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Resumen: Jorge Luis Borges is renowned not only as one of the masters of the Spanish letters in the twentieth century, but also as a major figure in world literature. He was a prolific author, whose vast production has been the subject of many treatises and discussions that, for the most part, focus on his literary, philosophical, aesthetic and ideological preoccupations. There is, however, a crucial aspect of his work (closely related to all these concerns) that has received little scholarly attention until recent times: translation. For Borges, writing, reading and translating were intimately interconnected and the way in which he conceptualised all three acts led him to intuit and, in some cases, outline some of the principles that would become the nucleus of twentiethcentury translation theory. This paper examines Jorge Luis Borges's understanding of translation (which, for him, was an instinct, even a compulsion) with reference to theories that were developed in subsequent years. The aim is to show how Borges anticipated many of the notions that would become central to translation scholarship. In order to achieve this, links will be established between three critical essays by Borges ("Las dos maneras de traducir", "Las versiones homéricas" and "Los traductores de las 1001 Noches") and selected pieces of his fiction, on the one hand, and translation theories, on the other.

Resumen: Borges' works deconstruct the time lag conceived in the binaries such as the work's production vs. its criticism, the original text vs. its translation, the source text vs. the derivative nature of the target text, and reality vs. fiction. Benjamin, as Borges' near contemporary, echoes rather the same idea in his post-Nietzschean philosophy of translation. Focusing on the similarities between the views of Benjamin on translation and those of Borges as reflected in his stories as well as his essays, particularly in his well-received essay on translations of Thousand and One Nights and in his meta-fictional short story 'Pierre Menard': Author of the Quixote, this paper aims at bringing the two scholars together in the context of literary translation studies in the postmodern era, where intersemiotic and intertextual collage (in Eco's terminology) and mimicry bear witness to the claim that translation, like other intertextual enterprises, is neither inferior to the other intertextual undertakings such as writing, nor is it detached from language as post-structurally conceived. Furthermore, another core objective of this study is to show how Borges' 'Menard' heralds and truly represents the translation theories built upon the underlying assumptions of deconstructionism since the 1980s. It is concluded that as far as postmodern and poststructuralist theories are concerned, both Borges' and Benjamin's works had predicted the future of literary and translation theories in which the decisive role of translation and translator in the construction of culture and identities cannot be denied.