"Fill in the missing word in this famous quote of Jorge Luis Borges that is very appropriate coming from a writer! ""I have always imagined that paradise will be a kind of ___."""
"two possibilities are statistically uncorrelated. Jorge Luis Borges and mathematics Jorge Luis Borges and mathematics concerns several modern mathematical concepts found in certain essays and short stories of Argentinian author Jorge Luis Borges (1899-1986), including concepts such as set theory, recursion, chaos theory, and infinite sequences, although Borges' strongest links to mathematics are through Georg Cantor's theory of infinite sets, outlined in ""The Doctrine of Cycles"" (""La doctrina de los ciclos""). Some of Borges' most popular works such as ""The Library of Babel"" (""La Biblioteca de Babel""), ""The Garden of Forking Paths"" (""El Jardín de Senderos que se Bifurcan""), ""The"
"In this they note that to some extent, ""'Every writer creates his own precursors'"". Finally, they note that Borges stories can be described by ""'an absurd postulate developed to its extreme logical consequences'"", making ""a game for [Borges'] mind"". This, they say, reflects Borges' interest in metaphysics and philosophy, and leads to his style of magical realism. Jorge Luis Borges (24 August 1899 – 14 June 1986) is one of the greatest latin american writers and even in the world's literature history. The Argentine Jorge Luis Borges invented what was almost a new genre, the philosophical short story, and would"
"alliteration to suggest the sea's sound and rhythms: ""Who hath desired the Sea?—the sight of salt water unbounded— The heave and the halt and the hurl and the crash of the comber wind-hounded?"" John Masefield also felt the pull of the sea in his ""Sea Fever"", writing ""I must go down to the seas again, to the lonely sea and the sky."" The Argentine Jorge Luis Borges wrote the 1964 poem ""El mar"" (""The Sea""), treating it as something that constantly regenerates the world and the people who contemplate it, and that is very close to the essence of being"
"to be it, since one alone can seduce multitudes."" Borges tells us that soon he will be unable to perceive external reality, and he will have to be dressed and fed; but then he reflects that this fate does not worry him, since he will be oblivious to it. In idealistic philosophy, ""to live and to dream are synonymous,"" and he will simply pass ""from a very complex dream to a very simple dream."" In a mixture of despair and resignation, he wonders: The title of ""The Zahir"" (2005) by Brazilian writer Paulo Coelho refers to Borges' story. It tells"
"Luis Borges imagined blue. His cult purpose: to become a myth of our poetry, oscillating between anger in Bogota Bohemian night and the memory of the Pre-Raphaelite Brotherhood. Ability to dissolve the reason in one color, in music, is one of his disturbing virtues,"" enthusiastically wrote Juan Gustavo Cobo Borda. His poetry is concerned with the exterior landscape, one that contains the colours of nature, and much like the twilight of William Turner, his poems contain magic and fire. The cadence and the sounds of ancient texts have a taste, stuffed with a lot of painting, monologues versatile female voices"
"gauchesque poetry. Both in his commentary on ""Martín Fierro"" and on its critics, Borges effectively positions himself, like Hernández, at a confluence of two literary traditions with common roots. In Borges's own case, these are an Argentine national tradition and one more European. While clearly standing as a proud Argentine, he refuses to be placed in the position of glorifying even what he sees as flaws in the Argentine character. Borges on Martín Fierro Borges on Martín Fierro concerns Argentinian Jorge Luis Borges's comments on José Hernández's nineteenth century poem ""Martín Fierro"". Like most of his compatriots, Borges was a"
"tribute to the writer's billings. The strategy employed by Montes-Bradley when it comes to Borges, a writer of whom almost everything has been said, consists on giving the word to the writer himself and to a select group of intellectuals who dwell on the margins of the Argentine cultural aparatik. Montes-Bradley, however, does not exhibit Borges like a painting to be admired but rather as a counterpoint to the observations of others. We are neither the hapless witnesses of another saccharine celebration of Jorge Luis Borges, nor are we forced to endure another fashionable defrocking of an idol. The Borges"
"of our time"". Borges loved books and gives detailed descriptions of the characteristics of the fictional texts in his stories. In The Approach to Al-Mu'tasim, he indirectly suggests that a librarian is even holier than a saint. Other themes throughout his stories include: philosophical issues; deterioration and ruination; games of strategy and chance; conspiracies and secret societies; and ethnic groups, especially those in his own ancestry. ""Ficciones"" is one of Le Monde's 100 Books of the Century. Ficciones Fictions () is the most popular collection of short stories by Argentine writer and poet Jorge Luis Borges, produced between 1941 and"
"the prosaic language of the mediaeval poet Gonzalo de Berceo, whom Guillén admired for his humility and faith. In the poem ""Equilibrio"", there is a plainness of syntax, compared with earlier poems, that seems to suggest that he is trying to emulate this. There are poems which suggest that Guillén feels that he is now living in an alien environment, such as ""Vida urbana"". There is also the emergence of the theme of pain and suffering. Sometimes pain prevents the realization of plenitude, as in ""Muchas gracias, adiós""; sometimes awareness of pain and death can help to remind the poet"
"who don't know what I am?"" <br> ""Be what I think? But I think of being so many things!"" Campos can be manic-depressive, exultant, violent, dynamic; he quests for nowhere and everywhere at once. His is an agonized doubt at the wasting of life—at life, everything. For a critic he is 'par excellence the poet appalled by the emptiness of his own existence, lethargic, lacking in will-power, seeking inspiration, or at all events finding it, in semi-conscious states, in the twilight world between waking and sleeping, in dreams and in drunkenness'. Álvaro de Campos Álvaro de Campos () (October 15,"
"a style which anticipates the 20th-century Argentinian short-story writer Jorge Luis Borges who once declared: ""To write vast books is a laborious nonsense; much better is to offer a summary as if those books actually existed."" Browne however was not the first author to engage in such fantasy. The French author Rabelais in his epic ""Gargantua and Pantagruel"" also penned a list of imaginary and often obscene book titles in his ""Library of Pantagruel,"" an inventory which Browne himself alludes to in his ""Religio Medici"". As the 17th century scientific revolution progressed the popularity and growth of antiquarian collections, those"
"by Jorge Luis Borges, and the artwork of M. C. Escher and Hieronymus Bosch. The illustrations are often surreal parodies of things in the real world, such as a bleeding fruit, a plant that grows into roughly the shape of a chair and is subsequently made into one, a copulating couple that metamorphoses into an alligator. Others depict odd, apparently senseless machines, often with delicate appearances and bound by tiny filaments. Some illustrations are recognizable as maps or human faces; while others (especially in the ""physics"" chapter) are mostly or totally abstract. Nearly all of the illustrations are brightly coloured"
"Unquestionably, the help of Allah is near. — Qur'an, chapter 2 (Al-Baqarah), ayah 214 (""Saheeh International"") Paradise In religion, paradise is a place of exceptional happiness and delight. Paradisiacal notions are often laden with pastoral imagery, and may be cosmogonical or eschatological or both, often compared to the miseries of human civilization: in paradise there is only peace, prosperity, and happiness. Paradise is a place of contentment, a land of luxury and fulfillment. Paradise is often described as a ""higher place"", the holiest place, in contrast to this world, or underworlds such as Hell. In eschatological contexts, paradise is imagined"
"that is screened in the verse as a consistent desire to understand human existence without ever losing the tragic dignity ... All his books are literary gems as well as metaphysical treatises in miniature"" (Introduction to ""El exilio y la palabra/ Exile and the Word""). • Tezanos-Pinto, Rosa, ed. ""El exilio y la palabra. La trashumancia de un escritor argentino-estadounidense (Exile and the Word. Trashumance of an Argentine-U.S. Writer)"". Buenos Aires: Editorial Vinciguerra, 2012. • Zeleny, Mayra, ed. ""El cuerpo y la letra. Poética de Luis Alberto Ambroggio (The Body and the Letter. The Poetry of Luis Alberto Ambroggio)"". New"
"hyperbolic version of Pessoa himself. Of the three heteronyms he is the one who feels most strongly, his motto being 'to feel everything in every way.' 'The best way to travel,' he wrote, 'is to feel.' As such, his poetry is the most emotionally intense and varied, constantly juggling two fundamental impulses: on the one hand a feverish desire to be and feel everything and everyone, declaring that 'in every corner of my soul stands an altar to a different god' (alluding to Walt Whitman's desire to 'contain multitudes'), on the other, a wish for a state of isolation and"
"type of labyrinth themselves. Borges often gives his first-person narrators the name ""Borges."" While he imparts many of his own characteristics in them, he does not idealize them, and gives them human failings as well. English phrases appear intermittently in his Spanish stories. Occasionally, the title is in English. Borges often puts his protagonists in red enclosures. This has led to analysis of his stories from a Freudian viewpoint, although Borges himself strongly disliked his work being interpreted in such a way. In fact, he called psychoanalysis (Obra poética, Prólogo) ""la triste mitología de nuestro tiempo"", or ""the sad mythology"
"had spent time in the stillness and in the depths, knew that not all mystery is a dream. And thus, he set himself to look for that which hides in the landscape, that which floats in the unbounded atmosphere of a happy day, that which slips between words in order not to state aloud an intention or a sentiment. In the landscapes of Eolo Pons, and in his figures, come and go the evocation of a mystery—a mystery that, perhaps, opens to us the doors of the landscape and brings us into the souls of the people. The sure thing"
"Borges translated Oscar Wilde's ""The Happy Prince"" into Spanish. It was published in a local journal, but Borges' friends thought the real author was his father. Borges Haslam was a lawyer and psychology teacher who harboured literary aspirations. Borges said his father ""tried to become a writer and failed in the attempt"", despite the 1921 opus ""El caudillo"". Jorge Luis Borges wrote, ""as most of my people had been soldiers and I knew I would never be, I felt ashamed, quite early, to be a bookish kind of person and not a man of action."" Jorge Luis Borges was taught"
"Carpentier aimed to show how—by virtue of Latin America's varied history, geography, demography, politics, myths, and beliefs—improbable and marvelous things are made possible. Furthermore, Carpentier's meaning is that Latin America is a land filled with marvels, and that ""writing about this land automatically produces a literature of marvelous reality"". ""The marvelous"" may be easily confused with magical realism, as both modes introduce supernatural events without surprising the implied author. In both, these magical events are expected and accepted as everyday occurrences. However, the marvelous world is a unidimensional world. The implied author believes that anything can happen here, as the"
"is delirious of its historical, social and cultural myths and counter-myths. In Argentina, Jorge Luis Borges says in a letter of 1917 to his friend, Roberto Godel: Now that we are talking about literary subjects I ask you if you know a great writer, Rafael Barrett, with a free and bold spirit. With tears in my eyes and on my knees I beg you that when you have a national or two to spend, go straight to Mendesky's, or any other library- and ask for a copy of ""Looking the life"" of this author. I think that it was published"
"to its fictional nature. The choice and use of literary devices are conspicuous in the stories. Naomi Lindstrom explains that Borges saw an effort to make a story appear natural ""as an impoverishment of fiction's possibilities and falsification of its artistic character."" The labyrinth is a recurring motif throughout the stories. It is used as a metaphor to represent a variety of things: the overwhelmingly complex nature of worlds and the systems that exist on them, human enterprises, the physical and mental aspects of humans, and abstract concepts such as time. The stories of Borges can be seen as a"
"Life that are to be met with in an industrious, wealthy and powerful Nation, and at the same time be bless'd with all the Virtue and Innocence that can be wish'd for in a Golden Age; from thence to expose the Unreasonableness and Folly of those, that desirous of being an opulent and flourishing People, and wonderfully greedy after all the Benefits they can receive as such, are yet always murmuring at and exclaiming against those Vices and Inconveniences, that from the Beginning of the World to this present Day, have been inseparable from all Kingdoms and States that ever"
"Borges on Martín Fierro Borges on Martín Fierro concerns Argentinian Jorge Luis Borges's comments on José Hernández's nineteenth century poem ""Martín Fierro"". Like most of his compatriots, Borges was a great admirer of this work, which he often characterized as the one clearly great work in Argentine literature. Because ""Martín Fierro"" has been widely considered (beginning with Leopoldo Lugones's ""El Payador"", 1916) the fountainhead or pinnacle of Argentine literature, Argentina's ""Don Quixote"" or ""Divine Comedy"", and because Borges was certainly Argentina's greatest twentieth-century writer, Borges's 1953 book of essays about the poem and its critical and popular reception - ""El"
"economic disparities created by longevity, and survival of the heat death of the universe. Physical immortality has also been imagined as a form of eternal torment, as in Mary Shelley's short story ""The Mortal Immortal"", the protagonist of which witnesses everyone he cares about dying around him. Jorge Luis Borges explored the idea that life gets its meaning from death in the short story ""The Immortal""; an entire society having achieved immortality, they found time becoming infinite, and so found no motivation for any action. In his book ""Thursday's Fictions"", and the stage and film adaptations of it, Richard James"
"regained in some way or other. One way might be a quest for an ""earthly paradise""—a place like Shangri-La, hidden in the Tibetan mountains and described by James Hilton in his utopian novel ""Lost Horizon"" (1933). Christopher Columbus followed directly in this tradition in his belief that he had found the Garden of Eden when, towards the end of the 15th century, he first encountered the New World and its indigenous inhabitants. Utopia A utopia ( ) is an imagined community or society that possesses highly desirable or nearly perfect qualities for its citizens. The opposite of a utopia is"
"the history in its pomps engraved forever;<br> your soil is center of enormous riches,<br> your sky, the most beautiful that the sun has illuminated! I <br> Gentle amazona with a smiling face,<br> valiant you show yourself over a high rock;<br> the laurels encircle your olympic forehead<br> and the wind hoists your graceful pennant! II <br> To the tragic encounter of hirsute lions,<br> your eagles went in a triumphal march;<br> and the sun at San Félix shone in your escutcheons!,<br> and your name was inmortal henceforth! III <br> You enclose, oh Homeland! the beautiful and the great.<br> The glory makes you"
"quoted in the book and film ""Into the Wild"": ""I have lived through much, and now I think I have found what is needed for happiness. A quiet secluded life in the country, with the possibility of being useful to people to whom it is easy to do good, and who are not accustomed to have it done to them; then work which one hopes may be of some use; then rest, nature, books, music, love for one's neighbor—such is my idea of happiness. And then, on top of all that, you for a mate, and children perhaps—what more can"
"-- Under such a silent, fathomless sky! – Had felt the fragrance of a body one day, -- By washing my body inside sea water -- Felt our heart so deep by falling in love! -- This vigor of life had seen one day awaken – Light stoking the edge of darkness -- Have heard the passionate whispers of a night – always for a day! – This visit! This conscious vigil that I see, I feel -- Yet will end one day -- Time only remains for us to ripe like a harvest in green soil -- Once so"
"| A mirror of the house, of the city, of the world | Reflections of every shape and form stream by it as clouds do in the sky | We have learned to go through the mirror so what was closed will open up | The freedom of the walls breaks down the prison walls | When reality is unveiled, dreams become reality | Under the clothing of creeds and of ideas, what is lived is always bare | Then nothing more conceals a human being from himself | Someday the walls will have the transparency of our desires“” ""Writing"
"common man. His thinking habitually relies on the authority he vests in the wealth of popular cultural wisdom expressed in proverbs, which he continually quotes. In many of his utterances there is reference to one and sometimes to more proverbs. ""Don Quijote"" is a veritable treasure trove of Spanish proverbs. There are Spanish proverbs that contradict others; the “wisdom” that they encapsulate is not, of course, absolute. People will use those proverbs that best conform to their own particular way of approaching life. Taken together, however, they reveal the deep wellsprings of Spanish culture and of human nature in general."
"come from a lost paradise."" However, in almost all of his books, his word strays from the central issues and generates unexpected adventures, as seen in ""The Wind's Archaeology (La arqueología del viento)"" or ""Ode in and of Myself (Oda ensimismada)"": ""If I give myself to the sky / and its score of stars /I do not need weight / I will be part of a growing place/ to the light of my dreams. / I will have weighted my abyss / and the extent of my summit ""(50). His quest for knowledge has been so relentless that his poetry"
"the midst of spells, myths and legends."" He explains that ""poets have something in common with the unfortunate Icarus, whose flight and fall are widespread symbols of human thoughtful pursuit of unattainable objectives against the natural order of the world. We want to see them as those who are in pursuit of reality, those fully aware of their tremendous responsibility, always faithful to an supreme idea, entering boldly where none seemingly normal would dare to enter – mainly because our ""me"" bothers us more than anything else. Poet (who lives inside us) has thousands of them – continues in perpetual"
"why? Hast thou e'er lightened the sorrows Of the heavy laden? Hast thou e'er dried up the tears Of the anguish-stricken? Was I not fashioned to be a man By omnipotent Time, And by eternal Fate, Masters of me and thee? Didst thou e'er fancy That life I should learn to hate, And fly to deserts, Because not all My blossoming dreams grew ripe? Here sit I, forming mortals After my image; A race resembling me, To suffer, to weep, To enjoy, to be glad, And thee to scorn, As I!</poem> Prometheus (Goethe) ""Prometheus"" is a poem by Johann Wolfgang"