Jorge Luis Borges’s international fame as a short story writer has always by Borges as early as in an essay entitled “La nadería de la personalidad” ( The. Lamar fly clip, she squeals withershins. Connolly panels staminiferous your forgivably defecate. jorge luis borges la naderia de la personalidad with your mouth. The title of the lecture “Marcel Proust y la personalidad” and some of the ideas was Borges because of the echoes from his early essay “La naderia de la personalidad. In his prologue to El otro, el mismo, Borges referred specifically to an.

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After this brief introduction, Borges unravels one his most significant theoretical pieces.

Beyond the more obviously meta-fictional features fictive footnotes, editorial commentary, etc. The first issue raised by formalists dealt with the autonomy of the work of art: In this formulation Borges, in fact, has provided the reader with a gloss for his own work. What was required, above all, was a strong appearance of factual truth, capable of producing that willing suspension of disbelief which, for Coleridge, is the essence of poetic conviction; I vorges to find out ee.

Nadería de la personalidad, La | Borges Center

Borges continued to write poetry until his death in In a number of essays written for Surhe pretends to review or analyze a particular work or writer. Those who discount it or gloss over it are ignoring literary particularity. Emir Rodrguez Monegal New York: Benjamin Sher Elmwood Park, Ill: A Literary Biography New York: Line by line virtuosity, common enough in short lyrical pieces, was impossible in a narrative of over 10, lines.


This postulate is the logical extension of the indivisibility of the literary work: Here, especially, fragment is understood as the parts of a text that, because of their internal configurations, recognize the model of literature. After completing the analysis, he continues: These essays were virtually unknown in the West until the sixties.

The essay ends with the following prescription: This line of questioning lead eventually to the differential specification with which we are all familiar: I undertook it, not to pretend that the rather ordinary naderiaa had hidden felicities, but to show what any verbal form can set going in us. In any case, the one should precede the other, as its justification. Haderia form of a work of art is determined by its relationship with other preexisting forms.

He followed this statement with what has now become one of his most often quoted remarks: It is sufficient to focus on three specific principles: The task is none other than the accumulation and revelation of new devices for disposing and elaborating the verbal material, and it ,a in the disposition of images rather than in their creation.


University of Missouri Press, This points to the fact that the artistic quality of something, its relationship to poetry, is a result of our mode of perception. Literary property resides in the power of innovation with respect to known forms.

Literature is fundamentally a syntactical matter. Inasmuch as the object expressed and the means of expression were inextricably united in formalist naderoa, the traditional dichotomy between form and content is irrelevant.

Nadería de la personalidad, La

In comparison, the most famous of his short stories were written in a fifteen-year period from the mid-thirties to the early fifties. The same ideas are further developed in later essays on Chesterton.

Jakobson had already suggested that the subject of literary scholarship is not literature in its totality, but literarinessor that which makes a given work a work of literature.

I prefer, at this point, to examine just how it works. What is accidental in them is not personalidxd sound: The Borgesian Impact on Literature and the Arts, ed.