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The Aleph
(José Luis Borges)

Their synopsis writes here. ALEPH (José Luis Borges) With the title of the Aleph Borges presents/displays a series of stories whose thematic formal and it declares differ to each other. Nevertheless this variety is only apparent and superficial. In fact all of them united and in are lassoed by the same ideas to the point of being repetitive, that is to say, that a central idea is repeated from a story to another one although they change the personages, the time and the context, For example the Scripture de God and the Aleph are similar with the difference of which first it is developed in century XVI, whereas the other happens in Buenos Aires of first half of century XX. This is an own characteristic of the Latin American author, but far from being a literary limitation it is a way to explore all the aesthetic and philosophical implications that those ideas offer to us; it is that to Borges which interests to him they are the essential subjects like: the knowledge, the identity, the sense of the human existence, or and badly (or in other words, correct and the incorrect thing of the human actions), etc. All of them subjects that are been present in the most gracious minds for all time and of all geographies, of there the universal thing of its work. One has criticized Borges to him to be excessively intellectual, of not expressing in its works the feeling and the own passions of the human being. Until certain point the critic is valid, we are not going to find personages who show of open way their emotional states (the vital attitude of the troglodytes in the Inmortal illustrates clearly this position): the weeping, the laughter, the pain, the anguish, the joy, etc. are not own of the human beings who populate the borgiano universe: Emma Zunz develops his plan with apparent coldness as well as Asterión in center waits for its tragic destiny of its labyrinth; the wrath, the hatred and the resentment are present but of veiled and underground form, that is to say, that guess through the acts and meditations of the personages but not in their corporal language: Aureliano, in the Theologians, it disguises his envies and rage towards Juan de Panonia with the theological clothes of discussion and defense of the faith whereas Otto Dietrich Zur Linde looks for Metaphysical justifications his cruel behavior and the one of his nation; in addition the own author avoids to fall in affective descriptions, although not always she obtains (it becomes in those stories acclimated in spaces and times next to the author more evident or where this example takes part like personage: The Zahir and the Other Death. But then which is the humanistic validity of the work of the Argentine writer. What the author proposes by means of his personages is a form little common to confront the life to the margin of the multiple vicissitudes that could be presented/displayed. The central personages of the Aleph confront their circumstances and their passions with a heroic, intimist, solitary serenity and do not exempt of certain purely human greatness where the divinity, although is not absent, plays an indefinite and indecipherable role, they are anonymous heroes whose effort and value never will be recognized by anybody. That Borges is an intellectual author and the Aleph a product of it, is not the important thing; the important thing is the paper that plays that faith in the intellectual capacities in the own life of its personages, for them those capacities approach the truth, an own and limited truth, is certain, but that to the aim of accounts it will constitute his table of salvation before the attacks of the reality.

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