By Lisa Block De Behar
Lisa Bock de Behar explores the trope of citation within the works of Jorge Luis Borges.
Borges cites innumerable authors within the pages making up his life's paintings, and innumerable authors have stated and proceed to quote him. greater than a determine, then, the citation is an essential component of the cloth of his writing, a material made anew via every one studying and every re-citation it undergoes, within the endless throes of a work-in-progress. Block de Behar makes of this studying a plea for the very paintings of verbal exchange; a convention that takes group now not within the totalized and totalizable soil of pre-established definitions or essences, yet at the ineluctable repetitions that represent language as such, and that warrantly the expansiveness-through etymological coincidences of which means, via ancient contagions, via translinguistic sharings of specific experiences-of a definite index of universality.
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Additional info for Borges: The Passion of an Endless Quotation
More than substitute, the preposition multiplies: a × e, a substitution that multiplies the meaning of the word. It produces a dissemination of meaning that, because of it, shimmers and shatters, dispersing univocal interpretation, disarticulating definitively whatever definition. There is no origin, nor center, nor end; whatever solution, whatever exit is illusory, or pure theory. In difference deconstruction is concretized, without distinction (a form of differing), without displacement and postponement (another form of differing), the writing is a dead letter or a letter that kills, as the Gospel says.
53 And once again propriety is more arbitrariness than exactitude. This contradictory ambivalence of the word and its properties constitutes the very statute of the word, the duality of a nature far from simple. Each mention refers at least two times, since while referring to a particular individual it never ceases referring to an archetype, a universal. One could explain this ambivalence by considering the old neo-Platonic contribution of the distinction later established by Peirce when he opposed type and token.
First the aura disappears—the loss of the separation that distinguishes, of the singularity that confers to unity the character of uniqueness. Then, that disappearance initiates another: the loss of reference, the collapse of the necessary duality that the referent needs to signify, a collapse that the last war showed on television, like a news item or a novelty. Metz said that “the perception of the tale as such [. ”40 Was it not Barthes who feared that the fixation of codes would “make resurge .