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Jorge is the Spanish and Portuguese form of the given name George. While spelled alike, this name is pronounced very differently in each of the two languages: Spanish [ˈxoɾxe] ; Portuguese [ˈʒɔɾʒɨ] .
Jorge Francisco Isidoro Luis Borges Acevedo (/ ˈ b ɔːr h ɛ s / BOR-hess; [2] Spanish: [ˈxoɾxe ˈlwis ˈboɾxes] ⓘ; 24 August 1899 – 14 June 1986) was an Argentine short-story writer, essayist, poet and translator regarded as a key figure in Spanish-language and international literature.
CIL 4.5296 (or CLE 950) [a] is a poem found graffitied on the wall of a hallway in Pompeii.Discovered in 1888, it is one of the longest and most elaborate surviving graffiti texts from the town, and may be the only known love poem from one woman to another from the Latin world.
For Cervantes and the readers of his day, Don Quixote was a one-volume book published in 1605, divided internally into four parts, not the first part of a two-part set. The mention in the 1605 book of further adventures yet to be told was totally conventional, did not indicate any authorial plans for a continuation, and was not taken seriously by the book's first readers.
On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first I thought it was revolving; then I realised that this movement was an illusion created by the dizzying world it bounded. The Aleph's diameter was probably little more than an inch, but all space was there, actual and ...
"El Golem" is a poem by Jorge Luis Borges, published in 1959, and later published as part of the 1964 book El otro, el mismo (The other, the self). The poem tells the story of Judah Loew and his creation of the Golem. In the poem, Borges quotes the works of German Jewish philosopher Gershom Scholem and Cratylus by Plato.
An extreme example of a poem written entirely in (visually barely decipherable) eye dialect is "YgUDuh" by E. E. Cummings, which, as several commentators have noted, makes sense only when read aloud. [21] In this case, Cummings's target was the attitudes of certain Americans to Japanese people following World War II.
In opposition to the sophisticated, urban woman of the elegiac ideal, the woman of the mythical golden age was a simple rustic. The constant touchstone of the remainder of the poem is the deviance of contemporary Roman women from an amorphous ideal located in the unspecified past.