The outstanding Jorge Luis Borges
Introduction
Jorge Luis Borges spoke English as a second native language and handled well in French, German, Latin, Italian, Portuguese and ancient English. Few like him could consider citizens of the world, and yet he insists numerous times in his condition as "mero South American", in his intense way to position themselves as "Argentine writer", in his statement of being one of the discoverers of poetic possibilities of the marginal neighborhoods of Buenos Aires. Borges does most of his formal studies at Collège Calvin de Geneva, from 1914 to 1918 (although he never appeared for the last exams, running out of high school).
Developing
Those European years extend until 1921, with a second family trip in 1923-24. He will later stay in the Río de la Plata until 1961, when he accepts an invitation to teach for a semester at the University of Texas in Austin. From that date to his death in 1986, his trips are incessant. However, 37 years at home, in the Río de la Plata, they were important for his thoughts about the world. In the article "Borges in the world, the world in Borges" by author Daniel Balderston, it is pointed out that those who see Borges are only mistaken only as a cosmopolitan writer (or "Europeanizing", or "escapist").
It could be added that those who want to see it above all as the great Argentine or Latin American writer, since, the tensions between Criollism and cosmopolitism, between nationalism and a blunt anti -nationalism, inform all his work, report his entire work, inform his entire work. Borges is the paradigmatic figure of the sage, and as such he is very aware of the limits of his knowledge. That is why in the twenties it is analyzed as that of the golden years in which the literary field oscillated between modernism and avant -garde, in the article "Times and places of Borges: a panorama of the current criticism" of the regina’s author Samson.
It is proposed to show that the question of his identity as Argentine and as Latin American, and that the influence that Mexican scholar Alfonso Reyes had in the evolution of Borges’ style and in the definition of his identity is very present in Borges and in the definition of his identity As Latin American writer. An eternal avant -garde attitude is confirmed in Borges, always breaking with the forms that precede it and anticipating others. Explains Borges’s fans to expressionism -which surely stacked with his adolescent stage -by questioning to the established order.
To the values and expectations of the reader, for his concepts of art and the world as will and representation. In ‘The concept of poetic inspiration in Plato and Borges’, Shlomy Mualem awarded Borges a philosophical consistency comparable to that of Plato, precisely antithetical thesis to Najenson’s. Ema Lapidot deals, in ‘Borges in Ciberia’, the role of Borges as a precursor to digitized literature and hypertexts. A set of articles puts Borges with other authors: "The mirror and the mask": a Heideggerian approach ’(Judith Fraenkel Grosgold).
‘Borges and Cervantes: Aesthetic perspectives’ (Ruth Fine) and ‘Borges in Ricardo Piglia’s work: from the planet Tlön to the virtual world of the absent city” ’(Malva and. Filler). Other articles are added, both about fundamental topics in Borges (the labyrinth, Nazism, etc.) as on certain theoretical aspects of his work (irony, aesthetics of decentralization, etc.). The time for Jorge Luis Borges manifests itself as one of the lyrical-philosophical concerns. The problem of time is proposed as a conflicting reflection, it extends in the space between the passenger and eternity moment.
It can be seen in the article "Borges and the philosophy of time" of the author Margarita Schultz, that Borges acts in this way by a vast tradition: the one that postulates models of unalterable permanence in the face of the verification of the change. But the awareness of change and finitude is a burning grill, which cannot remain as a mere idea of understanding. Poetry incorporates the affective dimension that completes the understanding of ideas such as this. Jorge Luis Borges lyrically exposes another way still for overcoming obsolescence.
His poem "poetic art" (the maker) reconciles previous ideas and shows a human path to assimilate the disturbing action of time. Borges says that the work of art can transform time into eternal when man collects the old advice: "Know yourself". Borges’s mention of the river where he carries and brings the waters, leads to the mention of a much broader cultural tradition than that of the West. Borges is in the cultural tradition with his several mentions to the Rio-Vida, saying that, “the waters of my river will stop.
But what river stops? In the rawness of the image, human pain is composed, resigned at the same time, by the loss of life, the simultaneous gains to conclude this slow death of living, to dream of a dream without memory ”. The time river and the river of life flow in the Borgean channel. If the time is circular the night returns with the bird, and that river stops to take impulse. Poetry is not born, as an argumentative system or to expose a philosophical idea, but the great philosophical affairs are usually inserted into poetry.
And when they touch with poetic quality they achieve a commitment to the unusual philosophical. These relationships did not have the purpose of filing differences in the Borgean consideration of the time theme. When a poet thinks one and a different thing is, perhaps, because the magnitude of the subject overwhelms it, shakes it, overcomes it in the positive sense of the term. They are licenses that the cognitive activity of philosophy does not allow. I think that is a `virtue’ of affective thought, that way of thinking with the soul that poets have.
The concept of time in the story ‘The Secret Miracle’: The work The secret miracle of J. L. Borges (1944), has been considered on many occasions as one of Borges’ most popular stories. The same author, referring to this story, confirmed his fortune, although he kept pointing out that he was not one of his favorites. In an interview with Antonio Carrizo, Borges explains that ‘literature is a very mysterious art, the author does not know what he writes. If the Holy Spirit guides it, it is a Amanuense ’, in the secret miracle is not the narration of these technical problems of the creator.
But as the protagonist a writer, Jaromir Hladík, sentenced to death by the Nazis. The narrator summarizes Hladík’s life with brief comments about his works, and shortly after we find the protagonist in a dungeon spending his last days of life, waiting for fulfilling his death sentence. In this wait, the miracle referred to in the title takes place. After examining his life, Hladík discovers the need to culminate the only work he could send him, his drama in verse "the enemies".
And only at the end of the story he can fulfill this desire thanks to the miracle of God, who grants him a year to finish his work. In the article called "Borges and" The Secret Miracle "of the literary creation" of the author Carlos Abreu Mendoza, it is pointed out that not in vain, the writer Ana María Barrenechea explains that the variations on time, existence or death, made From philosophical or theological positions, they excite Borges for their strange magic. That is why he seeks those that offer him greater aesthetic possibilities and a supernatural suggestion.
To create their own fables in an affected orb where the limits between life and fiction have been erased. Already in ‘New Time Refutation’ he had written: ‘Every language of successive nature; It is not skilled to reason the eternal, the unmporal ’(volume II). Therefore, as language cannot reach that level, the writer faces that impossibility and in Borges the acceptance of it is a starting point, since he sometimes creates distressed solutions, and other times of overcoming by the humor or irony.
In the case of his stories, Borges tends to fatigue a structure where the emotion remains condensed until a masterful phrase solves all the tension and death closes the narrative, leaving us suspensively and admired in the silence that envelops everyone who has just just left assist something sacred.In ‘The secret miracle’ a lapidary phrase closes the story again, offering the fantastic possibility of a miracle that, supported by idealistic philosophy, allows Hladík to have a year that takes place in his mind while the physical universe stops.
It is precisely thanks to this time management and the narrative space that Borges breaks with the story of nineteenth -century realism. In ‘The secret miracle’, creation does not become a tragic act, but rather, something cathartic, of discovery, miracle, stoica acceptance. Also, this story has the added value of being a deep summary of the act of creation as Borges understood and, in a way, anticipates the consequences that blindness will have in its writing.
That is why in this story, the physical world, rather, time stops so that Hladík can finish his work. It is interesting as in the drama that the character of the story is writing (Hladík) has not happened "nothing", the time "has stopped" between the first and third acts in accordance with what has happened and will happen to Hladík. In the drama of his authorship, the clock that gave the seven at night, in the first scene of the first act, at the end of the third act will mark the same, seven o’clock at night.
In the article by Minor Calderón Salas, called "The secret miracle, in the poetics of Jorge Luis Borges", it is pointed out that the role of time in the enemies (Hladík text) is very important as well as in the novel by Walter Schvartz " Ts’ui pen ". In the novel by Ts’ui Pen in “The garden of trails that bifurcan” coexists series of different times, and in the drama of Hladík the time is presented circular and motionless. In "The secret miracle" a human minute is, for God, one year and Hladík, to end his drama, it operates according to the divine clock.
Borges thus incorporates the psychological time of the human experience that appears in some of his stories as in "the form of the sword" of the book fictions: "Nine days we spend in the huge house of the general … those nine days, in my memory, they form one day ". Always with respect to time, in many tales of Borges the feature of irreversibility is presented, that is, although it seems that in the plot, of some of their texts, the characters have been fought, by some metaphor-technique related to time , of some borderline situation, it is irremediably happens.
In this story, despite the fact that the physical world and time have stopped, and Hladík concludes his drama, actually that of himself "drama" concludes, this because ultimately (will be) executed. With which the existential theme of meaningless and absurdity is suggested because in reality that miracle will result in the "nothing", in the sense that the work will be lost and "go" with Hladík and will not go to posterity. We also have as a representation of time in "the secret miracle" the expansion of the moment and the temporary suspension.
The expansion of the moment, because in Hladík’s mind between the order to shoot and his death – which lasts approximately two minutes – happens a year, which produces that expansion; Likewise, the temporary suspension is carried out, since for the firing squad and for the sergeant that shouts the order to shoot, time and the physical world were stopped, not for Hladík to whom God granted (in his mind) the year, the year, the year, And finding the last epithet of his work, time continues and is killed.
conclusion
With this temporary suspension, a resource widely used in the so -called fantastic literature, it is argued that when suspending the temporary course but not the action, or when creating an action that occurs outside time, Borges presents an expansible moment, a minimum division of the time that It can expand practically unlimited and that contrasts with temporary succession. This suspension of the regular course of time, typical procedure of fantastic literature, does not modify the irreversible character of the temporal sequence.
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