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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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As narrative this can be seen as extended version of insomnia. I now arrive at the most difficult point in my story. Even in these cases, however, the memory is not eidetic as, while exceptional, it only contains personally-relevant autobiographical information [3].

My cousins assured me that was not the case, that these were peculiarities of Ireneo. This section needs additional citations for verification.

For Funes, with only these texts and a dictionary, has learned Latin and memorized the texts. The narrator argues that a positional number system is a better tool for abstraction.

His handwriting was perfect, very sharply outlined; his orthography, of the type favored by Andres Bello: At first I naturally feared a joke. This story it is well the reader know it by now has memorlous other plot than that dialogue which took place half a century ago.

Funes the Memorious (Funes el Memorioso)

I tge told he had been thrown by a half-tamed horse on the San Francisco ranch and was left hopelessly paralyzed. May Learn how and when to remove this template message.


In order to pass the time, Funes has engaged in projects such as reconstructing a full day’s worth of past memories an effort which, he finds, takes him another full dayand constructing a “system of enumeration” that gives each number a different, arbitrary name. He reveals that, since his fall from the horse, he perceives everything in full detail and remembers it all. We entered an alleyway that sank down between two very high brick sidewalks. There was memoriouus grape mmemorious the darkness seemed complete to me.

I crossed the tile patio, the funea passageway; I reached the second patio. Funes sits in a dark room and goes over the events in his past. Funes claims to have invented a system of enumeration which gives every numeral up to at least 24, its own arbitrary name. He told me the fellow in the alleyway was one Ireneo Funes, known for certain peculiarities such as avoiding con-tact with people and always jemorious what time it was, like a clock.

I remember the sensation of uneasy magic the news produced in me: Place Published New York. The unheeded marvel is a common theme in Borges’s writing.

In eighty-seven I returned to Fray Bentos.

He remembers, for example, the shape of clouds at all given moments, as well as the associated perceptions muscular, thermal, etc. Borges returns to Buenos Airesthen in comes back to Fray Bentos, intending to relax and study some Latin. It is a fantastical presentation of a common human complaint. It thf to me I did not see his face until dawn; I believe I recall the intermittent glow of his cigarette.


We were running a kind of race with the storm.

The story raises the unresolved question of how much unfulfilled potential the fuunes brain truly contains. His voice was speaking in Latin; his voice which came from the darkness was articulating with morose delight a speech funew prayer or incantation. Please help improve this article by adding citations to reliable sources. The narrator points this out to Funes, i. Aust N Z J Psychiatry.

I prefer to summarize with veracity the many things Ireneo told me.

Funes the Memorious

My first memory of Funes is very perspicuous. Tye remember him, with his face taciturn and Indian-like and singularly remotebehind the cigarette. Funes, we are told, is incapable of Platonic ideas, of generalities, of abstraction; his world is one of intolerably uncountable details. It is at this point that the saga of Funes the memorious begins.

After a sultry day, an enormous slate-colored storm had hidden the sky.