Otra corriente filosfica medieval que influencia fuertemente el texto de Borges es la corriente de Nomalismo, la primera frase que nos muestra esta corriente es la siguiente Le dije que decir era decir tres centenas, seis decenas, cinco unidades: anlisis que no existe en los nmeros Borges, aqu se ve fuertemente ilustrado uno de los postulados del Nomalismo el cual dice que si los universales son evidentes todos deberan tener claro que existen, si nadie los ha podido ver es porque no existen y solo son el nombre, por lo tanto los nmeros son un concepto abstracto el cual no podemos ver o percibir con alguno de nuestros 5 sentidos, por consecuencia los nmeros son un nombre mas no un ente material aqu cabe decir que son individuales, si se llegara a encontrar un numero en la realidad este seria un objeto completamente distinto al nombre numero. Otro claro ejemplo de Nomalismo en la obra es Locke, en el siglo xvii, postul y reprob un idioma imposible en el que cada cosa individual, cada piedra, cada pjaro y cada rama tuviera un nombre propio Borges, aqu se ve presente los postulados del Nomalismo que exponen que todo lo que existe es individual por lo tanto ninguna idea general corresponde a algo en la realidad, por lo tanto se rechazan las ideas platnicas que buscan la generalizacin, otra frase que puede sustentar este argumento en la obra es el siguiente Le molestaba que el perro de la tres y catorce visto de perfil tuviera el mismo nombre que el perro de las tres y cuatro visto de frente Borges, en donde se vuelve a ver presente la idea de no aceptar la generalizacin y denotar lo individual a cada aspecto de la realidad. Para concluir se puede afirmar que el Nomalismo y realismo medieval es un elemento filosfico al cual el autor de la obra suele recurrir constantemente para desarrollar la conciencia y pensamiento del personaje principal, y as sustentar con pruebas filosficas que el pensamiento de este personaje principal es totalmente racional y veraz. Intereses relacionados.
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With members from six committees gathered to reach a decision, a tie transpired between Borges and Beckett, as the French, Spanish and Italian members pushed for Borges, and the American, British and German members insisted instead on Beckett. He embarked on a series of lectures in the United States and then on into Europe. Yates and James E. It may be wondered why Borges did not himself translate his works into English. More, some of his earliest literary endeavours were in the realm of translation.
Towards the end of his time in Europe, he completed translations of German expressionist poetry. At the end of that decade, he did in fact turn his attention towards the English translations of his own texts. And with E. In practise, this meant starting with El libro de los seres imaginarios, published in Spanish the previous year.
As Borges and Di Giovanni became close, the two began collaborating on the translations. Selected Poems was completed first, in February the translated poems would appear across issues of the New Yorker before being published in book form in The translation of El libro de los seres imaginarios was completed in May, and published by E. Dutton, as The Book of Imaginary Beings, towards the end of the year.
By early , however, Borges had grown tired of translating and weary of the pressures of working to tight deadlines, and he curtailed his relationship with Di Giovanni. Di Giovanni would continue to work on translations of Borges for E. Dutton throughout the s.
Yet he would never obtain the rights to translate and publish any of the stories from Ficciones. Penguin had acquired the rights to publish Labyrinths in the United Kingdom in It continues to publish that book today, as part of the Penguin Classics imprint; while New Directions continues to publish Labyrinths in the United States. In , Penguin bought E. From Fray Bentos, living in Buenos Aires, and already possessing an acute sensibility, he suffers a horse-riding accident as a youth which leaves him hopelessly paralysed.
Unable to walk, confined to his home, he finds his sensibility and his memory have become absolute. In Labyrinths, the story was translated by James E. He had not written it down, since anything he thought of once would never be lost to him. His first stimulus was, I think, his discomfort at the fact that the famous thirty-three gauchos of Uruguayan history should require two signs and two words, in place of a single word and a single sign. He then applied this absurd principle to the other numbers.
In place of five hundred, he would say nine. Each word had a particular sign, a kind of mark; the last in the series were very complicated…I tried to explain to him that his rhapsody of incoherent terms was precisely the opposite of a system of numbers. Funes did not understand me or refused to understand me. He had not written it down, since anything he thought, even once, remained ineradicably with him.
His original motivation, I think, was his irritation that the thirty-three Uruguayan patriots should require two figures and three words rather than a single figure, a single word.
He then applied this mad principle to the other numers. Funes either could not or would not understand me. Irby is the first that I read, and it remains my favourite. It possesses a rhythm and a humour which, in my opinion, other English translations of the story do not match.
The translations by Irby and Hurley of the passage above may be closely compared. Their differing constructions of the second line of the passage suggest differently the mind and the methods of Funes.
This sentence marks the turn of the paragraph. Finally, while the penultimate sentence is amusing no matter how it is rendered, both the setup and the final selection of words appear stronger in Irby. He told me that toward he had devised a new system of enumeration and that in a very few days he had gone beyond twenty-four thousand. He had not written it down, for what he once meditated would not be erased.
Later he applied his extravagant principle to the other numbers. In lieu of five hundred, he would say nine. Each word had a particular sign, a species of mark; the last were very complicated…I attempted to explain that this rhapsody of unconnected terms was precisely the contrary of a system of enumeration. I said that to say three hundred and sixty-five was to say three hundreds, six tens, five units: an analysis which does not exist in such numbers as The Negro Timoteo or The Flesh Blanket.
Funes did not understand me, or did not wish to understand me. Ficciones ed. Kerrigan, A. Grove Press, Borges, J. Fictions trans. Hurley, A.
Penguin, Borges, J. Labyrinths eds. Yates, D. Penguin, Williamson, E.
English Translations of Jorge Luis Borges’ ‘Funes the Memorious’
Recuerdo creo sus manos afiladas de trenzador. Recuerdo cerca de esas manos un mate, con las armas de la Banda Oriental; recuerdo en la ventana de la casa una estera amarilla, con un vago paisaje lacustre. Recuerdo claramente su voz; la voz pausada, resentida y nasal del orillero antiguo, sin los silbidos italianos de ahora. Mi primer recuerdo de Funes es muy perspicuo. Corrimos una especie de carrera con la tormenta.
Funes el memorioso
Savants[ edit ] Funes may be compared to an autistic savant , in that he has acquired an extraordinary ability, memory , without the obvious need for study or practice. The story raises the unresolved question of how much unfulfilled potential the human brain truly contains. Even in these cases, however, the memory is not eidetic as, while exceptional, it only contains personally-relevant autobiographical information  Wasted miracles[ edit ] The early death of Funes echoes the idea of unfulfilled potential, the wasted miracle of a plainsman with phenomenal abilities who lives and dies in obscurity. Counting systems[ edit ] Funes claims to have invented a system of enumeration which gives every numeral up to at least 24, its own arbitrary name. The narrator argues that a positional number system is a better tool for abstraction.
Funes el memorioso: resumen, y todo lo que necesita conocer
Nomalismo y Realismo en El Cuento FUNES El Memorioso de Jorge Luis Borges