Pub Date : 2022-01-02DOI: 10.1080/02639904.2022.2051908
Amotz Giladi
ABSTRACT During the Great War, Guillaume Apollinaire tried to drive back the attacks against foreign avant-garde painters in France, by demonstrating the compatibility of their art with the country’s aesthetic and spiritual values, as well as with those of ‘Latin’ civilization as a whole. Upon his return from the front line, he started working again as a journalist and embarked on a campaign aiming to legitimize Cubism and Futurism. These movements, composed mostly of French, Spanish and Italian creators, offered Apollinaire the possibility to enhance the Parisian avant-gardes’ ‘Latin’ essence. Thus, he elaborated on a conceptual synthesis reconciling this avant-garde art with French classicism, and with the latter’s Greco-Roman origins. Analyzing various texts written by Apollinaire between 1915 and 1918, I explore in this article the main thematic axes underlying his reflection upon a modern, national and Latin art.
{"title":"L’invention d’un art moderne, national et « latin »: Guillaume Apollinaire et la défense des avant-gardes parisiennes durant la Première Guerre mondiale","authors":"Amotz Giladi","doi":"10.1080/02639904.2022.2051908","DOIUrl":"https://doi.org/10.1080/02639904.2022.2051908","url":null,"abstract":"ABSTRACT During the Great War, Guillaume Apollinaire tried to drive back the attacks against foreign avant-garde painters in France, by demonstrating the compatibility of their art with the country’s aesthetic and spiritual values, as well as with those of ‘Latin’ civilization as a whole. Upon his return from the front line, he started working again as a journalist and embarked on a campaign aiming to legitimize Cubism and Futurism. These movements, composed mostly of French, Spanish and Italian creators, offered Apollinaire the possibility to enhance the Parisian avant-gardes’ ‘Latin’ essence. Thus, he elaborated on a conceptual synthesis reconciling this avant-garde art with French classicism, and with the latter’s Greco-Roman origins. Analyzing various texts written by Apollinaire between 1915 and 1918, I explore in this article the main thematic axes underlying his reflection upon a modern, national and Latin art.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"40 1","pages":"42 - 59"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48486162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/02639904.2021.2002552
Pedro Álvarez-Cifuentes
ABSTRACT In this paper, I transcribe and analyse the dedication of a manuscript of Part I of the late chivalric romance Crónica do Imperador Beliandro, which is now preserved in the ‘Portuguese Manuscripts Collection’ at the Library of Congress (Washington). Following the tradition of specula principium or ‘mirrors of princes’, the dedication, dated 1692, recommends to the young António Estêvão da Costa e Sousa (1671-1723) the example of the chivalric heroes and alludes to emblematic literature (with some references to Andrés Laguna and Ammianus Marcellinus). This paper thus helps to reconstruct the textual history of this copy of the Crónica do Imperador Beliandro.
{"title":"‘As fezes que levar este feníssimo ouro’: Una curiosa dedicatoria del Ms. LC P-152 de la Crónica do Imperador Beliandro","authors":"Pedro Álvarez-Cifuentes","doi":"10.1080/02639904.2021.2002552","DOIUrl":"https://doi.org/10.1080/02639904.2021.2002552","url":null,"abstract":"ABSTRACT In this paper, I transcribe and analyse the dedication of a manuscript of Part I of the late chivalric romance Crónica do Imperador Beliandro, which is now preserved in the ‘Portuguese Manuscripts Collection’ at the Library of Congress (Washington). Following the tradition of specula principium or ‘mirrors of princes’, the dedication, dated 1692, recommends to the young António Estêvão da Costa e Sousa (1671-1723) the example of the chivalric heroes and alludes to emblematic literature (with some references to Andrés Laguna and Ammianus Marcellinus). This paper thus helps to reconstruct the textual history of this copy of the Crónica do Imperador Beliandro.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"39 1","pages":"221 - 232"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49069868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/02639904.2021.2002553
Hilla Karas, H. B. Shyldkrot
ABSTRACT Intralingual translation presupposes the crossing of several types of boundaries: societal, geographic, religious and diachronic among others. This paper focuses on the diachronic aspect. The French language has seen a large number of diachronic intralingual transpositions throughout its history, such as gloss, summaries, extracts, adaptations, reduced copies and translations. Interestingly, a text can be taken for a translation at a given moment, but viewed differently at a later stage and vice versa. The label ‘translation’ is significant because its use reflects accepted conceptions of change and linguistic continuity. Indeed, descriptive translation studies avoid formulating a rigid definition of the process and the product of translation. Based on a corpus of modern transpositions of medieval French texts, we aim to find the contexts and circumstances in which the term ‘translation’ emerged, demonstrating the different categories of intralingual transfer, in particular the affinities and relations between translation and paratext on the one hand and editions and translations on the other. As a case study, the paper reviews the various translations of Saint Alexis since 1880 and examines the circumstances of their production, their features and their positions on relevant questions of language and literature.
{"title":"Intralingual Diachronic Translation and Transfer: The Case of Old French","authors":"Hilla Karas, H. B. Shyldkrot","doi":"10.1080/02639904.2021.2002553","DOIUrl":"https://doi.org/10.1080/02639904.2021.2002553","url":null,"abstract":"ABSTRACT Intralingual translation presupposes the crossing of several types of boundaries: societal, geographic, religious and diachronic among others. This paper focuses on the diachronic aspect. The French language has seen a large number of diachronic intralingual transpositions throughout its history, such as gloss, summaries, extracts, adaptations, reduced copies and translations. Interestingly, a text can be taken for a translation at a given moment, but viewed differently at a later stage and vice versa. The label ‘translation’ is significant because its use reflects accepted conceptions of change and linguistic continuity. Indeed, descriptive translation studies avoid formulating a rigid definition of the process and the product of translation. Based on a corpus of modern transpositions of medieval French texts, we aim to find the contexts and circumstances in which the term ‘translation’ emerged, demonstrating the different categories of intralingual transfer, in particular the affinities and relations between translation and paratext on the one hand and editions and translations on the other. As a case study, the paper reviews the various translations of Saint Alexis since 1880 and examines the circumstances of their production, their features and their positions on relevant questions of language and literature.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"39 1","pages":"189 - 207"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41974776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/02639904.2021.2002555
Paul Joseph Lennon
ABSTRACT The sonnet ‘Pues cabe tanto en vos del bien del cielo’ by Spanish-Neapolitan poet Francisco de Aldana (1537-78) challenges interpretation through its genre-defying mix of consolatory, philosophic, and amatory elements; in particular, its inclusion of an enigmatic statement by a ventriloquized female figure alien to contemporary Hispanic courtly poetry. In this study, I offer an interpretation through a comparative study with the Rime amorose (1538) of Vittoria Colonna (1490-1547), in which she popularized the Petrarchan voice of the desiring widow in Italian poetry. After establishing a link between the Aldana and Colonna families by virtue of the fragment ‘Aunque a la alta región del alegría’, which addresses the death of Colonna’s niece, I explain how the yearning contained within Colonna’s lyric, noted to possess an erotic potential, may have led Aldana to incorporate this voice in his own poetic exploration of a combinatory spiritual and physical philosophy of love. Additionally, given the absence of the Colonnaesque tradition in Spain, I consider how expressions of desire by female voices in the arte menor and pastoral traditions potentially could have led to a similar interpretation for Hispanic readers.
西班牙那不勒斯诗人弗朗西斯科·德·阿尔达纳(Francisco de Aldana, 1537-78)的十四行诗“Pues cabe tanto en vos del bien del cielo”通过其安慰、哲学和爱情元素的体裁混合挑战解读;特别是，它包含了一个神秘的声明，由一个腹语化的女性形象，与当代西班牙宫廷诗歌格格不入。在本研究中，我通过对维多利亚·科隆纳(1490-1547)的《情爱之歌》(1538)的比较研究提供了一种解释，她在其中推广了意大利诗歌中欲望寡妇的彼得拉克式声音。在通过“Aunque a la alta región del alegría”的片段建立了阿尔达纳和科隆纳家族之间的联系之后，这段片段讲述了科隆纳侄女的死亡，我解释了科隆纳的歌词中包含的渴望是如何被指出具有色情潜力的，可能导致阿尔达纳将这种声音融入他自己的诗歌探索中，这是一种结合精神和物质的爱情哲学。此外，考虑到西班牙没有科隆纳斯式的传统，我认为在艺术和田园传统中，女性声音对欲望的表达可能会给西班牙读者带来类似的解释。
{"title":"Figuring Vittoria Colonna’s Desirous Widow in Francisco de Aldana’s ‘Pues cabe tanto en vos del bien del cielo’","authors":"Paul Joseph Lennon","doi":"10.1080/02639904.2021.2002555","DOIUrl":"https://doi.org/10.1080/02639904.2021.2002555","url":null,"abstract":"ABSTRACT The sonnet ‘Pues cabe tanto en vos del bien del cielo’ by Spanish-Neapolitan poet Francisco de Aldana (1537-78) challenges interpretation through its genre-defying mix of consolatory, philosophic, and amatory elements; in particular, its inclusion of an enigmatic statement by a ventriloquized female figure alien to contemporary Hispanic courtly poetry. In this study, I offer an interpretation through a comparative study with the Rime amorose (1538) of Vittoria Colonna (1490-1547), in which she popularized the Petrarchan voice of the desiring widow in Italian poetry. After establishing a link between the Aldana and Colonna families by virtue of the fragment ‘Aunque a la alta región del alegría’, which addresses the death of Colonna’s niece, I explain how the yearning contained within Colonna’s lyric, noted to possess an erotic potential, may have led Aldana to incorporate this voice in his own poetic exploration of a combinatory spiritual and physical philosophy of love. Additionally, given the absence of the Colonnaesque tradition in Spain, I consider how expressions of desire by female voices in the arte menor and pastoral traditions potentially could have led to a similar interpretation for Hispanic readers.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"39 1","pages":"208 - 220"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46109939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/02639904.2021.2002556
Cristiano Bedin
ABSTRACT The article aims to analyse Appunti per un periplo dell’Africa (1954), a travel book written by Emilio Cecchi that narrates the writer’s impressions and experiences in some Portuguese African colonies. The text is influenced by fascist propaganda, linked to imperialism, and shows the tendency to present African populations as the object of colonization. We consider the various stereotypes and images that Cecchi uses in the representation of the colonized people of the Portuguese territories in Africa, in particular in discourses focused on race, women, dance and the colonial system. It turns out that Cecchi’s work is fully inserted into the ideological context of the early twentieth century, reaffirming a colonial discourse that supports the primacy of the civilized European over the primitive African and giving into the fascination for the exotic, typical of colonial literature.
本文旨在分析埃米利奥·切基(Emilio Cecchi)的旅行书《非洲之旅》(Appunti per un periplo dell’africa, 1954)，这本书讲述了切基在葡萄牙在非洲的一些殖民地的印象和经历。文本受到法西斯宣传的影响，与帝国主义联系在一起，并显示出将非洲人口呈现为殖民对象的倾向。我们考虑了切奇在描述葡萄牙在非洲领土上的殖民地人民时所使用的各种刻板印象和形象，特别是在以种族、妇女、舞蹈和殖民制度为重点的话语中。事实证明，切奇的作品完全融入了二十世纪早期的意识形态背景，重申了殖民话语，支持文明的欧洲人高于原始的非洲人，并对异国情调的迷恋，典型的殖民文学。
{"title":"“Se il partito più caritatevole non sarebbe di ‘chiudere’ l’Africa?” Stereotipi, esotismo e discorso coloniale nel resoconto africano di Emilio Cecchi","authors":"Cristiano Bedin","doi":"10.1080/02639904.2021.2002556","DOIUrl":"https://doi.org/10.1080/02639904.2021.2002556","url":null,"abstract":"ABSTRACT The article aims to analyse Appunti per un periplo dell’Africa (1954), a travel book written by Emilio Cecchi that narrates the writer’s impressions and experiences in some Portuguese African colonies. The text is influenced by fascist propaganda, linked to imperialism, and shows the tendency to present African populations as the object of colonization. We consider the various stereotypes and images that Cecchi uses in the representation of the colonized people of the Portuguese territories in Africa, in particular in discourses focused on race, women, dance and the colonial system. It turns out that Cecchi’s work is fully inserted into the ideological context of the early twentieth century, reaffirming a colonial discourse that supports the primacy of the civilized European over the primitive African and giving into the fascination for the exotic, typical of colonial literature.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"39 1","pages":"233 - 248"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46494379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Acknowledgement","authors":"Lloyd Hughes Davies","doi":"10.1080/02639904.2021.1950353","DOIUrl":"https://doi.org/10.1080/02639904.2021.1950353","url":null,"abstract":"(2021). Acknowledgement. Romance Studies: Vol. 39, Special Issue: ‘Pierre Menard, autor del Quijote’: Critical and Creative Lives, pp. 65-65.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138517757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/02639904.2021.1956213
Niall H. D. Geraghty
ABSTRACT This article discusses Ricardo Piglia’s extensive engagement with ‘Pierre Menard, autor del Quijote’ in his critical and fictional work, examining the ways in which Piglia politicizes Borges’s celebrated story. Building upon Piglia’s well-documented attempt to reconcile Borges with left-wing criticism, the article engages in close dialogue with Robin Fiddian’s Postcolonial Borges: Argument and Artistry (2017) to elaborate the geopolitical significance of Piglia’s novel Respiración artificial (1980) and his wider oeuvre. In order to do so, the article pays particular attention to the narratorial strategies that Piglia deploys in the novel, and the literary alter-ego he creates to carry the authorial subject into the work, analysing the unique position Piglia assigns to Borges’s story within the Argentine canon. Thus it will be proposed that Piglia effectively re-orders Argentine literary history from the perspective of ‘Pierre Menard’ to augment the political significance of the story. In developing these arguments, it will ultimately be shown that Piglia seeks to become the titular character, reproducing his literary experiments further to develop the postcolonial critique contained in Borges’s original story.
{"title":"Becoming Menard? Geopolitical Readings and the Authorial Subject in Ricardo Piglia","authors":"Niall H. D. Geraghty","doi":"10.1080/02639904.2021.1956213","DOIUrl":"https://doi.org/10.1080/02639904.2021.1956213","url":null,"abstract":"ABSTRACT This article discusses Ricardo Piglia’s extensive engagement with ‘Pierre Menard, autor del Quijote’ in his critical and fictional work, examining the ways in which Piglia politicizes Borges’s celebrated story. Building upon Piglia’s well-documented attempt to reconcile Borges with left-wing criticism, the article engages in close dialogue with Robin Fiddian’s Postcolonial Borges: Argument and Artistry (2017) to elaborate the geopolitical significance of Piglia’s novel Respiración artificial (1980) and his wider oeuvre. In order to do so, the article pays particular attention to the narratorial strategies that Piglia deploys in the novel, and the literary alter-ego he creates to carry the authorial subject into the work, analysing the unique position Piglia assigns to Borges’s story within the Argentine canon. Thus it will be proposed that Piglia effectively re-orders Argentine literary history from the perspective of ‘Pierre Menard’ to augment the political significance of the story. In developing these arguments, it will ultimately be shown that Piglia seeks to become the titular character, reproducing his literary experiments further to develop the postcolonial critique contained in Borges’s original story.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"39 1","pages":"156 - 174"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43668493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/02639904.2021.1950355
Edwin Williamson
ABSTRACT The young Borges sought to forge a literary destiny of his own, freed from his family’s expectation that he compensate for the literary destiny that had been denied his father, but it was the failure of that endeavour that resulted in the kind of work that actually made his name. Far from being the product of a frigid, cerebral writer enclosed in a literary utopia, Borges’s early ficciones were generated by a complex ordeal originating in his relationship with a young woman in the 1920s and eventually brought to a head by his dying father’s request that his son ‘re-write’ his novel El caudillo. Pivotal in this process was ‘Pierre Menard, autor del Quijote’ because, in this ingenious text, Borges at last found a way of transforming abstract ideas into figurative vehicles for his own desolation and angst. From this discovery would spring the philosophical themes that would enable him to articulate profound existential concerns in his ficciones — the elusiveness of reality, the evanescence of the self, solipsism, the mysteries of time, and the horror of the infinite.
摘要年轻的博尔赫斯试图创造自己的文学命运，摆脱了家人对他弥补父亲被剥夺的文学命运的期望，但正是这一努力的失败，才造就了他真正成名的作品。博尔赫斯的早期小说远不是一个封闭在文学乌托邦中的冷酷、理智的作家的产物，而是由20世纪20年代他与一名年轻女子的关系所引发的复杂磨难所产生的，最终因其垂死的父亲要求儿子“重写”他的小说《El caudillo》而达到高潮。这一过程中的关键人物是“皮埃尔·梅纳德（Pierre Menard，autor del Quijote）”，因为在这篇巧妙的文本中，博尔赫斯终于找到了一种方法，将抽象的思想转化为他自己荒凉和焦虑的形象载体。从这一发现中产生了哲学主题，使他能够在小说中表达深刻的存在主义关切——现实的难以捉摸、自我的消逝、唯我论、时间的奥秘和无限的恐怖。
{"title":"‘Pierre Menard, autor del Quijote’ and the Death of Borges’s Father","authors":"Edwin Williamson","doi":"10.1080/02639904.2021.1950355","DOIUrl":"https://doi.org/10.1080/02639904.2021.1950355","url":null,"abstract":"ABSTRACT The young Borges sought to forge a literary destiny of his own, freed from his family’s expectation that he compensate for the literary destiny that had been denied his father, but it was the failure of that endeavour that resulted in the kind of work that actually made his name. Far from being the product of a frigid, cerebral writer enclosed in a literary utopia, Borges’s early ficciones were generated by a complex ordeal originating in his relationship with a young woman in the 1920s and eventually brought to a head by his dying father’s request that his son ‘re-write’ his novel El caudillo. Pivotal in this process was ‘Pierre Menard, autor del Quijote’ because, in this ingenious text, Borges at last found a way of transforming abstract ideas into figurative vehicles for his own desolation and angst. From this discovery would spring the philosophical themes that would enable him to articulate profound existential concerns in his ficciones — the elusiveness of reality, the evanescence of the self, solipsism, the mysteries of time, and the horror of the infinite.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"39 1","pages":"84 - 96"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42525621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/02639904.2021.1950359
L. Davies
ABSTRACT This article considers Borges’s central role in the Argentine literary tradition of misattribution and false citations. It reassesses his subversion of normative perceptions of traditional literary values and practices such as originality and plagiarism and contextualizes his now familiar views on the relative merits of translation and ‘creative’ writing (reminiscent of his elevation of the reader above the writer) and investigates his preference for collaborative production over individual authorship. The essay reminds the reader of Borges’s joyful view of literature and ends by considering two contemporary Argentine writers (Tomás Eloy Martínez and Ricardo Piglia) whose largely divergent outputs find some common ground in their gravitation towards distinctively Borgesian motifs and techniques.
{"title":"All that is Solid Melts into Air: Borgesian Variations on Translation, Fidelity, Citation and Plagiarism","authors":"L. Davies","doi":"10.1080/02639904.2021.1950359","DOIUrl":"https://doi.org/10.1080/02639904.2021.1950359","url":null,"abstract":"ABSTRACT This article considers Borges’s central role in the Argentine literary tradition of misattribution and false citations. It reassesses his subversion of normative perceptions of traditional literary values and practices such as originality and plagiarism and contextualizes his now familiar views on the relative merits of translation and ‘creative’ writing (reminiscent of his elevation of the reader above the writer) and investigates his preference for collaborative production over individual authorship. The essay reminds the reader of Borges’s joyful view of literature and ends by considering two contemporary Argentine writers (Tomás Eloy Martínez and Ricardo Piglia) whose largely divergent outputs find some common ground in their gravitation towards distinctively Borgesian motifs and techniques.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"39 1","pages":"138 - 155"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44841762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/02639904.2021.1950357
K. L. Brown
ABSTRACT This article examines the relationship between Jorge Luis Borges’s ‘Pierre Menard, autor del Quijote’ (1939) and Miguel de Cervantes’s two-part novel (1605 and 1615) in terms of Borges’s notion of the apocryphal. With reference to Borges’s writings on the apocryphal as a productive form of literary creation and interpretation, particularly the way in which he defines the apocryphal in terms of the ‘hidden’ meanings in a text, the article considers Cervantes’s own relation to the apocryphal in his imitation of various literary genres and in his response to Alonso Fernández de Avellaneda’s apocryphal Quijote (1614) in the second part of the novel. By analysing the significance of the chapters from the first part of the Quijote that Menard reproduces, as well as Menard’s explicit refusal to reproduce the prologue to the second part of the Quijote, the article concludes that Menard’s engagement with Cervantean notions of truth, falsehood, and originality (as well as with Cervantes’s own treatment of Avellaneda’s apocryphal Quijote) ironically articulates the apocryphal nature of all ‘original’ literary texts.
摘要本文从博尔赫斯的“伪作”概念入手，考察了博尔赫斯1939年的《皮埃尔·梅纳德》与塞万提斯1605年和1615年的两部长篇小说之间的关系。关于博尔赫斯关于伪经作为文学创作和阐释的一种生产形式的著作，特别是他根据文本中“隐藏”的含义来定义伪经的方式，本文在对各种文学流派的模仿中，以及在对小说第二部分Alonso Fernández de Avellaneda的伪作Quijote（1614）的回应中，考虑了塞万提斯自己与伪作的关系。通过分析梅纳德再现的《吉诃德》第一部分章节的意义，以及梅纳德明确拒绝再现《吉诃特》第二部分的序言，文章得出结论，梅纳德与塞万提斯的真、假、，和独创性（以及塞万提斯自己对阿维拉涅达的伪作《吉诃德》的处理）讽刺地阐明了所有“原创”文学文本的伪作性质。
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