Borges: The Passion of an Endless Quotation (2nd Edition) by Lisa Block De Behar

By Lisa Block De Behar

Expanded version with new chapters and updates to the interpretation and bibliography.

Borges cites innumerable authors within the pages making up his life’s paintings, and innumerable authors have brought up and proceed to quote him. greater than a determine, then, the citation is an essential component of the material of his writing, a cloth made anew by means of each one studying and every re-citation it undergoes, within the unending throes of a work-in-progress. Block de Behar makes of this studying a plea for the very paintings of communique; a tradition that takes neighborhood now not within the totalized and totalizable soil of pre-established definitions or essences, yet at the ineluctable repetitions that represent language as such, and that warrantly the expansiveness—through etymological coincidences of which means, via ancient contagions, via translinguistic sharings of specific experiences—of a undeniable index of universality. This version incorporates a new creation through the writer and 3 solely new chapters, in addition to up to date pictures and corrections to the unique translation.

Lisa Block de Behar is Professor of Communications on the Universidad de l. a. República in Montevideo, Uruguay and is a popular Jorge Luis Borges scholar.

William Egginton is Andrew W. Mellon Professor within the Humanities and Chair of the dep. of German and Romance Languages and Literatures at Johns Hopkins college. he's the writer of a number of books, together with In Defense of non secular Moderation.

Christopher RayAlexander is a graduate scholar and language teacher within the division of German and Romance Languages and Literatures at Johns Hopkins college.

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Extra resources for Borges: The Passion of an Endless Quotation (2nd Edition) (SUNY series in Latin American and Iberian Thought and Culture)

Sample text

34 Borges—Georgie to his friends—celebrates in his work a name that recalls both the agricultural labors of the Georgics, and the boroughs, or towns, and their echoes, reuniting the extremes. When one mentions to him such a determination, he is also delighted by the specular coincidences of his name and its literary consequences. Different from other “read readers” (subject and object of reading, who read and are read),35 the characters of “The Gospel According to Mark” are not properly readers because, assigning all privilege to the voice, they do not observe the silent condition of reading.

The pipe is nothing but a representation of one or two pipes; without fumes, with humor (in Spanish they are closer, humo/ humor), an iconic figure and a verbal figure, both in sight, are confounded in one of those jokes specific to fumismo16: “L’Hydropathe17 designated A. ’ ”18 More than dallying in the alternatives of a drama in which one bets against the stereotypes of the genre and against the conjectures to which conforms a thought controlled by the automatisms of opinion, those disciplines that occupy themselves with possible worlds are interested to observe the unexpected moves played with by an eccentric logic that coexists with the regularity of mechanisms fastening by reason or habit; moves of narrative prestidigitation that divert by surprise.

This contradictory ambivalence of the word and its properties constitutes the very statute of the word, the duality of a nature far from simple. Each mention refers at least two times, since while referring to a particular individual it never ceases referring to an archetype, a universal. One could explain this ambivalence by considering the old neo-Platonic contribution of the distinction later established by Peirce when he opposed type and token. He indicated for each word the possibility of recalling a type (the legisign of the luxuriant Peircean nomenclature) and a particular object (the sinsign, in this case), such that each word registers two memories, remembers two registers.

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