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Borges never establishes any direct parallel between his character's dream son and his . course, seeking ways to remake an imperfectly created world,and even to chiuige .. Borges,J. (, ). "Eveiything ¡uid Nothing", in E¡ Hacedor. asserts that Agustín Fernández Mallo's El hacedor (de Borges), Remake (), as an hacedor (de Borges), Remake's characteristically postpoetic impetus combines unulelteoco.ga unulelteoco.ga . This article examines how El hacedor (de Borges), Remake () by the Spanish writer Agustín . This content is only available as a PDF.
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Including over titles of universal literature, and ending with the Quixote. This proposal for a literary remix, recalls previous conceptualist practices and is obviously not original—nor could it ever be. Beyond the product itself, what stands out is the performative process of creation in classic conceptual ways.
Josecho decides to participate within the marketing system and create a product that mocks its dynamics, while reveling in the poetic that this juxtaposition of elements provides.
Y fue a por ello. The creative subject is truly objectified and made a node of the artistic network, finally contributing to a total sense of transmedia poetry. His interventions on his blog where he writes about his domestic and private experiences project him as one of his characters as the type of quotidian activities he narrates take on the same nature as the particular Nocilla postpoetic situationism.
He talks about his experiments recycling several objects of his life and creating art through them in the same manner he makes his characters behave. Looking beyond the Nocilla Project, it might be pertinent to return to El hacedor de Borges , Remake. A few minutes later, he finds a drawing of the same object in his living room. These images serve as redundant data; they have been previously described and they only add a layer of supposed verisimilitude, which due to the absurdity of the statements that they represent, seems to be also ridiculed.
Fernandez Mallo, n. Immediately after this, he displays six images showing the evolution of the paper as it disintegrates under the trash. The expanded metaphor incorporates the relation between the pictures and the text, as it comments on the article printed on the used newspaper page.
The narrative voice repeats the tone of the fiction incorporated in El hacedor, a compilation where most narrative voices seem to belong to the same first person narrator.
The type of statements about experimental art that the blogger makes are repeated by characters in other clearly fictional works such as Nocilla Dream or Nocilla Experience as I have already discussed. To invent a fictional character as author of a blog is no novelty in itself; to claim it as its true identity while publishing on the same blog about professional activities and book launches, problematizes the statement.
A fiction. A discursive function. All consumable. All objectified. Transmedia storytelling defined as a way to narrate a story through different media opens itself to a larger, less narrative and more poetic way of understanding multimedia production, serving as a structural playground for artists to create and intervene in the world.
Works Cited Azuma, Hiroki Minneapolis: University of Minnesota Press. Brooks, Cleanth. Literary Opinion in America. Morton Dauwen Zabel.
New York: Harper and Brothers, ed. Nocilla Dream. Barcelona: Candaya. Nocilla Experience. Madrid: Alfaguara. Nocilla Lab. Hacia un nuevo paradigma.
Barcelona: Anagrama. Proyecto Nocilla. El hacedor de Borges , Remake. Christine Hensler and Deborah A. Hispanic Issues On Line. Foucault, Michel Jenkins, Henry Joan, Pere Johnson, John Marcus Flaminius Rufus, the narrator of "El inmortal," is also identified as Joseph Cartaphilus, the presumed author of the manuscript found in Pope's translation of the Iliad.
Accord- ing to the earliest written accounts of the legend, Cartaphilus was a Roman guard, Pilate's porter, condemned to walk until the end of time for having insulted Jesus Christ. Cartaphilus repented, converted to the Christian faith, and was baptized with the name 'Joseph. Anderson Borges himself could find a brief but complete account of the legend in the edition of the Encyclopedia Britannica, the source of so many of his fictions.
The article on the WanderingJew points out several sources of the legend, summarizes the different versions, and surveys the major literary works to which it gave rise. By con- trast, when the narrator chances upon the river which restores him to a mortal condition, he sleeps "hasta el amanecer" The history of the legend is one of cultural syncretism and mythical contamination.
In the seventeenth century, the story of the Roman guard Cartaphilus fuses with that of the Jewish shoe- maker Ahasuerus, the immortal witness to the divinity of Jesus Christ,7 thus conflating the two dimensions of the myth: the wan- dering and the immortality.
As modern authors endlessly reinter- pret the legend, the figure of the WanderingJew becomes increas- ingly composite, through contamination by other mythical wan- derers, rebels, or exiles: Cain, Prometheus, Sisyphus, Faust, and even Don Juan. Romanticism universalizes the legend, taking it further and further away from its original Christian meaning, and making it a symbol of the human condition in general.
All that remains is the sense of an unending quest for the absolute, for knowledge, for justice, for progress, for truth, for art, or for death : a symbol both vague and compelling, perhaps all the more appealing, indeed, because of its vagueness. The story is, like the myth, built on the amalgam- ation of diverse cultural elements.
By conflating the Roman sol- dier and the antiquarian, the story mirrors the initial contamina- tion a Roman, Cartaphilus, and aJew, Ahasuerus which gave rise to the legend of the Wandering Jew. The Immortal is likewise a composite of several mythical wanderers and storytellers.
Cartaphilus's many travels and aliases make him an avatar of Ulysses and Sinbad the Sailor, who also find their way into the story, since Cartaphilus recounts having copied, "en el siglo trece, las aventuras de Simbad, de otro Ulises" Obras Homer and the Immortal, Ulysses the Greek and Sinbad the Arab, the tribune of imperial Rome and the Wandering Jew all come together in a text that makes them one universal wanderer.
In Borges's version, the Christian lesson conveyed by the legend the wandering as divine punishment is left out. He picks up a mythical figure that, as a result of gradual universalization, has become a form without a content; his version of the legend turns the WanderingJew from a symbol of all humankind into an imper- sonal author of all literature. The same story is told in many languages and versions; the same character appears under several aliases: Joseph Cartaphilus, Isaac Laquedem, Ahasuerus, Giovanni Buttadeus, Juan de Espera en Dios, et cetera.
Multiple identities also define or rather blur the portrait of the Immortal; cosmopolitanism characterizes his auto- biography, translated into Spanish from an original written in En- glish Borges's favorite literary language but filled with Latinisms.
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The choice of English and of the name Cartaphilus in- stead of the more common Ahasuerus suggests that the legend was given its first written form in England: it is appropriate that an island people should be attracted by the story of an endless jour- ney. This is highlighted in De Quincey's writings one of the "in- trusions and thefts" discovered by Dr.
Cordovero in his Coat of many Colours. The Ger- man imagination has been most struck by the duration of the man's life, and his unhappy sanctity from death: the English by the unrestingness of the man's life, his incapacity of repose. It is also what makes it a counterpart to James Joyce's "odysseys. However, he fails to acknowledge how direct and explicit the reference is. The article in the Encyclopedia Britannica paraphrases this idea: "In most Teutonic languages the stress is laid on the perpetual character of his punishment and he is known as the "everlasting" or "eternal" Jew.
In the lands speaking a Romance tongue, the usual form has reference to the wanderings The English form follows the Romance analogy" BothJoyce and Borges empha- size cosmopolitanism. Thus the story of the Immortal can also be read as Borges's response to Joyce's odyssey of a Dublin Jew. Bloom, Murphy, the Nor- wegian Captain, Stephen Daedalus are all to some extent portraits of the artist as a metaphoric Jew in self-imposed exile.
Thus the Wandering Jew occupies the center of the symbolic Borgesian labyrinth, a confused but nonetheless powerful symbol in which authors and metaphors converge. Borges's image of the Wandering Jew is at the very heart of his poetics. The ambiguity of the myth which lost its simplicity and univocal meaning through a series of contaminations makes it ideal material for Borges. As a symbol of the artist's marginality, the Wandering Jew echoes the theory Borges expounds in "El escritor Argentino y la tradici6n.
Martin Here as in Borges, the universality of a mythical motif is inseparable from the syncretic amalgamation of diverse cultural traditions. Borges, whose protagonist is a Jewish Homer, could find a reference to these same theories in his beloved Encyclopedia Britannica edi- tion.
Eliot's "The Waste Land" The demonstration is compelling, but only if one does not limit intertextuality to Eliot's poem: "El inmortal" rewrites all those texts like "The Waste Land" or Ulysses that both thematize and theorize the syncretic-and often chaotic-amalgamation of cultural fragments. As a cultural outsider, the artist, whetherJew or Ar- gentine, can be universal in a way that a member of a dominant culture cannot. Marginality becomes a prerequisite for universal- ity.
Boletín / Newsletter
In Borges's view, only what is common to all men is worthy of literary survival. Borges replaces the Romantic liter- ary ideal nationalism and originality with the classical one uni- versality and impersonality ; yet he achieves an ironic spin by em- bodying this classic theory in a Romantic character, the Wander- ing Jew.
As margin- ality is a prerequisite for universality, so impersonality is a prereq- uisite for intimacy. In "El inmortal," the most impersonal ele- ments-quotation and plagiarism, "the words of others"-coin- cide with the most personal. The core of the narrator's experience the accidental discovery of the river of immortality is described with words borrowed, or stolen, from others. After the Roman drinks from the river, Greek words come to his lips: "Antes de perderme otra vez en el sueiio y en los delirios, inexplicablemente repeti unas palabras griegas: Los ricos teucros de Zelea que beben el agua negra delEsepo These words are later iden- tified by Cartaphilus as a quotation from the Iliad: "Esas palabras son homericas y pueden buscarse en el fin del famoso catilogo de las naves" See Edna Aizenberg andJaime Alazraki.
The narrator not only quotes another man's words, but quotes them in a version that is a rewriting of the origi- nal. Individuality crumbles into a chaos of literary fragments.
And yet the "Homeric" quotation also points to an earlier essay by Borges himself "Las versiones homfricas"; Obras , in which he gives as an example of Homeric epithet precisely this line quoted accurately, of course from the catalog of ships.
Obvi- ously, these multiple layers of intertextual complexity are only ap- propriate to the instant in which the protagonist, accidentally drinking the water of immortality, becomes an Immortal, i.
No- body, Everyman, Homer, Borges himself. By having the story quote the essay, Borges inserts his own self-portrait in the long chain of immortals. The impersonal and the intimate are no longer distinct; they are two sides of one coin. In becoming an Immortal, the protagonist loses his identity: in becoming a writer, he forsakes his individuality as a man to em- brace an impersonal destiny as an author.
Cartaphilus's self-doubt- ing, indeed self-defeating, autobiographical manuscript is a case in point: riddled with intertextual fragments and increasingly in- secure about the very foundation of autobiographical discourse the I , it exemplifies the "coat of many colours" that despite Doc- tor Nahum Cordovero's outrage, forms for Borges the very es- sence of literature.
The Wander- ing Jew is now no more than the chaotic accumulation of his liter- ary incarnations.
His name and figure are no more or less symbolic than those of Homer, with whom he merges in "El inmortal. By ques- tioning the individual existence of Homer, the analysts have emp- 8 Evans The City of the Immortals is also the second one built from the ruins of the first one, and Joyce's hero is not Odysseus but Ulysses.
This Homeric- Virgilian reminiscence is immediately followed-confirmed-by another, unac- knowledged plagiarism of Virgil, for in the image of the delirious man "desnudo en la ignorada arena" , the reader familiar with Virgil's own earlier rewrit- ing of the Odyssey will easily recognize the unfortunate Palinurus, "nudus in ignota See Maria Rosa Lida de Malkiel. By blending the legend of the Wandering Jew with elements of the scholarly debate, Borges turns "Homer" into a legendary figure in the etymological sense of the word.
The Homer of "El inmortal" is the one analyzed to death by philologists: what is uncanny is that this non-individual is para- doxically provided with a "biography. The episode in which the Roman narrator, having found his way out of the City of the Immortals, discovers the troglodyte tracing incomprehensible letters in the sand, can therefore be read as a fictionalization of the issue of Homer's literacy, crucial to the Homeric debate.
Demonstrating Borges's characteristic indiffer- ence to the truth of intellectual constructs, the little scene pre- sents both the theory and its refutation. The troglodyte, soon to be identified as Homer, appears to be writing, but his letters seem to have no meaning: Estaba tirado en la arena, donde trazaba torpemente y borraba una hilera de signos, que eran como las letras de los suefios, que uno esti a punto de entender y luego sejuntan.
Ademats, ninguna de las formas era igual a la otra, lo cual excluia o alejaba la posibilidad de que fueran simb61icas. El hombre las trazaba, las miraba y las corregia.
De golpe, como si le fastidiaraese juego, las borr6 con la palma y el antebrazo. Obras 20 In the same manner, Giambattista Vico, who preceded F. Wolf in seeing the Iliad as an amalgamation of composite fragments, appears as a character in the story. A subtle irony, as well as a fan- tastic variation on the theme of the encounter between the poet and his critic, is achieved by having "Homer" in person discuss the origin of the Iliad with Vico and mildly acquiesce to the scholar's "irrefutable" proofs that Homer did not exist Obras Vico's theory, condensed in one unattributable footnote Obras , de-individualizes Homer, making him a "symbolic character" of the Greek people.
This may begin to explain why Borges chose Vico, rather than the much more relevant Wolf, to represent the 2oThis allusion to the scholarly debate on Homer's literacy in turn contains a Biblical allusion: inJohn ,Jesus is seen writing for the only time, tracing letters in the dust which no one ever read.
See Borges's essay "Del culto de los libros" Otras inquisiciones; Obras Moreover, the ambiguous words of Jesus in John are the primary source of the legend of the Wandering Jew see Ander- son The pedantic postscript by Doctor Nahum Cordovero is a parody of the Homeric question: to invalidate Cataphilus's manu- script, he uses the same philological arguments of interpolation, anachronism, et cetera, used to contest the individual authorship of the Iliad and the Odyssey.
Like the Wandering Jew, Borges's Homer is not one but many men: "Nadie es alguien, un solo hombre inmortal es todos los hombres" In fact, what those "intrusions or thefts" prove, if anything, is the authenticity of the text.
Doctor Cordovero, lost in the labyrinth of the Immortal's manu- script, is himself a Wandering Jew. The wandering is a metaphor for the re interpretation of the text. The repetition of the same idea and figure by different writers, cultures, and periods, both serves and doubles the story's meaning: literature is a single text written by a universal author.
Conflating Homer with the Wander- ingJew, "El inmortal" moves from a contested figure to a legend- ary one, from a Greek to a Jew, from an epic poet to a universal writer. The Romantic genius is recreated as an Immortal: the Romantic cult of the genius un- 21Another explanation lies in Borges's characteristic practice of partially identi- fying his sources: the text discloses a minor aspect of the reference, while a more fundamental dimension remains unrevealed.
On this "art of allusion," see Christ, particularly Vico's philosophy of history played an important part in the Ro- mantic revival of the legend of the Wandering Jew see M. The same is true, of course, of the Arabian Nights, in which the Immortal also has a hand Borges's debt to nineteenth-century English and American writ- ers is well documented and has been well analyzed by Ronald Christ in the context of "El inmortal.
He embodies the transition from antiquity to modern times, the point of contact between pagan and biblical traditions, Homer and Shakespeare, Judaism and Christianity, the passage from literal to spiritual, from particular to universal. Thrown from his horse on the road to Damascus, he is blinded and converted from a persecutor of Chris- tians into a Christian martyr, into a Borgesian mirror image of his old self.
The road to Damascus witnesses his rebirth as an immor- tal. By changing his name from Saul to Paulus, he claims a cosmo- politan identity. Hugo's portrait of Saint Paul reads like a text by Borges.
The Damascus conversion is stressed as an archetype of human destiny: Le chemin de Damas est necessaire 'i la marche du progres. Tomber dans la verit6 et se relever homme juste, une chute transfiguration, cela est sublime.
C'est l'histoire de saint Paul. A partirde saint Paul, ce sera l'histoire de l'humanit,. Le coup de lumiere est plus que le coup de foudre. Le progres se fera par une s6rie d'Tblouissements While the authenticity of some of the Pauline epistles is contested, Hugo conversely attributes various apocryphal or imaginary texts to Saint Paul, in a very Borgesian style: "Plusieurs des ceuvres de Paul sont rejetees canoniquement; ce sont les plus belles; et entre autres son 6pitre aux laodiceens" Of this epistle not one word has yet been found.
More uncanny yet, Saint Paul is de- scribed like the Wandering Jew: "Une fois remis sur pied, le voici en marche, il ne s'arrete plus. En avant! Il est cos- 25See particularly Christ and , on Emerson's theory of the anonymous essence of all literature and the Borgesian reinterpretation of the Over-Soul.
Borges's parents and Borges himself had the deepest admiration for Hugo. On this family cult, see Michel Berveiller Hugo's text should be read as a precursor of Borges's con- ception of the author, in the retrospective definition of the notion of "precursor," first elaborated in his essay, "Kafka y sus precursores.
Two essential features make Paul the symbolic center of the Borgesian web of allusions: his cosmopolitanism, which assimilates him to the Wandering Jew, and his exemplary conversion, which makes him a model for all Borgesian biography, as I shall show. Borges radicalizes-and slyly misreads-Hugo's statements and metaphors of literary creation, and rewrites them as the substance of his own fantastic speculations.
The City of the Immortals-a narrative literalization and reactivation of the dead metaphor "lit- erary monument"-repeats Hugo's recurring architectural meta- phors, the most famous of which is the cathedral-book simile in Notre-Dame de Paris: "Ainsi, jusqu'a Guttemberg, l'architecture est l'6criture principale, l'6criture universelle. Ce livre granitique commenc6 par l'Orient, continue par l'antiquite grecque et ro- maine, le moyen-atge en a dcrit la derniere page" Notre-Dame de Paris 5. These monu- mental texts written in stone are characterized by heterogeneity and lack of unity, for they are the work not of one man but of an entire people.Tricky, but definitely a cool class that got me thinking.
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The metaphor moves to the experiencing subject, the reader or viewer, sharing partial authorship. A PersonalAnthology. Hugo's geniuses are superhuman individuals; all share a capac- ity for universality, yet each is unmistakably individualized. Urban monuments, personal memories and maps, remakw or elevated to symbols recorded in the electric mind of the machine.