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La materialidad del texto en los cuentos de Jorge Luis Borges

by Marcano, Nashieli.

Abstract (Summary)
Professor Francisco Cabanillas, Advisor This thesis is concerned with the material nature of the text in Borges’ short stories. The context of this study stems from Borges’ gravitation towards the use of textual references, his quest for the “original,” and his view of literature and reading as exercises of re-creation. In each of Borges’ works, lies an object that encapsulates the essence of the story, and that fills it with significance; one that establishes a direct contact between reality and fiction. The discipline of bibliography has been one that has successfully been used for centuries to analyze and to describe the physical properties of text. By following the principles of classical bibliography, we can carefully describe the materiality of such text-objects and how they vary through time and space. While the text-object in Borges’ stories is typically considered to be closed system, the author has been able to capture infinity by experimenting with circular time and space, and by incorporating elements such as mirrors and labyrinths. This creation of infinite time and space alters the physicality of the text-object, creating the illusion of a never-ending construction. Part I explores the discipline of bibliography, semiotics, hermeneutics and semantics and the role they play in the creation, transmission (verbal, visual, oral, etc.) and interpretation of the text-object. Part II describes the different transformations of the borgesian text-object, from how it is produced (or can produce), to how it establishes an intertextual, psychological and physiological relationship with the subject. iv Part III analyses the inscription of text in various physical spaces and surfaces such as paper (e.g. encyclopedias, manuscripts, maps), dreams and memory, fluid substances, architectural spaces and structures, as well as the body. Finally, Part IV studies the translation of the borgesian text-object in the virtual and electronic space. As technology progresses, new relationships are developed between the creator and his or her objects. We will discuss how these relationships relate to those in Borges’ stories. Of all the text-objects studied here, the body has been the one that suffers the most alterations in its auto-creation as text-object. In the virtual environment, the human body has kept a contact with the text. Further, the construction of the electronic textobject involves the construction of the creator. The creator cannot detach him- or herself from the object created; he or she can travel with it or even reside within it. But beyond electronic writing, the body and technology are, as time progresses, more bonded to each other, and the relationship between the two has become reciprocal. Both the body and technology are transforming as an image of each other. In the human body, for instance, text has been inscribed through technology (cloning); whereas technology has been shaped to a more human form (artificial intelligence). Following Baudrillard’s logia on simulacra and the distorsion of the real and the not-real, we ask ourselves: which embodies the other more, technology or the human? Borges, within the closed systems of books, offers multiple readings and alters the order of sequences. With the goal of erasing the physical limits of the text-object, the author opts for the use of hypertextuality. His narrative anticipates the text/hypertext relationships that we see today, making the Internet a “Library of Babel,” and of his narrative, an internet. Secondary Structure (lambs tales), 36"x102"x36", books. Adam Bateman, 2005 v A Philip, Adrik y Chandan vi vii
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School:Bowling Green State University

School Location:USA - Ohio

Source Type:Master's Thesis

Keywords:borges jorge luis materialism in literature

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