual, was in danger of remaining invariable. On that remote spring day, in that honey-colored theatre, what did they think, what did they feel exactly?
Perhaps neither amazement nor shock; perhaps only a beginning of surprise. In the Tusculanae it is stated that Aeschylus joined the Pythagorean order, but we shall never know if he had a prefiguring, even an imperfect one, of the importance of that passage from one to two, from unity to plurality and thus to infinity.
With the second actor came the dialogue and the indefinite possibilities of the reaction of some characters on others. A prophetic spectator would have seen that multitudes of future appearances accompanied him: Hamlet and Faust and Segismundo and Macbeth and Peer Gynt and others our eyes cannot yet discern.
I found another historic day in the course of my reading. It occurred in Iceland in the thirteenth century; let us say in For the instruction of future generations, the historian and polygrapher Snorri Sturlason, at his estate in Borgarfjord, wrote about the last exploit of the famous King Harald Sigurdarson, also called the Implacable Hardrada , who fought in Byzantium, Italy, and Africa.
With an army of Norsemen, they landed on the eastern shore and subdued the castle of Jorvik York. South of Jorvik they were confronted by the Saxon army. One of the horsemen shouted, "Is Earl Tostig here? Harald Sigurdarson asked pensively, "Who was that man who spoke so well? Harald Sigurdarson died in the battle and so did the Earl Heimskringla , X, There is a flavor that our time perhaps surfeited by the clumsy imitations of professional patriots does not usually perceive without some suspicion: the fundamental flavor of the heroic.
People assure me that the Poema del Cid has that flavor; I have found it, unmistakably, in verses of the Aeneid "My son, from me learn valor and true constancy; from others, success" , in the Anglo-Saxon ballad of Maldon "My people will pay the tribute with lances and with old swords" , in the Chanson de Roland , in Victor Hugo, in Whitman, and in Faulkner "the single sprig of it verbena].
Behind the apparent simplicity of the historian there is a delicate psychological game. Harold pretends not to recognize his brother, so that the latter, in turn, will perceive that he must not recognize him either; Tostig does not betray him, nor will he betray his ally; Harold, willing to pardon his brother but not to tolerate the meddling of the Norse King, proceeds in a very comprehensible manner.
I shall say nothing of the verbal skill of his reply: to give a third of the kingdom, to give six feet of sod. Only one thing is more admirable than the admirable reply of the Saxon king: that an Icelander, a man of the lineage of the vanquished, has perpetuated the reply. It is as if a Carthaginian had bequeathed to us the memory of the exploit of Regulus.
Saxo Grammaticus wrote with justification in his Gesta Danorum : "The men of Thule [Iceland] are very fond of learning and of recording the history of all peoples and they are equally pleased to reveal the excellences of others or of themselves. A date that is a prophecy of something still in the future: the day when races and nations will be cast into oblivion, and the solidarity of all mankind will be established. The offer owes its virtue to the concept of a fatherland. By relating it, Snorri surmounts and transcends that concept.
The author praises the valor of a German detachment and writes that for the first time in the campaign he was proud of the men who had killed his brothers. And he adds: "They were glorious.
Inquisiciones / Otras inquisiciones
But a more intriguing comparison between his essays and his stories can be posed in this question: what is the difference for him between one genre and the other? Hence, in these essays, he can use historical deeds to investigate the aesthetic phenomenon, to remark that the "inventions of philosophy are no less fantastic than those of art," to find in his own work a tendency to "evaluate religious or philosophical ideas on the basis of their aesthetic worth," and to add epilogues and afterthoughts that are the beginnings of those Chinese-box structures where literature devours and extends itself without limit. But does Borges believe in such incredible cosmologies? Clearly not: the alternative of infinite chaos is also always about to emerge. The word "believe" here takes on the same uncertainty as "fiction" and "reality.
Borges Otras Inquisiciones
Start your review of Otras inquisiciones Write a review Shelves: spanish-american , kabbalah The Zohar for Beginners Jorge Luis Borgess fascination with the Kabbalah is self-attested and well known. He wrote two substantial pieces on the work and made frequent allusion to it in his themes and stories. I decided to try my hand at some Kabbalah-uncovering by re-reading Other Inquisitions And seeking of course does mean finding: In The Wall and the Books Borgess perennial and explicitly dialectical theme of revelation and concealment is combined with the theme of eternity. That which has been is that which shall be, and that which has been done is that which shall be done. That which has already been done and that which shall be done in the future is gradually being done in the present, constantly and frequently.
- ELOGIO ALA DIFICULTAD DE ESTANISLAO ZULETA PDF
- JAN DOBRACZYNSKI PDF
- CESMM4 CIVIL ENGINEERING STANDARD METHOD OF MEASUREMENT PDF
- AMORES TOXICOS WALTER RISO PDF
- AVANI AVITTAM 2009 PDF
- CARTOMAGIA FUNDAMENTAL VICENTE CANUTO DESCARGAR PDF
- LEXOTAN 3 MG BULA PDF
- AK8975C PDF
- CIRCLES AND SQUARES PAULINE KAEL PDF