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Borges, Jorge Luis
(redirected from Borgesian)

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Borges, Jorge Luis (hôr`hā lēs` bôr`hās), 1899–1986, Argentine poet, critic, and short-story writer, b. Buenos Aires. Borges has been widely hailed as the foremost contemporary Spanish-American writer. He was educated in Switzerland and afterward lived in Spain, where he became an exponent of ultraísmo, a poetic movement that followed the decline of modernismo modernismo (mōthārnē`smō), movement in Spanish literature that had its beginning in Latin America.
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 after World War I. Ultraísmo advocated the use of bold images and daring metaphors in an attempt to create pure poetry, divorced not only from the past but from reality. Borges, who brought the movement to Argentina, never adhered strictly to its tenets. He helped to found three avant-garde journals and was director of the National Library and professor of English at the Univ. of Buenos Aires.

His poems, collected in Fervor de Buenos Aires (1923), Luna de enfrente (1925), Cuaderno San Martín (1954), Dreamtigers (tr. 1964), A Personal Anthology (tr. 1967), Selected Poems: 1923–1967 (1972), and In Praise of Darkness (tr. 1974), are often inspired by events of daily life or episodes of Argentine history. Characterized by lyricism, imagination, and boldness, they are, he said, "spiritual adventures." His essays, collected in Inquisiciones (1925), Otras inquisiciones (1960, tr. 1964), and the translations in Selected Nonfictions (1999) generally deal with philosophy and literary criticism. His tales, ranging from metaphysical allegories and fantasies (e.g., The Book of Imaginary Beings, 1967; tr. 1969) to sophisticated detective yarns, reveal a wide variety of influences (Kafka, Chesterton, Virginia Woolf) but are nevertheless strikingly original. Major collections of his short stories include Historia universal de la infamia (1935, tr. 1972), Ficciones (1944, tr. 1962), El Aleph (1949, tr. 1970), Extraordinary Tales (1955, tr. 1971), and Dr. Brodie's Report (tr. 1972). Labyrinths (1962) is a collection of translated works, and Collected Fictions (1998) contains his complete stories in translation.

Bibliography

See biographies by J. Woodall (1997) and E. Williamson (2004); R. Burgin, Conversations with Jorge Luis Borges (1969); studies by A. M. Barrenechea (tr. 1965), R. J. Christ (1969), C. Wheelock (1969), J. Alazraki (1971), and G. H. Bell-Villada (1981).


Borges, Jorge Luis

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Jorge Luis Borges.
(credit: Courtesy of Wellesley College, Wellesley, Massachusetts)
(born Aug. 24, 1899, Buenos Aires, Arg.—died June 14, 1986, Geneva, Switz.) Argentine poet, essayist, and short-story writer. Educated in Switzerland, Borges recognized early that he would have a literary career. From the 1920s on he was afflicted by a growing hereditary blindness. In 1938 a severe head wound seemed to free his deepest creative forces. His blindness was total by the mid 1950s and forced him to abandon the writing of long texts and begin dictating his works. From 1955 he held the honorary post of director of Argentina's national library. Much of his work is rich in fantasy and metaphorical allegory, including the story collections Ficciones (1944), which won him an international following, and The Aleph (1949). Dreamtigers (1960) and The Book of Imaginary Beings (1967) almost erase the distinctions between prose and poetry. Though he later repudiated it, he is credited with establishing in South America the modernist Ultraist movement, a rebellion against the decadence of the established writers of the Generation of '98.



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But given the course of large-scale exhibitions, it seems not unreasonable to wonder what projects in this vein we've seen in 2005--projects, that is, that engage a site, but primarily to bleed into or provide a Borgesian map of it, making the environment of a piece with the work, the whole then seeming (forgive my rhetorical leap of faith) at once fictional and real, remote and close, virtual and present, a kind of intimate mediascape.
Peer reviewed online periodicals as well as print journals that are disseminated online in full text through, for example, Gale's Infotrac or OCLC's First Search are probably no less accurate than they would be in hard copy, but only in a surrealstic Borgesian world could innumerable printings of the hard copy, deposited in countless repositories, be altered.
What in particular is Borgesian about Wilson's work?
 
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