Labyrinths

Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris and is the seat of the Bishop of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since the Diocese of Chartres was formed as an episcopal see in the 4th century. It is in the High Gothic and Romanesque styles.

800 years later in 2020 we have Schumann Resonators which are little boxes you plug into the wall that produce electromagnetic radiation tuned to 7.83 Hz.
This is the frequency that the earth/atmosphere system “rings” at when the Earth is struck by lightning. It is also a common frequency your brain “ticks” at.
If we are out of sync with Earth's Frequency (Schumann Resonance) we begin to exhibit signs of discomfort that can range from anxiety, insomnia, illness, suppressed immune etc… Conversely we have discovered that when we humans are in sync with 7.83hz the body is able to heal and increase its vitality. I use PEMF (pulsed electro magnetic field) therapy devices by Swiss Bionics with Schumann resonators. 

It seems the ancients knew about this too.

The cathedral is known as "the high point of French Gothic art" and a "masterpiece" and is well-preserved for its age: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century.
The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.


At least five cathedrals have stood on this site, each replacing an earlier building damaged by war or fire. The first church dated from no later than the 4th century and was located at the base of a Gallo-Roman wall; this was put to the torch in 743 on the orders of the Duke of Aquitaine. The second church on the site was set on fire by Danish pirates in 858. This was then reconstructed and enlarged by Bishop Gislebert, but was itself destroyed by fire in 1020. A vestige of this church, now known as Saint Lubin Chapel, remains, underneath the apse of the present cathedral.
It took its name from Lubinus, the mid-6th-century Bishop of Chartres. It is lower than the rest of the crypt and may have been the shrine of a local saint, prior to the church's rededication to the Virgin Mary.

In 962 the church was damaged by another fire and was reconstructed yet again. A more serious fire broke out on 7 September 1020, after which Bishop Fulbert (bishop from 1006 to 1028) decided to build a new cathedral. He appealed to the royal houses of Europe, and received generous donations for the rebuilding, including a gift from Cnut the Great, King of Norway, Denmark and much of England. The new cathedral was constructed atop and around the remains of the 9th-century church. It consisted of an ambulatory around the earlier chapel, surrounded by three large chapels with Romanesque barrel vault and groin vault ceilings, which still exist. On top of this structure he built the upper church, 108 meters long and 34 meters wide.
The rebuilding proceeded in phases over the next century, culminating in 1145 in a display of public enthusiasm dubbed the "Cult of the Carts" – one of several such incidents recorded during the period. It was claimed that during this religious outburst, a crowd of more than a thousand penitents dragged carts filled with building supplies and provisions including stones, wood, grain, etc. to the site.

In 1134, another fire in the town damaged the facade and the bell tower of the cathedral.
Construction was begun immediately on a new tower, the north tower, which was finished in about 1150. It was just two stories high and had a lead roof. The south tower, begun in 1144, was much more ambitious; it had a spire atop the tower, and, when finished in about 1160, it reached a height of 105 metres or 345 feet, one of the highest in Europe. The two towers were joined on the first level by a chapel devoted to Saint Michael. Traces of the vaults and the shafts which supported them are still visible in the western two bays.
The stained glass in the three lancet windows over the portals dates from some time between 1145 and 1155, while the south spire, some 103 metres high, was also completed by 1155 or later. The Royal Portal on the west facade, between the towers, the primary entrance to the cathedral, was probably finished between 1145 and 1245.

« Que serait un musée du trou de mémoire ? » se demandaient jadis Alain Gauthier et Henri-Pierre Jeudy . Cette question étrange est au cœur du pénultième roman de Claudio Magris, Non luogo a procedere. Dans l’excellente traduction de Jean et Marie-Noëlle Pastureau , le titre français, Classé sans suite, renvoie à l’abandon de toute poursuite judiciaire et annonce à quel point le lieu du musée, central dans ce livre, est lié à la question de l’amnésie collective : « Ce n’est pas contre l’oubli que je lutte, mais contre l’oubli de l’oubli, contre la coupable inconscience d’avoir voulu oublier » (CSS, 430). Comment un tel oubli au carré appelle, chez Magris, une vocation amnésiologique très différente du devoir ou du travail de mémoire souvent attribué aux œuvres d’art et à la littérature ? Dans une perspective sociocritique, cet article examine la richesse de cette mise en fiction d’un musée de l’oubli qui expose à la fois une histoire locale, celle de Trieste, et continentale, celle de la Mitteleuropa à l’heure des matins bruns.

The labyrinth enriching Francesco De Marchi’s treatise on fortification, which could be interpreted as just a generic and decorative symbol of protection useful to illustrate the contents and aims of the treatise, in reality also refers to a widespread design tradition in the construction of fortresses. This figure embodies an architectural device of opacity and deceiving that can be found in the design of the meandering doors, in the arrangement of the rooms and doors of ravelins and casemates and even in the more general conception of a fortress. Its use as a passive defense system is testified both by buildings in Syria and Spain, and by 15th-century treatises, such as Francesco di Giorgio Martini’s, whose capannato in particular is here analyzed and redrawn to evaluate the role of labyrinth in the general concept.

http://www.casaitaliananyu.org/multimedia

This talk explores Naples as the architectonic setting of Elena Ferrante’s novel My Brilliant Friend through the lens of classical mythology and urban sociology. It examines the city – and more specifically, the neighborhood or the rione – as a symbolic and literal labyrinth, an architectural manifestation of the patriarchal order which structures and oppresses the feminine body and psyche. The talk follows Ferrante’s two female protagonists, Lila and Elena, as they negotiate the labyrinth of the rione and face the monster-Minotaur of their childhood, thereby articulating new ways of resisting male-dominated urban space.

This essay examines two films that have been compared only superficially, Jim Henson's /Labyrinth/ and Guillermo del Toro's /El laberinto del fauno/ (/Pan's Labyrinth/), as key examples of recent works of fantasy that have treated seriously the notorious charge of "escapism." Both films first dramatize how fantastic narrative can pose a potential danger in its inherent disengagement from reality, yet each works out a defense of fantasy on film and in print that parallels certain trends in the wider critical conversation about the value of "escape literature." Labyrinth presents a modest argument in favor of moderation and against mass-market commoditization, while del Toro offers a more ambitious complication or at least de-Christianization of Tolkien's touchstone defense of "fairy-stories."

The labyrinth set into the floor of Chartres cathedral measures almost thirteen meters across. It is the single largest decorative item in the building, larger than the rose windows and larger than the sculptured doors. In many churches the prelates placed them in prominent positions as testaments to their faith, but it took the eighteenth century to recognise their essentially pagan origins. They destroyed many of them: at Reims, Sens, Arras, Auxerre and St. Omer, and in the next century at Amiens and Caen. Yet would the Middle Ages have used a pagan motif without ensuring that it had a Christian message? And would they have given it such prominence in the centre of the nave if its Christian qualities had not superseded its pagan ones? I feel that after the sacred relics and the cathedral building itself, the labyrinth was the most
meaningful cult-object of the twelfth and thirteenth centuries. Its sacred nature is indicated by the names given it throughout Europe of 'Chemin de Jérusalem', 'Iherusalem' and 'City of God'.

En s’appuyant sur les textes où Borges rend compte de ses lectures de Joyce, cet article cherche à voir comment les poétiques des deux écrivains s’éclairent mutuellement. Il se concentre en particulier sur un reproche que Borges adresse à Joyce à propos de Finnegans Wake : « Dans ce vaste ouvrage, l’efficacité reste une exception. » À partir de cette remarque, il s’agit d’analyser l’usage qui peut être fait de la notion d’efficacité dans la critique d’œuvres romanesques. La démonstration passe entre autres par une lecture de L’Histoire de deux rois et de deux labyrinthes de Borges : ce conte oriental, repris dans L’Aleph, est une réaction masquée à la lecture de Finnegans Wake et constitue une véritable parabole opposant Borges et Joyce, soit deux pratiques de la littérature. Si l’idée d’efficacité s’avère un concept utile à la réception d’un texte aussi excessif que Finnegans Wake, elle est en effet étrangère à l’esthétique de Joyce : l’écrivain organise son roman selon une métaphore cosmologique, comme un livre-univers, tandis que l’efficacité ressortit à une métaphore d’organisation économique des œuvres littéraires, dont Borges est beaucoup plus proche. L’idée d’efficacité apparaît ainsi comme un des produits de la tradition rationaliste occidentale contre laquelle Joyce n’a de cesse de lutter.


Borges recounts his readings of Joyce in a number of texts, which show how these writers’ poetics shed light on each other. In particular, Borges has a specific criticism to make regarding Joyce’s "Finnegan’s Wake": “In this vast work, efficiency remains an exception.” This comment enables the analysis of the use that the notion of efficiency can be put to in the critique of novelistic works, which uses, among others, a reading of Borges’ "A Story of Two Kings and Their Two Labyrinths". This oriental tale, collected in The Aleph and other stories, is a covert reaction to Borges’ reading of Finnegan’s Wake and constitutes a parable opposing Borges and Joyce, or two ways of doing literature. But if the idea of efficiency can prove useful in receiving a text as excessive as Finnegan’s Wake, it is on the other hand completely foreign to Joyce’s aesthetics: he organises his universe according to a cosmological metaphor, that of the book-universe, whereas efficiency belongs to the metaphoric realm of the economic organisation of works of literature, which Borges is much closer to. Thus the idea of efficiency appears as one of the products of the rational Western tradition against which Joyce never ceased to struggle.

This paper will examine the history of this technique which is one of man’s oldest art forms, related to string figures (cat’s cradles) and more distantly to motifs such as the labyrinth. As with most ancient designs, it carries a deeper meaning which must be teased from the many and varied examples that have survived. The underlying idea has been termed the sutratman or “thread-spirit” doctrine in which the line symbolizes the life force that animates all living beings and which is eternal and renascent. Like Proteus, the shape-shifter, the line can assume any form until, in the end, it returns to its source. Birth, death, rebirth and the continuity of the social order were all illustrated using the continuous line.

At least since the days of the ancient Cretan civilization and of the famous Labyrinth of Knossos this particular structure is among the central ones in symbolic culture.
It is impossible not to connect the shape to the involution of the brain, fact that makes it even a more powerful symbol given this connection with a natural structure in man and in all higher animals...

The Situationist Times was a magazine edited and published by the Dutch artist Jacqueline de Jong during the years 1962–67. In its multilingual, transdisciplinary, and cross-cultural exuberance, it became one of the most exciting and playful magazines of the 1960s. Throughout its six remarkably diverse issues, The Situationist Times challenges the notion of what it means to be a situationist, as well as traditional understandings of culture in the broader sense and of how culture is created, formatted, and shared. These Are Situationist Times! provides an in-depth history of the magazine while probing its contemporary relevance. The book also presents the material De Jong assembled in the early 1970s in collaboration with Hans Brinkman for a never realized seventh issue of The Situationist Times, devoted to the game of pinball.
Lavishly illustrated and brimming with previously unseen archival material, These Are Situationist Times! presents new and compelling perspectives on situationism, experimental publishing, and artist-run magazines.

This paper attempts to analyse an in-yer-face play Mercury Fur by Philip Ridley in relation to the labyrinth metaphor and its correlation to the concepts of entrapment, being lost and thrown, search for authenticity and the possible exit from the labyrinth. The purpose of this analysis is to examine the relationship between the labyrinth metaphor and the myth of Theseus and the pyramid image which are demonstrated in the play. In that regard, Mercury Fur will be analysed within the framework of the labyrinth metaphor, its meaning in the play, and its connection to the other concepts. The first part of the paper introduces in-yer-face-theatre, Mercury Fur and the labyrinth metaphor, the second part provides an overview of the play and its thematic concerns, the third part exemplifies the labyrinth metaphor concerning the play, and the last part includes the conclusion.
Keywords: labyrinth metaphor, entrapment, lost and thrown being, authenticity of being, the
myth of Theseus.

El objetivo del artículo consiste en comprender la función y el significado del mito de teseo y el Minotauro en el teatro español del Siglo de oro. Una comedia de Lope de Vega y un auto sacramental de tirso de Molina se titulan El laberinto de Creta y utilizan el mito como fuente, como también el auto de Calderón El laberinto del mundo y la segunda jornada de Los tres mayores prodigios, del mismo autor. La leyenda mitológica se adapta en estas obras a los códigos culturales del siglo XVII español y se transforma para adecuarse a las características de los distintos subgéneros teatrales.

At its most fundamental level, sustainability is the ability of an organism or system to endure or continue. “Sustaining a narrative “ can mean the capacity of a narrative to sustain the interest of a “reader” and it can mean the capacity of a narrative to sustain itself, or continue, indefinitely.
 
In Pan’s Labyrinth and Inception, the labyrinth is both metaphor and material; the device that sustains the narrative and the structure that supports the film. Del Toro and Nolan code an un-resolvable question into their narratives, experimenting with infinity within a bounded space, with closed, recursive loops, and employing a visual, optical language distinct to the medium of film to accomplish this. The directors don’t adapt a pre-existing book or story to the screen, but adapt the creation and the telling of STORY itself to the screen. They adapt narrative itself to the medium. The directors create stories that transpire within the boundaries of a finite running time and yet contain multiple, even endless possible interpretations. Viewers return again and again to re-experience and re-interpret each film, as the narrative paths divide and multiply, various meanders leading to alternate outcomes, and yet each ending returning to the origin point.

Conversations with Dionysus”. Nietzsche’s Playful Riddles. Nietzsche has written several short dialogues that are rarely studied. Based on the mysterious ‘conversations with Dionysus’, which also include the Dionysian Dithyramb „Ariadneʼs Lament“, the paper outlines their enigmatic structure

Abstract: the figure of the labyrinth is a good opening door
to enter José Bergamín’s oeuvre. It is through the analysis of
such motive that this article intends to be an introduction to the
poetic thoughts of the writer, who is very reluctant to separate
poetry, thought and history. The diverse affective hues of Bergamín’s
labyrinth will allow to show how it has been transformed
thorough time and how through the labyrinth –and the
trace the exile leaves in his writing– will end up revealing the
figure of a subject experimenting extreme difficulty when trying
to enounce in a language that he does no longer consider
his own. Finally, analyzing this limit situation, the article will
address the possibility to provide, as critics, a map of the labyrinth,
a map of his oeuvre.
Keywords
José Bergamín. Labyrinth. History. Poetry. Language.

Resumen: la figura del laberinto es una buena puerta de entrada
a la obra de José Bergamín. A través del despliegue y
análisis de ese motivo, este artículo pretende ser una introducción
al pensamiento poético del escritor, el cual opone
enormes resistencias al intento de separar de manera tajante
poesía, pensamiento e historia. Las diversas tonalidades
afectivas del laberinto bergaminiano permitirán mostrar
cómo se ha transformado históricamente esta figura en la
escritura del autor y cómo a través de ella –y de la huella
que imprimirá en su escritura la experiencia del exilio– se
acabará revelando la figura de un sujeto que experimenta
una extrema dificultad al tratar de enunciarse en un lenguaje
que ya no considera suyo. Por último, y a partir de esta
situación límite, el artículo se pregunta por la posibilidad de
proveer, en tanto que críticos, un mapa de dicho laberinto,
un mapa de dicha obra.
Palabras clave
José Bergamín. Laberinto. Historia. Poesía. Lenguaje.

Labyrinths, in their true, non-maze forms, have existed for thousands of years in numerous places around the world and there are similarities in the designs and uses of these figures despite geographic and cultural differences and the passage of time. They have served as spaces and symbols of contemplation, protection, and liminality. Global interest in labyrinths has ebbed and flowed, but there is something about these ancient symbols that keeps revitalizing that interest.

Prehistoric labyrinth markings and constructions were among the models for modern land artists to find inspiration and for some to emulate. Labyrinths have also been exhibited in galleries and created as non-land art, artistic installations. The research outlined in this paper focuses on labyrinth design and facilitation as a creative practice and attention to details that can help to ensure the greatest potential for a beneficial labyrinth experience. Information was gathered through the design and creation of ephemeral, temporary, and permanent labyrinth installations, internet and library research, informal interviews with owners, builders, and fellow labyrinth visitors, and visits to and documentation of over 50 permanent labyrinth sites in New England.

This paper touches on the physiological and psychological effects of meditative walking and provides an overview of both practical and esoteric elements that inform the labyrinth design process. In addition to new installations, some other outcomes that have resulted from this research include an interactive online map of over 200 labyrinths in New England and two simple formulas for accurately calculating the path length of both 3- and 7-circuit Classical labyrinths.

This paper examines the spatial model of a house as a labyrinth in Mark Z. Danielewski's experimental novel House of Leaves in relation to Yuri M. Lotman's concept of an anti-home. The aim of the paper is to analyze the spatial organization of the house presented in the novel and its influence on the characters. It also examines the connection between the mental state of the inhabitants and the changing nature of the labyrinth by demonstrating how the subversive spatiotemporal organization of domestic space accounts for the transformation of the novel's protagonists.

For an audio-video animation of the manuscript with the modern transcription see the link below:
https://www.youtube.com/watch?v=dO56v7qltNo

An edition of the anonymous labyrinthine ballade on three canons, "En la maison Dedalus" (In the House of Dedalus) from the Berkeley Manuscript.

This edition includes a modern transcription of the music, the original manuscript excerpted, poetic and literal translations of the text, reconstruction of the 11-tier labyrinth upon which the music is overlain, and pedagogical materials/explanations of the musical and poetic medieval Ballade forme-fixe.

Journeys and Destinations: Studies in Travel, Identity, and Meaning brings together scholarship from diverse fields all focused on either practices of journeying, or destinations to which such journeys lead.

Common across the contributions herein are threads that indicate travel as a core component — as a concept or a practice — of the fabric of identity and meaning.

While place-based pilgrimage is an embodied practice, can it be experienced in its fullness through built environments,
assemblages of souvenirs, and music? Imaging Pilgrimage explores contemporary art that is created after a pilgrimage and intended to act as a catalyst for the embodied experience of others. Each chapter focuses on a contemporary artwork that links one landscape to another-from the Spanish Camino to a backyard in the Pacific Northwest, from Lourdes to South Africa, from Jerusalem to England, and from Ecuador to California. The close attention to context and experience allows for popular practices like the making of third-class or "contact" relics to augment conversations about the authenticity or perceived power of a replica or copy; it also challenges the tendency to think of the “original” in hierarchic terms.

Imaging Pilgrimage brings various fields into conversation by offering a number of lenses and theoretical approaches (materialist, kinesthetic, haptic, synesthetic) that engage objects as radical sites of encounter, activated through religious and ritual praxis, and negotiated with not just the eyes, but a multiplicity of senses.

Table of Contents
Acknowledgments
List of Plates
List of Figures

Introduction: Art as Pilgrimage, Pilgrimage as Art

I. Vashon Island – Spain: A Backyard Camino
II. S. Africa – Lourdes: Souvenirs as Sites
III. England – Jerusalem: Rewilding through Pilgrimage Song and Chant
IV. Oakland – Ecuador: Haciendo marcas otra vez-Making marks, again
V. Los Altos (Labyrinth) – Beyond: "The end is where we start from"

Towards a Conclusion: "As Far as the Eye Can Travel"
Bibliography

The Kundalini is a strange and unfamiliar concept to the monotheistic religions in modernity; nonetheless, the Judeao Christian Scriptures and the Roman Catholic Church’s artworks have a number of examples that I am aware of symbolizing and conveying the concept of the Kundalini mythoi.  In addition there is plenty of evidence that Catholicism built Chartres Cathedral as a monument to the Kundalini Serpent.  None of this symbolic evidence has ever been exposed overtly to any great lengths to the laity.  That evidence is of course covertly placed in plain sight for all to partake of; however, few recognize that symbolic artwork for what it is.  In this paper I will laid out all the evidence of the mythoi of the Kundalini that I am aware of, which is extensive seeing modernity know nothing about this spiritual concept in the Judeao Christian traditions.  There may be some scholars that know something about this spiritual concept; however, it seems that they have chosen to keep silent about it.

Notre-Dame Déesse & Le Féminicide des Héros est un voyage dans le temps qui illumine notre société. Il est raconté par un homme âgé de culture moyenne, qui s’étonne à chaque pas, et rit, ou se met en colère, comme un enfant.

La quatrième de couverture annonce « Une vaste ‘déconstruction’ de croyances archéologiques au long du Fil d’Ariane : des temples néolithiques de Malte à la Grèce de l’âge du bronze et de l’époque classique. Un essai & un récit de voyage & un pamphlet tout-terrain, éducatif et rieur. À petites doses chaque soir, il peut être utile contre de vieux maux. »

Le parcours est résumé par un crieur de journaux :
« Découverte archéologique dévoile origine machisme, viol de groupe et féminicide ! »
Il a raison, mais ce n’est pas tout, et il n’a pas lu les 13 bonus tracks, ni répondu au quiz.

Après une diffusion ad personam qui a provoqué douleurs ou exultations en divers milieux, nous publions en exclusivité sur Academia.edu cette version de Notre-Dame Déesse & Le féminicide des Héros, complète et non censurée. Nous conseillons au lecteur de la télécharger tant qu'il est temps. Tôt ou tard, un éditeur avare demandera à l’auteur de la retirer de Academia.edu où le texte est disponible en trois langues, gratuitement. L’auteur courbera l’échine, parce que lui aussi aime l’argent.

SUMMARY
The following doctoral study is focused on the description of the similarities between Jorge Luis Borges and Vladimir Nabokov narratives, especially in their conceptual analysis, and in the definition of their origin. The originality of the following research arises not only from the large amount of material that has been used, but also in the depth of the study achieved with the help of an exhaustive method of computer science analysis. According to our initial hypothesis, the similarities that exist between Borges and Nabokov’s texts lies in the affinity of their thoughts and in their way of perceiving the world. First of all, such similarity can be noticed in the subject matter chosen by them.
My dissertation consists of an Introduction, two parts, conclusion and appendix.
I began with a chronogram in which I included the main events in the author’s lives, the initial publication of their works, along with the most important social and cultural events that took place between 1899 and 1986. In spite of its dynamic and unfinished character, this chronogram served as a point of reference for every step in its development. In fact it became a part of the Appendix.
In the Introduction I present the aims of this work, the issues it brought forth, its structure and the handling of bibliographical sources. The first part is dedicated to the correlation study of Borges and Nabokov’s Biographies, and also to their likes and dislikes in their readings. Furthermore, we try to define the contact that existed between them.
In the second part the correlation between the different topics and motives is established. Topics such as time, reality, memory, heroism, and motives such as the mirror, the labyrinth, the chess, the blindness constitute the key issues.
As a conclusion, I carry out a short review through the final results.
The similarity that can be seen in the sort of topics and motives that both authors use constitute a number of different lines of discussion, varying images, metaphors and symbols.
After considering the possibility that they might have been influenced by each other, I concluded that this hypothesis should be dismissed. Although I believe that both writers had access to each other’s literary works a few years before they reached world-wide fame before the sixties.
To our mind, the origin of the coincidences that can be observed between both narratives must be searched in the upbringing, their reading interests and finally in the socio-cultural insertion. It could also be relevant to the topic the parallelism that is drawn in their biographies.
Both Borges and Nabokov come from well-educated families: the level of education of their progenitors was very high. Their fathers were professors and both were fond of philosophy and psychology, and they followed closely the contemporary science advance. Their mothers could speak several languages; they had a wide range of interests. Both families invested extensively in the pursuit of learning and in the education of their children.
Their families were partial to the British culture. So much so that their sons started to speak both their native language and in English at the same time of their lives. Their parents and their governesses were in charge of instilling in them love for the English culture.
Their linguistic instruction was determined by their first readings. They read almost the same authors and the same books. Their second foreign language was French. After learning English literature they started with the French one. Besides that, the period enforced the reading of French authors: parnasianism, symbolism, modernism.
Among their favourite authors from different periods, we can highlight Wells, Doyle, Stevenson, Joyce and Kafka. Apart from that, we need to mention the love Nabokov and Borges felt for Shakespeare. The analysis of their readings reveals that both authors had contact to many philosophical theories, not only the ancient ones but also the modern. Furthermore, we suggest that William James could be a key figure for both writers education.
Time, memory and reality topics are the core of their ideas. The importance of these topics in relation to their artistic tendencies is different, the Argentinean is especially partial to the topic of time and Lolita´s author to memory.
In a close contact with these two topics, the concept of eternity acquires a significant importance. The problem of identity and otherness- as pointed out by several authors -seems to be not as important as the ones we already mentioned. Both Borges and Nabokov argue in favour of the singleness of every moment and phenomenon. Both raised doubts regarding the existence of a reality, a time and self. Despite that, both think that they might be wrong in their speculations. Borges shows himself agnostic and maintains a sceptic attitude, but he conserves certain ontological optimism. Nabokov on the other side shows self-confidence, although behind this appearance we can see a writer full of doubts who does not trust the human capacity to reach the knowledge within the bounds of its worldly life.
Both writers had scientific tendencies, in their critics about others writers literature. They proceeded like philologists. In the exposition of their favourite subjects, they showed a discipline that is not common among writers.
Nevertheless, and despite the proximity of their interests, Borges and Nabokov had two opposite personalities. Borges was limited to the books´ world and affirmed, being proud of it that he had got to know everything throughout books instead of having contact to the real world. His way of thinking revealed a clear speculative tendency, with a high level of abstraction. He maintained himself distant, and we could even say, he was scared of the material world. He was never attracted by colourful landscapes, whose value was attached to his beauty: to perceive them, they had to be related to a psychic or intellectual meaning. On the other hand, Nabokov loved life deeply; he was a great naturalist in everything he did.
He stood out from the rest in many sports; He learnt how to perceive the world in every single detail. He loved and he got love back. He was happy and he made people who loved him happy. His image seems to be opposite to Borges´ who admitted that he had committed the worst of sins, by not being happy.
These personal differences have a final result in both writers and determined their artistic methods. While the first one looks for the archetype and the universalism, the second one prefers to study the situation step by step, looking for every single detail. Borges perceives a world full of repetitions, drawing a circle that is nearly perfect, and Nabokov pondered the spiral image, which in its dialectic movement enveloped the artist-nature. Taking this into account, we have to emphasize that these addresses to implicit tendencies in the artistic trajectory of both Nabokov and Borges which doubtless admit certain deviations.
The poetical universe of these two masters of the twentieth century literature are far from any possible theoretical approach : we only speak about them in a broader term, since their reality is not still, but keeps changing. Both arise out of Proteos´ sign, “a symbol of human condition” and also of literature”. It is not a casualty that both Borges and Nabokov so in William Shakespeare the incarnation of this enigmatic Greek god. And that was in itself the essence of the artist.

The spiritual sages of antiquity have already archived in the texts of the sacred scriptures of the world THE THEORY OF EVERYTHING by esoterically amalgamating Celestial and Quantum Mechanic to Esotericism: i.e. The Esoteric Science.  The argument that only mathematics can be use to transmit complex conceptual data modules across the epochs of time and space is debunked by the extraordinary complexities that are enshrouded in THE THEORY OF EVERYTHING as envisaged by the ancient esoterists.  Mathematics is too limited a branch of science to convey to the human psyche the complexities of the world around it; thus, physics is wrong in believing that THE THEORY OF EVERYTHING can be brought down to a single algebraic equation unless of course physics can convey through it algebraic equation that everything, bar nothing, defines and explains the singularity.  Just as modern physics breaks down Einstein equation E=MC², which is a symbolic and alphanumeric algebraic equation denoting that ’Energy equal matter times the square of the speed of light” so too does the sacred scriptures cram pack every indigenous letter of the texts symbolically and alphanumerically for the sole purpose of transmitting to the soul (the lone individual) THE THEORY OF EVERYTHING.  In other words the soul: i.e. the MONAD self-defines itself.  The singularity can only be defined by everything, for that is its inherent nature.  In every sense physicists are unknowingly trying to define God, which cannot be iconically classified by a single algebraic equation; rather, the singularity can only be defined and understood through the mythoi of incalculable esoteric examples for to limit the Theory of Everything to a one or an assortment of examples is to limit conceptually its overall theme.

From the outset of this paper, let me declare that I will be introducing empirical evidence of abstract spiritual laws that literally defy the so-called laws of materialistic physics and it is through these abstract laws that I will prove THE THEORY OF EVERYTHING.  It should effectively bring down the house of cards that physics has built for itself under the rubric of Celestial and Quantum Mechanics: i.e. The Theory of the Big and Small.  This paper is all about the Theory of the Big and Small; however, this thesis is about the spiritual and the transcendent.

THE THEORY OF EVERYTHING is the main focus of this paper; however, the reader has to be somewhat educated into the sophisticated mathematical and grammatical sciences: i.e. Seven Liberal Arts: Arithmetic, Music/Harmony, Geometry, Astronomy/Astrology, Grammar, Rhetoric and Logic/Dialectics: the Esoteric Science  (mystically hidden) symbolically integrated as one unified system of thought into the textual materials of the Judeao Christian Scriptures in order for the reader to have a sense of my theses on this subject matter.  I have no intentions of proselytizing anyone into believing in the existence of God and the transcendent; though, I will have to prove the existence of the transcendent in order to prove THE THEORY OF EVERYTHING.  This Esoteric Science that I will be introducing in this paper is relatively new to modernity at least in the modern format that I present it.  This Esoteric Science has been known by the spiritual elite since time immemorial: thus, The Theory of Everything has always been known by those with the mental acuity to understand and intellectually grasp spirituality and esotericism.  These two themes are not interchangeably the same concept.  Spirituality is exclusively Christ-consciousness; whereas, one can have knowledge of the Esoteric Science and be years into researching it never acquiring Christ-consciousness.

Over a period of forty years I have self-taught myself, somewhat, the Esoteric Science that is exuded symbolically and alphanumerically from the texts of the Judeao Christian Scriptures from a scientific point of view.  In no way have I fully developed this Esoteric Science; however, I have developed esotericism enough to demonstrate definitively its existence, which will become clear as this paper unfolds.
For the reasons of the numerous complexities of the subject matter: i.e. The Theory of Everything and the complex concepts that have to be envisaged by the reader I will have to present a great deal (overabundance) of my empirical research via my analysis of the esotericism of the sacred scriptures accompanied with sacred geometry to augment those interpretations.  I believe wholeheartedly in demonstrable evidence and this is the reason that I put forth so much material.  If the Esoteric Science was known to modernity I could easily reference these materials, as I will reference my published books and those papers that I published online (in modernity there are no other reference materials on esotericism worth discussing); however, in this case I have to be absolutely certain that I am not vague in my presentation of these spiritual and transcendental concepts.  I feel it is best that I produce an overabundance of my research to augment my theses then to discuss too little of it and not get my point across.

What physics calls the universe I would suggest is the generic archetypal image of the singularity itself.  Another conceptual understanding of that statement is that all, bar nothing, is derived from the MONAD: i.e. the number one (#1) or the all.  I care nothing for materialistic physics for it deals solely with what PHYSICISTS BELIEVES is Celestial and Quantum Mechanics as the end all and be all of human understanding of existence: i.e. The Theory of the Big and the Small, which is solely from a materialistic perspective.  Physics, literally, throws the baby (singularity) out with the bathwater.  From my perspective, and this is not intended in any way as an insult, the science of physics is analogous to looking at a single atom via a microscope (tunnel vision) totally oblivious of everything around it.  It is very much like being in a room reading a book totally oblivious of the people and/or the conversational noise around you.
Actually, there is no material world other than the phantasmagoria of the mind.  Each individual psyche is a separate autonomous universe , in and of itself, that’s a given.  Physicists will never be able to wrap their minds around this real-time and symbolic argument; for the reason that, their intellectual egos will not allow them to go there.  This will become an extremely important factor in my overall theses both in real time and esoterically. Each solar system, with a sun and its planets is, actually, for all intent and purpose, a separate universe.  Each solar system is, merely, the tip of the iceberg; because, there is an infinite universe behind each star system that neither can be seen with human nor technological senses; though, there are other empirical factors (spiritual and material) that infer an infinite universe behind each star system.  Each star system is analogous to the psyche: ego-consciousness and the unconscious mind.  In proportion to humanity’s knowledge of the unconscious mind in that proportion will it understand THE THEORY OF EVERYTHING: Celestial and Quantum Mechanics: The Theory of the Big and the Small in relationship to the singularity and the transcendental reality.

This paper is a place story, it presents the personal narrative of an outdoor educator who created a labyrinth with his students in a large park in a metropolitan city.  The labyrinth was used by his students, their friends, and their friends' friends as place of solitude, reflection, and mindfulness that helped them navigate their high school lives.