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locked doors

The interesting site http://studiogf.altervista.org/uguali/proverbi/credenze.htm ,

difficult to navigate, but information-rich, contains many examples of Sicilian folk for the area, some incantations against the evil eye like that prayers recited at night before bedtime or after you put the bolt the door, they would aim to strengthen the defense of the home and the people who live in it, adding to the guarantees offered by walls and bolts also the protection of holy figures that symbolically placed close to the door, the most vulnerable point of the house, would ensure that the evil can not penetrate inside operated by "persuni evils."
In one of these prayers, exorcism, the mother heartened that her daughter
"Duormi daughter and arriposa / nun spagnari you of anything / darrieri my door / Mary Mantu cc'è lu / lu and vastuni San Giseppe. / Cu 'headlights avi to Mali to my / nun or door and pool asciari mancu away. "
In another version is the stick of San Simon to act, taking out the eyes of " evils persuni "
" Chiuju 'on my door cu lu Mantu Mary / Great Signuri Mary, CU in my headlights evils / 'or a puddle truvari alica or Valia / San Simuni cu lu I' vastuni cci robs the eyes on the evils persuni. "
There is definitely a close relationship with the Roman use of archaic to keep close to the door, to protect from evil spirits, three-fetish objects: the dark, the stopper, and the broom (see post of 11/18/2006) that continuity in the Christianized practice becomes the holy stick.

I wonder if there is any relationship with the sticks that often barred the doors of the cellars, the hen houses, small barns, the sheds, in the countries of the Central. The connotation of this ritual practice is demonstrated by the complete lack of a real defensive function: the club does not, in fact, in some way open the door from the outside (can be removed easily), it is often only supported across juxtaposed on the doors (or the handles of the lock loops) does not, therefore, access to the animals outside, or if the animals have escaped from the inside, Moreover, as in the photo I took in Fossa, Abruzzo, is also often placed on doors of rooms in a state of semi-abandoned landfills have become real.

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All you can do, or dream you can, begin it.

"As long as one is not compromised, there is hesitancy, the chance to go back and always ineffectiveness.

Compared to all acts of initiative (and creation) there is only one elementary truth, the ignorance kills countless ideas and splendid plans.

When which is a compromise finally, the providence moves too. All sorts of things happen to help, things that otherwise would never have happened.

A stream of events starts from the decision, raising in our favor all sorts of unforeseen incidents and meetings and material assistance, which no one would have dreamed could come this way.

All you can do, or dream you can, begin it.

Courage has genius, power and magic. Start now.''

Wolfgang J. Goethe

And so I crossed another threshold. From today I entered the land of ethnography and etnomuseologia Italian. It will be a region? A state? A continent? We hope it is not an island ...

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Claude Levy-Strauss. 1908-2009

" ... the job of ethnologist gradually taught me to think not in terms of decades and even centuries, but thousands of years, nay, tens of thousands of years, so when I say I think that in this century two or three thousand years if they know nothing ... We think of many things as important, but if you place them in time disappears. The fact remains that interest me. "

Claude Levi-Strauss, 28 November 1908 - October 30, 2009, Sagittarius.

Adapted from Republic of November 21, 2008, "An evening with the professor," by Bernardo Valli

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The zero point of the doors

"The gates belong to past, although in architectural competitions we still have to be the doors. "

(Robert Musil, doors and gates, from page published posthumously in life, Einaudi 2004)
To say it was Robert Musil, nel1936.
Surely there were not the phones, the less the monitors, and probably there were no peepholes in the lenses to allow you to see, unseen, the other dimension.
The opening of the doors with fingerprint recognition had failed to materialize in the dreams of even the most imaginative people of the time ... Musil did not speak of the fire door, or door alarm (horrible neologism), not even the armor ... but a door " consists of a rectangular frame of wood stuck in the wall to which it is applied to a revolving door."
Nowadays almost an antique. Flying
facts "of walnut or oak, as was until recently in the home for good" that, perhaps because of bad karma, dropping down from their originally intended to defend and represent the sanctity of domestic space to that of counters in kitchen pantry from trendy furniture photographed in the newspapers.
of objects that lose their function to assume another, leaving the everyday, from the attic and then, very quickly, even from memory there are an infinite number ...
very interesting in this regard, the project of ' IMC, Institute of Municipal Museums of Saint Archangel, " obsolete objects of the contemporary" that collects the memory of objects that are on their way to their "zero point", still present in our daily lives but no longer used in their original function, " take different routes: from museums to collectors, buried in the basement or finally dissolved in time and just remember ...

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liminality creative

"The word was originally a magical symbol that the passing of time has depreciated. The poet would have the mission to return to the word, at least partially, its early today and hidden virtues. Two duties would each verse: to communicate a precise facts and physical touch, such as proximity to the sea. "

(JLBorges, All the works, vol.II, Mondadori, Milano 1985, p. 559)

So Borges in the prologue of the poetry collection "The deep pink", which collects texts written between 1972 and 1975.

There are many of his favorite themes: the masks, the nostalgia of the sword, the tutelary shadows, inventories and enumerations, the arbitrariness of human time, the inevitability of fate, the mirrors, the myths, animals . Also in the prologue

Borges alludes to the "process" that leads the genesis of his works, an interesting position of liminality creative

"I begin with a glimpse of a shape, like a remote island, which will be then a story or a poem. I see the end and I see the beginning, but not what lies in between. This to me is gradually revealed when the stars are favorable or the case. More ripetere devo di una volta il cammino nella zone d'ombra ".

(JLBorges, Tutte le operate, vol.II, Mondadori, Milano 1985, p. 661)

a bust of Janus Speech ( JL Borges, "The deep pink", 1975) Nobody

a door opened or shut
without honoring the memory of two-faced, the president
. Abarco the horizon of uncertain
mates and some land.
My two sides make out the
past and the future. I see them and are equal
irons, discord and evil
that someone could delete and
has not erased or overwritten. I'm missing both hands and I am
stationary stone. I could not
states are contemplating a future or
porfa de hoy ayeres lejanos. Veo
I ruin: the Trunca
columna y las caras, que no se nunca veranda.

speaks a bust of Janus (JL Borges, "The deep pink," 1975)

Let no open or close any doors
without honoring the memory of the two-faced,
That the chairman. Embrace the horizon
uncertain seas of the earth and reliable.
My two faces
can see the past and the future. I see them and are equal
irons, discord, and the many evils
What Who could never canceled
Neither cancel. I miss your hands
And I'm stone building. I can not Indicate whether

contemplate a struggle of the future or the past, now gone.
I see my end: the column truncates
And the faces that you never will.

(The image of Mercedes Varela, Cartel de la Exposicion: "Borges en la Biblioteca Nacional de Buenos Aires" )

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In "Camera Lucida ".... The port

In the early pages of "Camera Lucida" Roland Barthes calls the photograph as belonging to "... the class of objects made of thin layers of which can not be separated without destroying the two layers: the glass and the landscape, and why not: good and evil, desire and its object ...."
later wrote a note on a photograph taken by Charles Clifford the Alhambra in Granada in 1854. Nothing monumental, " An old house, a porch in the shade, a tiled roof ..." that were it not for that "faded decoration Arab" perceived only in the lancet window and nell'ogiva 's arch, may be an old house in a Tuscan village or ancient Provencal ... A photograph that moves " because, quite simply, that's where I live ... I want to live there in harmony ..."
Consonanza is a term typically connected to the world of sounds, that here, in a context that is instead focused on the images, the sense of sight, Barthes emphasizes the use of italics, indicating that then "this consonant is never satisfied by Travel photos ".
The photographs of landscapes, urban or rural, should be "Habitable " raise him as a "desire for home," have a soft and pleasant sound, which is spread by those "thin layers" of they are made to indicate that the gate is open the implementation of a "desire for home ... ghostly" that "arises from a kind clairvoyance that seems to be taken forward to a utopian time, or take me back, I do not know to which region of myself that double movement Baudelaire sang in 'Invitation au voyage and Vie antérieur. "
E ' therefore a perception that with extended Barthes which captures " the essence of the landscape " : spelling of ultra-light and sound, and remembrance of premonition "beloved landscapes" where is like "sure to be there already state or having to go ".

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Lohapol

The city of Jodhpur in Rajasthan , founded in 1459 by Rao Jodha was very rich thanks to the trade in opium, sandalwood, dates and copper. The kingdom of Rathore, which Rao Jodha belonged, was also known as Marwar, or "Land of the Dead " Of course the current Jodhpur not retain anything resembling its terrible reputation, but something troubling still is ... The
Meherangarh , still maintained by the Maharaja of Jodhpur is a formidable fortress with architecture: the access is allowed by seven gates, Jayapol , built by Maharaja Man Singh in 1806 after the victory over the armies of Jaipur and Bikaner, the Fatehpol, the Gate of Victory, erected by Maharaja Ajit Singh to commemorate his victory over the Mughals. The last door is Lohapol , the Iron Gate, beside which , just after the entrance, you notice the red imprints of thirty small hands : memory of "sati" widows of Maharaja Man Singh who threw themselves on his funeral pyre in 1843, local guides say that none of them even let out a groan.

The honor of a fort in Rajasthan was not represented only by that withstood sieges, but also by the number of sati occurred at a time in defeat. Before sacrifice the women left the imprint of their hands on the walls of the fortress, after having dipped nell'hennè red: what to us appears to be the sad memory of dozens of child brides is unfortunate, really, the way where the last port Meherangarh proclaimed the inviolability of his.

The Sanskrit word sati indicates that the widow sacrifices herself on the pyre or the grave of her husband , the root is the same satya = truth or virtuous path. Sati, the grandson of Brahma the creator of the universe, is the first consort of Shiva who, angry with his father who had humiliated her husband, threw herself into the fire, praying to death. The ritual
dell'autoimmolazione, whose report in India dates back at least to the first century BC, was widespread and handprints, such as those on the walls of the fort in Jodhpur, where indicated sati were sacrificed in battle after the death of their husbands.
The deep reasons underlying the ritual is still deeply rooted in many parts of rural India and Rajasthan, the current center of worship of the goddess Sati Mata. After the English ban in 1829, the practice of "suttee" began to disappear across India, but in Rajasthan has continued until today in some of the most remote villages, where they were registered at least 40 cases since the proclamation of independence . In 1987
the case of Roop Kanwar , an eighteen year old college student who committed suicide on the pyre of her husband in wedding clothes, shook India with a tough debate. She had led the funeral procession and sat on the pyre with the head in the lap of her dead husband. The family had lit a fire in front of hundreds of spectators and the term had been offered to thousands of these a banquet in honor of the new Sati Mata. One of the last cases occurred in May of 2005 in a village in 'Uttar Pradesh. The woman was 70 years old and children ensure that it did not noticed anything. In March of that year a huge crowd had gathered in Pali district in Rajasthan where it was a rumor that another woman was about to sacrifice himself on the pyre of her husband. After violent clashes with the police, the woman was arrested.

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Larga is the leaf ... Thresholds

My grandmother told me wonderful tales , stories for me, because he had lived his life as a child in college at the beginning of the century that told. .. I remember perfectly the adventures, details, names, the atmosphere in the shadow of his huge bedroom, in an austere building of the center of Rome, on certain summer evenings I spent with her with the feeling of adventure exotic. Accustomed to a modern apartment furnished in Swedish style 60 years, I felt those high ceilings, the furniture impressive, full of flowers, fruits and lions' heads like the wings of a stage including sudden appeared from the dark figures of girls with ankle and plaid dresses, starched collars and curly hair just for me to represent the story of the masterpieces of unconscious naivete and cunning cruelty of which only children (girls ...) known to be capable.

then won sleep, my eyelids began to drop, the picture becomes confused ... was the moment of "leaf" ... I fought with all my strength because my grandmother understand that I was about to fall asleep, because they do not speak the insesorabile ... "Large leaves, close the way you say your I said my"

That "broadleaf" I hated her with all heart. But then he wanted to say? Suddenly I saw the little girl fin de siècle greet me with that huge green leaf in his hands, to bow and sneak laughing behind the scenes of my theater ... "No, do not tell my grandmother, continues to tell ... " but she already gave me good night and walked away into the darkness ... the mysterious, huge leaf had won once again ...

Only a few days ago I read on the net :"... it is a wrong transcription of the word threshold due to the similarity between the graphics made in italics s and that of f ... "and continuing to look also known that there is an alternation in the proverb says that sometimes even "Narrow is the leaf, the large street ..."

Incredible!

From childhood a threshold disturbed my sleep ....

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Templars. The Parish of Sticciano

It 's a church in the tenth century, situated in a village perched on a hill overlooking the Tuscan Maremma south-west the land slopes towards the sea.

Call read the interesting article by Claudia Cinquemani Dragons. Summarize a few words on the portal.

the center of the lintel is carved a cross license, and only two arms are forked. The right side has suffered a near Flower of Life. It 'a kind of lotus flower with six petals. The decorations are already in Egypt and the civilization of Ur, the Mycenaean culture, the Calabash of Guinea, in ancient China, among the Celts, coins and other objects in Etruscan and Phoenician stelae, as well as other examples of Romanesque sculpture. E ' one of the most common symbols in the churches of the Templars. Among these, the Duomo of Sovana, in a Church of Arcidosso and San Galgano.

The left side of the architrave is strangely unadorned, asymmetric. Shows only a zig-zag, whose element is very old, appearing as early as the Bronze Age pottery and culture Villanova, but also in Mexico and among the Dogon, Egypt.

A side of the jamb on the left is engraved with three circles. In all this is the element of quaternity. The first is the flower Apocalypse, the second is a glyph of the Earth, the third the Heavenly Jerusalem . When I visited, the average symbol had been clumsily covered by an intervention of consolidation.

It 's interesting to consider that these recordings could also have had practical function. It was important to know the astral stage for its development and could be used as sundials for orientation towards the Holy Land. Finding your way in the journey to Jerusalem the same way that the journey towards the Divine.

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In a pharmacy

There in front of the pharmacy of a flower bed with stone slabs to allow pedestrians to pass on the land without doing the rounds. In front of the grass-plot a great car all blue. It was parked in a hurry, as for an emergency, and since occupies half of the road, the cars passing on this sleepy summer Sunday should proceed slowly. Inside, the front seat, a girl stretches and waits for the driver, moving his fingers on the dashboard. It seems tired. There is music in the car, but the windows are raised and the outside does not feel almost anything. In pharmacy, a lady in a red dress is buying the drugs that has just ordered a recipe. Behind her, waiting to talk, just in correspondence with a long yellow line makes a girl with a blue sleeveless shirt, short pants and sneakers dirty not very connected. Her hair is curly and brown, collected with little care, as if a hint of femininity was suddenly suffocated by the plastic sleeve of a male body. The eyes are dull and dark, clear bags, but the look is alert, attentive to the gestures of fast pharmacist. On the face are subject to a considerable effort, but also disregard for the eyes of others, the skin is slightly darker, nails ruined. "Tell me," says the pharmacist to whom a glance to understand everything: her hair short and gray, a little austere mother. A kindness unfriendly. "I want a disinfectant, a disinfectant for a small cut. I was in the kitchen and ... "The stops in embarrassment:" Mercury chrome will do. One bottle is enough? "The girl nods and says no more, look at chemist run elegantly behind a shelf with medication for allergy. Near the cash behind the bar, there is a man with a blue raincoat. Is handling of playing cards, is a loner who seems to have no effect, but every time he pulls a card from the deck watching the girl, distracted by those eyes of pain. She smiles: it's nice, man with the blue raincoat. Outside it's hot, but she wonders why he did not take this raincoat. The man crosses his eyes one last time, then gets up and goes shooting him in the back of the pharmacy, your pharmacist coming back. "There are four euro," she says in order to hasten the leave. "Oh, and I need ...," said the girl, she too embarrassed, unable to hide the fact that the purpose for which entry is the second purchase: "... ten syringes. Watch the pharmacist, feeling a little 'guilty. His sister is waiting for lunch, with the two girls. There will still be hateful meat she does not like mushrooms, there are still notebooks with drawings to color on the table, the polished floor, the TV in black and white, and then the naive questions of the girls, she really would like to reply: "Your grandfather did not There, he left ten years ago, is not true that the grandmother lives far away: she killed herself. And then you see that your mother is a prostitute because they earn well, it's still a beautiful woman, but I, I no longer, I do drugs? Why did you have fun and laugh when we are unhappy, why continue to believe what we tell you? ". And then there will be the first glimpse of his sister, a resigned look now, who will accompany his usual words, the threshold the apartment number 8, after the bell, "You did it again, right?". I heard those words because I was there on that threshold.

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The House of Asterion (a house without doors)

"And the queen gave birth to a son who
called Asterion"
Apollodorus, Library, III, 1

I know you accuse me of pride, and perhaps of misanthropy, or madness. These charges (which will punish in due time) are ridiculous.
It is true that I leave the house, but it is also true that the doors (whose number is infinite) are open day and night to men and animals. Who wants to enter. You will not find here womanly luxuries or the splendid pomp of palaces, but the quiet and solitude.
It will find a home as there is none other on earth. (Mind the claim that in Egypt there is one like that.)
Even my detractors admit that the house is not only a mobile. Another lie is ridiculous that I, Asterion, am a prisoner. I'll have to repeat that there is a locked door, and added that there is only one lock? Moreover, once the sun set through the streets, and if the first night I went, it was for fear that infuses the faces of the crowd, faces faded and flat, like an open hand. The sun had set, but the heartfelt cry of a child and the rude I said prayers for the flock had been recognized. The people prayed, fled, prostrated themselves, and some climbed on stylobate of the temple of the Axes, others gathered stones. Someone, I believe, sought refuge in the sea. Not at all my mother was a queen, I can not mingle with the populace, even if he wants my modesty.

The truth is that they are unique. I do not care what a man can transmit other men as the philosopher, I think that nothing can be communicated through the art of writing. The annoying and trivial minutiae do not have shelter in my mind that it is liable only to the great, I could never remember the difference between one letter and another. Generous impatience has not permitted me to learn to read. Sometimes I regret, because the nights and days are long.

Of course, I do not miss distractions. As the ram rushes, I run the corridors of stone to fall to the ground in the grip of vertigo. I crouch in the shade of a tank at the corner of a hallway and play hide and seek. There are terraces which I let myself fall until I am bloody. At any time I can pretend to be asleep, eyes closed and breathing heavily (sometimes actually fall asleep, and sometimes when I open my eyes, the color of the day has changed). But of all the games, I prefer that of another Asterion. I guess he comes to visit me and that I show him the house. With big bows, I tell him: "Now we go back to the first corner," or "now blossomed into another yard," or, "I told you I would have liked the water channel," or "Now you I see who has a tank filled with sand, "or" You'll see how it splits the cellar. " Sometimes I'm wrong, and we both laughed.

But I only imagined games, I also meditated on the house. All parts of the house are repeated, wherever it is held elsewhere. There are a tank, a courtyard, a fountain, a barn, the stables are endless, fountains, courtyards, cisterns. The house is big as the world. However, by dint of courtyards along with a tank and dusty corridors of gray stone, I reached the road and saw the temple of the Axes and the sea. Not included until a night vision revealed to me that even the seas and temples are endless. Everything there many times, countless times, only two things in the world seem to exist only once: above, the intricate sun; below, Asterion. Perhaps I have created the stars and the sun and this enormous house, but I can not remember.

Every nine years nine men entered the house, because I set them free from all evil. I hear their footsteps or their voice at the bottom of the stone galleries and I run joyfully to find them. The ceremony lasts a few minutes. They fall one after another, without that I will stain your hands with blood. Where did remain, and their bodies help distinguish one gallery from others. I do not know who they are, but I know that one of them prophesied, about to die, who would one day come my redeemer. Since then the loneliness I do not regret, because I know that my redeemer lives and one day rise from the dust. If my ear could hear all the noises of the world, I hear his footsteps. Take me to a place with fewer galleries and fewer doors As will be my redeemer? Maybe it is a bull with a human face? Or will it be like me?

The morning sun shone on the bronze sword. There remained no trace of blood.
"Would you believe it, Ariadne?" said Theseus. "The Minotaur he has not defended almost.

Jorge Luis Borges, The Aleph , Feltrinelli 1952 (... the best book I received as a gift ...)

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door and deadbolt know ...

in Mesopotamia in the first millennium BC, the air was darkened by flocks of powerful demons, hypostasis of the most violent natural phenomena or morbid events that affected men. Even the gods could be attacked by demons. Requests for protection in the form of prayer, sacrifice, rituals increasingly complex, it became obsessive, medicine became exorcism. Most of all that is known about the practices against the demons come from the collection collected by Ashurbanipal in Nineveh around 630 BC, thousands of tablets, belonged to the library of Nineveh, describing exorcisms, omens and divination. They belong to the same period many thousands of apotropaic amulets to wear around the neck or the wrist, on them is usually portrayed the demon from which you want to protect surmounted by priests in ritual act, it is often also written a text to avoid, for example like this:

"Enchantment.

What we approached the house I am out of bed to escape the terror,

torments me, see me nightmares .

god Al Bine, gatekeeper of the underworld,

they may designate,

by decree of Ninurta, Prince of the Underworld.

By decree of Marduk, who resides in ' Esagila to Babylon.

door latch and know that I am under the protection of the two gentlemen.

Enchantment "

(J. Jaynes, The collapse of the Bicameral Mind, 1976, Adelphi trad.it., 1984

for registration dell'amuleto: HW Saggs, The Greatness That Was Babylon, 1962)

picture, I've taken from http://www.arcadia93.org/demonimesop.html, the the mythological battle between the Asag daemon (Ashakku) and the god Ninurta.

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In a beach resort (2) In a seaside

came a hot summer morning, after a long journey by ship. In the rented house on trust a few months earlier, there was plenty of light and a nice little 'dust, was not a good sign, she thought. After arriving in GA, he went to the service center to pay the rent for the entire month, while she and the two children had stopped on the sidewalk, watching the sea from afar. While he was paying, the lady who ran the tired and sour agency, certainly did his best to be polite. Not loved tourists. Bad sign, he thought. In the street, where they waited for him to arrive with the keys, she was already in the throes of an uncontrollable frenzy, said disorderly children what they might do: "take the pedal, but before we all dine together, do whatever you want , just come for lunch and dinner, but ...", then you know how many new friends every now and then he turned to the door of the agency and interspersed his speech by wondering aloud, "but where is it your father?" E just a hint of sultry, emotional concern mingled in the cool surprise you to discover a new world. With their children. In the street there was a pungent smell plants, the sun was burning, one of the children was sweating and laughing constantly, the other closed his eyes for too much sun and did not speak. He never spoke unless he had a reason. He left the office with keys in hand, stuck his finger in the ring that held them together. She smiled at all three, as he approached them tired but satisfied. They went immediately to open the house, she feared that the children were thirsty. He noticed immediately the dust, she was sad, sighed in secret, then more openly let out that there was too much, dust, some of the furniture looked too old, that there was a broken tile in the balcony ... One of the two children he thought a moment before she seemed happy, but now Not any more. He feared that. The other watched the corners of the house, the bed and the white walls, imagine you are flying on a house, that every time I had to pee would be dropped from the balloon to a vacuum for whole kilometers, with a long rope, accompanied by a singer only diabetic he knew him. While fantasizing did not notice that the other three had risen to the top floor, where there were two bedrooms and bathroom. She, still a little 'upset, raised the blinds of the window that looked out on the balcony. Then he saw the sea. It was like something sweet aggredisse dead in its blood. Seeing the sea saw that every morning he would have admired, as she took the coffee and the children still asleep and he was in the bathroom to shave, and he would not wake up to keep that moment for himself, a moment of happiness to live alone, and then distribute it to others with genuine anxiety, need immediate feedback. She turned toward him and screaming for joy, a joy on the edge of tears, she went to hug him, uncontrollable (it was this that bothered the irrepressibly small, while the more kept looking with curiosity at the transparent glasses that the landlady had left ). He accepted the embrace of her joy with a different, more rational, like the one we live secretly in receiving a nod of understanding of who you got in the midst of so many distant partners, and smiling in a firm voice said (I can see his big hands make a gesture of prolonged restraint): "Quiet, quiet. Calmly. " I well remember the moment, because in that house by the sea I was there.

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guarding the mandala

In

"Tibetan Book of the Dead" , precisely on the sixth day of the visions of the peaceful deities, guardians of the four appear mandala. Are the capacities semicollerica deities that guard access to the four gates of the mandala and the related four cosmic.

Their appearance is human, the face is angry and possess the third eye, the eye of superior knowledge: Vijaya is the guardian guarding the eastern door white, united in polarity Tantric his wife Vajrankusi : Vijaya attributes are kapala and a bell, the door instead Vajrankusi an iron hook.

In correspondence with the southern gateway appears between red flames, standing on a lotus flower, the angry Yamantaka , yellow with his partner Vajrapasi : Yamantaka has in hands a noose and a bell.

The western gate is guarded by the couple Hayagriva , the keeper red and V ajrasrnkala . Hayagriva has a horse's head in her hair and holding an iron chain, or a club clinging to the bell and snakes. The couple green Amrtakundalin and Vajraghanta , oversees the northern door, armed with a vajra cross-shaped and bell.

Details aside, the Mandala is for me the most sophisticated system on a symbolic level created by man to represent the complexity of the world and the universe.

is inside the reference energy in four forms, is the transformation of matter; there are chemical elements, there is the matter that evolves and becomes life, there is the structure of DNA, there is a map of the time, there are times and seasons, there are functions of the mind; c ' is like the thought becomes history and how history turns to dust, there are complex psychological and become their society is the mirror of each, there is the interior and exterior, there is the 'expansion of the universe and its contraction is the creation and the entropy is the beginning and at the same time, the end.

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Etruscan places

"We passed the bridge at the bottom of the pavement, the basaltic wall of the castle stand in the way we and the filly seemed to go crashing into the nose. The lane, however, turned left, passing under the arch of a door ... We passed the ruins of a few yards and went down on a grassy area that overlooked the gorge.

was a wonderfully romantic place .

The ancient bridge erected for the first time since the Etruscan volcano tuff blackish, rises in the air and bent like a strange bubble. Forty feet below, at the bottom of the ravine full of brambles, stream flows, while the bridge is silhouetted in the sky as a lone black rainbow, with the leading form of a perfect long-forgotten ...

Adjacent to the bridge from this side, is almost all black construction of the castle ruins , with weeds sprouting out from the stands and from the top of the tower ... All around there's an empty feeling particularly ... "

( DH Lawrence, Etruscan countries, New Image Publishers , Siena 1985)

The bridge of the Abbey of volcano is one of the many bridges of the Devil " very common name, as is a common story for each of these narratives: bridge-builders or for travelers who manage to overcome the obstacle posed by the river, asking for help to the devil. The Devil agrees and calls for change in the traditional spirit of the first creature that will traverse, and then remained duped cunning antagonist, often a saint, who always manages to cross the bridge to a dog, a cat, or even a form of cheese.

It is said that the bridge Vulci cost to the devil so much effort to force him to wipe the sweat with a handkerchief that has been there, enclosed in one of the stalactites hanging on the sides of the bridge itself.

The most authoritative sources on the subject are Mircea Eliade (The Rites of building. Jaca Book, 1990) and Anita Seppilli (sacrilege of the sacredness of water and bridges, Sellerio 1977), but only for fans of refined fantarcheologia made in Italy there's more ...

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Rites of Spring

mistakenly believing that the ritual was in direct conflict with each category related to "modernity" has for a long period, given the rite as a highly traditional and therefore the opposite and alien to the mental configuration of modern man, in a dichotomous logic that tradition opposed to modernization.

It is not just for the insights of great scholars of human behavior and psyche - Freud and Jung in the head-that you understand how contemporary societies, in fact, have experienced a revitalization of the symbolic and ritual practices caused by the need identity and sense of belonging that its modernization had led: in fact the symbolic and ritual behaviors act on the modern personality, and affect the dynamics of social roles and status. It 'also clear that this function entirely outside of the rite with a strong connotation of its sacred past, to arrive at a function predominantly conservative, which reveals the individual the meaning of social events and provides the group a tool for conservation and maintenance of social identity. Delicate and dangerous instrument if, in addition to the function of maintaining the 'social identity is further manipulated to create stereotypical role models, through which collective identities "ritus-symbols" based mainly on mass consumption, ensure the rapid recognition of membership a social group. The commercial exploitation

and unscrupulous of the rite is, unfortunately, an inexhaustible mine: the modern man, perhaps more than the old one, he invented all the time, driven by a principle very similar to what Levi-Strauss called "substitution principle", how to conduct functional facilitation of social relationships, not just an ingredient of the process is missing, replace it with another similar. The tradition is not as conservative as it is supposed, but has surprisingly resilient margins. The ritualization of everyday life, rules designed to define the individual relationships are the foundation of social and collective, exploits this behavior all the more meaningless rituals their original meanings, the more those same original meanings emerge again, to a lesser degree, namely the primary socializing, giving rise to behavioral rituals, promptly picked up by the capitalist system, which immediately puts them in systems based primarily on consumption needs of individuals to be represented by what is socially "holds" and no more than that "is."

anthropologists, ethnologists, sociologists, psychologists, who understand deeply the basic symbolic devices of social life, can bring to light many hidden dimensions beyond the most, but are carefully analyzed by someone who not only manages to transform the natural tendency to ritual in business opportunity, but also to transform the folk tales in the most innocent of violent ethnic identities of silver.

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"ianuas Timaeus" (carnival license)

"A man went crazy to get too deeply reflected on the action to open and close a door.

He began to compare the conclusion of discussions on human movement that, in both cases, it is absolutely the same, although it is a different result. "

H. de Balzac, "Theory of gait," in H. de Balzac, "Pathology of social life" , Torino, Boringheri, 1992
Balzac published the Theory of pace in five episodes, between August and September 1833, on pages de "L'Europe Littéraire ".