Unthinking Thinking: Jorge Luis Borges, Mathematics, and the New Physics

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Models of Infinity.

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Singularities and Other Strange Phenomena. The Most Probable World. A Throw of the Dice. Multiple Realities. Quantumand TextualInterconnectedness. Symmetries Mirrors Broken Symmetries. Suspended within Language.

Borges 75 (Cortometraje-Jorge Luis Borges)

The End of Certainty. Number PowerWord Power. The World as Dream. The Universe as Library. The Fearful Sphere. Parmenides Triumphs.

Unthinking Thinking Jorge Luis Borges by Merrell Floyd

Chronos in Chains. Times Eternal Struggle. Language against Itself. In the Book of Imaginary Beings , a thoroughly researched bestiary of mythical creatures, Borges wrote, "There is a kind of lazy pleasure in useless and out-of-the-way erudition. Often, especially early in his career, the mixture of fact and fantasy crossed the line into the realm of hoax or literary forgery. Borges uses the recurring image of "a labyrinth that folds back upon itself in infinite regression" so we "become aware of all the possible choices we might make.

Borges saw man's search for meaning in a seemingly infinite universe as fruitless and instead uses the maze as a riddle for time, not space. Due to the success of the "Forking Paths" story, the term "Borgesian" came to reflect a quality of narrative non-linearity. The philosophical term "Borgesian conundrum" is named after him and has been defined as the ontological question of "whether the writer writes the story, or it writes him.

Jorge Luis Borges and mathematics

After reviewing works that were written before those of Kafka, Borges wrote:. If I am not mistaken, the heterogeneous pieces I have enumerated resemble Kafka; if I am not mistaken, not all of them resemble each other.

The second fact is the more significant. In each of these texts we find Kafka's idiosyncrasy to a greater or lesser degree, but if Kafka had never written a line, we would not perceive this quality; in other words, it would not exist. The poem "Fears and Scruples" by Browning foretells Kafka's work, but our reading of Kafka perceptibly sharpens and deflects our reading of the poem.

Browning did not read it as we do now. In the critics' vocabulary, the word 'precursor' is indispensable, but it should be cleansed of all connotation of polemics or rivalry. The fact is that every writer creates his own precursors.


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His work modifies our conception of the past, as it will modify the future. Its eponymous hero became a symbol of Argentine sensibility, untied from European values — a gaucho , free, poor, pampas -dwelling. The character Fierro is illegally drafted to serve at a border fort to defend it against the indigenous population but ultimately deserts to become a gaucho matrero , the Argentine equivalent of a North American western outlaw. In his book of essays on the poem, Borges separates his admiration for the aesthetic virtues of the work from his mixed opinion of the moral virtues of its protagonist.

In his works he refutes the arch-nationalist interpreters of the poem and disdains others, such as critic Eleuterio Tiscornia, for their Europeanising approach. Borges denies that Argentine literature should distinguish itself by limiting itself to "local colour", which he equates with cultural nationalism. Neither, he argues, need the literature be bound to the heritage of old world Spanish or European tradition. Nor should it define itself by the conscious rejection of its colonial past.

He asserts that Argentine writers need to be free to define Argentine literature anew, writing about Argentina and the world from the point of view of those who have inherited the whole of world literature. Borges focused on universal themes, but also composed a substantial body of literature on themes from Argentine folklore and history.

Ultranationalists, however, continued to question his Argentine identity.

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Borges's interest in Argentine themes reflects, in part, the inspiration of his family tree. Borges had an English paternal grandmother who, around , married the criollo Francisco Borges, a man with a military command and a historic role in the Argentine Civil Wars in what is now Argentina and Uruguay.

His non-fiction explores many of the themes found in his fiction. In fact, contrary to what is usually supposed, the geographies found in his fictions often do not correspond to those of real-world Argentina. He suggested that only someone trying to write an "Arab" work would purposefully include a camel. At the time of the Argentine Declaration of Independence in , the population was predominantly criollo of Spanish ancestry.

From the mids on waves of immigration from Europe, especially Italy and Spain, arrived in the country, and in the following decades the Argentine national identity diversified. He also read translations of Near Eastern and Far Eastern works. Borges's writing is also informed by scholarship of Christianity, Buddhism, Islam, and Judaism, including prominent religious figures, heretics, and mystics.

The curious inversion of mainstream Christian concepts of redemption in the latter story is characteristic of Borges's approach to theology in his literature. In describing himself, he said, "I am not sure that I exist, actually. I am all the writers that I have read, all the people that I have met, all the women that I have loved; all the cities that I have visited, all my ancestors.

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Borges said that his father wished him "to become a citizen of the world, a great cosmopolitan," in the way of Henry and William James. Borges lived and studied in Switzerland and Spain as a young student. As Borges matured, he traveled through Argentina as a lecturer and, internationally, as a visiting professor; he continued to tour the world as he grew older, finally settling in Geneva where he had spent some of his youth. Drawing on the influence of many times and places, Borges's work belittled nationalism and racism. Borges wrote that he considered Mexican essayist Alfonso Reyes to be "the best prose-writer in the Spanish language of any time.


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Borges was also an admirer of some Oriental culture, e. Borges was rooted in the Modernism predominant in its early years and was influenced by Symbolism. However, while Nabokov and Joyce tended toward progressively larger works, Borges remained a miniaturist. His work progressed away from what he referred to as "the baroque": his later style is far more transparent and naturalistic than his earlier works. Borges represented the humanist view of media that stressed the social aspect of art driven by emotion.

If art represented the tool, then Borges was more interested in how the tool could be used to relate to people. Existentialism saw its apogee during the years of Borges's greatest artistic production. It has been argued that his choice of topics largely ignored existentialism's central tenets. Critic Paul de Man notes, "Whatever Borges's existential anxieties may be, they have little in common with Sartre's robustly prosaic view of literature, with the earnestness of Camus' moralism, or with the weighty profundity of German existential thought.

Rather, they are the consistent expansion of a purely poetic consciousness to its furthest limits. Borges always recognized the influence of this German philosopher. The first time that Borges mentioned Mauthner was in in his book The language of the Argentines El idioma de los argentinos.

In a interview Borges described Mauthner as possessing a fine sense of humor as well as great knowledge and erudition. From Wikipedia, the free encyclopedia. For other uses, see Borges disambiguation. For other people with the same name, see Borges surname. This article uses Spanish naming customs : the first or paternal family name is Borges and the second or maternal family name is Acevedo.

No one should read self-pity or reproach Into this statement of the majesty Of God; who with such splendid irony, Granted me books and night at one touch. Main article: Jorge Luis Borges bibliography. Main article: Borges and mathematics.


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  4. Unthinking Thinking: Jorge Luis Borges, Mathematics and the New Physics | Purdue University Press!
  5. Ferriera , Eliane Fernanda C. In: Pedro Pires Bessa ed. Riqueza Cultural Ibero-Americana. He was never to finish his high school education, in fact.

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    London: Telegram Books, pp. Hays, ed. See Murray, Janet H. Cambridge: MIT Press , Zamora and Wendy B. Duhan and London, Duke University Press pp. Find a Grave. Retrieved 4 July Jorge Luis Borges. Reaktion Books. London: Reaktion.

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