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In , the great Argentinean writer Jorge Luis Borges (–) published Funes the Memorious. It is the fictional story of Ireneo Funes. IN “FUNES, T he Memorious,” Borges embarks upon an examination of the nature of communication. Ireneo Funes, the object of this fictional testimonial, is. Highbrow, city slicker, dude: Funes never spoke these injurious words, but I am sufficiently certain I represented for him those misfortunes. Pedro Leandro.

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Borges writes to remember and memorialise. This delightful book explains. Brenda Milner studied him. I was told he never moved from his cot, with his eyes fixed on the fig tree in the back or on a spider web. Commentary The consequences for Funes of his precise memory are interesting, particularly fuens one considers that experiment of nature that A.

Funes the Memorious – Wikipedia

I find then that I start in one place and end up in another — everything gets muddled. He mrmorious metaphysical issues of possible worlds with modal logic and explains how to read modal logic as metaphysics. Place Published New York. The translations by Irby and Hurley of the passage above may be closely compared.

S had very strong synaesthesia. He lived with his mother, around the corner from the Laureles house.


In he had his hippocampi removed from both brain hemispheres to stop the seizures. This sentence marks the turn of the paragraph.

English Translations of Jorge Luis Borges’ ‘Funes the Memorious’

His memoroous stimulus was, I think, his discomfort at the fact that the famous thirty-three gauchos of Uruguayan history should require two signs and two words, in place of a single word and a single sign. In practise, this meant starting with El libro de los seres imaginariospublished in Spanish the previous year.

I remember the sensation of uneasy magic the news produced in me: In the overly replete world of Funes, there were nothing but details. Camillo Golgi stained neurons to make them visible.

Borges quoted Coleridge who thought we are all either Platonists or Aristotelians. This may well be the latest sleight of hand of the classical. Each word had mrmorious particular sign, a species of mark; the last were very complicated…I attempted to explain that this rhapsody of unconnected terms was precisely the contrary of a system of enumeration.

Rather it made reality seem unreal. Funes either could not or would not understand me.

Funes the Memorious

My favourite passage from the story, in the Irby translation, reads as follows: Because Funes can distinguish every physical object at every distinct time of viewing, he has no clear need of generalization or funws for the management of sense impressions.


I clearly remember his voice: Mirrors reflecting mirrors, infinity is a mirror reflecting a mirror. Loose ends, irregularity and gaps relieve us of the suspicion that everything is tedious.

I saw a number between ten and one which is not nine, eight, seven, six, five etc.

Different levels of categorisation lead to variety of meanings. Funes was, “let us not forget, almost incapable of general, platonic ideas. I now arrive at the most difficult point in my story.

The narrator claims that this prevents abstract thought, given that induction and deduction rely on this ability. In mathematical terms, Funes had treated each number as a prime, a unique integer without relation to other unique integers.

She told me Ireneo was in the back room and I should not be surprised to find him in the dark, because he knew how to pass the idle hours without lighting tunes candle.

A Little Book about a Vast Memory see this database. This is a decisive reason for rejecting learning by rote and developing pedagogies around the making of meaning. Short term memory gets lost.