In lieu of an abstract, here is a brief excerpt of the content:.. MERELY A MAN OF LETTERS" an interview with Jorge Luis Borges* Philosophy and Literature: Why don't you tell us about some of the philosophers who have influenced your work and in whom you have been the most interested? Jorge Luis Borges: Well, I think that's an easy one. You might talk in terms of two: Berkeley and Schopenhauer. But I suppose Hume might be (...) worked in also, because, after all, Hume refutes Berkeley. Really, he comes from Berkeley—even if Berkeley comes from Locke. You might think of Locke, of Berkeley, and of Hume as being three links in an argument..... But I suppose that when someone refutes someone else in philosophy, he is carrying on the argument. P&L: And Schopenhauer? Borges: Schopenhauer is very different from Hume. Of course, Schopenhauer had his idea of the Will. That is not to be found in Hume.... The case of Berkeley was different. I suppose he thought of God as being aware of all things all the time, if I don't get him wrong. If we go away, does this room disappear? No, because God is thinking about it. Now, in the case of Schopenhauer, I was rereading Die Welt als Wille und Vorstellung, The World as Will and Idea, and I was rather taken aback, or baffled I should say, puzzled by something that keeps on recurring in Schopenhauer. Of course it may have been a slip of the pen, but as he goes back to it, and as he was a very careful writer, I wonder if it is a slip of the pen. For example, Schopenhauer begins by saying that the universe, the stars, the spaces in between, the planets, *On April 14, 1976, two editors of Philosophy and Literature, along with an interested colleague, interviewed Jorge Luis Borges at Michigan State University, where he held a position as visiting professor for the winter term. These remarks are edited from the transcript of that conversation. 337 338Philosophy and Literature this planet, those things, have no existence—except in the mind which perceives them. But then, to my surprise—and I suppose you can explain this to me, since you are philosophers and I am not—what Schopenhauer says is that all those things have no existence except in the brain. And that the universe—I remember these words, I don't think I'm inventing them now—"ist ein Gehirnphänomen," that the world is a cerebral phenomenon. Now, I was baffled. Because, of course, if you think of the universe, I suppose the brain is as much a part of the external world as the stars or the moon. The brain after all is a system of visual, of tactile, perceptions. He keeps on insisting on the brain. I don't think, for example, that Bishop Berkeley insists on the brain, or Hume, who would have insisted on the mind, consciousness. P&L: People sometimes say that they see Berkeley in stories like "Orbis Tertius." Borges: Yes, I suppose they do. Well, of course. But in that story I was led by literary means also. P&L: How do you distinguish the literary from the philosophical means in that story? Could you explain that? Borges: Very easily.... Encyclopedias have been my chief reading. I have always been interested in encyclopedias. I used to go to the Biblioteca National in Buenos Aires—and since I was so shy, I felt I could not cope with asking for a book, so I looked on the shelves for the Encyclopaedia Britannica. I would pick up any chance volume and I would read it. One night I was richly rewarded, because I read all about the Druses, Dryden and the Druids—a treasure trove, no?—all in the same volume, "Dr-." Then I came to the idea of how fine it would be to think of an encyclopedia... a very rigorous one of course, of an imaginary world, where everything should be linked. For example, you would have a language and then a literature, and then a history and so on. Then I thought I would write a story of a fancy encyclopedia. Of course that would require many different people to write it... (shrink)

The target article criticises neural-symbolic systems as inadequate for analogical reasoning and proposes a model of analogy as transformation (i.e., learning). We accept the importance of learning, but we argue that, instead of conflicting, integrated reasoning and learning would model analogy much more adequately. In this new perspective, modern neural-symbolic systems become the natural candidates for modelling analogy.

You see, I'm not really a thinker. I am a literary man and I have done my best to use the literary possibilities of philosophy, although I'm not a philosopher myself, except in the sense of being very puzzled with the world and with my own life. But when people ask me, for example, if I really believe that the cosmic process will go on and will repeat itself, I say I have nothing at all to do with that. I (...) merely tried to apply the aesthetic possibilities, let's say, of the transmigration of souls or of the fourth dimension to literature and see what could result from them. But really, I would not think of myself as a thinker or a philosopher. And I follow no particular school. (shrink)

In the year 1855, American Literature made two experiments. The first, quite a minor one, the blending of finished music with sing-song and Red Indian folklore, was undertaken by a considerable poet and a fine scholar, Longfellow. The name of it, Hiawatha. I suppose it succeeded, as far as the expectations of the writer and of his readers went. Nowadays, I suppose it lingers on in the memory of childhood and survives him. Now the other is, of course, Leaves of (...) Grass. Leaves of Grass is a major experiment. In fact, I think I can safely venture to say that Leaves of Grass is one of the most important events in the history of literature. If I speak of it as an experiment, perhaps you will think that I am implying a profanation, a desecration, and a blasphemy, since, when we speak of experiments in literature, we generally think of unsuccessful ones. For example, when we speak of experimental literature, well, we think of works that we do our best to admire and that somehow defeat us because, after all, the word "experiment" is a polite word. Well, in the case of Leaves of Grass the experiment succeeded so splendidly that we think it could never have failed. Somehow when something goes right - and that hardly ever happens in literature - we think it somehow inevitable. We think that Leaves of Grass lay there, lay unsuspected there, ready for anybody to discover and write it down. (shrink)

If we admit that Latin-American literature is a part of what is called Western culture, why, I ask myself, has it not been able to influence any of the great literatures of the West, outside of the Spanish? To be more precise, when I speak of influencing, I am not referring to the historico-cultural event that signifies Latin America, which has changed the West, but specifically to literature, that is, writing, the book, the language, the contents, the creative structure and (...) the symbols. From its origins until today, Latin-American literature, like Jugoslavian literature—in spite of the Nobel prize awarded to Ivo Andric—or Bulgarian or Icelandic, remains a marginal phenomenon. It is produced within a closed circuit, having no real resonance except in Spain. Furthermore, it struggles between two guilt feelings: one, that of being late with regard to renovating currents of fashions of the day and the other, that of not responding to its own reality. Because of those burdens of a guilty conscience, it often feigns innovation by following outside models or exalting a nationalist realism that has not produced the slightest new form but only a mediocre art of propaganda. It simulates and copies, or it lags behind. It either tries to be up to date or pretends to overcome this uneasiness by inventing an intransigent Americanism, behaving like a telluric barbarian or accepting traditional popular forms that may produce works such as Martin Fierro, whose value for the Latin-Americans cannot be denied but whose range is limited. (shrink)

ObjectiveThe presence of two or more chronic diseases results in worse clinical outcomes than expected by a simple combination of diseases. This synergistic effect is expected to be higher when combined with some conditions, depending on the number and severity of diseases. Multimorbidity is a relatively new term, with the first fundamental definitions appearing in 2015. Studies usually define it as the presence of at least two chronic medical illnesses. However, little is known regarding the relationship between mental disorders and (...) other non-psychiatric chronic diseases. This review aims at investigating the association between some mental disorders and non-psychiatric diseases, and their pattern of association.MethodsWe performed a systematic approach to selecting papers that studied relationships between chronic conditions that included one mental disorder from 2015 to 2021. These were processed using Covidence, including quality assessment.ResultsThis resulted in the inclusion of 26 papers in this study. It was found that there are strong associations between depression, psychosis, and multimorbidity, but recent studies that evaluated patterns of association of diseases had heterogeneous results. Quality assessment of the papers generally revealed low quality among the included studies.ConclusionsThere is evidence of an association between depressive disorders, anxiety disorders, and psychosis with multimorbidity. Studies that tried to examine the patterns of association between diseases did not find stable results.Systematic review registrationhttps://www.crd.york.ac.uk/prospero/display_record.php?ID=CRD42021216101, identifier: CRD42021216101. (shrink)

Apesar do maior reconhecimento da importância das relações entre saúde, religião e espiritualidade no cuidado em saúde, as universidades brasileiras ainda não fornecem treinamento adequado nesse âmbito. O objetivo desse artigo é compreender como docentes de uma universidade pública brasileira percebem as relações entre saúde, religião, espiritualidade e seu ensino. 10 professores foram submetidos à entrevista semiestruturada e os dados foram analisados por meio da análise de conteúdo. Apreenderam-se três núcleos temáticos e, a partir destes, emergiram cinco categorias: Religião e (...) Espiritualidade: Conceitos superpostos?; Bom ou ruim para a saúde?; Dimensão excluída da prática clínica; Ensino: Seria bom, mas não agora; Questionamentos e barreiras à inclusão no ensino. Os resultados demonstraram que os participantes superpunham os conceitos de religião e espiritualidade, reconheceram seus impactos positivos sobre a saúde, entretanto, enfatizaram seus aspectos problemáticos. O ensino de saúde, religião e espiritualidade não foi considerado prioritário e as crenças do corpo docente parecem influenciar nesta posição. Diante da quantidade e qualidade das evidências científicas sobre o impacto positivo da religião/espiritualidade na saúde, a inserção desse tópico na formação dos profissionais de saúde não deve depender apenas das percepções e/ou preferências do corpo docente universitário. (shrink)

Jorge Luis Borges is working for decades now on the execution of the nightmare. Perhaps his most celebrated instance is "Tlon, Uqbar, Orbis Tertius ". It would take much work to sift the fabricated references in Borges' works from the ones deliberately misread from the over-emphasis on an author's casual remark, etc.

Are philosophy and literature allies or enemies in Jorge Luis Borges's fictions? In this paper, I argue that Borges can satisfy membership in the allies camp because his fictions provide the imaginative scenarios the allies believe are so necessary to this coalition; however, because his stories question philosophy's hold on reality, they can also seem to fall into the enemies camp by countervailing any claim philosophy has on reality and truth; although, ultimately, the manner in which (...) class='Hi'>Borges forges an alliance between philosophy and literature will be for reasons not traditionally accepted by those in either the allies or enemies camps. (shrink)

The rating of perceived exertion can be used to monitor the exercise intensity during laboratory and specific tests, training sessions, and to estimate the internal training load of the athletes. The aim of the present study was to develop and validate a specific pictorial perceived exertion scale for soccer players called GOAL Scale. The pictorial GOAL Scale was validated for twenty under-17 soccer players. In the validation phase, the athletes were evaluated in a progressive protocol involving stimuluses of 3 min (...) with 1 min for the rest into the stages until the voluntary exhaustion in Maximal Cardiopulmonary Effort Test, and in the Yo Yo Intermittent Recovery Test – Level 1. The RPE identified by the GOL Scale, by the Borg Scale 6 – 20 and by the Cavasini Scale, as well as the heart rate, perceptual of the heart rate and the blood lactate concentration were immediately evaluated after each stage of both tests. Spearman’s correlation coefficient was used. Construct scale validity was examined by regressing GOAL Scale against Borg Scale 6 – 20 and Cavasini Scale and concurrent scale validity was investigated by regressing GOAL Scale against HR, beats/min and blood lactate concentration during two progressive tests. There was a significant correlation values of the GOAL Scale with Borg Scale, Cavasini Scale, %HRmax, HR and lactate during tests. The results evidenced concurrent and construct validity of the GOAL Scale across a wide range of exercise intensity. The absence of verbal anchors makes the use of this instrument to soccer, futsal and beach soccer athletes of different languages and different literacy levels possible. (shrink)

I aim to show how the enigmatic phrase 'Unánime noche' in the famous first sentence of “The Circular Ruins” is inextricably linked to the story’s last words. Toward this purpose, I argue—against plausible foundational interpretations of the story—for a nonfoundational reading of the text and, moreover, that Borges’s use of ‘unánime’ (one soul) can be understood as one character or one form; namely, as an archetype of “Dreamanity” that leads to a vertiginous Third Man regress.

The year of the centennial of the Argentinean writer Jorge Luis Borges is probably the right time to exhume one of the links that this universal writer had with William James. In 1945, Emece, a publisher from Buenos Aires, printed a Spanish translation of William James’s book Pragmatism, with a foreword by Jorge Luis Borges.

Pouco antes de falecer, Jorge Luís Borges determinou que sua esposa, Maria Kodama, não pu­blicasse seus livros regionalistas de juventude em suas obras completas, que assim ficariam incompletas, uma decisão tipicamente borgiana. A viúva preferiu não cumprir a determinação e as obras editadas se tornaram completas, na medida em que possam ser descobertos manuscritos ainda inéditos. Elas revelam um amplo arco, correspondendo à sua longa vida, da juventude muito argentina e profundamente bonaerense, do seu país e cidade natal Buenos (...) Aires, ao mun­do. Os seus artigos, publicados mais em revistas literárias que jornais, desde cedo revelam esta vocação universal. Jorge Luís Borges escreveu com freqüência sobre autores estrangeiros. Depois, os próprios temas dos livros vão mudando dos regionalismos e até localismos, rumo às dúvidas e ambigüidades intrinsecamente humanas de todas as partes do mundo, onde ele as imaginariamente situa. Ao fim e ao cabo, Jorge Luís Borges – traduzido e homenageado em muitos países – preferiu morrer em Genebra e lá ser sepultado, onde estudara na adolescência, quando fora muito feliz na descoberta inicial de outras culturas. Elas demoraram a nele predo­minarem, mas terminaram acontecendo. Mesmo assim, ele no íntimo nunca deixou de todo a argentinidade. Crescentemente cosmopolita, o nacionalismo jamais abandonou por completo o espírito de Jorge Luís Borges. Sua atitude pró-britânica, durante a própria Guerra das Malvinas, pode ser interpretada como protesto e advertência diante de uma derrota próxima. (shrink)

Una obra frecuentemente consultada por Jorge Luis Borges fue Matemáticas e imaginación, de E. Kasner y J. Newman, en la que se discute la teoría de los conjuntos , propuesta por el matemático Georg Cantor , y mediante la cual se crea la aritmética transifinita y se establece un sistema epistémico para representar los diversos niveles del infinito. Así, Cantor le asigna a estas infinitudes la primera letra del alfabeto hebreo, el Aleph, seguido de un determinado número, dependiendo (...) del nivel de infinitud . Borges, de esta manera, teje varias de sus narraciones en las que se trata el tema del infinito y del absoluto; un ejemplo de ello es la colección de relatos bajo el título El Aleph, que abre con el cuento "El inmortal" y cierra con el quele da el título a la colección. Este ensayo tiene el propósito de estudiar "El inmortal" bajo la óptica cantoriana, para hablar de un absoluto en particular: el yo, y sugerir que no es posible establecer un vocabulario final, o una definición definitiva sobre el tema en cuestión. Esta imposibilidad, propone Borges, está dada en parte por la finitud lingüística, mientras que por otro lado la falibilidad de la memoria juega también un papel crucialen todo intento de definición. Sin embargo, como buen ironista, Borges, a través de "El inmortal", es capaz de proveer una redescripción del tema en cuestión mediante un lenguaje transfinito, sin pretender establecer un vocabulario final sobre el tema sino, al contrario, tratando de resolver ciertas paradojas a la vez que revela otras, promoviendo de esta manera el permanente diálogo entre las distintas disciplinas. Aunque este ensayose enfoca en el análisis de "El inmortal", a fin de desarrollar el tema propuesto, también estudia otros relatos contenidos en El Aleph, y utiliza un acercamiento teórico que se enmarca en la filosofía de la lengua. Jorge Luis Borges often consulted Mathematics and Imagination, by E. Kasner and J. Newman, where set theory is addressed . This theory was proposed by Georg Cantor and by it transfinite arithmetic is established and an epistemic system is created to represent different levels of the infinite. This way Cantor labels the different levels of the infinite by assigning to each the first letter of the Hebrew alphabet, the Aleph, followed by a number, depending on level of the infinite he is referring to . Following these ideas, Borges weaves several narratives in which the infinite and the absolute are discussed. An example of such narratives is the collection of stories compiled under the title The Aleph, which opens with "The Immortal" and closes with the story that gives the collection its title. The objective of this paper is to study "The Immortal" under the Cantorian lens to discuss one particular absolute, the self, and to suggest that it is impossible to establish a final vocabulary, or a definite definition, about this topic. This impossibility, Borges proposes, is in part due to the apparent finitude of language while at the same time the fallible attributes of human memory also is crucial when it comes to defining anything. However, as the ironist Borges is, he is capable of providing through "The Immortal" a re-description of these issues by means of a transfinite language that resolves some paradoxes while at the same time reveals others. By this way of writing, I propose, Borges fosters the continuation of the dialogue among the different disciplines. Though I will center my analysis on "The Immortal", to develop these ideas I also revisit other stories contained in The Aleph departing from a theoretical approach rooted in the philosophy of language. (shrink)

Una obra frecuentemente consultada por Jorge Luis Borges fue Matemáticas e imaginación, de E. Kasner y J. Newman, en la que se discute la teoría de los conjuntos , propuesta por el matemático Georg Cantor , y mediante la cual se crea la aritmética transifinita y se establece un sistema epistémico para representar los diversos niveles del infinito. Así, Cantor le asigna a estas infinitudes la primera letra del alfabeto hebreo, el Aleph, seguido de un determinado número, dependiendo (...) del nivel de infinitud . Borges, de esta manera, teje varias de sus narraciones en las que se trata el tema del infinito y del absoluto; un ejemplo de ello es la colección de relatos bajo el título El Aleph, que abre con el cuento "El inmortal" y cierra con el quele da el título a la colección. Este ensayo tiene el propósito de estudiar "El inmortal" bajo la óptica cantoriana, para hablar de un absoluto en particular: el yo, y sugerir que no es posible establecer un vocabulario final, o una definición definitiva sobre el tema en cuestión. Esta imposibilidad, propone Borges, está dada en parte por la finitud lingüística, mientras que por otro lado la falibilidad de la memoria juega también un papel crucialen todo intento de definición. Sin embargo, como buen ironista, Borges, a través de "El inmortal", es capaz de proveer una redescripción del tema en cuestión mediante un lenguaje transfinito, sin pretender establecer un vocabulario final sobre el tema sino, al contrario, tratando de resolver ciertas paradojas a la vez que revela otras, promoviendo de esta manera el permanente diálogo entre las distintas disciplinas. Aunque este ensayose enfoca en el análisis de "El inmortal", a fin de desarrollar el tema propuesto, también estudia otros relatos contenidos en El Aleph, y utiliza un acercamiento teórico que se enmarca en la filosofía de la lengua. Jorge Luis Borges often consulted Mathematics and Imagination, by E. Kasner and J. Newman, where set theory is addressed . This theory was proposed by Georg Cantor and by it transfinite arithmetic is established and an epistemic system is created to represent different levels of the infinite. This way Cantor labels the different levels of the infinite by assigning to each the first letter of the Hebrew alphabet, the Aleph, followed by a number, depending on level of the infinite he is referring to . Following these ideas, Borges weaves several narratives in which the infinite and the absolute are discussed. An example of such narratives is the collection of stories compiled under the title The Aleph, which opens with "The Immortal" and closes with the story that gives the collection its title. The objective of this paper is to study "The Immortal" under the Cantorian lens to discuss one particular absolute, the self, and to suggest that it is impossible to establish a final vocabulary, or a definite definition, about this topic. This impossibility, Borges proposes, is in part due to the apparent finitude of language while at the same time the fallible attributes of human memory also is crucial when it comes to defining anything. However, as the ironist Borges is, he is capable of providing through "The Immortal" a re-description of these issues by means of a transfinite language that resolves some paradoxes while at the same time reveals others. By this way of writing, I propose, Borges fosters the continuation of the dialogue among the different disciplines. Though I will center my analysis on "The Immortal", to develop these ideas I also revisit other stories contained in The Aleph departing from a theoretical approach rooted in the philosophy of language. (shrink)

La filosofía ha encontrado en la literatura de Jorge Luis Borges un ámbito único para reflexionar en torno de sus propios problemas. En este ensayo examinaré las tensiones y contradicciones que afloran dentro del paradigma metafísico de la inmediación y de la intuición. El cuento de «Funes, el memorioso» ofrece la ocasión para pensar en la imposibilidad del hombre de afirmar un sistema de signos o una facultad perceptiva que ignore el inexorable resto que guarde la diferencia entre (...) lo real y lo representado. Una vida humana que se afirme en el ideal de un saber absoluto, de una visión ininterrumpida, es finalmente funesta. El hombre vive de las mediaciones y de las interrupciones, recuerda porque olvida, despierta porque sueña, conoce porque ignora: mira porque tiene párpados. (shrink)

Se despliegan aquí algunas notas que permiten empezar a entender las notables conexiones entre el pensamiento chino y la obra de Borges. También se ofrecen algunas consideraciones laterales sobre los vínculos con otros aspectos de las culturas de Oriente Medio. En general, se intenta mostrar que conceptos fundamentales del pensamiento chino entran en poderosa armonía con la literatura, y aun con lo que puede considerarse una filosofía, de Borges.

In lieu of an abstract, here is a brief excerpt of the content:.. MERELY A MAN OF LETTERS" an interview with Jorge Luis Borges* Philosophy and Literature: Why don't you tell us about some of the philosophers who have influenced your work and in whom you have been the most interested? Jorge Luis Borges: Well, I think that's an easy one. You might talk in terms of two: Berkeley and Schopenhauer. But I suppose Hume might be (...) worked in also, because, after all, Hume refutes Berkeley. Really, he comes from Berkeley—even if Berkeley comes from Locke. You might think of Locke, of Berkeley, and of Hume as being three links in an argument..... But I suppose that when someone refutes someone else in philosophy, he is carrying on the argument. P&L: And Schopenhauer? Borges: Schopenhauer is very different from Hume. Of course, Schopenhauer had his idea of the Will. That is not to be found in Hume.... The case of Berkeley was different. I suppose he thought of God as being aware of all things all the time, if I don't get him wrong. If we go away, does this room disappear? No, because God is thinking about it. Now, in the case of Schopenhauer, I was rereading Die Welt als Wille und Vorstellung, The World as Will and Idea, and I was rather taken aback, or baffled I should say, puzzled by something that keeps on recurring in Schopenhauer. Of course it may have been a slip of the pen, but as he goes back to it, and as he was a very careful writer, I wonder if it is a slip of the pen. For example, Schopenhauer begins by saying that the universe, the stars, the spaces in between, the planets, *On April 14, 1976, two editors of Philosophy and Literature, along with an interested colleague, interviewed Jorge Luis Borges at Michigan State University, where he held a position as visiting professor for the winter term. These remarks are edited from the transcript of that conversation. 337 338Philosophy and Literature this planet, those things, have no existence—except in the mind which perceives them. But then, to my surprise—and I suppose you can explain this to me, since you are philosophers and I am not—what Schopenhauer says is that all those things have no existence except in the brain. And that the universe—I remember these words, I don't think I'm inventing them now—"ist ein Gehirnphänomen," that the world is a cerebral phenomenon. Now, I was baffled. Because, of course, if you think of the universe, I suppose the brain is as much a part of the external world as the stars or the moon. The brain after all is a system of visual, of tactile, perceptions. He keeps on insisting on the brain. I don't think, for example, that Bishop Berkeley insists on the brain, or Hume, who would have insisted on the mind, consciousness. P&L: People sometimes say that they see Berkeley in stories like "Orbis Tertius." Borges: Yes, I suppose they do. Well, of course. But in that story I was led by literary means also. P&L: How do you distinguish the literary from the philosophical means in that story? Could you explain that? Borges: Very easily.... Encyclopedias have been my chief reading. I have always been interested in encyclopedias. I used to go to the Biblioteca National in Buenos Aires—and since I was so shy, I felt I could not cope with asking for a book, so I looked on the shelves for the Encyclopaedia Britannica. I would pick up any chance volume and I would read it. One night I was richly rewarded, because I read all about the Druses, Dryden and the Druids—a treasure trove, no?—all in the same volume, "Dr-." Then I came to the idea of how fine it would be to think of an encyclopedia... a very rigorous one of course, of an imaginary world, where everything should be linked. For example, you would have a language and then a literature, and then a history and so on. Then I thought I would write a story of a fancy encyclopedia. Of course that would require many different people to write it... (shrink)

Hablar de Literatura, pero también de Filosofía, es hablar de la necesidad del hombre para aprehender un lenguaje que escapa a los métodos ordinarios de la comprensión; es su agónica urgencia por comprender el mundo que le rodea. La significación de Jorge Luis Borges desborda una retórica estrictamente concebida en el panorama literario para enquiciarse en las fascinaciones intelectuales de la mitología, la teología o la filosofía, entre otras. La polifacética labor del poeta le sitúa en un lugar (...) privilegiado de la cultura latinoamericana, allá donde los procesos de producción y de recepción del discurso poético advienen terminantes en la modulación de una visión particular de la realidad. Dicho lo cual, esta contribución aborda el estudio de la composición «Los espejos» desde la perspectiva existencialista de Schopenhauer. El mundo como voluntad y representación permite precisar las claves de acceso a la descodificación de la construcción metafórica del espejo en la poética borgiana a través de los conceptos de fantasía y realidad así como de la expresión serena de infinitud y eternidad. Con la representación y la volutas schopenhauerianas como telón de fondo, el estudio de «Los espejos» borgianos comporta una reconsideración de las relaciones entre Literatura y Filosofía, cuyos empréstitos ontológicos y lenguajes quedan sublimados bajo una cobertura teatral de la realidad y del individuo en la escena. (shrink)