Jorge Luis Borges145 definitions
Jorge Luis BorgesAesthetic reality (n.) is the imminence of a revelation that is not yet produced.
Aesthetics (n.) is divisible into the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed and makes the world into its instrument, forging beyond spatial and temporal prisons, a personal vision.
Agnosticism (n.) is recognizing that all things are possible, even God, even the holy trinity. This world is so strange that anything may happen, or may not happen. Being an agnostic makes one live in a larger, a more fantastic kind of world, almost uncanny. It makes one more tolerant.
Art (n.) is not platonic. It always opts for the individual, the concrete.
Art (n.) is tasked to transform what is continuously happening to us, to transform all of these things into symbols, into music, into something which can last in man's memory.
Art (n.) always opts for the individual, the concrete... art is not platonic.
The Author (n.) is capable of making the connections in a world where everything connects.
Authorial intention (n.) is, in art, such that nothing is more secondary.
Beauty (n.) is a physical sensation. It is not the result of a judgment. We either feel it or we don't.
The Book (n.) is a dead thing that seems alive until we ask it something. In order to make the book into a living thing, the platonic dialogue was invented to serve to forestall the reader's doubts and questions.
The Book (n.) is a physical object in a world of physical objects. It is a set of dead symbols. And then the right reader comes along, and the poetry behind the words spring to life, and we have a resurrection of the word.
The Book (n.) is not an isolated being: It is a relationship, an axis of innumerable relationships.
The Book (n.) is that which a writer becomes when he dies.
The Book (n.) is the dialogue it establishes with its reader and the intonation it imposes upon his voice and the changing and durable images it leaves in his memory. The book is not an isolated being: It is a relationship, an axis of innumerable relationships.
Canada (n.) is so far away it hardly exist.
A Classic (n.) is a book which generations of men, driven by various reasons, read with that same initial fervor and that same mysterious loyalty.
