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(14) Dapia suggests that Menard pushes us beyond Jauss's framework, which tends toward the fusion of author's and reader's horizons, toward the possibility of an infinite number of attributions and frameworks.
Dapia and Parajo are with the Department of Chemical Engineering, University of Vigo (Campus Ourense), Polytechnical Building, Ourense, Spain.
Tiene razon Silvia Dapia cuando observa que en los ultimos veinticinco anos se ha detectado una orientacion marcadamente filosofica en la critica especializada en Borges.
Silvia Dapia claims that this is "proof that the two cultures in question are not incommensurable," and goes on to argue that "to say that the Greek notion of theatre is incommensurable with any terms or expressions of twelfth-century Arab culture and nevertheless be able to describe it as Abulcasim does, is totally incoherent" (156).
Dapia, in reading this passage, focuses on the identity of time with the self, and understands Borges to be "denying the boundaries between the self and the universe," which, as she notes, is equivalent to denying the self (147).
(1) Silvia Dapia in an artide in this same issue of Variaciones discusses the relevance of a competing economic model from the same period to the story.
Finally, on April 9th Silvia Dapia discussed subjectivity and agency in Borges, part of her book manuscript on Borges and post-analytical philosophy.
Silvia Dapia has written about this aspect of "The Theme of the Traitor and the Hero" and "Emma Zunz" in relation to what Fritz Mauthner, one of Borges's favorite philosophical readings, called "the superstition of the word": "He [Mauthner] reminds us that 'because a word is there,' this does not mean that 'something real must correspond to that word'" ("Why" 175).
(6) On Borges and universal language, see Dapia "The Metaphor of Translation: Borges and Mauthner's Critique of Language" (49-56).