Jorge luis Borges inaugurated his writing career at the tender age of nine with the publication of a translation of oscar Wilde’s “The happy Prince” in el País, a Buenos aires newspaper [“autobiographical essay” 26]. This early, precocious interest in translating and in English texts, which, as we know, flourished into a life-long attraction to the foreign and to the conundrums of translation, would be an important element in the construction of his literary career, and in the development of some of the major themes that inspired his writing. A prolific translator of texts by such figures as Kafka, Virginia Woolf, Joyce, faulkner, Poe, Whitman, hart crane, chesterton, apollinaire, Browne, Papini, novalis, and hawthorne, among others, Borges has left us some of the most original and insightful ideas on the implications of translation for literature and on the relationships that are generally established between translators and authors. in “The homeric Versions” (“las versions homéricas”)1 and “The Translators of the Thousand and one nights” (“los traductores de las 1001 noches”), both published in the 1930s, and, more pointedly, in “Pierre Menard, author of the Quixote,” written in 1939, Borges anticipates some of the main tenets of translation studies as the latter have been redefined in the last decade or so under the widespread influence of postmodern textual theories [arrojo, Oficina 11–22]. Understood as an intrinsically performative textual activity, translation is generally viewed, in Borges’s terms, as a form of rewriting which is not in any sense neutral or secondary to the original. if, in such terms, both the so-called original and the translated text seem to enjoy a similar status, what kind of exchange might there be between the two? and, at the same time, if translators cannot, in any sense, be “invisible” in their translations, and, like authors, at least on some level, do mean what they

Translation, Transference, and the Attraction to Otherness -- Borges, Menard, Whitman

A radical shift in the way in which history and literature were conceived, interpreted, and written produced a change in the self-perception of Spanish American novelists between 1950 and 1975. The development of the cities, the coming of age of a large middle class, the Cuban Revolution, the Alliance for Progress, an increase in communication between the countries of Latin America, the greater importance of the mass media, and a greater attention to Latin America from Europe and the United States, contributed to this change. The most important political events of the period were the Cuban Revolution in 1959 and the Chilean coup d’etat in 1973, but there were also others that affected writing, as they generated explanations, testimonies, or served as a troubling background: the fall of General Peron in Argentina, the protracted violent struggle of the urban guerrillas, brutally repressed in Argentina and Uruguay, and the unending violence in Colombia. These events are more than simply a framework in which to place the literary production of this period. Most of the novelists studied in this chapter believe there is a political and social discourse that only shows its weakness when exposed in the literary text. Their novels are engaged in an intense dialogue not only with other works of literature, but also with oral tradition, speech-writers, police reports, priests, and all defenders of blind orthodoxy. A history of this period must start by stating that history itself became problematic since the new generations questioned the traditional version of history and sought to replace it with their own, a more hesitant, shaded, and distrustful one than the clear-cut oppositions that prevailed before.

The Spanish American novel from 1950 to 1975

Borges's Shakespeare

Literary history and canon formation

In a landmark lecture of 1951, Borges maintained that Argentine writers have legitimate access to a multiplicity of cultural traditions, rejecting as parochial the view that an authentic Argentine literary expression should adhere to the stylistic and thematic norms of Gauchesque literature. Regarding the Western tradition, he reorganized its canon by subverting the hierarchical conventions of literary history, as well as bringing to the forefront a number of non-Western traditions both secular and religious. His approach to questions of language changes over the decades. ’Death and the Compass’ arguably captures a moment of tension between the past and the present in which a new artistic expression comes to life.

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The Argentine Writer and Tradition

Literaturas europeas de vanguardia

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Translation, Transference, and the Attraction to Otherness -- Borges, Menard, Whitman

The Spanish American novel from 1950 to 1975

Borges's Shakespeare

Literary history and canon formation

The Argentine Writer and Tradition