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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] .
Byron was a prolific writer, for whom "the composition of his great poem, Don Juan, was coextensive with a major part of his poetical life"; he wrote the first canto while resident in Italy in 1818, and the 17th canto in early 1823. [3] Canto I was written between July and September 1818, and canto II was written from December 1818 to January 1819.
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.
Spanish versions, with some variations, consist of a first person narrated poem about an 85-year-old person who regrets not having enjoyed some simple pleasures during his life and instead having focused on safety and correctness. The vocabulary, syntax and style do not match those of Borges. [1] [2]
"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.
"The Immortal" (original Spanish title: "El inmortal") is a short story by Argentine writer Jorge Luis Borges, first published in February 1947, [1] and later in the collection El Aleph in 1949. The story tells about a character who mistakenly achieves immortality and then, weary of a long life, struggles to lose it and writes an account of his ...
"The Book of Sand" (Spanish: El libro de arena) is a 1975 short story by Argentine writer Jorge Luis Borges about the discovery of a book with infinite pages. It has parallels to the same author's 1949 story " The Zahir " (revised in 1974), continuing the theme of self-reference and attempting to abandon the terribly infinite, and to his 1941 ...
The variations give us glimpses of winter landscapes (cantos I, VI, and XIII), but also of a geometrical world turned metaphysical when the blackbird 'mark(s) the edge / Of one of many circles', or of a train ride turned fairy tale in which a 'glass coach' becomes an equipage', among other situations." [3] The poem's haiku-like austerity is ...