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Argentinian architect Adolfo Luis Moure Strangis has a passion for designing machine‐like, labyrinthine spatial constructions. His work can be seen as architecturally analogous to Argentinian author Jorge Luis Borges's famed literary experiments. Architect and academic Bea Martin uses some of Borges's iconic texts to interrogate Moure Strangis's architectural and narrative intentions – bringing layers of meaning, time and multiple pathways to the featured works. Throughout it all, the spectre of the machine is always present. [ABSTRACT FROM AUTHOR]

With a book review published in the Argentine magazine El Hogar in 1937, Jorge Luis Borges was arguably the first author to introduce the Chinese classic Dream of the Red Chamber (红楼梦) to the Spanish-speaking world. By investigating Borges's under-examined book review, this article starts with a comparative analysis of the German translation and Borges's reception of Dream. First, I demonstrate how omissions and interpretations by the German translator Franz Kuhn contribute to Borges's partial reading of this Chinese novel. Next, leveraging Gérard Genette's concepts of transtextuality, my analysis situates Dream of the Red Chamber as a hypotext of Borges's canonical short story "El jardín de senderos que se bifurcan" ("The Garden of Forking Paths"). I argue that "El jardín" not only inherits the narrative and philosophical essence of its Chinese source, but the figurative labyrinth created therein transcends Borges's initial equivocations about the translated text. Ultimately, I contend that Borges's 'transreading' of Dream of the Red Chamber shapes the crucial themes of dream and doubleness in his later works. Although the translator's mediation results in Borges's partial interpretation of the Chinese novel, the Argentine writer constructs a unique labyrinth – his philosophical and literary quintessence – in his creative rewritings and adaptations. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The vastly overscaled elements, lineaments and sculptures of a seemingly infinite house form the backdrop of Susanna Clarke's 2020 novel Piranesi. Head of Teaching and Learning at the Architectural Association, Mark Morris draws on his research into architectural models, paracosms and the representation of buildings in fiction, filtering this through the lens of an encyclopaedic knowledge of architectural history to investigate the book's narrative arc, its ghostly visitations and its beautiful if not overbearing architectural mise en scène. [ABSTRACT FROM AUTHOR]

This paper examines the content of Lajos Grendel's novella Bőröndök tartalma [The Contents of Suitcases], dedicated to Jorge Luis Borges and published in 1986. Its aim is to identify specific links between the Grendel novella and Borges' oeuvre. The study picks out Borges's short story The Book of Sand as a preface, and to prove the existing links between the two opuses, it first describes the chronological circumstances, then uses narratological and comparative methods to examine the text from the following aspects: standpoint, character traits, plot. The analysis also focuses on the differences between the two texts and on the characteristics of the infinite book, which becomes central to both ones. The paper also deals with the fantasy-based interpretation of magical realism and its manifestation in Grendel's oeuvre (essays Prikk és Pantheosz [Prikk and Pantheos]; Valóság, fantasztikum, mágia [Reality, Fantasy, Magic]). [ABSTRACT FROM AUTHOR]

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1999.

The article is devoted to the stylometric analysis of stories written by Jorge Luis Borges and Adolfo Bioy Casares under the common pseudonym Honorio Bustos Domecq. The work poses two questions: 1) Is Bustos Domecq’s style different from the writing style of Borges and Bioy Casares? 2) What is the share of influence of each of the co-authors on the formation of Bustos Domecq's style? To solve research problems, it is used Delta method, one of the most reliable stylometric tools to date; as well as the support vector machine, a common machine learning method that is used to solve classification problems. It turns out that Bustos Domecq's style differs from the style of the stories of Borges and Bioy Casares. However, in the texts of Bustos Domecq the authorial signal of Bioy Casares predominates, which is revealed on the basis of both stylometric and historical-literary analysis. The influence of Borges is more clearly manifested only in the first stories (1940s), when Bioy Caceres is a literary disciple of Borges, and in the second half of the 1960s, at a time of serious emotional upheavals for Borges, as well as his world recognition. Analysis of the topics of the stories, where Borges's authorial signal predominates, also confirms the results of stylometric experiments: the story “The Long Search for Tai An”, as well as the first texts of the collection The Chronicles of Bustos Domec “Tribute to Cesar Paladion”, “An Evening with Ramon Bonavena” and others really correspond to the poetics of Borges.

Extended and translated for JTAS's Reprise section. Ana C. Cara, “¿Qué tienen en común Jorge Luis Borges y Bob Dylan? Sobre el elevado arte de la poesía popular,” originally published in Palabras Enlazadas: Estudios en Homenaje al Profesor Lászió Scholz, 2018.

The evolution of science fiction (SF) in Latin America has been affected concurrently by Northern genre norms and local literary and cultural realities, leading to the development of science fictions unique to the region. Modern genre SF was not imported wholesale to Latin America from the North, nor was it created in a vacuum. So how did the genre transition in Latin America in the 1940s from the relative trough in SF production in the interwar period to the Golden Age of the decades that followed? Adolfo Bioy Casares is perhaps the closest thing we have to an influencer and a bellwether of this moment in genre history. Bioy's ability to juxtapose science and science fictions past and present, to balance plot-driven and experimental writing, and to create new genre hybrids make his work emblematic of this turning point in the evolution of Latin American SF, which I am calling the "Morel hinge." This article considers the theoretical underpinnings of the Morel hinge through an examination of four prologues by Borges and Bioy Casares and illustrates it with a discussion of Bioy's 1944 short story "La trama celeste". [ABSTRACT FROM AUTHOR]

Where is one's voice to be found? Not all architects search for it in both drawing and writing. Eliyahu Keller, an architectural historian working at the Technion – Israel Institute of Technology, examines one of Lebbeus Woods's distinct early tropes: an ever‐tense continuum between the image and the text. His ocular reading of Woods's scripts diagnoses their involvement with a darkness of an age, not its light. [ABSTRACT FROM AUTHOR]

En este artículo se examinan las operaciones literarias en cinco relatos de Jorge Luis Borges en que los objetos cobran vida y se vuelven el núcleo de la acción narrativa, haciendo de este proceso una subversión de los mecanismos regulares de la narración. Se propone un enfoque capaz de dialogar con la figura de Leibniz tamizada por Deleuze en cuanto describe y reflexiona sobre la operatividad barroca y neobarroca, en la cual se insertan los textos objeto de estudio. Avanzar desde dichos planteamientos permite examinar procedimientos propios de un ethos barroco en los relatos borgesianos y explicar en qué medida se reconfigura aquella “nueva armonía” que Deleuze describió en el marco del neobarroco.

Este artigo passa revista a algumas questões científicas que são tratadas, em diversos graus de profundidade e escopo, na literatura de Jorge Luis Borges. Apresentamos nove textos comentados e esmiuçados na sua essência científica (A esfera de Pascal, A Biblioteca de Babel, Tlön, Uqbar, Orbis Tertius, O milagre secreto, O Aleph, Funes, o memorioso, O jardim dos caminhos que se bifurcam, A casa de Asterion e A perpétua corrida de Aquiles e a tartaruga), colocando em alguns casos novas conjecturas e observações próprias para interpretar e contextualizar estes temas dentro dos relatos borgianos, a modo de convite para outras análises aprofundadas da obra do escritor argentino. Mostramos que Borges pode ser considerado um caso singular de fusão de erudição que não separa os temas humanos os naturais, embora sua compreensão e familiaridade com estes últimos fosse bastante superficial. De forma incomum, Borges baseia boa parte da sua obra em possibilidades fantásticas a ele sugeridas tendo a Matemática, a Metafísica e as Ciências em geral como alicerces para a livre criação literária, mas de forma estruturada e num estilo que poderíamos chamar de “realidades alternativas auto consistentes”.

El presente trabajo estudia el tema de civilizacion y barbarie latente en El Sur, cuento de Jorge Luis Borges. Enfocándose en la perspectiva histórica, se analizan el discurso político-geográfico de la élite argentina sobre los indios y el imaginario geopolítico de “el Sur” en la segunda mitad del siglo XIX. El protagonista del cuento, Juan Dalhmann se identifica como heredero de este discurso basado en los valores europeos como el único patrón de una civilización universal. Dalhmann interpreta la diferencia de la geografía que encuentra en su viaje hacia el Sur como un anacronismo en el orden temporal, practicando el “denial of coevalness”. El Sur es para él el espacio del Otro. El duelo al final de la historia entre Dalhmann y el hombre de “rasgos achinados” es una manifestación de la contradicción ineludible cuando Dalhmann se convierte en el nuevo civilizador de la modernidad.

The article takes up the title that Milan Kundera used for his essay published in Mexico in 1980, after giving his lecture on Kafka. This article also underlines how some aspects of Kafka’s rich work continue to perfectly translate the image of that totalitarian world. Despite the collapse of the Soviet empire, this tendency refuses to leave the scene of our time. In Latin America, adherence to this trend continues to manifest itself in various countries. However, Kafka’s influence on Spanish-American literature is truly unquantifiable. The case of José Revueltas, with his brilliant novel Los días terrenales (1949), illustrates in a “Kafkaesque” way the meanders of the so-called socialist Revolution. For his part, the unavoidable Borges contributed a lot, since the 1930s, to make known, according to his terms, “another way of conceiving literature”, where Kafka has occupied a central place,

The essay considers different aspects of Kafka’s influence on Latin American literature and culture. It focuses on the concept of ‘influence’ and its interpretation in Borges, on the modalities of the absurd, and on the vexing confusions around the concept of ‘magic realism’.

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study explores Postmodernism elements in the short story "The Other Death" by one of the renowned postmodern authors Jorge Luis Borges. The researchers have identified the elements of postmodernism in the story to substantiate the claim that the story is a postmodern text. The study is exploratory in nature and involves the use of the qualitative approach. Moreover, the study has been carried out and analyzed under the lens of Postmodernism. For this purpose, the study uses content analysis of the Jorge Luis Borges short story "the Other Death. For the current study, the researchers have invoked the theory of postmodern fiction mentioned in The Cambridge Introduction to Postmodern Fiction by Bran Nicol. This research study has used the interpretative method to analyze the text of "The Other Death". Content analysis has been widely used through the lens of postmodernism of literary texts. The findings of the study have shown that the story carries many postmodern elements but the major elements explored by researchers are: Intertextuality, Metafiction, and Magical Realism. The short story is intertwined with diverse rich elements to represent diverse meaning for the readers. The text carries literary allusions and the commendatory of the author as well along with the elements of magical realism that makes it a well-knit text for postmodern analysis. [ABSTRACT FROM AUTHOR]

The aim of this article is to analyze and compare a corpus of four film adaptations of “Emma Zunz” (The Aleph, 1949), the short story by Jorge Luis Borges, recognizing similarities and differences between them. The analysis focuses especially on the voice and face of the female protagonist, as well as on the diegetic space, considering the diversity of contexts in which these films were produced (Argentina, Poland, United States and France). Over the decades, the successive versions of “Emma Zunz” reveal not only the persistence of cinematographic interest in Borges’ literature, but also the multiple reading possibilities that each Borgean story opens to its readers. The construction of the crime plot, the ambiguous narrator and an elliptical protagonist in Borges’ short story contribute to provoke rereadings and recontextualizations of “Emma Zunz” in the audiovisual discourse.

Una investigación basada en comparación literaria entre Jorge Luis Borges y escritores chinos contemporáneos permite ver una imperfección del actual modelo y paradigma de estudio de la literatura comparada entre la china y la latinoamericana. En este artículo se enfocan en la comparabilidad, con propósito de localizar la base sobre la cual se realizan investigaciones al respecto e intercambios culturales, dentro de un marco hermenéutico de Friedrich Daniel Ernst Schleiermacher y Martin Heidegger. En favor del entendimiento de esta temática intercultural, la hermenéutica metodológica brinda de importante ayuda. Según su teoría, se demuestra que la recepción de Jorge Luis Borges por los escritores vanguardistas chinos y la descripción de China en obras del maestro argentino, dejan ver una selectividad del “receptor agente”, así como una reciprocidad entre ambas partes. Y detrás de esta hay varios hechos y razones, tanto colectivos como individuales, los cuales requieren de amplificación y profundización de investigación sintética, así como elevación del estudio de la literatura comparada al nivel intercultural. En este aspecto, la hermenéutica, definida como el arte de comprensión, que comparte elementos comunes con la cuestión de la comparabilidad, puede conducir an una nueva forma de pensar que nos ayude a llegar an una conclusión más profunda.

Este artículo plantea una comparación entre la novela El sitio de los sitios (1995a), de Juan Goytisolo (edición inglesa: 2008), con el pensamiento cervantino y la ficción y metaficción cervantinas de Jorge Luis Borges, de un lado, y, del otro, con Tres Tristes Tigres (1967), la innovadora novela de Guillermo Cabrera Infante (edición inglesa: 1971), y con el certero análisis que Goytisolo hizo de sus mecanismos narrativos, relacionándolos con la novela fundacional de Cervantes (el Quijote).

The aim of this paper is to consider those literary collaborations created by Jorge Luis Borges and Adolfo Bioy Casares and published under "Honorio Bustos Domecq" name. Computational stylistics or stylometry is the methodology we are using. First, informations about their collaborative works are settled: Honorio Bustos Domecq is an heteronym in two books, but its role is reduced to a fictional author in the other two. Then, stylo is applied to a corpus of undoubted works (both Borges' and Bioy's), and to a doubted corpus (works by Bustos Domecq). It allows us to identify the writing hands and habits. After that, we will compare each one of Bustos Domecq's works with the undoubted corpus, so that collaborative procedures will be enlighted, and we will be able to identify each writer's intervention. [ABSTRACT FROM AUTHOR]

Copyright of Estudios de Teoría Literaria is the property of Estudios de Teoria Literaria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Versants: Revista Suiza de Literaturas Románicas is the property of University Library of Bern and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Estudiamos aquí la participación de Xul Solar en la Revista Multicolor de los Sábados y definimos los términos en que tuvo lugar, sobre todo, a partir de su traducción de una selección de cuentos de Kipling, Just so stories. Como punto de partida, trabajamos con objetos materiales —un ejemplar del libro mencionado y unas páginas sueltas de la revista conservados por el artista— lo que nos permitió reconstruir el contexto de producción de esas traducciones al momento de su publicación. Resultado de un trabajo colectivo como lo es el suplemento semanal ilustrado, identificamos, sin embargo, acciones e intervenciones de uno de sus directores, Jorge L. Borges, que explican cómo fue aquel proceso que marcó el pasaje de los cuentos del libro al semanario y el porqué de algunas de las decisiones tomadas.

El presente artículo se propone examinar las colaboraciones literarias de Jorge Luis Borges y Adolfo Bioy Casares bajo el nombre de Honorio Bustos Domecq, empleando para ello la estilometría o filología asistida por ordenador. En primer lugar, se abordan los datos conocidos acerca de los cuatro títulos vinculados a dicho nombre (en dos de ellos, Honorio Bustos Domecq funciona como heterónimo, como impostura literaria, mientras que en los otros dos lo hace como autor interpuesto, y la impostura ya ha sido desvelada ante los lectores). A continuación, se aplica Stylo para identificar los rasgos de escritura de Borges y Bioy Casares a partir de un corpus de obras indubitadas (obras de Bioy, por una parte, y de Borges, por otra), y se comparan con los textos dubitados (los creados en colaboración), a fin de comprobar que se identifican correctamente las manos. Posteriormente, mediante la función rolling classify, se examinan las obras conjuntas, y se detecta la intervención de cada uno de los autores en los cuatro títulos.

El objetivo de este artículo es analizar las principales características de las notas de presentación de las dos ediciones de la Antología de la literatura fantástica, preparadas por Jorge Luis Borges, Silvina Ocampo y Adolfo Bioy Casares, en 1940 y 1965, respectivamente. Desde mi perspectiva, en esas minibiografías se procura, en unos cuantos casos, reforzar el efecto de lo fantástico de los textos seleccionados. Pero también, exhiben rasgos adicionales que deben destacarse: la invención de datos, la mezcla de información real y ficticia, el humor, los juicios de valor, entre otros. Para el análisis, usaré planteamientos que han propuesto diversos estudiosos de las antologías encabezadas por Borges, como Annick Louis, Ángeles Mascioto y Lucas Adur, entre otros.

El presente artículo considera el interés de Jorge Luis Borges por reflexionar y contemplar la escritura de un “poema total”, es decir, una composición que emulara la épica clásica o los intentos desde el Romanticismo por crear una composición similar. En la primera parte de este trabajo, se presenta evidencia de que dicha aspiración existía en Borges desde el principio de su carrera. El primer modelo técnico fue ofrecido por Whitman, quien se sirvió de largas enumeraciones que pretendían abarcar la vastedad de la experiencia humana. Borges, sin embargo, pronto se sintió insatisfecho con dicha técnica y exploró otras vías. En la parte central de este texto sugiero que en algunos relatos —“El Aleph”, “La escritura del dios” y “Undr”— parece sugerir que tal composición debe ser rica en alusiones, más que en la enumeración, y compacta, más que vasta, en cuanto que lo absoluto no necesita del exceso. En la parte final del artículo, analizo el poema tardío “Él”. Sugiero que es uno de varios intentos por dar forma a la composición ya mencionada. En este poema, Borges combina sus propias variantes del soneto inglés y del monólogo dramático en un texto rico en alusiones y referencias intertextuales.

The essay considers different aspects of Kafka's influence on Latin American literature and culture. It focuses on the concept of 'influence' and its interpretation in Borges, on the modalities of the absurd, and on the vexing confusions around the concept of 'magic realism'. [ABSTRACT FROM AUTHOR]

The article takes up the title that Milan Kundera used for his essay published in Mexico in 1980, after giving his lecture on Kafka. This article also underlines how some aspects of Kafka's rich work continue to perfectly translate the image of that totalitarian world. Despite the collapse of the Soviet empire, this tendency refuses to leave the scene of our time. In Latin America, adherence to this trend continues to manifest itself in various countries. However, Kafka's influence on Spanish-American literature is truly unquantifiable. The case of José Revueltas, with his brilliant novel Los días terrenales (1949), illustrates in a "Kafkaesque" way the meanders of the so-called socialist Revolution. For his part, the unavoidable Borges contributed a lot, since the 1930s, to make known, according to his terms, "another way of conceiving literature", where Kafka has occupied a central place. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to analyze the morality's role in one of the most important promises professed by transhumanism, the promise of human immortality. This purpose will be carried out through the interpretation of the short tale: The Immortal by Jorge Luis Borges. This in order to unveil the close relationship that exists between the moral dimension of man - the question of what should I do - and the recognition of his finitude, of his becoming, as a being that forms his own narrative in the world. [ABSTRACT FROM AUTHOR]

This research paper examines the concept of the Real, as proposed by Slavoj Zizek, through the study of The Aleph by Jorge Luis Borges. This short story best represents this idea of the Real as intended by the Slovenian philosopher. Yet, Borges displays the idea of the Real through a mystical perspective, whereas Zizek tends lean on psychoanalytical perspectives. Once the short story is read through Zizek, we can perceive a new interpretation of the text. Otherwise, the transformative process after encountering the Aleph remains ambiguous and irrelevant. A similar idea of this transformation is also represented in many religious readings of the concept of God. This paper tends to study this idea of the Real through the psychoanalytic theory of Slavoj Zizek. His theory makes a long journey through Sigmund Freud and Jacque Lacan. The objective of this study is to have a new understanding of the ideas that undergo ambiguities and misunderstanding, including the idea of unseen powers that dominate our life. [ABSTRACT FROM AUTHOR]

Borges' thoughts on centenaries evince a complexity that his enthusiasts should bear in mind when hurrying to celebrate his first hundred years in the literary domain. Focusing on the moral paradox of 'Tema del traidor y del héroe', this study notes the betrayal of the epic possibilities of a national and family centenary, and finds a similar scepticism in a later poem, 'Elegía de la patria'. As a counterweight, an essay written in January 1965 on the death of Winston Churchill advocates forms of commemoration that are free of pomp, are compatible with irony and have a sense of beauty. [ABSTRACT FROM AUTHOR]

“Deutsches Requiem” (1946), Borges’s story from the famous collection El aleph, provides an early and innovative model for representing fascism from the point of view of a Nazi perpetrator. Although often misunderstood by twentieth-century US literary critics, “Deutsches Requiem” has gained attention in recent years. This article adds to the critical interest in the story by demonstrating how Borges created a genre that some of the most prominent Latin American authors would adopt to grapple with World War II, the Holocaust, and their legacy in Latin America. The study examines seven novels written by five prominent Latin American authors between 1967 and 2009 that feature Nazi protagonists. These “perpetrator fictions” continuously rewrite, reexamine, and replicate Borges’s “Deutsches Requiem” to pose the same probing questions while reevaluating the story’s importance. In this way, the novels also provide the interpretive gloss on Borges’s enigmatic story that had been missing from critical conversations. [ABSTRACT FROM AUTHOR]

This article intends to discuss Jorge Luis Borges’ Poetics of the Narrative, that is, to question the form and the literary devices which make a narrative somehow effective. I shall focus on aspects associated with the buildup of the plot, such as the magic causality, the writing style based upon a concept of selective memory and oriented towards a dynamic and concatenated articulation of the events. The technicity inherent to these aspects increases the interaction between the reader and the text, makes of the former a machine operator of an open mechanism. [ABSTRACT FROM AUTHOR]

The painter Vija Celmins has long been an outlier in narratives of postwar American art. Extensive formal analysis of her work, from her early still lifes to her later night skies and ocean surfaces, shows that Celmins was deeply invested in the issues of time, entropy, and energy that proved crucial to her contemporaries, like Robert Smithson and Hans Haacke. However, Celmins found ways of objectifying energy through naturalistic representation and the most traditional of media, painting and drawing. She explores these issues by discovering contradictions within classical mimesis. [ABSTRACT FROM AUTHOR]

El presente trabajo tiene como propósito el análisis del papel de la moral en una de las promesas más grandes profesadas por el transhumanismo, la promesa por la inmortalidad humana. Dicho propósito se llevará a cabo mediante la interpretación del breve cuento: El inmortal del literato Jorge Luis Borges. Esto con el fin de develar la estrecha relación que existe entre la dimensión moral del hombre – la pregunta por el qué debo hacer – y el reconocimiento de su finitud, de su devenir, como ser que va formando su propia narrativa en el mundo.

In a famous passage in “The Death of the Author,” Roland Barthes describes the writing process as embodying the disintegration of the author’s personal identity: “Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing” (142). This postmodern position is deeply rooted in classical Greek thought, in particular Plato’s harsh critique of poetic inspiration, conceived as “holy madness.” Is this equation valid, however? Does writing necessarily serve as the ultimate act of self-negation? This essay seeks to elucidate Jorge Luis Borges’ and Fernando Pessoa’s alternative views of authorial subjectivity. Borges and Pessoa – arguably two of the greatest writers of the twentieth century – conceive the interplay between writing and self-identity in rather complex fashion. Pessoa’s term “heteronym” relates to the way in which an author’s subjectivity abruptly gives way to an idiosyncratic identity who composes the poem. This recalls the Kabbalistic idea of God’s contraction (tzimzum), the creator preserving his or her passive self-identity while giving birth to other beings from his or her inner void. Discussing Shakespeare and Whitman, Borges proposes that the act of writing is a form of self-creation in which the writer begets a unique narrative identity out of himself or herself that, transfigured, is simultaneously both the same and the other.